40
February 9, 1922
MUSICAL COURIER
The music is of really “taking” sort, going along naturally, a bright movement, with holds now and then, a little, interlude, and a pause on the word “because,” which creates anticipation, and holds attention. For high or low voice; and the picture of a big turtle out in the rain calls attention to the cute song.
(John Church Company, Cincinnati, New York, London)
“THE SUN, THE HEATHER, AND YOU” (Song)
By Carl Hahn
Verse by Irene Stiles, coming to a climax on the third page of the song “I know a dream which is mine all day,
. . . it is sky and sea and a wind that is free, and the sun and the heather and you.” The music by the well known cellist, conductor and composer, Hahn, is in popular vein, easy to sing, tunefully straightforward, the piano part following the singing voice; this makes it helpful to young singers. It has heartfelt expression in it, fits voice and fingers well, and should be often sung. It is dedicated to Ruth Gormley, of Brooklyn. For high and low voice, with blue-white-green cover page showing sun, hillside and sky.
(John Church Company, Cincinnati, New York, London)
“ALBUM LEAF” (for Piano)
By Alexander MacFadyen
This is the first of three little pieces, about grade three, the others being “Badinage” and “Cradle Song,” transcribed from the composer’s song. Were no composer’s name attached to this “Album Leaf” one would be justified in thinking it MacDowell, for it is quite in MacDowell’s vein, with spread chords, a singing melody, frequent modulation, a climax, for all the world like the “Sea Pieces.” Dedicated to Josepha Hofmann.
(G. Schirmer, Inc., New York)
“STUDIES FOR MELODY AND PHRASING" (for Piano) By N. Louise Wright
This is one of the Schirmer Scholastic Series, being material for vocal and instrumental study, from the easiest to the most difficult. There are three studies in the volume of a dozen .pages, the first a “cross-hand study”_in C major, with rhythmic pulse, interesting. The second is altogether of sixteenth notes for the right hand, with accompanying eighths in the left. The composer invents her figures, as did Czerny, then sticks to them throughout each study. Study number three is of arpeggioed chords, right hand, light, graceful, fleeting, pleasing in sound, practical in performance. The fingering, the pedaling, and every detail of expression, all are clearly marked, making them altogether interesting. In this they are vastly different from that manufacturer of “Studies,” the Bohemian Czerny, who wrote etudes before breakfast by the score; and they sound so! This work is numbered op. 90, which shows that the composer has done quite a lot in her day.
(G. Schirmer, Inc., New York)
“THREE JEWISH MELODIES” (for Piano)
By Joseph Cherniavsky
These are to be had for cello and piano, and for violin and piano, so making them available in three differing editions. “Mazal-Tov” is the first, this being a Hebrew word meaning “Congratulations,” a Jewish wedding dance. These old-timers, no matter how merry, always danced in the minor mode, so that while the music goes merrily, it yet has an undercurrent of sorrow. Every now and then there is a brief portion in major, but it does not last, for, after all, sorrow is the life of the Hebrew, and has ever been. The musical world owes a debt of gratitude to Mr. Cherniavsky for preserving these melodies, and making them available for different instruments.
“Die Yiddishe Tranern,” the second, means “The Jewish Tears,” an old Hebrew melody, and this is a slow wail, marked “largo,” with peculiar harmony and melody effects. What might be called the refrain sounds as though all Christendom were cursing Jewry, or as if Leah the Forsaken had lost her Hebrew Jehovah! There is a strange ending, on the dominant, leaving it all unfinished, creating a feeling of more coming sorrows.
“A Freilachs” is “Happiness,” likewise a Jewish wedding dance. Again in minor, somewhat Hungarian in style, with the closing cadence commonly found in that music, this, too, goes along in seeming merry spirit, but under it, in the all-prevailing minor key, is death, darkness, doubt, with dirges in the near future. The trio begins in major, as if seeking momentary relief, but after five measures gives it up, and closes in minor; “no use, why strive, let’s lie down and die,” it seems to say, despite the dance-tempo. Illustrating the Jewish, or Old Hebrew, music, nothing more characteristic has been printed. It takes attention as “something different,” and it is sometimes good to meet the new.
NEW PUBLICATIONS
Enoch & Sons, London and New York
“A DAY AT THE FAIR,” four songs, with lyrics by Helen Taylor and music by the well known English composer, Easthope Martin. This cycle contains “All the Fun of The Fair,” “Fairlop Friday,” “The Last Fairing” and “Pack-And-Penny Day.” Mr. Martin has made himself famous with his “Fair” songs. One who has visited the English provinces can readily appreciate what he is writing. The music is original and has a melody that appeals to all artists who are in search of good songs. Here we find one who is not afraid of the simple theme, yet modern in every phrase, and one who has combined a poem that tells a true story, with a setting that is descriptive and at the same time sympathetic to all voices. Equally effective for the concert singer or the studio.
