DebussyV1, Istex, Corpus, bibRecord, 001A28

G. Schirmer, Inc., New York

Identifieur interne : 001A28 ( Istex/Corpus ); précédent : 001A27; suivant : 001A29

G. Schirmer, Inc., New York

Auteurs :

Source :

Music educators journal [ 0027-4321 ] ; 1938-03.

RBID : ISTEX:52755498398B8D0B9D1875CDC6071CAFE72427B3

English descriptors

Teeft :
- Accompaniment, Anthem, Arthur hall, Band course, Cappella, Class instruction, Cradle song, English text, Folk song, George morgan, Harvey gaul, Leopold lamont, Marche slave, Measure signature, Noel pennington, Organ accompaniment, Piano accompaniment, Piano medium, Solo, Solo soprano, Witmark sons.

Url:

https://api.istex.fr/document/52755498398B8D0B9D1875CDC6071CAFE72427B3/fulltext/pdf

DOI: 10.1177/002743213802400527

Links to Exploration step

ISTEX:52755498398B8D0B9D1875CDC6071CAFE72427B3

Le document en format XML

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<meta-value> cents. (5) In Thoughts I Go My Way, Solo arranged by Wendt. Norwegian, for alto. Expressive. Piano accompaniment. Medium. No. 5228, 12 cents. All numbers are especially the foregoing charming. (6) What' s the Time, Blackbird? by Herbert Oliver, arranged by Piano accompaniment. Leopold Lamont. Medium. No. 5237, 15 cents. (7) Come Along and Dance, by Noel Pennington, In the arranged by Leopold Lamont. Piano ac Lively. style of a bolero. Medium to medium difficompaniment. cult. No. 5238, 15 cents. (8) The Piper from over the Way, by May H. Brahe, Medium arranged by Lamont. Lively. Pia n o accompaniment. difficult. No. 5236, 15 cents. The Sea Has a Voice, by T.T.B.B.-(1) Franz C. Bornschein. This is number one from the choral cycle “The Sea.” Piano accompaniment. Diffi Striking. cult. Eleven pages. No. 2224, 15 cents. The following three numbers are also from “The Sea” they complete the cycle: (2) My Sea-Isle Home, by Bornschein, the second in the cycle. (3) Lost Galleons, the third in the cycle, by Bornschein. (4) The Sea I Must Fare, the fourth in the cycle, by Bornschein. No. The poem is by W. E. 2227, 15 cents. Dimorier. The entire work is of high Difficult. Piano quality. accompaniments. (5) The Bare-Footed Friar, by William Ifor Jones. Poem from “Ivanhoe” by Scott. A cappella. Jolly. Piano No. 2219, 12 cents. (6) accompaniment. Give Me a Ship, by Stanley Douglas, A rhytharranged by Leopold Lamont. mic number, march swing. Piano accompaniment. Easy. No. 2217, 15 cents. S.A.T.B.-Come Along and Dance, by Noel Pennington, arranged by Lamont. In the style of a bolero. Lively. Piano Medium to medium difaccompaniment. ficult. No. 4611, 15 cents. J. Fischer & Bro., New York. Mixed Voices. - (1) The Morning Trumpet, early American spiritual, arranged by Sydney Dalton. Four-part song of jubilation. Modal. A cappella. Medium to medium difficult. No. 7268, 20 cents. (2) Bragging Dan, Norwegian folk song, arranged by George Morgan; English text by Sigmund Spaeth and George Morgan. Four-part song, jolly. A cappella. Medium to medium difficult. No. 7311, 15 cents. (3) Santy Anno, traditional English chantey. Aeolian mode. Four-part song; twelve pages. Several changes of measure signature. A cappella. Difficult. No. 7333, 15 cents. (4) I Heard a Great Voice, anthem for fourpart choir, by Edward F. Johnston. Text from Revelations. Soprano or tenor solo; also alto or baritone solo. Organ accompaniment. Easy, if solo soprano can sing B-flat. (5) Spring Idyl, English folk song, arranged for four-part chorus by Cyr de Brant. Piano accompaniment. Medium. No. 6803, 15 cents. Also arranged for S.A.B. No. 6859, 15 cents. S.S.A.