MUSICAL COU RI ER
46
and rather pretty, and on it he loads a lot of complexity that fails to add greatly to it and makes the songs a little too difficult for one camp and a little too easy for the other. He introduces modulations where they have little significance, under the influence of modernism, no doubt, and then writes trite and old-fashioned phrases which show how well he could write if he would only let his invention move spontaneously. In this way he becomes one of the largest, most numerous, class of present-day writers. It is a pity. Songs of moderate difficulty.
{Arthur P. Schmidt Co., Boston)
BEFORE DAWN, THE CORAL GROVE, O WILD
WEST WIND, LOVE’S ECSTASY By Florence Newell Barbour
This composer has skill and invention, an advanced technic and evident mastery of form, and yet she misses out in the production of works for which there will be much demand. The reason appears to be that the emotional content of these works is too violent for their size. There is no space or time in these short pages to build up an emotion, and each song leaves on the mind the impression of a climax without the necessary slow approach that makes a climax effective. As concert songs, done in a group, they should have a cumulative appeal. It should be added that three of these songs belong to a group of six, and the other is a separate publication. Why they reach the reviewer in this order is one of the mysteries. Difficult concert songs.
{Arthur P. Schmidt Co., Boston)
LILACS, LOVE’S INVOCATION, HALCYON SONG By Rossetter G. Cole
Rossetter Cole is always delicately melodic, and his music has a rare sort of sincerity and charm. He apparently does what comes natural to him without seeking for mysteries or striving to emulate the complexities of late French and German musical savants. At the same time, his songs are written with great skill and manifest technical prowess of a high order. None of the secrets of progressive melody and the building up of climaxes are hid from him, with the result that each of these little songs leaves a most satisfying impression of completeness. Also, it may be added that the accompaniments sound more difficult than they are. They have great sonority, but are easily within reach of even moderate facility.
{White-Smith Music Publishing Co., Boston)
MEDITATION
By Ernest Harry Adams
This is not new, though it has just been received from the publisher. Perhaps it has been re-issued. However that may be, it is an attractive composition in a style of melodic simplicity that is fast becoming a thing of the past, though what our young pianists are going to do for “new” music when that time comes is hard to say. Perhaps it will be by recalling to mind such excellent little works as this that a modern adjunct to the classics will be provided. It would be a pity if such a good thing were to be laid on the shelf and forgotten. So give it a try! Piano music of medium grade.	p. p
(G. Schirmer, Inc., New York)
DRAMATIC PEDAL STUDIES (for Organ)
By H. C. Macdougall
“Who’s Who” tells us that Hamilton Crawford Mac-dougall is a Rhode Island man, the second American to receive the degree of Associate Royal College of Music London, 1883; Mus. Doc., Brown University, 1901; professor of music at Wellesley College since 1900, also director of music there. His compositions are numerous, and somewhat known, consisting of songs, choruses, anthems, etc., and he is a former Dean of the New England Chapter of the American Guild of Organists. From all of which one notes his prominence in the educational world of music, making him especially fit to compose such a work as the one under consideration.
There are six of these studies, each one having special musical spirit, named Scena Tragica; “Let the Base of Heaven’s Deep Organ Blow”—Milton; A la Gigue; In the Handelian Style ; Violoncello Solo, and Velocity, and'each carries out the title in its musical contents. In this manner he avoids making them monotonous, as most pedal organ studies are, so giving them musical contents of dignity and worth. The parts given to the feet are either well-defined melodies, or are melodically interesting. Climatic and dramatic passages are plentiful, as noted in the preface, thus giving the organist a grip on the feet not otherwise obtainable.	p. W. R.
{Composers* Music Corporation, New York)
FIVE PIECES, Op. 37 By Cecil Burleigh
These are the real thing, the very best kind of Americanism! Mr. Burleigh is not looking abroad for ideas. He finds them right here in our own idiom, and it needs but a few more composers that will consent to follow along the same lines to have an American idiom that will be everywhere recognized as such, a thing we badly need. American composers may today be classed by the influences they are submitting to: modern French, Grainger’s folk-song style Italian, German, futuristic, Negro or Anglo-Saxon. But,’ meantime, we have had certain American composers who have written what they had in their minds without any conscious leaning upon any foundation. Mr. Burleigh is of
THE RESURRECTION AND THE LIFE. Mixed anthem with baritone solo by Myles B. Foster. Practical number for general service.
IN THE END OF THE SABBATH. Anthem for mixed voices with soprano or tenor solo, by Louis Adolphe Coerne. Again we have a musician who understands how to write for the general service.
LIFT YOUR GLAD VOICES. Full anthem for mixed voices by Stanley R. Avery.
WHY SEEK YE THE LIVING AMONG THE DEAD? Anthem with solo for tenor and recitative for soprano, by C. W. Henrich. Recent publication.
HARKEN UNTO ME 1 Anthem for mixed voices with soprano or bass solo, by Charles Fonteyn Manney.
I AM HE THAT LIVETH. Anthem for mixed voices with soprano and baritone solos by William Arms Fisher. A number listed because of its general good qualities and adaptability for the occasion.
G. Schirmer, Inc., New York
FROM EVERY EARTHLY PLEASURE. Hymn-an-them for four-part chorus of mixed voices with tenor or soprano solo by Samuel Richards Gaines. A song of praise and exultation for the season. Good modern harmonies with a pleasing melody for the solo. 1923 series.
EVENTIDE. Vesper anthem for four-part chorus of mixed voices a cappella by R. A. Laslett Smith. Melodious selection for the festive occasion. Well written. 1923 series.
TANTUM ERGO. Benediction hymn for three-part women’s voices, by Agatha Pfeiffer. 1923 series.
O SALUTARIS HOSTIA. Another hymn-anthem for women’s voices by Agatha Pfeiffer. Published separately. 1923 series.
THE RESURRECTION AND THE LIFE. An Easter cantata for full chorus and soloists, by R. Spaulding Stoughton. The text is taken from the Bible and hymnal, arranged by Frederick H. Martens. Time of performance about fifteen minutes. This cantata has already found its place on many of the programs for the season. Only published last year.
COME, SEE THE PLACE WHERE JESUS LAY. Anthem for mixed chorus with soprano ׳solo by Harry Rowe Shelley. Recent publication of real value.
WHY SEEK YE THE LIVING AMONG THE DEAD? For full chorus, by W. G. Owst.
LIST, THE GLIST’NING ANGEL. Carol anthem for full chorus by J. Sebastian Matthews.
O SAVIOUR OF THE WORLD. Soprano solo with chorus, by H. Alexander Matthews.
AWAKE UP, MY GLORY. Anthem for mixed chorus with tenor solo by F. Flaxington Harker. Text Biblical.
HEAR US WHEN WE CALL. For chorus. Arranged in this form by James H. Rogers from G. M. Nanini. Recent publication.
HOW LONG WILT THOU FORGET ME? For tenor solo and chorus, by Oley Speaks. Also published as a solo.
ALLELUIA, DEATH. IS CONQUERED. Easter song for high or low voices by George Tompkins. An effective number published last year.
AS IT BEGAN TO DAWN. Song for high and low voices by F. Flaxington Harker. New edition of a favorite selection for this time of the year.
THE CONQUEROR. Song in three keys—F, E and Db, by C. Whitney Coombs. The violin obligato adds a great deal to the general good effect of this selection.
LIGHT’S GLITTERING MORN. Solo by John Prindle Scott. Published for high and low voices. Recent, noteworthy Easter song.
IN THE END OF THE SABBATH. Solo for high voice in D and low in A, by Oley Speaks.
EASTER DAWN. New edition of a song which for years has been most popular for Easter. By R. Huntington Woodman.
The Willis Music Company, Cincinnati
EASTERTIDE. Seven tableaux, also solo parts, chorus and descriptive readings, for women or children’s voices by Paul Bliss. _ Time of rendition about twenty-five minutes. The cast requires eight people. The costumes can be arranged at small expense and the settings can be elaborate or simple as the school or church stage presents. Wherever this has been given, reports are enthusiastic.	M. J.
New Music
{Carl Fischer, New York)
THE DISCREET NIGHTINGALE, CHRISTMAS By Werner Josten
Mr. Josten knows exactly what he is doing. His technic is of the first order. There is an air of certainty, security, professionalism, about his songs that is very attractive. He also has a certain individuality that gives pleasure and encourages one to look further and to listen again. First rate compositions. Let us have some more, Mr. Josten 1 Songs of moderate difficulty.
(Carl Fischer, New York)
THE HOUR, TREES By Sol Alberti
This ■composer seems to be wavering between the modern group and the melodists. His melodic line is simple enough,
REVIEWS AND NEW MUSIC
EASTER MUSIC
LIST OF NEW MUSIC
Suggestions with Old Favorites
Carl Fischer, New York
HE IS RISEN, FOREVERMORE. New Easter anthem by John Pattinson, based on themes from Beethoven’s fifth symphony. Text is Biblical. Mixed chorus with solos for the four voices. Good number for general use.
