57
MUSICAL COURIER
March 2, 1922
and girls. This selection can make a profound impression, and emphasize on the minds of the children one of the most important events in American history. Worthy of every consideration.
{M. Witmark & Sons, New York)
“IF WINTER COMES״ (a Ballad)
By Frederick W. Vanderpool
As explained, this work, just from the press, was written in the first flush of enthusiasm engendered by Hutchinson’s novel of the same name, and dedicated to this author of the season’s most popular book. William Lee Dickson has contributed the lyric, and to him must be accredited full share of the ballad’s appeal. There are two verses and a refrain that are sympathetic and blend gracefully to the setting:
If Winter comes, remember then:
Awak’ning will repay;
Keep in your heart the song I hear The west wind sing each day—
Oh, Love, if Winter conies,
Spring can’t be far away.
This will undoubtedly be the great song success of this house for the year. It has everything to recommend it to the concert artist, as well as to the lyceum and vaudeville. The melody is good, and appears to lend itself to the tenor voice, although it could be just as effective in any other.
NEW PUBLICATIONS
The Boston Music Company, Boston
“SERENADE,” by Enrico Toselli, transcribed for the organ by H. Clough-Leighter. A pleasing number for the cinema program or similar occasions.
“HYMN TO THE SUN,” a good arrangement for the organ of the jiop^ular melody from• “Coq D’Or (Rimsky-Korsakof), by Harvey
The Willis Music Company, Cincinnati
“OH TRUE LOVE IS A BONNIE FLOWER,” a characteristic Scotch ballad by G. A. Grant-Schaefer. Excellent selection for students, or encore number. Man’s song, high or low voice.
Harold Flammer, Inc., New York
“ROMANCE,” by Hermann Frommel and transcribed for the organ by the well known composer, James H. Rogers.
The John Church Company, New York
“THE PUPPY ET LE PAPILLON,” a charming little encore number by John Barnes Wells, to words by Louise Van Wagenen. The musical setting is bright and dainty, to words both French and English. Must have excellent diction to put the number over.
The Arthur P. Schmidt Company, Boston
“HOLY DAWN,” a sacred song by Claude Warford. Worth trying over!
“SPRING IS HERE,” “MY LADY” AND “WE WILL GO A-MAYING”—three numbers for the piano by Anna Priscilla Risher. These belong to a collection of seven, published separately. Studio work, third and fourth grades.
Clayton F. Summy, Chicago
“IN THE DARK, IN THE DEW,” a chorus for male voices, by Jos. W. Clokey. For school and college clubs.
“ONLY A ROSE,” for female voices, by Dorothy Gaynor Blake.
“GOD SAID, BEHOLD I HAVE GIVEN YOU,” a sacred anthem for harvest or general use, by F. Leslie Calver. Biblical text. Tenor or soprano and bass solo.
“IN THE BEGINNING WAS THE WORD,” anthem for general use or for the Christmas services; also by F. Leslie Calver. Soprano and bass solos.	,
“GLORY TO GOD,” anthem, by Mabel Howard McDuffee. Soprano solo.
“A CHRISTMAS MESSAGE,” anthem, by Philo A. Otis.
J. & W. Chester, Ltd., London
“DANCE DE LA MEUNIERE,” for the piano, by Manuel De Falla. An interesting concert number. Students’ recital programs. The composer has added many optional phrases that enhance the brilliance and effectiveness of the selection. Modern in construction.
W. Paxton & Co., Ltd., London
“CHANSON SLAVONIQUE,” for the piano, by Jean le Clerq. A descriptive piece, not too difficult for artist student. Melodic and colorful.
“THE NINTH STAR FOLIO OF PIANOFORTE MUSIC,” compiled by this publishing house for the student. It is a popular and not expensive edition that is well known on the other side. All selections are by eminent composers. There are dozens of just such collections, so there seems little need for new ones. Every big publishing house has its own edition, along the same lines.
G. Schirmer, Inc., New York
“A ROUNDELAY,” for chorus of mixed voices with soprano solo, by Louis Victor Saar. A cappella, with piano accompaniment for rehearsals only. Good material for school and college work.