-A Hopeless Plea, by Joseph W. Clokey. A graceful and charming number. Poem by Willis K. Jones. Piano No. 7362, 12 cents. accompaniment. T.T.B.B.-The Broken Shovel, a folk song from the Pennsylvania coal regions, transcribed by Melvin Le Mon, freely arranged by Harvey Gaul. Solos for and whistler. tenor, baritone, To be sung in Irish brogue. Eleven pages. A cappella. Medium. No. 7319, 15 cents. Kay and Kay Music Corporation, New York. S.A.-(1) Ciribiribin, by Pestalozza, arranged by Christopher O' Hare. Text by Arthur A. Penn. Piano accompaniment. Easy. No. 326, 12 cents. Also published for three-part treble, mixed, and male voices. (2) I Dream of Jeanie with the Light Brown Hair, by Stephen Foster, arranged by Christopher O' Hare. Piano accompaniment. Easy. No. 327, 10 cents. from “The Merry (3) Vilia, Widow” by Franz Lehar. Piano accom No. 332, 12 cents. paniment. Easy. Harold Plammer, Inc., New York. S.A.B.-The following arrangements by Wallingford Riegger: (1) Lullaby and Brahms. Text by Sim Good-Night, by rock, translated by Arthur Westbrook. Piano Medium. No. accompaniment. 88023, 12 cents. (2) Drink to Me Only with Thine Eyes, old English air. Words by Ben Jonson. Piano accompaniment. No. 88024, 12 cents. (3) Songs Easy. Me, by Dvorak. My Mother Taught No. Medium. Piano accompaniment. (4) In Silent Night, 88025, 12 cents. folk harmonized Suabian by song, Medium. Brahms. Piano accompaniment. No. 88022, 16 cents. (5) Great Is Thy Contralto solo; Love, by Carl Bohm. Piano accomother solos ad libitum. Medium. No. 88505, 15 cents. paniment. (6) Prayer for Service, by Harvey Gaul. For chorus and solo soprano. Medium. No. 88506, 15 Piano accompaniment. cents. Oh! Susanna, Male Voices.-(1) by Foster, arranged by Riegger. A cappella. for boys' voices. No. Easy arrangement 82515, 12 cents. (2) Gratitude, by Robert S. Flagler. Piano accompaniment. Easy. No. 82087, 12 cents. by (3) Vesuvius, Franco Leoni, arranged by Riegger. Solo number with A zestful for baritone. guitar and mandolin effects. Piano ac No. 82092, 16 cents. (4) companiment. God that Madest Earth and Heaven, old on the Welsh air, arranged by Riegger Duet of E. J. Hopkins. harmonization for tenor and baritone. Medium. Piano cents. No. 85017, 15 accompaniment. et accensus, by Ros(5) Inflammatus sini, arranged by Gerald Wilfring Gore. Soprano solo. Text, Latin and English. Medium difficult Piano accompaniment. to difficult. No. 85018, 16 cents. H. W. Gray Co., Inc. S.A.T.B.-(1) Behold, a King Shall Reign, by Harry FesC. Banks, Jr. Text from Isaiah. tival anthem with solo for baritone. Organ accompanipages. Twenty-two No. 1465, 25 Medium difficult. ment. cents. (2) Go Not Far from Me, O God, from a “Christus e Miserere,” by Singarelli. Edited by John Holler. A motet. Medium diffi Text from the Psalms. cult. No. 1464, 12 cents. (3) Praise, My Soul, the King of Heaven, by Robert in Canonic imitation Anthem. Krogh. A cappella. Some division the parts. Medium difficult to difficult. of parts. of No. 1455, 15 cents. (4) Dayspring Eternity, by Russell Wichmann. Anthem and medium with solos for soprano voice. Humming sections. Organ accom Twelve Medium difficult. paniment. No. 1453, 15 cents. (5) Hear, pages. O Thou Shepherd of Israel, by Harvey Based Gaul. Text from the Psalms. upon Jewish themes. Frequent changes in measure signature. Solos for soprano and baritone. Organ accompaniment. Sixteen pages. Brilliant. Difficult. No. of Thy (6) Because 1448, 20 cents. Great Bounty, by Elinor Remick Warren. Anthem with solo for soprano or tenor. Organ accompaniment. Medium. No. 1443, 15 cents. (7) Love Is Come Again, French tune, arranged by Henry Whipple. English text. Easter anthem. Rather quaint, plaintive in character. A Solo for soprano or children' s cappella. choir. No. 1488, 15 cents. Galaxy Music Corporation, New York. Little Jack Horner, by S.A.T.B.