MUSICAL COURIER
42
January 26, 1922
one now and then; there is a slower section, and return to the first melody. It should sound well in orchestral version, and will be welcomed by Cadman admirers as here arranged. Persian mosques and landscape, in red and black, on a yellow background, ornament the front page.
(Carl Fischer, Neio York, Boston, Chicago)
“IRISH MELODY,” “CRADLE SONG” and “PRELUDE” (for Piano)
By Alfred Pochon
The violinist of the well known Flonzaley String Quartet here appears in new guise, that of composer for piano, and be it said, “as to the manner born,” for everything he writes is playable and fits the hand well. The first two pieces of the s are arranged from the “Little Irish Suite” for string quartet, and are distinctly of refined, idealized type. It is evident Mr. Pochon knows Ireland and the Irish. “Irish Melody” begins with a regular piano introduction; then follows the sentimental song, with feeling, in moderate tempo, with a section in minor, played very loudly, and returning to the beginning, with a contrapuntal bass. The “Cradle Song” is marked “Old Irish,” and is delicately expressive, also sounding like a song. Plentiful variety of harmony is found in the piece of three pages, which ends very softly. “Prelude” is dedicated “To My Dear Wife,” who must be a capable pianist. A footnote further says, “Played for the first time in Aeolian Hall, New York, February 20, 1920, by E. Berumen.” It is a piece of much freedom of key, nearly every measure full of “accidentals,” restless, ending calmly. The piece is about grade four. All three are provided with fingering, and marked with pedaling.
(Carl Fischer, New York, Boston, Chicago)
SONATA FOR CELLO AND PIANO By A. W. Lilienthal
A work of fifty-five pages, serious, scholarly, by one who knows the cello, although himself a violinist. Experienced musician, who has played under Dr. Leopold Damrosch, Theodore Thomas; a composer of string quartets, a Festal March for. grand orchestras, member of various musical societies, Mr. Lilienthal has won the respect of mankind through his years of activity. The work is marked “Op. 40,” and is doubtless the child of his riper years, containing a vast amount of technical and musical knowledge. It should find a place on a cellist’s program. Dedicated “To my dear friend, Rubin Goldmark.”
(The John Church Company, New York, Cincinnati, London)
“THE LITTLE GREEN LEAVES,” “IF I WERE A
SUNBEAM” and “INVOCATION TO LIFE” (Songs)
By Charles Gilbert Spross
Mr. Spross has a generation of musical work behind him, beginning with early days in Poughkeepsie (he still plays the organ there in church), continuing in New York City, and extending throughout the country at large, for he has appeared as accompanist in nearly every state of the union, this being his specialty. His cantatas are high class, his. piano pieces considerably played, and his songs (about one hundred) are sung the world over. “The Little Green Leaves” is in reality a spring song, in the form of a colloquy between the leaves and the cold brown earth. The leaves ask how will they know it is spring? For they are sitting there in a chilly green row . . . Will the robin sing? Will it be the day the violet’s born?
Then the Rain laughed “Ha” and the Wind laughed “Ho,”
And the cold brown Earth began to smile, you know,
At the shiv’ring leaves in a chilly green row,
Wondering were they early, and wishing they could go.
Then the Wind and the Rain said, “Stay, don’t doubt,
For it’s Spring, it’s Spring, it’s Spring . .	.
When the leaves come out!”
This pretty conceit is by Elizabeth Evelyn Moore, and the music is altogether appropriate, pleasing and effective.
CLAUDE WARFORD
On January 19 Claude Warford presented a company of fifty singers at the Hotel Plaza in three lyric scenes for the Euterpe Club.
(©Apeda photo.)