M. Witmark & Sons, New York
“AH, SWEET IS TIPPERARY IN THE SPRING,” a song with lyrics by Denis A. McCarthy and music by Florence Turner-Maley. This composer has attracted much notice during the last months on account of a ballad that has met with some success, “A LITTLE TOWN NEARBY.” This new song anyone can sing.
“HEART TO HEART” (I Hold You, Dear), lyrics by Don Valentine, and music by that well known composer, Frederick W. Vanderpool. This is a very short number, only twenty-three measures, yet in these few phrases Mr. Vanderpool has written a melody that creates a ballad of the same standard as his other songs. Ideal for an encore on a concert program.
the song ends on a sustained center-note, sung softly, all of it graceful and sweet sounding. For high or low voice.
(G. Schirmer, Inc., New York)
“ROMANZA” (for Violin)
By Enrique Soro
Little is known of the Spanish-Chilean composer, Soro, outside of that vouchsafed us by G. Schirmer, Inc., but hi$. “works speak louder than words,״ for they are fast penetrating artistic circles, such as want to know and^ hear the best trend of modern pianistic composition. His music, it has been said, has apparently been inspired by a keen observation and analysis of many odd nuances of life s complex whirl. In style it leans toward the modern French and Italian schools, yet so unique and vibrant is it that one seeks the composer’s genesis to properly place its character. A “Tempo de Gavotta” and a “Danza a Amore. issued by him some time ago,־ have distinct character. The “Romanza” under consideration, which has piano accompaniment, is interesting. Much of the time it sings on the highest string of the violin, with animated movement and final climax, reminding one somewhat of Svendsen’s similar work. It ends high up, softly, and bears the dedication . “A1 distinctissimo violinista Virgilio Ranzato.”
(G. Schirmer, Inc., New York)
“TWINKLE TOES” (for Piano)
By Henry Edmond Earle
A “dance caprice” in G and D major, somewhat like a gavotte, in 4-4 tempo, the first part gracefully expressive, the second (in a neighboring key) built on descending tones, this being the exact opposite of the opening portion. The left hand has something to say also, and the whole is altogether pretty and amiable, about grade three.
(Carl Fischer, New York, Boston, Chicago)
“SYRIAN BERCEUSE” (for Violin)
By Toscha Seidel
This cradle-song, or lullaby, is a Syrian folk song, full of unusual tonal combinations, with the augmented second of frequent occurrence, in minor. It sings at first on the low strings of the violin, then higher up, then follows a cadenza, and the same melody in double notes, and ends morbidity on the low G, dying away. To my dear mother, Tatjana Seidel.”
(Carl Fischer, New York, Boston, Chicago)
“DREAMS” (for Violin)
By Richard Wagner, Transcribed by Leopold Auer
Originally a song, named by Wagner as “Study to ‘Tristan and Isolde,.....Träume” or “Dreams” has fame all
its own. Sarasate, celebrated violinist, used to play it, and enthrall everyone with its love-lyric, for it' is a melody which sinks deep into the heart. Such harmonies, such progressions, are those which early made Wagner famous, but brought curses on his head by the Philistines of that long ago. Nowadays we all know how logical, consequent, systematic, deeply musical, are his harmonic progressions. The work must be played by one who commands a technic of big dimensions, for it goes “all over the fiddle.” Utmost feeling, breadth of tone, entire command of the bow, are essential to make it sound right. Mr. Auer has raised the work a half tone to A major, which makes it fit the violin and sound better than in the original key. Interpretation directions, fingering, tempo, etc., are fully marked.
(Carl Fischer, New York, Boston, Chicago)
“TANGO” (for Piano)
By Albeniz-Godowsky
Godowsky playing this Spanish “jazz-music” at a Carnegie Hall concert would make a hit! He has supplemented and ornamented the original simple Albeniz music with double-notes, spread chords, turns and orchestral sounding combinations, ever keeping the melody uppermost, however, so that the slow and languid music sounds very aristocratic. “Chicago, July 12, 1921,” is inscribed at the close, showing the indefatigable Godowsky as a summer-worker, one who lets nothing stand in the way when ideas crowd for expression.
(John Church Company, Cincinnati, New York, London)
“THE TURTLE” (Song)
By John Barnes Wells
“The Turtle” is another of the quaint nonsens-songs by the composer-tenor Wells, whose “Kitty” (with allusion to its singing “because it is full of fiddle-strings”) is another, and all of them much sung as encore songs. Louise Van Wagenen wrote the verse; singer herself, this lady knows how to write singable verse, which in this case is the reply of the child who wishes she was a “great, big turtle.”
