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New Collections II.

American

Rorem, Ned (b. 1923). 50 Collected Songs. Compiled by Richard Walters. Consultant: Kurt Ollmann. Boosey & Hawkes, 2008 (Hal Leonard).

In a very brief Composer's Note, Ned Rorem says, "These fifty songs date mostly from fifty years ago; their texts are mostly from earlier decades." Nevertheless, included among the many familiar songs are six songs never before published: "Chromatic Fantasy" (Anthony Hecht), "The End" (Dana Gioia), "On a Little Bird" (Martin Armstrong), "Poem for F." (Edouard Roditi), "Shelley's Vision" (Herman Melville), and "While Sodom was occupied" (David Bergman). Of these six, three are older songs, but three were composed since 2001 ("Chromatic Fantasy," "The End," and "While Sodom was occupied").

The other titles of the fifty songs are familiar and the songs well known. It is good to have a larger collection incorporating most of the songs in previous smaller collections into one volume. It will be a valuable addition to all vocal music libraries, both personal and institutional.

Judith E. Carman holds the BM and MM degrees in vocal performance with minors in piano and languages from George Peabody College (Nashville, TN), the DMA degree in vocal performance and pedagogy from the University of Iowa, and has done postdoctoral studies in advanced musical analysis and conducting at the University of Houston. Her dissertation in American art song, "Twentieth-Century American Song Cycles: A Study in Circle Imagery," led to the editorship of the first and third editions of Art Song in the United States, 1759-1999: An Annotated Bibliography (3rd ed., Scarecrow Press, 2001).

Dr. Carman has taught studio and class voice and related subjects at Shenandoah Conservatory of Music, The University of Iowa, Central Michigan University, Lansing (MI) Community College, Houston Baptist University, and Texas Southern University, as well as maintained a private voice studio in Houston, 1979-2007. She has made numerous presentations on American art song, including three NATS Summer Intern sessions and a NATS Winter Workshop (Miami).

Dr. Carman has taught yoga with a special emphasis on yoga for singers since 1999 and has conducted numerous Yoga and Singing workshops. She presented three sessions on Yoga and Singing at the NATS Winter Workshop in Los Angeles (2008) and will teach Yoga for Singers classes at the NATS National Conference in Nashville (2008). Dr. Carman is certified at the 500 hour level (RYT500) by the American Viniyoga Institute and is registered with Yoga Alliance.

Canadian

Coulthard, Jean (1908-2000). Song Album for High Voice. Alberta Keys Music Publishing co. ltd., 2003.

Jean Coulthard studied piano with her mother, who was an influential figure in the musical life of Vancouver, B.C. in the early twentieth century, and began composing songs at an early age. At age twenty she studied at the Royal College of Music in Lon don for two years with Kathleen Long, R. O. Morris, and Ralph Vaughan Williams. Upon her return to Vancouver she taught at two different colleges and had the opportunity to study composition with Arthur Benjamin and Bernard Wagenaar. In 1947 she was lecturer in composition at the University of British Columbia and in 1957 became a senior instructor at the university.

Coulthard's early works were for voice and piano, but under Arthur Benjamin's guidance she began to explore larger compositions and wrote many works for instrumental forces in her eighty-year compositional career. As a composer, she paved the way for Canadian women as well as nourished the careers of her many students. As a musician, she was a leading light in the spread of the musical works of Canadian composers.

The songs of Jean Coulthard reveal graceful and flowing vocal lines, excellent word setting, and piano parts that reflect the essence of their texts and generally lie well under the hand. The musical style combines a core of romanticism with her personal twentieth-century voice. These songs, solid in musical ideas and substance, are accessible for both performers and audiences and frequently should be included in recital programs.

1. "Dream Love" (Christina Rossetti). Tonal; [D.sub.4]-[G#.sub.5]; Tess: M; 4/4, 6/4, 5/4, Freely--Poco Scherzando [crotchet] = 56-58; V/mD, P/mD; 8 pages. A lyric descriptive spring song from the five-song cycle Christina Songs, this text is set in a playful manner. Both vocal line and piano part make use of motivic repetition in their response to the text, the vocal line soaring lyrically, and the piano's constant motion containing evocations of birds, flowers, and grazing lambs.

2. "J'ai ferme mon coeur" (Madeleine Guimont). Tonal; [D#.sub.4]-[A.sub.5]; Tess: CR; 6/8, 9/8, Triste et Lentement; V/M, P/M; 4 pages. From one of the composer's most frequently performed song cycles, Les Chanson du Coeur, this song is a sad, slow plaint for the death of love. The vocal line traces the descent into the closed heart with falling phrases, except for the central climax at "mais ton coeur etait d'amour et de vie" (but your heart was love and life). The opening notes of the piano, setting up the emphasis on the weak part of the beat, also descend, foreshadowing the vocal melody in the bass melodic line. There are interesting moments of interplay between voice and piano, especially the use of a repeated small motive that begins as a third and closes to a minor second. The final phrase is an echo of the initial phrase.

3. "Lullaby" (from the Zulu, trans. by Natalie Curtis). A minor; [E.sub.4]-[A.sub.5] ; Tess: CR; 4/4, 2/4, Lento semplice; V/mD, P/M; 4 1/2 pages. One of Two Songs from the Zulu, this haunting lullaby sings comfort to the child whose mother is absent. After an extended piano introduction, the vocal line enters with short phrases at first, followed by soaring phrases that tell where the mother is. At the end of each stanza is an elaborate cadenza on the word "Iwa"--apparently a lament. The song ends with a piano postlude that reflects the loneliness of absence with a chromatic figure in the left hand under a long trill in the right.

4. "Rider on the Sands" (Douglas Le Pan). Bitonal; [E.sub.4]-[G.sub.5]; Tess: M-mH; 4/4, 3/4, 5/4, Allegro giocoso; V/D, P/D; 12 pages. This extended song appears to be about either a statue or a painting of a horse and rider, "wanderer from an antique shore." Al though the subject matter is not the same, the musical treatment is reminiscent of Samuel Barber's "I hear an army" with its turbulent piano part and soaring vocal lines. Both singer and pianist will need accomplished technique for this song.

5. "What rapture could I take" (C. P. Cavafy). Tonal; [D.sub.4]-[G.sub.5]; Tess: M; 4/4, Affettuoso Poco Lento; V/M, P/M; 3 pages. From the cycle Three Ancient Memories of Greece, this text is actually by Sappho in translation by the Egyptian poet Cavafy. The question of whether song's or love's gift is best to waken the sleeping beloved is posed. The syncopated opening of the piano sets up the feeling of indecisiveness that continues throughout the song. The vocal line questions what to do right to the very last phrase.

Judith E. Carman holds the BM and MM degrees in vocal performance with minors in piano and languages from George Peabody College (Nashville, TN), the DMA degree in vocal performance and pedagogy from the University of Iowa, and has done postdoctoral studies in advanced musical analysis and conducting at the University of Houston. Her dissertation in American art song, "Twentieth-Century American Song Cycles: A Study in Circle Imagery," led to the editorship of the first and third editions of Art Song in the United States, 1759-1999: An Annotated Bibliography (3rd ed., Scarecrow Press, 2001).

Dr. Carman has taught studio and class voice and related subjects at Shenandoah Conservatory of Music, The University of Iowa, Central Michigan University, Lansing (MI) Community College, Houston Baptist University, and Texas Southern University, as well as maintained a private voice studio in Houston, 1979-2007. She has made numerous presentations on American art song, including three NATS Summer Intern sessions and a NATS Winter Workshop (Miami).

Dr. Carman has taught yoga with a special emphasis on yoga for singers since 1999 and has conducted numerous Yoga and Singing workshops. She presented three sessions on Yoga and Singing at the NATS Winter Workshop in Los Angeles (2008) and will teach Yoga for Singers classes at the NATS National Conference in Nashville (2008). Dr. Carman is certified at the 500 hour level (RYT500) by the American Viniyoga Institute and is registered with Yoga Alliance.

--. SONG ALBUM for Medium Voice. Alberta Keys Music Publishing co. ltd., 2003.

1. "Cradle Song" (Padraic Colum). Tonal; [C#.sub.4]-[D.sub.5]; Tess: M; 6/8, Lento tranquillo [crotchet]. = circa 50; V/M, P/mE; 2 1/2 pages. One of the Six Irish Songs composed for Maureen Forrester, this lovely cradle song is beautifully simple. The rocking motion of the piano sets the mood, and the top voice often duets with the vocal line.

2. "When They Come Back" (Emily Dickinson). Tonal; [C.sub.4]-[F#.sub.5]; Tess: M; 4/8, 6/8, 3/4, Poco Scherzando [quaven] = 96; V/M, P/mD; 6 1/2 pages. In an unusual setting of a Dickinson text for the male voice (from Five Love Songs for Baritone and Piano), this song has a fluttering triplet patterned piano part, punctuated by staccato bass notes, that hovers above the baritone vocal line. As in many of her songs, the composer develops the vocal line from a figure that reflects either the word stress or the movement of the poetic imagery, embellishing as the text and music demand.

3. "Lean out of the window, Golden Hair" (James Joyce). [B.sup.[flat]] centered; [B[flat].sub.3]]-[E[flat].sub.5]]; Tess: M; 6/8, 9/8, 2/4, Allegretto [quaven]. = 60; V/M, P/mD; 5 1/2 pages. From Two James Joyce Songs, this enigmatic text is beautifully set against the backdrop of delicately falling and rising arpeggiated figures in the right hand of the piano that create the musical equivalent of a visual image of leaning out the window and perhaps letting golden hair stream down.

4. "Violon de Villanelle" (Emile Nelligan). Tonal; [B.sub.5]-[E.sub.5]([A.sub.5]); Tess: mL-M; 6/8, 2/4, 4/8, 3/4, Giocoso, ma non troppo Allegro; V/mD, P/mD; 7 pages. This text, describing a group of revelers on the night of St. Jean dancing the villanelle to the sound of the violin, is set to joyful music that includes both the sound of tuning the violin and its dance melody. Above (or below, if the singer is a baritone) the very active piano part the vocal line carries the text describing the dark haired young men and the blond young women dancing, and the old men watching the dance. The melodic rhythms are dance-like but fit the agogic stress of the French language.

5. "Noise of Waters" (James Joyce). Tonal; [D.sub.4] - [A.sub.5]; Tess: CR; 4/4, 6/4, [crochet] = ca. 88-92; V/mD, P/mD; 5+ pages. From Three Songs for Medium Voice and Piano on poems of James Joyce (the other two being "Rain has Fallen" and "Strings in the Earth and Air Make Music Sweet"), this song reflects the loneliness that accompanies the moaning noise of moving water. The piano part creates the soundscape with an almost constant sixteenth-note pattern that first is the water image and then becomes the image of the cold wind. The moaning sound is also in the piano in the form of a repeated short motive in the right hand. The vocal line sings the text in unusual ten-beat phrases that arch like waves.

Judith E. Carman holds the BM and MM degrees in vocal performance with minors in piano and languages from George Peabody College (Nashville, TN), the DMA degree in vocal performance and pedagogy from the University of Iowa, and has done postdoctoral studies in advanced musical analysis and conducting at the University of Houston. Her dissertation in American art song, "Twentieth-Century American Song Cycles: A Study in Circle Imagery," led to the editorship of the first and third editions of Art Song in the United States, 1759-1999: An Annotated Bibliography (3rd ed., Scarecrow Press, 2001).

Dr. Carman has taught studio and class voice and related subjects at Shenandoah Conservatory of Music, The University of Iowa, Central Michigan University, Lansing (MI) Community College, Houston Baptist University, and Texas Southern University, as well as maintained a private voice studio in Houston, 1979-2007. She has made numerous presentations on American art song, including three NATS Summer Intern sessions and a NATS Winter Workshop (Miami).

Dr. Carman has taught yoga with a special emphasis on yoga for singers since 1999 and has conducted numerous Yoga and Singing workshops. She presented three sessions on Yoga and Singing at the NATS Winter Workshop in Los Angeles (2008) and will teach Yoga for Singers classes at the NATS National Conference in Nashville (2008). Dr. Carman is certified at the 500 hour level (RYT500) by the American Viniyoga Institute and is registered with Yoga Alliance.

--. SONG ALBUM for Low Voice. Alberta Keys Music Publishing co. ltd., 2004.

1. "The White Rose" (J. B. O'Reilly). Tonal; [B[flat].sub.3]-[F.sub.5]; Tess: CR; 3/4, 4/4, Poco Lento; V/M, P/M; 4 pages. Another of the Six Irish Songs composed for Maureen Forrester, "The White Rose" is a quiet song with only two points of heightened emotion. As seems to be characteristic of Coulthard, the piano sets the mood with a motive that will be heard again in different guises, and in some development, later in the song. The voice enters alone and sings the phrases of text as if in conversation with the piano. There is interesting tone painting in the comparison of the red rose to the falcon--rising phrases--and the comparison of the white rose to a dove--descending phrases. The song ends low in the voice, followed by rising phrases in the piano.

2. "The Cherry-Blossom Wand" (Anna Wickham). F minor; [A[flat].sub.3]-[G.sub.5]; Tess: CR; 3/4, 4/4, Allegro Giusto in the style of a folksong; V/M, P/mD; 7 pages. One of a cycle of five songs for baritone (Songs for Enchantment) dedicated to Donald Bell, this song is an interesting combination of folk-like elements and more subtle effects. The addition of a beat in the melisma in the middle of the first two vocal phrases of each stanza introduces the idea in the text that the speaker will bewitch the eyes of the object of his affections "with a beautiful thing that can never grow wise." The lightness of the petals, and also of the love offered, is reflected in the mixed meter piano figuration high on the keyboard.

3. "There is no darkness" (L. A. McKay). Tonal on B[flat]; [A[flat].sub.3]-[F.sub.5]; Tess: CR; 6/8, 9/8, Expressive and slow; V/M, P/M; 3 1/2 pages. One of a cycle of Three Love Songs, "There is no darkness" is a highly expressive song that uses to good effect the low range of the male voice. The entire vocal line creates a single arch from the low register to high and back to low within the texture of a slowly moving piano part. Again, there is effective tone painting in both voice and piano.

4. "Maid of Athens, Ere We Part" (George Gordon, Lord Byron). [B[flat] major; [B[flat].sub.3]-[E[flat].sub.5]; Tess: M; 3/4 and unmeasured, In the style of a Waltz; V/M, P/M; 8 pages. Finished in 1991, this was one of Coulthard's last vocal works. The waltzing piano part gives an air of exuberance to this romantic text, the traveler leaving his heart in Athens as he travels on to "Istambol." The vocal line has an interesting irregular phrase at the beginning of each stanza.

5. "So Went My Love" (Joseph Braddoch). Tonal on A; [B.sub.2]-[F#.sub.4]; Tess: mH-H; 3/4, Allegro ma non troppo (In the style of a Greek folk song); V/M, P/M; 6 pages. From the set Two Idylls From Greece, this is the only song in the three volumes in which the vocal line is written in bass clef. In folksong style, the piano part is less involved with the text than the composer's other songs, and the vocal line is quite straightforward. The description of the farm maid with goats to raise, cows to milk, and olives to pick during the day is rather rough hewn, but her freedom to love at night is expressed more lyrically.

Judith E. Carman holds the BM and MM degrees in vocal performance with minors in piano and languages from George Peabody College (Nashville, TN), the DMA degree in vocal performance and pedagogy from the University of Iowa, and has done postdoctoral studies in advanced musical analysis and conducting at the University of Houston. Her dissertation in American art song, "Twentieth-Century American Song Cycles: A Study in Circle Imagery," led to the editorship of the first and third editions of Art Song in the United States, 1759-1999: An Annotated Bibliography (3rd ed., Scarecrow Press, 2001).

Dr. Carman has taught studio and class voice and related subjects at Shenandoah Conservatory of Music, The University of Iowa, Central Michigan University, Lansing (MI) Community College, Houston Baptist University, and Texas Southern University, as well as maintained a private voice studio in Houston, 1979-2007. She has made numerous presentations on American art song, including three NATS Summer Intern sessions and a NATS Winter Workshop (Miami).

Dr. Carman has taught yoga with a special emphasis on yoga for singers since 1999 and has conducted numerous Yoga and Singing workshops. She presented three sessions on Yoga and Singing at the NATS Winter Workshop in Los Angeles (2008) and will teach Yoga for Singers classes at the NATS National Conference in Nashville (2008). Dr. Carman is certified at the 500 hour level (RYT500) by the American Viniyoga Institute and is registered with Yoga Alliance.

SONGS FOR HOBBLE-DE-HOYS & GIGGLE-DE-SHE'S. Edited by Roberta Stephen. Medium high volume. Alberta Keys Music Publishing Co. Ltd., 2nd ed., 2002.

Editor Roberta Stephen explains the unusual title as follows: "Hobble-de-hoy" is an old English word meaning an adolescent boy, all arms and legs and awkwardness. Giggle-de-she's is a made-up word but don't girls of the same age sound like that?" The fanciful title of this collection is a clever reference to the age range suitable for most of the songs--"junior high (approximately 12 to 15 years of age)." This collection is rather different from others of the same type currently available in that it includes some songs and composers unfamiliar to Americans, as well as some standard fare for young singers. Difficulty levels range from quite easy to challenging songs for talented young singers, and there are several songs with the limited ranges desirable for some adolescent voices. It is an interesting collection that affords a look at a few songs by Canadian composers that would be useful for young singers.

1. Arne, Michael (1740-1786). "Care Flies From the Lad that is Merry" (David Garrick). D major; [D.sub.4]-[G.sub.5]; Tess: CR; 4/4, Allegretto; V/M, P/M; 3 pages.

2. Lawes, William (1602-1645). "Gather Your Rosebuds Whilst You May" (Robert Herrick). F major; [F.sub.4]-[D.sub.5]; Tess: M; 3/4, Gaily; V/mE, P/E; 1 page.

3. Dowland, John (1563-1626). "The Lowest Trees Have Tops" (Attributed to Sir Edward Dyer). D minor; [D.sub.4]-[D.sub.5]; Tess: M; 2/2, Moderately fast; V/M, P/M; 2 pages.

4. Giles, Thomas. "Triumph Now with Joy and Mirth" (Thomas Campion). G major; [D.sub.4] - [D.sub.5]; Tess: CR; 4/4, Moderato; V/M, P/M; 1 page.

5. Haydn, Joseph. "Lob der Faulheit" (Gotthold Ephraim Lessing). A minor; [C.sub.4]-[F#.sub.5]; Tess: M; 4/4, Andante; V/M, P/mE; 3 pages.

6. Mozart, W. A. "Sehnsucht nach dem Fruhling" (Christian Adolf Overbech). E[flat] major; [E[flat].sub.4]-[E[flat].sub.5]; Tess: CR; 6/8, Frolich; V/M, P/M; 3 pages.

7. Beethoven, Ludwig van (1770-1827). "Mailied" (Goethe). E[flat] major; [E[flat].sub.4]-[E[flat].sub.5]; Tess: M; 2/4, Allegro; V/M, P/M; 6 pages.

8. Schubert, Franz. "Seligkeit" (Holty). D major; [D.sub.4]-[F#.sub.5]; Tess: CR; 3/8, V/M, P/mE; 3 pages.

9. Chopin, Frederic (1810-1849). "Spring Song" (Stefana Witwickeigo). F minor; [F.sub.4]-[E[flat].sub.5]([F.sub.5]); Tess: M; 6/8, Andantino [crochet] = 69; V/mD, P/M; 4 pages.

10. Chopin, Frederic. "Posel" (The Messenger) (Stefana Witwickeigo). F major; [E[flat].sub.4]-[F.sub.5]; Tess: M; 2/4, Andantino [crochet] = 100; V/M, P/mE; 3 pages.

11. Chopin, Frederic. "Lithuanian Song" (Ludwika Osiuskiego). F major; [D.sub.4]-[D.sub.5]; Tess: M; 4/4, Allegro moderato ([crochet] = 88); V/M, P/M; 4 pages.

12. Schumann, Robert (1810-1856). "Marienwurmchen" (Knaben Wunderhorn). [E.sup.[flat]] major; [E[flat].sub.4]-[E[flat].sub.5]; Tess: CR; 2/4, Nichtschnell; V/M, P/M; 3 pages.

13. Lavallee, Calixa (1842-1891). "L'Absence" (Remi Tremblay). D major; [D.sub.4]-[D.sub.5]; Tess: M; 4/4, Moderato con espressivo; V/M, P/M; 2 pages.

14. Couture, Guillaume (1851- 1915). "Le Souvenir" (Lionel Nast org). A minor; [D.sub.4]-[D.sub.5]; Tess: M; 2/4; V/M, P/M; 5 pages.

15. Gledhill, Edwin (1830-1919). "Oh! Nightingale." A[flat] major; [C.sub.4]-[F.sub.5] ([A[flat].sub.5]); Tess: CR; 4/4, Andante ma non troppo e con tristezza; V/mD, P/M; 4 pages.

16. Archer, Violet (1913-2000). "The Owl Queen" (Vachel Lindsay). F major; [C.sub.4]-[F.sub.5]; Tess: CR; 4/4, Briskly, with humor; V/M, P/mE; 4 pages.

17. Cardy, Patrick (b. 1953). "Lullaby." A minor; [A.sub.3]-[F.sub.5]; Tess: CR; 3/4, 4/4, A la berceuse ([crochet] = 69); V/mD, P/M; 5 pages.

18. Stephen, Roberta, arr. "Kimeio" (Maritimes folk song). C major; [G.sub.4]-[E.sub.5]; Tess: M; 2/4, Very fast; V/mE, P/E; 3 pages.

19. Blair, Dean. "Spring" (William Shakespeare). Modal; [E.sub.4]-[E.sub.5]; Tess: CR; 6/8, [crochet] = 72; V/M, P/M; 4 pages.

20. Stephen, Roberta, arr. "My Johnny was a Shoemaker" (Traditional air). B minor; [D.sub.4]-[D.sub.5]; Tess: M; 2/4, Slowly and sadly; V/mE, P/E; 2 pages.

21. