61
MUSICAL COURIER
January 18, 1923
effective pianistic accompaniments. Perhaps the most interesting of the three songs is the second, a brilliant allegro movement, very Oriental sounding. The pathetic chromatics of the last are also very appealing. These are recital songs and will find their way to the artists’ program. F. P.
NEW MUSIC
G. Schirmer, Inc., New York
MADRIGAL ESPANOL. Spanish song for high voice by Julian Huarte. Words by O. Campero, with translation by Dr. Th. Baker. An exceptional concert number of its type, in view of the fact there seems to be a perfect epidemic of Spanish or so called Spanish music. This one, however, is quite worth while. Dedicated to Tito Schipa.
STARLIGHT, a waltz song by Clarence Olmstead. Not unlike our “hit” songs heard in the best musical comedies. It has all of the swing and catchy melody that is necessary. Light and frothy.
Enoch & Sons, New York and London
STAR OF PROMISE. A song by Bruno Huhn to words by Helen Taylor. A number of things recommended this selection to the artist. First of all, it is written with consideration for the voice. For recitals.
I SHALL KNOW, a song with violin obligato by Mana-Zucca. The setting is rather the old fashioned type of full and broken chords supporting the voice, which carries a melody. Simplicity is the key-note of the entire composition and it will surely find favor with vocal students. The teacher can use this for sustained and legato study. The lyric by Helen Jerome contains a happy thought, that there is no death, just resting, and waiting for the loved ones to pass and the soul will know.
Clayton F. Summy, Chicago
A YELLOW VIOLET. Another piano selection by the same composer, John Mokrejs. This companion number to the one above is much more difficult. Here we have a study in grace notes and the crossing of the left hand in broken chords. In this the student will find good practice in touch and wrist movements.
MY LADY LOVE. For the piano by R. Nathaniel Dett. More good teaching material.
IN SOCIAL CONFAB. The third grade piano study by Arnoldo Sartorio. There is such a quantity of excellent teaching material with variety published these days that there is absolutely no excuse for teachers not obtaining every necessary thing for the advancement, culture and actual pianistic skill of their pupils.	M. J.
NYI REGYHAZI
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splendid study in flowing legato, running up as high as the ninth position. These works will appeal to students and teachers as well as to concert artists.
(Schroeder & Gunther, New York)
Your Day (a Birthday Song)
A simple ballad by Robert Hunting Terry with a good tune and a decidedly unusual, original and effective accompaniment. It ought to be popular.
(Harold Flarnmer, New York)
Gypsy Cheer
This is a song for low voice by David Proctor—a lively little thing in Bolore style with a very expressive accompaniment. It would be a good encore song, and is, also, an excellent study in phrasing and diction.
(Oliver Ditson Co., Boston)
Dusk Fallen
This is a song for medium voice by Cesar Cui translated from the Russian by Constance Purdy. For no reason that is very evident, this song is in the key, bothersome for most amateur pianists, of six sharps, and the music is freely dotted with double sharps. Otherwise it is as easy as it is beautiful. A beautiful melody harmonized in the simplest possible manner, which is, of course, the best. The English translation is very good.
(G. Schirmer, Inc., New York)
Pictures at an Exposition (Moussorgsky), Revised and Edited by Harold Bauer
Moussorgsky was a genius of the first order and it is really amazing that these pieces, fourteen little pieces in varying moods, are not heard moré often in recitals. It seems a strange sort of neglect. No doubt there has been a good reason for it, and perhaps this splendid new edition by Harold Bauer will pave the way for more general familiarity with these extraordinary examples■ of Russian musical thought. Of course this music is difficult. Only a pianist of the first order could possibly do it justice, yet it would seem as if they should be of interest to advanced students, particularly in view of the fact that the whole conception is so entirely different from the music to which we are most accustomed. Moussorgsky was the most original individual of writers. Everything he did was new. With a harmonic outline that suggested modernism long before its time, he uses a melodic and rhythmic line that is perhaps Russian, certainly nothing like the music of Western Europe.
A Triad of Songs for Medium Voice, by Rupert Hughes
The songs included in this group are entitled Proud Maisie, to a poem by Sir Walter Scott; Ranjana, to a poem by Tagore, and Remember Not, a setting of a Shakespeare sonnet. They are among the most attractive compositions by this original composer. Interesting is his use of the sort of syncopation that is known as rag time, without it sounding in the least like rag time. But the student who is interested will see how the use of the English language, properly phrased, led to rag time quite naturally. Mr. Hughes writes flowing melody, unaffected and natural, and
REVIEWS AND NEW MUSIC
(Composers’ Music Corporation, New York)
Eden, a Song for Medium Voice, by H. O. Osgood, to a Poem by Cyril Hume
As everybody knows, H. O. Osgood has written a number of graceful and agreeable songs. This new one is of the same order. Not very big, not at all tragic, nor modern, nor turgid, nor any of those horrific things of which we critics and reviewers have to swallow such a dose in these transition days. Therefore we are grateful to Mr. Osgood for being and remaining one of those healthy normal human beings who do worth while things, the sort of things people (and even the poor critics) like—to say nothing of the singers. Fortunately, Mr. Osgood has a goodly respect for the human voice, which few composers have any respect for nowadays (and which is soon to be licensed out of existence if we are to believe what we hear on the street) —and writes music that is not only singable but which gives the singer just the sort of chance for real singing that every singer in his heart is longing for however much he may like the modernistic con,usion of recitative and declamation. In other words, Eden is a good song.
Love Is Like
A graceful little song by Wilson G. Smith to a poem by Ina Brevoort Roberts. It is short, simple and pretty, and, of course, well written both for the voice and the piano.
Spanish Dance (for Cello and Piano)
This number by Berta Josephine Hecker is just plain popular music but perhaps Spanish dances have to be popular music. We do not know. As popular music it will no doubt find favor. Perhaps it will also win the honor of being jazzed.
Woman
This song by Katherine Ruth Heyman is a monotone, sung all on one note (the note is F sharp). The accompaniment is very modern, rather skilfully made, and set to a dreadful poem by the composer,, not dreadful as poetry but dreadful in its sentiments. It ought really to be reviewed by a woman, an unhappy, lonely disappointed one at that. As for the music, is it interesting? Is a monotone ever interesting? Is even Ein Ton by Peter Cornelius interesting?
Two Compositions for Violin and Piano—Prelude, and Song and Dance
Gaylord Yost has “done himself proud” in these delightful compositions. Both inspirationally and technically they are notable examples of the composer’s art. Needless to say, too, they are excellently well suited to the violin, lying just right for the instrument, in the positions where they will be most effective. Both of them are short, and neither of them is especially difficult, the dance part of the second making the most demands on the player. This part is a
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