43
MUSICAL COURIER
March 2 3, 1922
the song ends as it began, on a sustained soft chord of the ninth, D-A-F sharp־C-E, expressing musically an “unfinished” state; probably so the German girl thought . . .
{Enoch & Sons, London, Paris, New York, Toronto)
“SPINDRIFT” (Five Songs)
By May H. Brahe
The five poems contained in these songs are “Lost Love,” “Question,” “A Spring Triolet,” “A Nature Carol” and “Sea-Birds,” by Ethel Tindal Atkinson and Margaret Dickson. While the title means “Light fleecy clouds, or spray,” there is nothing of the sort in the poems, for they are serious, even when playful. A love who lies beneath the sea, Mary and her Holy Son, these are not “spindrift.” Intense feeling, passionate music in spots, anguish, marked feeling, with expression, all this occurs in the music. The merry song is “Sea-Birds,” which has bolero tempo, and guitar-like accompaniment, with much spontaneity, and a bright close. Range of the songs is what you will, in three keys, high, medium and low. The music is melodious, natural, easy to play and sing, and encompasses two dozen pages, with tasteful illustration on title-page of gulls, sea and waves, in blue, green and white.
Edward Johnson vs. Edoardo di Giovanni
In Italy the name Edward Johnson probably would not even be recognized, despite the fact that the Chicago Opera Association’s tenor of that name spent more than ten years in that country as leading tenor in the nation’s principal opera houses, and even now maintains a home in Florence. But mention Edoardo di Giovanni and Italian hands will fly in enthusiastic gesture. Edoardo di Giovanni and Edward Johnson are one and the same. The former is merely the Italian version of the latter name, the version that Mr. Johnson used while singing in Italy.
Italy virtually has adopted the Canadian tenor. Operas have been written for him by Italian composers and high honors and decorations have been conferred upon him by King Victor Immanuel. Puccini chose him to create the tenor roles in all of his new operas, and'mthers of the Italian school have bestowed similar honors upon him. Pizzetti wrote an opera for him, but, eager to return to America, Mr. Johnson was forced to forego the honor of creating the new role. But every summer he returns to Italy. Italians regard it as. a “homecoming.”
LENA DORIA DEVINE
Lampertl’s Method ofvVoIce Production
mant, Vierne, Moszkowski and Reimann in Europe, he was active for some years in Chicago. Fifteen years ago he was called to New York as organist of the Brick Presbyterian Church, other fields of artistic endeavor falling to him in the course of time. The work contains within its pages all the material necessary from the very beginning, to virtuoso attainment on the organ. The index gives the contents, in two parts, the first consisting of the text, instruction in manual and pedal technic, and the second given exclusively to compositions for the organ. Dr. Dickinson’s aim has been to include in one volume a study of all the distinctive principals of organ technic, with enough illustrations and exercises through which they may be mastered, together with interesting compositions which will at once call for their application. He has in mind also the many students who must study without the personal guidance of a teacher. With their needs in view, he has taken up each point of technic in logical and related order, with illustrations showing how and what to do. The exercises and the pieces are never mere studies, but are such as will be of use to the organist, with such a great variety in style that recital programs can be made from these numbers. All this is done in very thorough style, including the various touches, and beginning at once with pedal technic. All sorts of combinations for the pedals, intervals, alternating feet, scales and every imaginable pedal difficulty for either foot or both together are included. Among the compositions printed are such well known standard works as Best’s postlude in C minor; Guilmant’s processional march on two church hymns; C. Ad. Thomas’ postlude in C major, with its difficult pedal part; Guilmant’s “Prayer in F;” Lemmens’ “Fanfare,” Liszt’s “Ora Pro Nobis,” three movements from Mendelssohn’s sonatas, Pachelbel’s “Christmas Pastorale,” Rembt’s “Fughetta,” Steggall’s “Prelude,” and works by Alkan, Frederick Archer, seven excerpts from Bach works, an adagio by Franck, etc. Altogether it is the most complete and satisfactory organ method available, and in its compilation infiinte pains and much time must have been extended by Dr. Dickinson and his wife.
{Enoch & Sons, London, Paris, New York, Toronto)
“THREE SATIRICAL SONGS”
By Herbert Hughes
Herbert Hughes has written three songs worth knowing and singing, namely, “There Was a Man of Thessaly,” “The Apple Trees” and “He Climbs His Lady’s Tower,” the poems being marked “Old Rhyme,” “Samuel Langford” (from the old German) and “Eleanor Alexander.” The first is of the robust, hearty “Hail Ye” sort, played with sonority, sung with gusto, until the close, when the line “There was a man of Thessaly, and he was wondrous wise” is repeated softly, slowly, producing ludicrous effect, particularly since it ends in major. “Apple Trees” tells of the two trees in daddy’s garden, and he who would have them must climb with hands and knees. Following a rather long introduction in alternating 5-4 and 4-4 time, G major, comes the song, sweet and simple, like a young girl singing. Hesitatingly the longing to marry now is expressed, and
Grainger himself calls his original scoring of No. 1 not feasible. Does he mean technically speaking for the players, or that the assembling of an orchestra to include six English horns would be extremely difficult? Anyway, silent perusal of the score demonstrates their unusual interest and one awaits a performance with eagerness.
