January 19, 192 2	.	M U SIC A L C O U RIE R	43
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,THOSE whose requirements demand perfection and whose tastes demand excellence find
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the ultimate expression of musical worth. CHAS. M. STIEFF, me.
315 North Howard Street	Baltimore, Maryland
Catalogue furnished on request	Established !842
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Merle Alcock,” the range being A flat to D flat, fourth line, treble clef.
{Carl Fischer, Netv York, Boston, Chicago)
“THE LONELY WANDERER” (Grieg) and “DANSE RUSTIQUE” (Scarlatti) (for Violin)
By Mishel Piastro
Grieg’s expressive, sad-sounding “Wanderer,” is arranged skilfully for violin, with piano accompaniment, passages in double notes occurring, with the real Norwegian flavor. “To My Dear Wife.” The “Rustic Dance” is of different sort, being music some three hundred years old, but made to fit •the violin. It is largely in thirds, or other double notes, also in minor. “To Gustav Saenger.”
(G. Schirmer, Inc., New York)
SONATA NO. 2 (for Organ)
By James H. Rogers
American composers for organ are turning more and more to familiar forms of real art, fast graduating from the “Nocturnes,” “Evening Thoughts,” “A Souvenir,” and similar two-page pieces, with singing melody on the swell keyboard, and soft accompaniments on another, so hackneyed nowadays. “To ■Charles M. Courboin” says the dedication of this work of thirty-three pages by the well known Cleveland composer, Rogers, who established fame with “At Parting,” “A Star,” “Julia’s Garden,” and longer, if not more popular works, many years ago. This sonata consists of a chorale, in majestic tempo, followed by a variation in arpeggios; an adagio of singing melody and interesting harmony, in which a short cantilene is promi-ent; a scherzo in pastoral style, played vivace; and a finale consisting of a toccata, in which the finger work is fast enough to suit anybody, and the pedaling difficult enough for even a Courboin. An intermezzo in major key follows, the toccata is resumed, the pedals playing the opening chorale in octaves, while the hands continue in sixteenths, and ending with every.stop out. Dignified, important, sure to be played by leading organists.
(G. Schirmer, Inc., New York)
THIRTY-TWO SHORT OFFERTORIES (for Organ)
By Charles N. Boyd
“A Collection of Favorite Pieces,” says the title page, the seventy-three pages containing many well known small and larger works. The compiler has kept in mind the limitations of a two-manual organ, such as most of our
(Continued on page 46.)
key. Right and left hands are kept busy, and it ends brightly. Tastefully printed, with title-page in three colors. “To Juan A. Aguilar.” If this is a fair sample of Mr. Quincke’s muse, let us have more! Also, “The City of Angels” deserves credit for tasteful music print.
{The John Church Company, New York, Cincinnati, London)
“WON’ YO’ TELL A STORY?” and “LADY MOON”
(Songs)
By W. H. Neidlinger
These are labelled “A Southern Dialect Song for Anybody,” and in them the composer has published genuine darky songs, ■idealized negro melodies and words of utmost sympathetic type. The delightful melody, fascinating rhythm and taking words of both are sure to please, whether sung to formal audience or by the fireside. “Tell the story” says the composer, in connection with the metronomic tempo-mark.
{Carl Fischer, New York, Boston, Chicago)
“WHILE THE PIPER PLAYED” (for Piano)
By Harold Henry
This piper begins his tune with soft treble musing in slow tempo, running into rapid notes, played lightly, with chords in the left in a series of successions of sevenths. Several glissandi (slides) give piquancy to the music, which is highly original. The opening phrase is repeated in “spread chords,” followed by a variation of the first staccato theme, this time with rolled chords in the left hand to a soft close. Then follows a trio in the subdominant, of very taking character, singing a lovely song, repeated in chords, this portion ending much as it began, but with added staccato left-hand accompaniment. Then comes' the finale, in octaves, presto, whole tone passages predominating, and ending with a glissando to the top A of the piano, and big bang on the three lowest A’s of the bass. Very effective and unique. About grade five.
{Carl Fischer, New York, Boston, Chicago)
“SONG OF THE WIND” (Song)
By Ella Backus Behr
The text is from Bulwer-Lytton’s “The Last Days of Pompeii,” and the music is fitting to the sentiment, with a melody of pathos and expression, and an accompaniment of slow arpeggios and chords. “Dedicated to and sung by
REVIEWS AND NEW MUSIC
{T. B. Harms, New York)
“MOONRISE” (Song)
Words by Gretchen Dick and Music by Arthur Samuels
This is a singable song, with a lovely melody in the verse part and a still more lovely melody for the refrain. It does not show that characteristic weakness of so much popular music, in having nothing but a good refrain with a nondescript verse stuck on by way of introduction. It is real music all through, finely set for the voice and possessing an unusually well made accompaniment, one that sounds well on the piano and gives real support for the voice. The song is dedicated to one of our most eminent singers, and it is just the sort of song that he and many another concert artist will make popular, for the song combines simplicity with effectiveness. It is easy to play and easy to sing, and it is certainly easy to listen to. Dedicated to Reinald Werrenrath.
{T. B. Harms, New York)
“BABY DREAMS” (Lullaby)
Words by Otto Harbach and Oscar Hammerstein II and Music by Herbert Stothart
This is one of those little songs that discourage the highly educated technician and maker of complex musical diatribes. And it is a good thing that it should, for it proves better than a whole volume of arguments that a little real sentiment and real beauty go farther in arousing emotion than all the effusions of the technical acrobat. The authors have had an idea—no such common thing, to be sure—for ideas that are real, worthwhile ideas, are few and far between. The song is utterly simple—simple to play and simple to sing. It is also simple to understand, as are all things that speak of the heart to the heart. And yet, simple as it is, it has a poetic sweetness that is very charming. It is safe to predict that this is one of the songs that will be sung by everybody once it becomes known. There are few who will not want to have it on their piano. It is published in two keys within the range of the average voice.
{Sam Fox Pub. Co., Cleveland, O.)
“I LOVE YOU MORE” (Song)
By Dorothy Lee
This composer’s song, “One Fleeting Hour,” has brought her considerable name and fame, which serves well to reintroduce her in “I Love You More,” the text by Eldred Edson. It is a song of life’s book, and the page that bears your name, which inspires the song, “Dearest, I love you more each day.” Such sentiments need proper expression, and Miss Lee has found it in her very expressive music, for it has sweet tenderness, merging into real outburst of temperamental sentiment in the refrain. The interlude between stanzas keeps up this spirit. In three keys, and printed in the usual tasteful Foxonian manner, with a charming maid gazing o’er blue waters and gray hills.
(Sam Fox Pub. Co., Cleveland, Ohio)
FOX MARCH FOLIO (for Piano)
By J. S. Zamecnik
This is not a “collection” of marches by various composers,, but consists of ten original compositions, each in vigorous march style, with the titles: “The Ambassador,” “Our Boys,” “Class Day,” “Royal Knight,” “The Patriot,” “The Flying Age,” “Field of Glory,” “On the Hike,” “The Diplomat” and “America’s Finest.” They are easy pieces, about grade three, and the composer follows the usual form, of a snappy first section, followed by a legato trio in neighboring key. The marches are in 4-4 or 6-8 time, and every march has particular merit, lots of go, and is right worthy of attention by anyone looking for such music. Now Composer Zamecnik should lead his muse to other fields, for with such gift of rhythmic tunefulness a comic opera is the very least he can put forth.
(IV. A. Quincke & Co., Los Angeles, Cal.)
“THE MILL RACE” (Piano)
By Walter A. Quincke
“The Mill Race” is well worth studying and playing, for it is definitely an exercise in speed, lightness and clearness, and “Heavy hands” will find it a splendid study. Apart from this, it is a bright, well-constructed little piece, quite in the Moszkowski style of spirit and elegance. The principal figure in triplets is graceful, and has been fingered by the composer. A charming melody ensues, of right hand chords, with running triplet figure in the left, return to the first figure, and repetition of this pretty melody in another
-----Soprano---------------
A Voice of Extraordinary Charm and Appealing Quality
For Concert Dates Address
ANNIE FRIEDBERG
Metropolitan Opera House Bid?., New York
ARMSTRONG
The Canadian Pianist
Management:
ROGER DE BRUYN, 1540 Broadway, New York
Telephone 8811 Bryant
Duo-Art Records
Steinway Piano
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Management
DANIEL MAYER
New York
Aeolian Hall,
Helen L. Levy, Personal Representative
“At no opera performance in New York in the last ten years has the duet from ‘Lakme’ been presented with such perfection in ensemble singing.”
—New York Evening Telegram.
NELLIE KOUNS SARA
SOPRANOS