The Nightingale
Identifieur interne : 000652 ( Istex/Corpus ); précédent : 000651; suivant : 000653The Nightingale
Auteurs : Susan T. CanfieldSource :
- Music educators journal [ 0027-4321 ] ; 1934-02.
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DOI: 10.2307/3384030
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ISTEX:966D72EBB50753044AFE524A323C140C04FCC011Le document en format XML
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3384030</article-id><article-id pub-id-type="publisher-id">10.2307_3384030</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>The Nightingale</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Canfield</surname><given-names>Susan T.</given-names></name></contrib></contrib-group>
<pub-date pub-type="ppub"><month>02</month><year>1934</year></pub-date><volume>20</volume><issue>3</issue><fpage>46</fpage><lpage>48</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Reviews</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> BOOK A N D MUSIC REVIEWS Conducted by WILL EARHART, Director of Music, Pittsburgh, Pa. On A Cappella Singing THE T John Smallman and. H. Wilcox [Oliver Ditson Company, Inc., 359 Boylston Street, Boston, Mass. $2.00]. H E authors have produced a work that is unique and that should prove extremely helpful. T h e first confidently two lines o f the Foreword declare: “This book will assist in solving the problems o f the individual voice, choral technique, repertoire, and inter pretation.” After study o f the pages following, one glady grants that claim. The text proper begins with fortyone pages devoted to vocal technique. Among the titles of short chapters are Breathing; Pronunciation; Primary Vowel Sounds. Chapter X treats of Vowels Introduced by Consonants. Here the distinctive feature o f the book becomes manifest. The instructions are based on Ave Verum Corpus (William B y r d), and no detail of vocal practice applied to this piece is neglected. M o r e over, the vocal phonetics of the text (as the phonetics should be, with the vanish of diphthongal sounds and final conso nants placed under the points of re lease) are printed in with the text proper. Finally, the vowels on which each syllable is to be vocalized are print ed in with the text. T h e whole is so beautifully distributed that these inter larded printings are in no way confusing or unsightly. T h e page, indeed, is uncommonly open and attractive. Succeeding chapters now follow pre cisely the same plan, but on different T w o Tones on One vocal features. Vowel Sound, illustrated with How Shall I Fitly Meet Thee?–]. S. Bach; Tuning Sustained Chords, with Adoramus Te–Palestrina; Agogic Accent, with Lo, How a Rose e' er Blooming–Praetorius; P r e s s u r e Accent, with a y–Jannequin; T h e Shape Roundel of Short Phrases, with Fields of Green and Gold–Palestrina; these are among sixteen chapters of the kind. A s will be observed, the music, too, is o f excep tional worth. It is difficult to imagine a more instructive and satisfying work covering such ground.–WILL EARHART Song Collections SONG. Marx and Anne Oberndorfer; Stock Honorary Editor, Dr. Frederick [Hall and Mc Creary Company, 430432 S. Wabash Ave., Chicago, Illi nois. 3 0 c]. H E names of the editors are a guar antee that this collection o f songs for assembly and community singing will display good discernment and judg ment, and musical and historical acu men. It differs from other books of its kind, which it resembles in format, in accentuating American songs and songs These popular in American tradition. all are classified. There are twenty-two folksongs in the category, Songs of Native American Origin–Indian, Cre ole, negro, c o w b o y; a larger number of Songs of Earliest Days in America; eleven o f Stephen Foster's songs; two A CENTURY OF PROGRESS I N AMERICAN A R T OF A CAPPELLA SINGING. By by our first song-writer, Francis H o p kinson; a group o f the most popular Songs Inherited from Other Lands. These are not all of the classifications but they reveal the distinctive American quality of the enterprise. An admirable is a fifteen-page historical feature sketch. While it is not impeccably a c curate in detail, American teachers and pupils should nevertheless delve in the lore that is there. Each of the types of song included receives a meaty para graph, and explicit notes give the his tory of many individual songs. A.n e x cellent songbook is thereby raised to the dignity of an historical and critical record.–WILL EARHART KEEP ON SINGING. Edited by Kenneth Operettas T H E WHISPERING WOOD. Book by Rod ney Bennett; Music by Martin Shaw. [O x f o r d University Press. $2.25.] H E story of “Snowwhite and the Seven D w a r f s” most happily set. The characters: Snowwhite; her Step mother, the Queen; Voice of the Queen's Mirror; ^ Seven D w a r f s; Spirit of the Whispering W o o d; First Flower; Light; Puck; A Young Prince. All are singing characters, although the solos are brief and soon joined to the chorus, which is the important element in both singing and acting. T h e choruses are written f o r two parts with an occasional one in unison, and are not difficult but require good teamwork. There are twenty-six numbers in all. The authors suggest the possible shortening of the operetta by omitting “Puck and his men,” which eliminates three choruses. The lines are poetic and imaginative, the music captivating; lilting melodies, sometimes modal, coupled with mys terious chords, as in the duet between the Queen and the Voice of the Mirror. The entire work is artistic–as much so in the humorous as more serious scenes. Many choruses may be obtained sepa rately, SUSAN T. CANFIELD Lyrics T T Clark [Paull-Pioneer Music Corporation, 119 Fifth Avenue, New York,. Y. 2 5 c]. H E thrust in this book is in the di rection of a specifically musical prog ress in “assembly singing,” and for “glee clubs and general educational use.” It follows the editor's Everybody Sing, as an “increasingly finer type of material” for such uses. T h e songs are accord ingly selected for musical worth, regard less of source; and they attain an un commonly high degree of such worth within the rigid technical limitations the editor imposed on himself. The con tents are classified under two heads, and Composers. T h e folk Folksongs songs are admirably selected and ar ranged, and the texts have received care equal to that bestowed on the music, with most satisfactory results. In the other group are excerpts from Bach, Handel, Haydn, Mozart, Morley, P u r cell, and many others. In both fields, in addition to a high level of worth and modest technical demands, much that is new and fresh in collections of this kind will be found. T h e book deserves wide use.–W I L L EARHART H O F F M A N ' S CHORAL SERIES, BOOK O N E. T T Noble Cain [T h e Raymond A. Hoff man Co., 509 S. Wabash Ave., Chi cago, Illinois. 7 5 c]. H E thesis here is to invest English texts of merit, such as are likely to be encountered in the English courses of school students, with appropriate music. W e find, accordingly, texts from Long fellow, Whittier, Lowell, Tennyson, Thackery, Goldsmith, Eugene Field, and others, set to original music by Mr. Cain. Some of the texts have been used many times by other composers, but as Mr. Cain states in his Foreword, he has restricted these settings to the capabili ties of school groups. The compositions, fifteen in all, are for mixed voices, four–occasionally more–parts. Those who know Mr. Cain's compositions need not be told that all are delightfully singable and full One could of pleasant vocal effects. hardly expect more from so prolific a composer, working under such limita tions–could hardly expect, that is, a deeply original and lasting work–but short of that these compositions are good and effective.–WILL EARHART by Sarah Grames Clark; Music by Bryceson Treharne. [Carl Fischer. $1.00.] The story is of a Princess who, bored with possessions and monotony, wishes for change, a Prince who proves to be a Pirate and a charming Peddler who establishes his identity as the real Prince. T h e lines are practical and hu morous rather than fanciful, but build up well and hold the interest. T h e melo dies are tuneful and vital with consid erable variation in mood, style, rhythm and expression. T h e choruses, scored for two parts treble, show a preponder ance of thirds which are relieved, h o w ever, by fluid accompaniment or chords in opposition. In the list of characters are two demanding high voices, four low, three medium, and three speaking parts. THE SUSAN. CANFIELD FLOWER OF V E N E Z I A. Libretto by PRINCE OF PEDDLERS–Book and Ronald Dundas; Music by Edgar [C. C. Birchard. $1.50.] Hansen. An Operetta somewhat in the style of Gilbert and Sullivan with sparkling lines and lively tunes. There are two acts of nine numbers each, the solos not difficult but well scored for high school voices, and soon moving into wellvoiced choruses. O f these, nine are f o r mixed, two for male, three for treble, and three f o r unison voice. Orchestral parts may be rented from the publish ers. It is far above the average of this type of operetta. SUSAN T. CANFIELD T H E NIGHTINGALE. Book by Frederick H. Martens; Music by Rob Roy eery. [Oliver Ditson Co., Inc. $1.00.] A Fairy Story o f Hans Christian A n derson forms the basis for this Operetta which is nicely developed in one act. The scene is laid in Old China, the sing Music Supervisors Journal Page 46 Music Supervisors Journal is collaborating with JSTOR to digitize, preserve, and extend access to Sage Publications Ltd. ing parts required a r e: I Soprano, I Mezzo Soprano, I Alto, I Tenor, I Bari tone, I Bass, while parts f o r Maids of H o n o r and for Y o u n g Mandarins may be sung as solo or chorus at the discretion of the producer. There is one speaking part. Eight of the Sixteen numbers are choral at least in part, two being scored f o r male chorus, one f o r treble, and five f o r mixed voices. The range is good. With care in production “T h e Nightingale” may be a pleasing performance. SUSAN T. CANFIELD Other Operettas Received AN O L D S P A N I S H CUSTOM. Book and lyrics by Estelle Merrymon Clark, music by Palmer John Clark. [The Raymond A. Hoffman Co.] A story of Southern California with music of real Spanish quality, for High School. Much dialogue, considerable charm. A Merry Company (1886 and 1914 copyrights) and A Garden of Singing Flowers (1889 and 1917 copyrights). Both from Oliver Ditson Co., Inc. Master Choruses and Snow; Presents for the Child Jesus. There is also a Michael Praetorius (1571-1621) arrange ment, for soprano and alto, of the old four teenth century In Dulci Jubilo. J. FISCHER & B R O.: A Clifford Page ar rangement of Saint Saens' The Swan for soprano and alto. Two arrangements by Cyr de Brant of Sibelius' Finlandia–one for S.A.T.B., one for T.T.B.B. or S.A.A.B. T. F I T Z S I M O N S C O M P A N Y: Little Town of Bethlehem, three-part chorus for wo men's voices by Daniel Protheroe. M. W I T M A R K & S O N S: The Witmark Choral Library for mixed voices: (1) Beautiful Dreamer, Stephen Foster, arranged by R. B. Fitzgerald, with a hummed accompaniment be neath the soprano melody; (2) Hallelujah, from Bach's Christ lay in Bonds of Death; (3) In Dulci Jubilo, early German carol, first arranged by Pearsall, then by W. J. Westbrook and, finally, by Max T. Krone; (4) The Angel's Song, Paul Tschesnokov, edited by Max T. Krone; (5) Glory to God (Christmas), Dimitri Bortniansky, edited by Max T. Krone. All are un accompanied except the Bach. Also for mixed voices, unaccompanied, are the old Ukrain church melody, Praise the Lord, arranged by Alexander Koshetz and the Russian folksong Mother and Son (Christmas) arranged by Baile Kibalchich. Male voices: Psyche, E. Paladihle, transcribed by F. Campbell-Watson for T.T.B.B., accom panied by piano; Heart of Mine, Beloved One, a minnelied by Max Reger, edited by F. Camp bell-Watson. While the last named is beyond the vocal ability of even exceptional high school boys the possibility of finding a Max Reger song for men's voices should be noted.–HULDAH JANE KENLEY. are well arranged and useful for the training of young players. Score and parts available. G. SCHIRMER, I N C.: For String Orches tra. (1) By the Waters of Babylon, Bach; (2) Prelude from Major Violin Sonata, Bach; Fantasia in G Major, Bach; Pastorale in C Minor, Bach; Fugue in G Major, Bach. Albert Stoessel of the Juilliard faculty contributes these excellent arrangements. Score and parts are available. Toy Orchestra A L L OVER T H E M A P. J. Lilian Vandevere. [Oliver Ditson Co., Inc.] The first number from the second group of The Children's Ensemble Series for Rhythm Band, designed for groups at the score reading stage. The set of seven instrument parts are obtainable complete or separately.–SUSAN T. CANFIELD. Band O L I V E R DITSON C O M P A N Y: (1) Mys tic Knights–Overture, R. E. Hildreth. Good junior high school bands could play this over ture. Its publication adds one more to the list of overtures that are often thought necessary in the teaching of young bands. It is as good as, perhaps a bit better than, most of them. (2) Regimental Review–March, Frank Panella. (3) Gobi‘ Home–from the Largo of the “New World” Symphony, Anton Dvorak. This pub lication is based on the song version of William Arms Fisher, and is arranged for band by James M. Fulton. It lends itself well to the flowing quality of the band and should be acceptable as a teaching piece. DURAND A N D COMPANY, Paris. (Sole Agents for U. S. A. Elkan-Vogel Co., Inc.): A Glorious Day, Albert Roussel. Fairly diffi cult, but interesting and worth playing.– LEE M. LOCKHART. Selected by Hugh Ross, John Smailman and H. Alexander Matthews. [Oliver Ditson Co., Inc.] Published in two editions: (a) V o i c e parts o n l y; in boards, $1.00; (b) C o m plete with accompaniment, in cloth, $3.00. A compilation of some fifty Dit son octavo numbers, the superiority of which is assured by the editorial per sonnel. Bach is represented by choruses from The Christmas Oratorio, the Mass in minor, St. Matthew Passion and Sleepers, Wake, as well as several chor ales. Choruses from Handel, Mozart, Tschaikowsky, Pergolesi, Palestrina and many more complete the excellent vol ume. A t least ten are a cappella. HULDA J A N E KENLEY Choral Octavo K A Y A N D K A Y MUSIC PUBLISHING CORP.: For Two-Part Chorals: Lullaby (Ber ceuse from Jocelyn) Godard; Gypsy John, Clay; Serenade, Schubert; Kerry Dance, Molloy. Three-Part Male Voices: Blow, Ye Horns (March from Aida), Verdi; Arkansaw Traveler (Humorous Paraphrase), 'Hare. Chamber Music K A Y A N D K A Y MUSIC PUBLISHING CORP.: For flute, oboe, clarinet, horn and bassoon; transcribed by George J. Trinkaus. (1) Salut d' Amour, Op. 12, Elgar; (2) Humoresque, Op. 10, No. 7, Dvorak; (3) Rigaudon (from Hoberg's Suite), Op. 40, Grieg; (4) April, Op. 37, No. 4, Tschaikowsky; (5) Sarabande and Courante, Corelli; (6) Arioso (E minor) and Evening Song, Tartini, for oboe or flute, clarinet, horn and bassoon; transcribed by George J. Trinkaus; (7) Minuet in G, Beethoven. All CARL FISCHER, I N C.: (1) Jingle Bells–a march including Merrily W e Roll Along and Auld Lang Syne, arranged by Charles J. Rob erts. (2) Sleepers Wake, Bach. Mr. Chiaffarelli has made a fine arrangement of this well known Bach chorale. This publication should be a wel come addition to the libraries of school and pro fessional bands. (3) Flight of the Bumble Bee, Rimsky-Korsakow. Only the best bands will find the playing of this number possible. The lightness necessary for proper playing of it will be difficult to develop. MELROSE BROS. MUSIC CO.: Bandmas ters Folio of College Marches. A very fine book of marches for football work.–LEE M. LOCKHART. V O L K W E I N BROS.: Knights of Chivalry, Louis J. Panella. Satisfactory for use when a grand march is necessary. F ROM C. C. BIRCHARD & C O M P A N Y: The most interesting item of the Laurel Octavo material at hand is Flowering Orchards by Jacques Pillois, arranged for T.T.B.B. by Archibald T. Davison. This should meet the need of competent male choruses for works of some length and distinction. Its twenty pages are full of fluid melodic lines, charming juxta position of parts and harmonic interest. The Year Book Press Series includes three fine songs for men's voices: ! Breathe Not His Name and I' ve a Secret to Tell Thee, Irish folk songs arranged by Charles Wood; The Babe Divine (lis est ne, le divin enfant), arranged by. H. Fox Strangways. There is also a unison carol, The Birds, in which Hilaire Belloc's poet ical telling of the story of the Christ-child's making of the clay birds is set to music by J. Mere dith Latton. Legend, poem and music are one in the naive spirit of childhood. Children will love to sing it. O L I V E R DITSON C O M P A N Y: Four very fine a cappella choruses for mixed voices: (1) Cherubim Song, Tschaikowsky; (2) Echo Song, Orlando di Lasso, one of the most enchanting choral bits ever written; (3) Built on a Rock, Lindeman-Lundquist; (4) Ancient German Easter Carol, arranged by Harvey Gaul. CARL FISCHER: From their sacred chor uses for women's voices at least a dozen fine arrangements, by Arthur H. Egerton and E. Harold Geer, of excellent choral works, old and new. Nunc Dimittis, Thomas Tallis (15051585); I Did Lay Me Down to Take Rest, Henry Purcell (1658-1695); Love of the Father, Orlando Gibbons (1583-1625); All Ye People, Give Ear, Michael Praetorius (1571-1621). Three Catalonian Christmas songs: On the Twenty-fifth of December; Lo, December's Ice Page 48 RECORD REVIEWS By P A U L J. WEAVER O Choral N E of the finest choral recordings ever made has just been released by Victor–Number 7715. It contains two Russian settings of The Creed, one by Archangelsky and the other by Gretchaninoff. Chaliapin sings with great ef fectiveness, and is ably supported by the choir of the Russian Metropolitan Church in Paris under N. P. Afonsky. The music is great, and the performance worthy of it. A fine collection of Liturgical Music of the Catholic Church is issued by V i c tor as set M-182. It contains two pieces by Perosi, three by Palestrina, and one each by Arcadelt, Vittoria and Anerio. Of the last six, the finest is the Vittoria Tenebrae factae sunt–great music very effectively sung. Of the two Perosi numbers, the second is really fine. The entire collection is sung by the Sistine Chapel Choir under the direction of Msgr. Perosi and under the conducting of Msgr. Rella. T h e attacks are clean, especially in the Arcadelt and in Pales- trina's Improperia. There is some e x aggerated accentation. The intonation is much better than in some of the record ings by this c h o i r; and the quality of the boys' voices seems much closer to our ideals than is the case with many of the Italian choirs. Opera One of the finest of all operatic re cordings is newly released by Victor as set M-187, Donizetti's Don Pasquale. The cast is headed by Tito Schipa, which means that one hopes for just what he gets–a uniformly fine perform ance by splendid singers. Badini sings with great dramatic effectiveness; Poll's more lyric type of baritone is shown to fine advantage; Saraceni is very splen did. Chorus and orchestra, both from La Scala, are uniformly satisfying un der Sabaj no as conductor and V e n e ziani as chorus master. The recording itself is superior. The best Gilbert and Sullivan so far recorded is Ruddigore, or The Witch's Music Supervisors Journal Music Supervisors Journal is collaborating with JSTOR to digitize, preserve, and extend access to I Sage Publications Ltd. hSSSSS wwwjsfoi J </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The Nightingale</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>The Nightingale</title></titleInfo><name type="personal"><namePart type="given">Susan T.</namePart><namePart type="family">Canfield</namePart></name><typeOfResource>text</typeOfResource><genre type="review-article" displayLabel="review-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1934-02</dateIssued><copyrightDate encoding="w3cdtf">1934</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1934</date><detail type="volume"><caption>vol.</caption><number>20</number></detail><detail type="issue"><caption>no.</caption><number>3</number></detail><extent unit="pages"><start>46</start><end>48</end></extent></part></relatedItem><identifier type="istex">966D72EBB50753044AFE524A323C140C04FCC011</identifier><identifier type="ark">ark:/67375/M70-WRRJ3XS4-8</identifier><identifier type="DOI">10.2307/3384030</identifier><identifier type="ArticleID">10.2307_3384030</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/966D72EBB50753044AFE524A323C140C04FCC011/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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