(Huntzinger & Dilwortli, Inc., New York)
“FULFILLMENT” (Song)
By Lucile Crews
Cecil Fanning, well known baritone, wrote the verse of this fine little song, which is of the lark singing in the blue empyrean at dawn, calling to his mate. There occurs a veritable outburst of love-music, with repetition of the phrase in climbing keys, each higher than the preceding. The song has running accompaniment in arpeggios, with pronounced rhythmic beat, covering various keys, and ends with rush of passages to a sustained high note by the singer; finish on a chord of the 6-5th.
{The Arthur P. Schmidt Co., Boston and New York)
“THE WINDS AT PLAY” (for Piano)
By John W. Metcalf
This is a joyous sounding piece of nine pages, with descending arpeggios for both hands, a melody-note sounding on the first and third beats (3-4 time). Played lightly, with gentle touch, in bright tempo, it sounds well, and is first-class for the young pianist seeking dexterity in this particular form of technic, and at the same time adding a pleasing piece to the repertory. About grade three, seven being understood as expressing extreme difficulty. It ends very softly. The pedaling, and in particular passages, the fingering, is marked. Very “nice” music, not startling, but pleasing.
{Oliver Ditson Company, Boston, New York, Chicago)
“SONG OF THE OPEN” (for Voice)
By Frank La Forge
To a poem bearing study, with deep meaning, (by Jessica Hawley Lowell) Frank LaForge, the former accompanist of Sembrich and other big artists, later known as a fine composer and song-coach, has written music of real meaning. There are but two stanzas, the first being in D minor, sung “appassionato” but subdued, echoing the tumultuous night, the tempest wildly wet, the sullen setting sun, the poet saying this “is wine to her soul;” then stanza two goes into D major, with the same melody as before, but now telling of the play of foaming spray.
The accompaniment adds everything to the song, arpeggios covering wide spaces in triplet sixteenth notes, each stanza beginning softly, but with intensity, and continuing to fine climax on high notes. “To Mme. Frances Alda,” for high and medium voice.
{Oliver Ditson Company, Boston, New York, Chicago)
“TO A ROSE” (for Voice)
By Alexander MacFadyen
The Milwaukee-born pianist and composer of songs and piano pieces, who a few years ago spent some months in New York where he soon became well known, writes with equal spontaneity for voice or instrument. His music never sounds forced or unnatural. In John B. Tabb’s poems he found his text, which has as introduction a measure in 5-4 time, the next in 3-4, the next three in 4-4, all fitting the syllables of the text. The first and third stanza have the same music, verse two in minor, and all ends softly after the climax. “To Charles Hackett,” for high and medium voice.
{Harold Flammer, Inc., New York)
SIX SONGS (from Lucy Gates’ Repertory)
By Russell, Ware, Stevenson, La Forge and Bassett
This is a volume of twenty-seven pages, of songs by American composers of whom two are women, namely, Harriet Ware and Karolyn Wells Bassett. It bears an imprint on the title page of the fair Lucy Gates in an operatic costume, and a fac-simile reprint of a full page letter from her to the publisher. She wisely says “The day has passed when anyone may say Americans cannot write good songs, and I am proud to be numbered among those who are singing American compositions. I am delighted to add to my permanent concert repertory the six songs, ‘Children of Men’ (Russell), ‘Iris’ (Ware), ‘Dance the Romaika’ (Ware), ‘Little Stars Seven’ (Stevenson), ‘Where the West Begins’ (Frank LaForge), and ‘Optimism’ (Bassett). Her comments on the merits of these songs are right to the point, as follows: “ ‘Children of Men’ contains the unexpressed wish of thousands. ‘Iris’ is an exquisite bit of song. ‘Dance of the Romaika’ satisfies my love of rhythm. ‘Little Stars Seven’ is a gem, unusual, restful and vocally resplendent. ‘Where the West Begins’ is a fitting climax to this group and a song which stirs the blood of every westerner. ‘Optimism,’ as an encore, is a delicious bit of philosophy for all of us to include in our daily lives.” She also writes that her entire group of American songs for 1921-1922 is selected from the Flammer publications. The song “Where the West Begins” (Poem by Arthur Chapman) was written for and sung by Mme. Schumann Heink, and all of these songs are to be had separately.
{The H. W. Gray Company, New York)
“THE TECHNIC AND ART OF ORGAN PLAYING” By Clarence Dickinson, M.A., Litt.D., Mus.Doc. (with the
Collaboration of H. A. Dickinson, M.A., Ph.D.
The author of this work of two hundred pages, Dr. Clarence Dickinson, is quite one of the busiest organists in the United States, his work encompassing the position of organist and director of the music at the Brick Presbyterian Church, Fifth Avenue, New York; Temple Beth-El Synagogue, New York; head of the department of music, Union Theological Seminary; composer, arranger, giver of lecture-organ-recitals, etc. Following a student period under Guil-
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CHICAGO OPERA
It Available for Concert Engagement!
Season 1921- 1922
BY
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At the GUILMANT ORGAN SCHOOL
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