FIVE EASTER CHANTS. Arranged by Rutherford Kingsley, from various Russian composers in this form. Easter Eve, The Angel Speaks, Easter Day, Everlasting Life, and Christ is Risen, are the titles. For all programs during Lent, and the Easter service.
AWAKE! THOU THAT SLEEPEST. Anthem for mixed voices, with alto solo and soprano recitative, by Warren W. Adams, published for several years. Extensively sung.
AGAIN AS EASTERTIDE DRAWS NEAR. Full anthem for chorus of mixed voices by Walter H. Angell. Three stanzas and refrain. May be sung in unison if desired. Appropriate for any service where special musical programs are offered.
REJOICE YE PEOPLE. For quartet or mixed chorus, a cappella, by Rutherford Kingsley. Well harmonized.
IMMORTALITY. (I Know That My Redeemer Liveth) Anthem for Easter or general use, with both words and music by Rutherford Kingsley. Published also as a solo for medium voice.
WELCOME HAPPY MORNING. Anthem for mixed chorus with soprano or tenor solo, by G. Marschal-Loepke. Serviceable number.
VERY EARLY IN THE MORNING. Arranged as chorus for mixed voices, with soprano solo by Carl Venth. Taken from his cantata, Resurrection. Short phrases for alto add to the general good effect.
GREATER LOVE HATH NO MAN. Solo for high or low voice. Aria taken from the Easter cantata, The Triumph of the Greater Love, by William Lester. Text by Frederick H. Martens.
REJOICE IN THE LORD. Another aria from the same cantata, The Triumph of the Greater Love, arranged as a duet for soprano and alto. Published in the original key of E major. As separate numbers both selections are excellent for any program.
DEATH AND VICTORY. Both words and music ■by Rutherford Kingsley. Equally as effective as the anthem arranged for. mixed voices (I Know That My Redeemer Liveth), which is the other published form.
Enoch & Sons, London and New York
RESURREXIT. In this we have a song that will ■never die. Like all of Tosti’s songs it has an appeal to all classes of singers. New edition published in D, E, F and G.
THE RESURRECTION MORN. Song for the Eastertide, ¡by Paul Rodney. Another selection of the type of above. The author suggests this number was inspired by the celebrated painting of Herbert Schmalz. This composer has won considerable prominence here through his successful ballad, The Bells of St. Mary’s.
Clayton F. Summy Company, Chicago
A PSALM OF EASTERTIDE. Anthem for quartet by Eleanor Vary Hull. General use.
NOW IS CHRIST RISEN FROM THE DEAD. For mixed chorus or quartet, with baritone solo, by John A. West.
ALL GLORY, LAUD, AND HONOR. Full chorus for Palm Sunday, by Harry Hale Pike.
AS IT BEGAN TO DAWN. Full chorus with soprano solo by Charles H. Bochau.
AWAKE THOU THAT SLEEPEST. Solo by Walter Spry.
CHRIST THE LORD IS RISEN. Solo, by Adolph M. Foerster. All of the above listed selections from Summy Co., have been published for some years and owing to their constant appearance on programs during this time, we are calling attention to them because of their substantial worth and general effectiveness. Good numbers never grow old.
Oliver Ditson Company, Boston
LIFT YOUR GLAD VOICES IN TRIUMPH ON HIGH. Anthem for mixed voices with soprano or tenor solo by T. Frederick H. Candlyn. Something new in the way of seasonable music. Highly recommended for those in search of unused material. 1923 series.
BLESSING AND GLORY. Full anthem for mixed voices arranged ■by R. Markaroff, from music by S. Rachmaninoff. Another new selection that will find favor with choir directors who are in search of material which has not been heard before. 1923 ¡series.
LIKE AS THE HART DESIRETH THE WATER-BROOKS. Anthem for mixed voices bv Geo. F. Hamer. Published last year and has already found favor with many musicians. Straightforward and easy setting.
EASTER CHIMES. Carol-anthem for mixed voices by Charles P. Scott.
Coloratura Soprano
with Metropolitan Opera Company
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R. E. JOHNSTON
L. G. Breid and Paul Longone, Associates 1451 Broadway frVw York City
Suzanne Keener
“PRINCE OF THE RECITALISTS”
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EVANS & SALTER 506 Harriman National Bank Bldg.
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