For then, if mother calls to say ״
“It’s raining, come inside to play”
I’ll answer, “I’m a turtle now,”
And so, of course I know just how to hide my head,
And keep quite dry;
Because it happens when I stop I always have a roof on top!
BOOKS
(G. Schirmer, Inc., New York)
FIRST THEORY BOOK By Angela Diller
G. Schirmer, Inc., of New York, has just put out a “First Theory Book,” by Angela Diller. The purpose of the book is very concisely and succinctly set forth by the author in the preface. The principal part of it is as follows:
The subject-matter of all theory books is approximately the same. The difference between them is largely in the order and manner of presentation of the various topics. In this book, the explanations and directions for practising the exercises may seem unnecessarily detailed; but, at the risk of being tedious, the author has endeavored to write out the consecutive steps that most students must take in mastering the different subjects. ... In the opinion of the author, phrasing should be introduced m music-study at the earliest possible moment; hence its place at the beginning of the book	. The most vital part of the whole subject of theory
teaching is ear-training. It is impossible to overstate the importance which the training of the ear should occupy in the minds of both teacher and pupil. It us much more necessary that a pupil shall recognize scale-degrees, intervals, chords, etc., by hearing, than that be shall know them merely by name, or when he sees them on paper. As far as possible, everything that the pupil learns as an intellectual fact, should first have been registered through his sense of hearing.
Upon such sound and incontestable premises as these the author has proceeded to write a volume which runs to 176 pages, with the many musical examples, and progresses as far as “The Supertonic Triad and Its First Inversion.” “The work covered,” says the author, “is distinctly preparatory, and intended to precede, not to replace, more formal study.” But the supertonic triad in this day of harmonic innovations is about as far as one needs to go in the old harmonic system.	.
The book is strongly to be recommended for the beginner, and after it is finished it would not be a bad idea to branch off■ into Frank Patterson’s “The Perfect Modernist as an antidote.
MUSIC
(Carl Fischer, New York, Boston, Chicago)
“QUILL DANCE” (for Piano)
By Eugen Putnam
“What is a ‘Quill Dance’?” was asked, and the answer is “‘Quill’ is a Southern term for the word ‘pipe,’” this particular dance being built on an olden time folk song for quills, by the negroes of the United States. Quills are pipes made of swamp reeds, river reeds, etc., just as the boy of Yankeeland makes his whistle from young branches of the willow tree. These quills are made in various sizes strung together, and a musical instrument of primitive character results. The day of the “blowing of quills is past,” says a writer, and alack! that this is so, for their tones were at once sweet, penetrating, seductive. The song itself, which goes with the dance, is very graceful, and on this song-melody the dance tune is built. It is effectively made for the piano. Harold Henry, Birdice Blye, Edward Morris and other well known pianists commend it in written words. It is Putnam’s op. 24, and one is tempted to quote “Sunny Jim” Huneker, anent Brahms music, when he said, “It grows on you—like a corn,” by which he meant nothing disrespectful; it was simply his original way of saying things which stick in the memory.
(Carl Fischer, New York, Boston, Chicago)
Sextet from Smetana’s opera “THE BARTERED BRIDE” (for Violin)
By Milan Lusk
Although this music will never make the melodious appeal of the celebrated sextet from “Lucia,” it is nevertheless a work of originality, containing mucli^ of interest. Smetana was a Bohemian, pupil of Liszt, had his own music school in Prague, was then conductor in Sweden, and this opera was produced in 1866, nearly sixty years ago. Mr. Lusk, another Bohemian, prominently before the public of New York, has made a very good transcription of the sextet, quite difficult, with double-notes, cadenzas, chords, octaves in high position, etc., all in concert style. It is carefully edited, being provided with fingering, bowing, metronome-marks, etc., and is dedicated “To my dear father and mother,” with a portrait of the transcriber, Lusk, on the title page.
(G. Schirmer, Inc., New York)
“NIGHT COMES, AND THE DAY IS GONE” (Song) By G. E. Holmes
Whoever G. E. Holmes is, he (or she) knows how to compose, this song having every attribute necessary to win popular favor. To the text he has wedded vocal, violin (or cello) obligato, and piano accompaniment which goes ideally. A descending chromatic in the voice, second and fourth measures is later repeated, there is a fine climax, and
TEACHERS
OF
SINGING
THOMAS JAMES KELLY
Cincinnati Conservatory of Music
MR.
AND
MRS.
Mr. and Mrs. Thomas James Kelly are being booked for a very limited number of engagements for artistic lecture-recitals in the Autumn and Winter season. This season fully taken.