REVIEWS AND NEW MUSIC
(/. Fischer & Bro., New York)
“THE RUNAWAY SONG” (Operetta)
By Eliza McCalmont Woods
The reviewer takes the liberty of classing this work under its proper heading, that of an operetta, instead of using the publisher’s, “A Musical Fantasy,” believing that this choice better describes it. At the same time, “a musical fantasy for young folks” further tells what it is, the text being by Virginia Woods Mackall, who also wrote that of the operetta “The Fairy Rose,” a work for children. “The Runaway Song” is in three acts, and all the parts may be taken by girls; it is also adapted for out-door performance. There are eleven characters in the little work of sixty pages, including a little blind Prince, his Mother, Shepherdess, Swineherd, “The Runaway Song,” Pages, Pleasant and Unpleasant Sounds, etc., and the whole is conceived in a light and pretty spirit.
The story is briefly that of a little blind prince in a faraway kingdom, who will see on the very day that he forgets himself long enough to be happy; for he is always cross, rude, unhappy. The Runaway Song hurries past his garden, and the prince believes that the vanished Song can teach him how to be happy. The Shepherdess and the Swineherd have heard it, too, and the three children trace the Song. How they find it and how the prince gains his sight, all is told. The overture contains some of the principal themes, including of course the Runaway Song, a very graceful waltz, and the Shepherdess’ refrain, which is altogether “jazzy.” The pathetic solo of the prince, “My Eyes Are Blind;” the Scottish sounding “Don’t Sigh;” Babette’s song, easy and bright, with its very rhythmical refrain; the “Dutch dance,” solo of the Swineherd, also in 3-4 tempo, with its interlude of dance measures; the Sunset and Twilight chorus, in gavot tempo, at first in major, then repeated in minor, as befits the words; Paddy’s song, mysteriously dramatic throughout, where he tells of Echo, living up in the mountains; the echo-song, in which the three children take part; Who is Calling?” sung by Echo, a song with real feeling; “On Jangling Winds,” sung by four Unpleasant Sounds, and which is purposely made to sound like the worst of Ornstein, Ravel, Stravinsky and Co.; the Pleasant Sounds, of big contrast to the preceding; a pretty lullaby, sung by Echo; a set dance, called “Dance of Shadows and Sun Colors,” closing with a pretty waltz, very sweet music indeed; “Down Through the Hollow,” more graceful and sweet music, and the Runaway Song, of real musical worth, all are charming. Runaway Song sings :
I have a secret, here’s the key;
You must learn to hear and see
All the hidden fancies winging
Thro’ the Earth and Heaven singing!
And you’ll possess it.
With this pretty waltz song the operetta closes, all the cast uniting in singing it, and in it, too, there is optional two-part choral harmony. There is considerable dialogue throughout the work, and the book of words (to be had separately) contains full directions for performance, action, stage entrances, etc. The scenes take place in the palace garden, in the forest (evening), and next morning in the palace again. The story is told in verse on the back cover, and illustrations of all the characters are printed on cover pages. The entire work gives the impression of practicality, of having been “tried out,” and is recommended to girls’ schools, classes for children, and real young people, for it is all written without extreme high notes, and best of all, has a piano part which anyone can play. It carries its moral, too, quite necessary to repeat in these days of striving for nonsense-life—“Be happy and you’ll be good!”
{Enoch & Sons, London, New York, Paris, Toronto)
“FIVE CAMEOS” (Songs)
By Landon Ronald
Composer of some 200 songs, conductor, accompanist with Melba and others, Landon Ronald has appeared before royalty on many occasions, and is well known in America through his melodious songs. The five songs in one volume under consideration are “The Shyness of Beauty,” “Invitation,” “The Primrose,” “Desire of Dreams” and “O Summer Sun,” the poems being by Binyon, Keble, Herrick and Burleigh. Each has but two stanzas, and the music shows that Ronald knows the modernistic school of composition. If he wanted to, he could out-modern them all; this is the impression one gains from the five “Cameos.” “Invitation” is especially unusual in its accompaniment, consisting largely of seventh chords, with astounding modulations. “Desire of Dreams” is a lament, tuneful, ending on a chord consisting of the tones 8-S-4 of the scale. Errata, page S, first song-note should be B flat; page 13, last chord should have a C, not B, in right hand. Title-page is a yellow-green-white combination, representing nothing in particular, unless it be a landscape—a “Futuristic” design!
(White-Smith Music Publishing Company, Boston, New York, Chicago)
“ORIENTAL SUITE FOR PIANO”
By Charles Wakefield Cadman
A volume“of twenty pages, from Cadman’s orchestral score of Earle’s photodrama, “Rubaiyat of Omar Khayyam,” and consisting of (1) “Underneath the Bough,” (2) “The Desert’s Dusty Face,” (3) “Merry With the Fruitful Grape” and (4) “Within the Potter’s Shop.” No. 1 is a pastoral scene, opening with a collection of fifths in the treble, with accompanying sevenths, sounding beautiful; a second time they occur, with arpeggio bass; a third time, in plain harmonization, loudly, and ending softly, with augmented and tonic chord. No. 2 is a truly descriptive sketch, Oriental in the real sense, misterioso, tranquil, and ending with open fifths, pizzicatto. No. 3 is a dance, as befits the title, for the “fruitful grape” naturally led to it; those doin’s may be of the past, yet they are in the memory ... A “basso ostinato” on G-D is a feature of the first page, with Oriental music in thirds for the right hand. Unusual chords distinguish it, and it ends with a whoop. No. 4 is in spirited tempo, fleeting triplets alternating with brief melody, unusual harmonies surprising
Teacher of FLORENCE MACBETH, Prima Donna Coloratura; LENORA SPARKES, Lyric Soprano, and other prominent Artists. Studios; 318 West 82d St., NEW YORK CITY. Tel. Schuyler 8537
£KERR
BASS BARITONE
RECITALS IN ENGLISH, FRENCH,
ITALIAN AND NORWEGIAN 561 West 143rd Street, New York City. Tel. 2970 Audubon
DR. CHERUBINO RAFFAELLI
From Royal Conservatory, Florence, Italy TEACHER OF SINGING AND PIANO 602 Weit 137th Street, New York City	Telephone Audubon 5669
SCHILLIG
OTTILIE
Recital
Concert — Oratorio
Management: Wolfsohn Musical Burean •	8 East 34th Street, New York
IALLABACH
E
L	COLORATURA SOPRANO
Toledo, Ohio
Pianists Prepared for Piblic Appearances
SWAYHE
WAGER
33 Avenue Montaigne, ־	- Paris, France
Professor of Choral Music, Columbia University Address 39 Claremont Ave.
Waiter
Henry
Williams. BRADY
TEACHER OF SINGING
Studio: 137 West 86th St., New York. Tel. Schuyler 10099
CHARLES SANFORD SKILTON
COMPOSER and ORGANIST
University of Kansas	Lawrence, Kansas
MARIE SUNDEUUS Soprano
With the Metropolitan Opera Co.
Exclusive Management:
HAENSEL & JONES,	Aeolian Hall, New York
Edwin Franko Goldman
•CONDUCTOR THE GOLDMAN CONCERT BAND “A Symphony Orchestra in Brass”	Columbia University Concerts
Personal address: 202 Riverside Drive, New York For outside bookings apply Roger DeBruyn	1540 Broadway. New York
Jean de Reszke 53 Rue de la Faisanderie Paris
I SCHULZ
Eminent Cello Virtuoso & Conductor
OPEN FOR SEASON 1922-1923 1186 Madison Ave.	New 3York *Chy*
S: COLLEGE OF MUSIC
New Building—114-116 East 85th Street
Founded for the Higher Education in all branches of Music Conducted on the same plane of the European foremost conservatory. Over 40 eminent instructors.
Piano Department.............August Fraemcke, Dean
Vocal Department................Carl Hein, Dean
Harmony, Counterpoint, Composition. .Rubin Goldmark, Dean Vocal Students have exceptionally good opportunity for Grand Opera and acting.
Terms reasonable.	Catalog on application.
GAY MacLAREN
“The girl with the camera mind.”—New York World
Re-Creation of Famous Plays
Season 1922-23 Now Booking
Management: CAROLINE EVANS 709 Colorado Bldg.,	53 Washington Square,
Denver, Colo.	New York City