-(1) Wilhelm Shaeffer. A lively and attractive chorus, with the Mother Goose Piano accompaniment. rhyme for text. Easy. No. 769, 15 cents. (2) Visions, by Sjoberg-Balogh, arranged by William J. Reddick. A melodious number, contem Text in Swedish plative in character. and English. Piano accompaniment. Medium. No. 809, 15 cents. (3) Oh, folk song, ar Mighty Sun, Yugoslav Boris Levenson. This folk ranged by in his song was used by Tschaikowsky “Marche Slave.” Text in Yugoslav and Solo for tenor. A cappella. English. Medium difficult. No. 788, 12 cents. (4) Dear Lord and Father of Mankind, by Frances Mc Collin. Poem by Whittier. A cappella. Medium 12-page anthem. difficult. No. 867, 15 cents. (5) Spirit of God, by Powell Weaver. A cappella. Easy. No. 866, 15 cents. Out of My Deepest SadS.S.A.A.-(1) ness, by Robert Franz, arranged by Alfred Cohn. Text by Heine; German and Medium English. Piano accompaniment. difficult. No. 860, 10 cents. (2) Annie Laurie, special arrangement by Arthur Hall. A cappella. Medium difficult. No. 852, 15 cents. (3) Ye Banks and Braes O' Bonnie Doon, arranged by Hall. A Medium. No. 854, 10 cents. cappella. (4) A Highland Lad, arranged by Hall. A cappella. Medium. No. 853, 15 cents. The Maiden and the S.S.A.-(1) Weathercock, by Marianne Genet. Poem Piano accompaniment. by Longfellow. Eleven pages. Medium difficult. No. 784, 20 cents. (2) A Child' s Thanks, by David Stanley Smith. Poem by Swinburne. Piano accompaniment. Twelve Medium difficult. No. 819, 20 pages. cents. (3) It Was a Lover and His Lass, by Edward Harris. Text by Shakespeare. back Soprano solo against humming ground in other voices in middle section. No. Attractive piano accompaniment. 772, 15 cents. (4) Oh, Mighty Sun, Yugoslav folk song, arranged by Boris Levenson. The tune was used by Tschaikow Solo for sky in his “Marche Slave.” alto. Text in Yugoslav and English. A Medium difficult. No. 787, 12 cappella. cents. (5) Visions, by Sjoberg-Balogh, Meloarranged by Katherine K. Davis. in mood. dious, contemplative Text, Piano accompani Swedish and English. ment. Medium. No. 810, 15 cents. (6) Tuku, Tuku, Tuu I' m Calling, a little Finnish folk song, freely arranged by Le Febvre. A light dainty Channing number. Piano accompaniment. Easy. No. 817, 12 cents. (7) If My Songs Had Wings to Fly With, by Reynaldo Hahn, arranged by Donald Hale. Text by Victor Hugo; in French and English. Piano No. 850, 12 Medium. accompaniment. cents. Mixed G. Schirmer, Inc., New York. (1) A Voices, more than four parts. Fortress Is Our God, choral Mighty paraphrase by Carl F. Mueller on the air attributed to Martin Luther. EightA cappella. No. Difficult. part chorus. 8179, 15 cents. (2) A Choral Impromptu, arranged by Carl F. Mueller after the Schubert Op. 142, No. 3. Impromptu, To be hummed through Eight parts. A Medium difficult to difficult. out. No. 8173, 12 cents. (3) Roun‘ cappella. de Glory Manger, Negro jubilee, ar Six ranged by Willis Laurence James. with incidental solo. soprano parts Medium difficult. Rhythmic, syncopated. A cappella. No. 8169, 15 cents. Jesus, Oh, Po’ Little S.A.T.B.-(1) arranged by W. L. spiritual, Negro A cappella. Medium. No. 8170, James. 10 cents. (2) Lord, Thou Hast Been Our Dwelling Place, by Carl F. Mueller. Modal in char Text from the Psalms. Attractive. acter. Easy voice ranges; No. 8172, 15 cents. medium difficult. Thou the Ordinances of (3) Knowst Heaven? by Clifford Demarest. Poem reverential A sustained, by Whittier. number. Piano or organ accompani Medium. No. 8168, 15 ment, ad lib. cents. (4) No Room in the Inn, carol for Advent, by William S. Nagle. Ac Medium. No. 8175, 20 companiment. cents. (5) A Star Shines Bright O' er words and music by Nagle. Bethlehem, Modal in character. Accompaniment. Medium. No. 8176, 12 cents. (6) Cradle Text by Isaac Watts. Song, by Nagle. No. 8177, 10 Accompaniment. Easy. cents. Love Be(7) Of the Father' s gotten, twelfth century plain song, transcribed by N a g l e. Accompaniment. Medium difficult. No. 8178, 15 cents. The foregoing numbers by Nagle are from his “Christmas Carol Cycle.” Male voices.-(1) Kentucky Cindy, mountain arranged song, freely by Arthur Hall. Lively. A cappella. Fourteen pages. Medium. No. 8139, 20 cents. Ken(2) Sourwood Mountain, Page 60 Music Educators Journal tucky mountain song, freely arranged A cappella. by Arthur Hall. Rhythmic. Medium. No. 8140, 15 cents. The two numbers are from the Yale foregoing Glee Club Series, selected and edited by Marshall Bartholomew. Willis Music Cincinnati. Company, Treble voices-(1) What Can a Poor Do? by Horn, Maiden arranged by Treharne. Bryceson Three-part chorus, Piano accompanilight and graceful. ment. Medium. No. 5803, 12 cents. (2) The Morn of May, by van Hagen, arranged by Treharne. Two-part chorus, attractive. Piano accompaniment. Medium. No. 5804, 12 cents. (3) Old Zip special arrangement Treharne. Coon, by Piano accompaniment. Two parts. Medium. No. 5706, 12 cents. (4) Hunting Song, from Weber' s “Der Freischutz,” words and arrangement by Evelyn Wales. Piano accom Two-part song. Medium. No. 5807, 12 cents. paniment. (5) Sleep, My Princess, Mozart' s “Cradle Song,” arranged by Arthur Mayship. Three-parts. Piano accompaniment. Easy. No. 5808, 10 cents. Male voices.-(1) Send Me a Ship, by Lily Strickland. Four-part chorus; piano accompaniment. No. Easy. 5604, 12 cents. (2) The Crusaders, Strickland. Four-part chorus; piano accompaniment. Easy. No. 5603, 10 cents. (3) The Jolly Piano accompani Sailor, by Strickland. ment. Easy. No. 5605, 10 cents. S.A.T.B.-Invitation to the Dance, adapted from Weber' s famous waltz; score and words Lavater. by Louis Eighteen Piano accompaniment. pages. Medium. No. 5809, 18 cents. M. Witmark & Sons, New York. (1) The Children' s Prayer, by Humperdinck, arranged by William J. Reddick. Inscribed “As sung on the Ford Sunday Evening Hour.” Piano accompaniment. Easy. No. 2999, 15 cents. (2) Men and Angels Sing Hallelujah, by John and T. D. Edwards, arranged by Griffith J. Jones. Text by Parker-Gould. Soprano descant; echo effects for chorus. A cappella. Medium. No. 2936, 15 cents. (3) Mother of Mine, by Griffith J. Jones. Poem by Kipling. A cappella. Medium. Welsh Choral, by J. T. T.T.B.B.-(1) Reese, arranged by Griffith J. Jones. Text by Henry Harbaugh. Solo for alto or baritone. A cappella. Medium. No. 2935, 15 cents. (2) Gypsy Love Song, by Victor Herbert; novelty male quartet or chorus arrangement by F. Campbell Watson. For use with the symphonic band transcription. Easy. Twelve cents. VARIOUS BOOKS AND COLLECTIONS The Music Hour. “What the Teacher Should Know,” introductory pamphlet for the “One-Book Course” and the “Two-Book Course,” of The Music Hour Series. [Silver Burdett 32 Company, A forty-eight-page cents.] volume defor teachers who are signed especially or who have had little inexperienced, or no training in music. By following the instructions the given throughout ten chapters, teachers will be enabled to teach while learning. The procedure is described as “The Chorus Plan,” which means that “the children listen to phonograph of a limited recordings number of simple songs and learn to them by imitating what they hear.” sing The songs included in chapter ten may be sung with words, syllables, pitch names, and scale names. Complete instructions the method of concerning the equipment, and the presentation, of the work are given in organization the book. Editors of the “One-Book” and “Two-Book” courses: Osbourne McW. Otto Miessner, Edward Conathy, Mabel E. Bray. Bailey Birge, The World of Music. “Band Course.” [Ginn and Company, 1937, pp. 54, 9 times 12, durable covers, wire bound, illustrated. Price of each book, 85 cents.] For be The Course ginners, class instruction. books for thirty-four different comprises instruments. There is a separate con- ductor' s score and also a teachers' manual. Editors: William D. Revelli, Victor L. F. Rebmann, Charles B. Righter. Guy E. Holmes, arranger. to some explanatory text According matter in the book for Cornet I in B-flat review the (the preparatory copy), studies are suited to the character of each instrument and, therefore, are not intended for full ensemble playing, although they may be played in certain combinations. The studies suggested include simple exercises and folk melodies. Following these, there is a section, mainly of folk and composed melodies with necessary exercises, interspersed for unison wind and percussion ensemble. This leads into sixteen pages of harmonized melodies for full band. A few pages more adcontaining vanced technical studies suited to individual instruments follow and lead into the full band repertory. directly This includes several not-so-frequentlyplayed pieces from the works of Gluck, Tschaikowsky, Schu Grieg, Schubert, mann, Poldini, and others, as well as some of the better-known ones and an assortment of marches and numbers of in all. lighter quality-twenty The World of XMsic. “Orchestra Course.” [Ginn and Company, pp. 54, 9 times 12, durable covers, wire bound, illustrated. Price of each book, 85 cents.] For beginners, class instruction. The Course comprises books for twenty-four different instruments, including piano. Separate conductor' s score and teachers' manual. Editors: Charles B. Righter, Victor L. F. Rebmann, William D. Revelli; arrangements by Adolf Schmid. The same procedure as that described in the “Band Course” is used here. Following the introductory text, there is a section devoted to preparatory studies. In each book, these are suited to the character of the instrument and, therefore, are to be played separately or in the combinations In the suggested. books for strings, there is a section for unison string ensemble, followed by a section for string orchestra which includes harmonized with arrangements More advanced piano accompaniment. technical exercises are then presented, followed by the full orchestra repertory. With the exception of a few numbers, the repertory of the full orchestra is entirely different from that of the “Band Course.” Among the composers represented: Handel, Purcell, Rameau, Gluck, Haydn, Chopin, Tschaikowsky, Brahms, Gounod, etc. There are twenty pieces in all. Considerable folk and composed tunes, interspersed with necessary exerthe material of the comprise cises, earlier sections. of Song, Volume Three. Pathways and ed Compiled, arranged, translated, ited by Frank La Forge and Will Earhart. [M. Witmark & Sons, New York.] The purpose of Volume Three, and of the two preceding volumes, is-quot“To make availableing the Foreword: to students and teachers of voice, in studios, in classes in high schools, and wherever voice is studied, of songs great musical worth and authentic vocal style, that at the same time do not demand the advanced vocal technique of the mature artist for their adequate performance.” More than twenty songs comprise the sixty-four pages of this excellent work. them: Sweet Among “Come, Death,” Bach; “There' s Weeping in My” The First Meeting,“Heart,” Debussy; “Oh Sleep! Grieg; Thou Why Dost Leave Me?” Handel; “Cradle Song,” Schubert. Other composers: Beethoven, Bishop, Caccini, Franz, Gluck, Scarlatti, etc. A short program note precedes each song. The material is medium difficult, bemore advanced than theing somewhat volumes. Piano accompanipreceding ments. Available for high and low two separate books. voice, Record Reviews Phonograph PAUL J. WEAVER CHORUS Bach: Passion According to St. Matthew; Victor albums M-411, 412 and 413. This is by far the most important release of the season, one about which it is difficult to write without using an overabundance of superlatives. Some years ago Victor issued an abridged version of this work which was mangled badly in almost every conceivable way; but that has until now been the only recording presenting any continuity. Now comes not only a complete recorded version, but one which will arouse the enthusiastic joy of every music lover because of its fineness of interpretation and its notable faithfulness to the spirit as well as to the letter of Bach' s immortal music. is Serge Koussevitzky the conductor; the orchestra is the Boston Symphony; the chorus, a combination of the Harvard Glee Club and the Radcliff Choral Society (trained by G. Wallace Woodworth). The soloists are Jeannette Vreeland, Kathryn Meisle, John Priebe, Keith Falkner and Fritz Lechner. The recitatives are performed as Bach wrote them, with continuo and the latter played by Ernst harpsichord, Victor Wolff. The chorals, as Bach intended, use organ, the organist being Carl Weinrich. All of the original instrumental effects are used, including the two oboi d' amore played by Speyer and Devergie, and the viola da gamba played by Zighera. Only the first of the three volumes has been issued; the other two apparently are to follow shortly. CWAAlWRPR h VuSlJU Sonatas 1, 2 and 4 for Flute Bach: and Harpsichord; played by Georges Barrere and Yella Pessl; Victor set M406. The performance of this really great music is by two internationally recognized artists, and the set is admirable from every standpoint. Beethoven: Quartet in F Major, Op. 135; played by the Lener Quartet; Columbia set 287. A good performance and very good recording, but on the whole not so fine as the recording by the Busch Quartet; the latter is disfor the second and tinctly preferable third movements. William Boyce: Eight Symphonies; played by the New York Simfonietta, under Max Goberman; Timely Recording, set 1-K. A release of the first magnitude and importance, of perfectly fascinating music long known only to antiquarians and now made to relive. This early English composer deserves much greater fame than has been his. The works are not symphonies in the modern sense of the term, but really con The fugal movements are certi grossi. particularly the interesting-especially second part of the first movement of No. 7, in which the fugue is more fully worked out than in most of the movements. (No. 7 is probably the finest of the eight pieces.) One has only two minor regrets about this superlatively fine set: the use of ten-inch records necessitates some unfortunate breaks in and a printed movements; pamphlet Page 62 Music Educators Journal </meta-value>
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