“NOW THE DAY IS OVER,” a vesper song, by Nathaniel Irving Hyatt. Written for the medium voice only.
“TARRY YE,” a sacred song for the medium voice, by Homer Grunn. The words are by Katherine Bainbridge.
“PAN,” a pastorale by Benjamine Godard and transcribed for the organ by Gottfried H. Federlein.
“CANTILENA,” from the cello concerto, No. I, in A minor, by Georg Goltermann, and transcribed for the organ by Frederic York.
“ANDANTE CANTABILE,” from the “Petite Symphonic” of Gounod, and transcribed for the organ by Orlando A. Mansfield.
“FANTASIETTA AVEC VARIATIONS,” for the organ by Theodore Dubois. The four selections listed above are from the Recital Series of Organ Transcriptions, of the 1922 catalogue of Schirmer, Inc. They are recommended for general programs and study.
M. J.
Variety in the refrain is attained on second_ repetition, the accompaniment singing the melody, all in quiet, sometimes sad vein.
{Oliver Ditson Company, Boston, New York, Chicago)
“FROM THE DISTANT PAST” (for Piano)
By Jacques Weissheyer
This is from a set of three pieces, being the composer’s! eighty-seventh work. “Weissheyer” sounds Teutonic, yet the given name is French, suggesting Swiss extraction, and this might well be, for the music is neither German nor French, but eminently Chopinish in form, contents and spirit. It is in the key favored so much by Chopin, D flat, and is a nocturne, whatever name he may have given it. A beautiful singing melody runs through the entire short piece of three pages, with regular “spread arpeggio” accompaniment. Frequent holds, ritards, and above all, the modulations, are essentially like Chopin, impossible to describe. Twice the plaintive melody occurs, played softly, then it appears in a big climax, broadly, going into tempo I, and finishing with an accompanying added upper tone, dying away to softest end. :Chopin throughout! “To Mile. A. de Mourgues.”
“UNDER LEAFY BRANCHES” (for Piano)
By Jacques Weissheyer
Marked “opus 88,” this seven-page piece also shows the influence of Chopin, with little accented tones here and there, fingerings on phrases, chromatic harmonies, and all-Chopin effects on every page. Following the first portion, sixteenth notes, comes a movement suggesting a waltz, marked “well rhythmed,” for all the world like a true Chopin waltz, with marked contrasts in dynamics. An expressive portion follows, the melody evidently “borrowed” from the waltzlike movement; later on, an entire measur of silence is again like Chopin, then repeat of principal movement, and brilliant close. “Like Chopin” is a compliment and so intended; would more composers could do that! “To Mile. Louise Vizentini.”
{J. Fischer & Bro., New York, Birmingham, Eng.)
THREE SONGS FROM DUNE-HOME By Victor Harris
The well known conductor of the St. Cecilia Society, that standard body of women-singers, composer of “A Madrigal” (an early success), is continually active in various phases of the musical fife of the metropolis. That his output as a composer should always be so high-class is cause for wonderment, yet it is a fact that everything published by him shows utmost refinement, and that attention to detail, which Rubinstein, for instance, lacked. The capacity for taking pains is certainly Victor Harris’, every measure of the three songs before the reviewer testifying to this. The poems, “Nod,” “Silver” and “The Cupboard,” are by Walter de la Mare, published by the Holt company. It is a description of evening, of Old Nod, the shepherd, closing
His are the quiet steeps of dreamland,
The waters of No-more-pain,
Rest, rest, and rest again.
The music has gentle swaying quality, with an accompaniment figure altogether appropriate. The second stanza vocally repeats the beginning of the first, ending with long tones on the word “Rest,” with option of low or high note. “To the Mistress of Dune-home,” and for high, medium and low voice.
“Silver” is the second of these songs, the title referring to the silver of the moon, the silver trees, the silver thatch, the silver silver-feathered doves, everything silver. It is a pretty idea, and the song is slow and tender, with an un-i usual accompaniment, one which looks hard but is easy to play. For high and medium voice.
“The Cupboard” is a brisk song, being the song of a child about the lollypops, the Banbury cakes, the small, fat grandmama with a very slippery knee. When this child is very, very good, the Keeper of the Key gives her both goodies. The music is wedded to the words in very truth, with humor and rhythmic effects. It ends on a high note, tied and accented at the close; an unusual effect!
{Oliver Ditson Company, Boston)
“OUR FIRST FLAG” (a Short Cantata for Mixed Voices) By E. S. Hosmer
The time for performance is about twenty minutes. All four voices have solos besides lots of effective phrases with chorus. The text is by M. Josephine Moroney. This selection is ideal for school work and suitable for almost any occasion. The words tell the story of our flag, how it was originated, and the why and wherefore. The characters of Washington, Robert Morris and Betsy Ross are introduced, basso, soprano and tenor voices for the respective parts, with a short baritone recitative for George Ross.
The musical setting is just as inspiring as the words. Tuneful and simple in construction, yet with good value in composition. Will lend well for scenery and properties thereby making it doubly interesting for the school boys
OPPORTUNITIES
REVIEWS AND NEW MUSIC
(Continued from page 32)
left hand, becoming more animated, ending softly. “Habanera” is in the regulation dance-tempo, made most famliar through the solo sung by Carmen in the opera of that name. It is languid, enticing, songful, with melody principally in the bass, the whole movement suggesting summer-tiredness, if you interpret it that way! "Danza” is plain tango, full of rhythm, syncopated for four measures, followed by a single lyric measure. “Malagueña” evidently alludes to Malaga, from where comes or came the rich red wine, and this is a bright piece suggesting guitar and song combined. The reiterated A as ground-bass continues for three pages, yet there is no monotony. There follows music of fantastic type, saturated with spontaneous, happy-sounding Spanish joyousness. “Recuerdo” reminds one of Liszt’s study “Ricordanza,” meaning “A Sweet Memory,” for it is overflowing with this atmosphere. Yet it has its sorrowful moments, expressed in the music by “quasi malinconicamente,” which, however, does not last long. Those seeking real Spanish music, by a Spaniard, not difficult (about grade three-four), will find it in these charming pieces.
{Harold Flammer, New York)
“THE TRUMPET SHALL SOUND” (Sacred Song)
By John Prindle Scott
The composer of many high-class songs, both for church and concert, among them “Christ is Risen,” “Ride Out” (Easter song), “Easter Message,” “The Voice in the Wilderness,” etc., John Prindle Scott, reared among the hills o’ Chenango, knows how to write effectively. Singer himself, he. selects the right text, and then composes the right music for it. Full of vigor, melodiqus, this martial song will find many to sing it, provided the singer has full voice and a lively musical temperament. Agitated middle section, a broad and triumphant ending, all make for effect. Text Biblical. For high and low voice.
{Huntzinger & Dilworth, New York)
“IF YE LOVE ME” (Sacred Song)
By John Prindle Scott
The text from St. John, chapter 14, this is an expressive sacred solo (high or low voice), dignified, worthy of Dudley Buck at his best, and that means natural, spontaneous music, in which the words fit the music and vice versa. Due regard to singer’s sympathies and dislikes is evinced by composer Scott, and the result is a sacred song of fine spontaneity.
{Huntzinger & Dilworth, New York)
“THE FALSE PROPHET” (Song)
By John Prindle Scott
This is an “encore-song,” text by Reginald V. Darrow (Scott’s nom de plume), telling of Doris, who strolls through the meadow, and finds a little daisy blooming there; of course she pulls the petals, saying “He loves me; loves me not,” to the end, and when the flowerlet says “Loves me not,” she contradicts, saying, “You lying little daisy, he loves me!” It is set to polka movement, bright and pretty, some of it talked, all of it simple and sure to please. For high and low voice.
(The John Church Company, New York, Cincinnati, London)
“THE PUPPY ET LE PAPILLON” (for Voice)
By John Barnes Wells
The tenor-composer Wells has the knack of writing music setting off “nonsense poems” possessed by no other American composer. His “I Dunno” was a success of some time ago, saying “I sometimes think I’d rather crow and be a rooster, than to roost and be a crow; but I dunno.” The “Puppy and Butterfly” (verse by Louise Van Wagenen, herself a singer) tells of a little French bull, racing, chasing butterflies, but who says, “It’s hopeless, ma foi! to catch thee.” “In thy sweet repose I’ll rest on thy nose,” says the butterfly; “ ’tis war; catch me there
if thou wakest”....... This bit is set to music which
begins with suggestion of Ravel, Debussy & Co., with “futuristic” harmonies, goes into bright and natural music, every syllable coming out, with climax; an interlude, and the song ends on a high note, three pages long, with the queer harmony-chords accompanying the voice. Fine for encore purpose.
{G. Ricordi & Co., New York, London, Paris, etc.)
“MULBERRY TREE” (for Voice)
By John Barnes Wells
Another encore-song, words by Virginia Frazer Boyle, but in different vein than others, unusual for Wells, this being a really-truly “negro-song,” tenderly sentimental. It is marked “dreamily,” but has rhythmic swing nevertheless. The refrain, “Dream on,” is very expressive, to the text
Dream on, O', mo’nin’ heart,
Dream on, dream on;
Under de mullberry tree.
with the use of Magna-Chordia pipe organ. Terms upon application.
PROMISING VOICES wanted to develop for concert and stage. Public appearances assured. Serious advice and voice trials free. Careers directed. Harriet De Young, formerly Chicago Opera Company, care Mortimer Kaphan, Concert Director, 104 West 43d Street, New York. Telephone, 4288 Bryant.
A Phonograph Recording Laboratory has added a new department to their activities and can offer to musical artists a personal phonograph record of their own work for a nominal charge.	$35.00 will cover
recording and one dozen records. For particulars address Personal Phonograph Record Dept., care of Electric Recording Laboratories, Inc., 210 Fifth Avenue,New York.
summer will find a number of furnished studios available, with or without pianos. Office, 41 West Ninth Street, near Fifth Avenue. Telephone Stuyvesant 1321.
STUDIO PART TIME—Beautiful, very large studio, with concert grand piano, can be secured for part time by day or hours. Central location. Address “L. M. G..” care Musical Courier, 437 Fifth Avenue, New York,
FOR SALE—Four genuine Violins, Strad, Amati, Maggini and Joseph Del Gesu. If I haven’t what I claim I have, will pay expense back and forth. Collectors need not answer. Address, “G. R. E.,” care of Musical Courier, 437 Fifth Avenue, New York.
MAGNA-CHORDIA MUSIC CHAMBERS, 10 East 44th St., New York City, Telephone Vanderbilt 7379. Available for - concerts, recitals, lectures, small dances,
unlimited. Those who prefer to live in New York or Chicago please do not answer. Reasonable salaries guaranteed. Income dependent upon what the teacher can deliver. Address “O. F. A.,” care of Musical Courier, 437 Fifth Avenue, New York.
WANTED—Violinist and viola player for amateur string quartet. Address “J. H.,” care of Musical Courier, 437 Fifth Avenue, New York.
VANDERBILT STUDIOS, NEW YORK Mrs. Mabel Duble-Scheele, proprietor. Branches at 37-39-41 West Ninth and 125 East 37th Streets. Large and small, strictly modern studios in efficiently conducted buildings. Reliable hall and telephone service, with available maid service. Furnished studios with Steinway grand pianos reserved on part time basis at hourly rate. Teachers, students, and visitors coming to New York for the
Free Season of Operatic Debut in Daly for America’s most talented operatic aspirant. Must know roles. Apply, giving full information, before March IS, to J. E. Allen, Secretary, 56 West 39th Street, New York.
TEACHERS WANTED.—A large conservatory of highest standing in Middle West city of half million population wants a young lady voice teacher of some experience who can sing. Also a young woman, Dunning system piano teacher, to take charge of children’s department. Location a long distance from New York and Chicago. This school wishes to employ teachers who really want to make places for themselves in a progressive city where the possibilities are absolutely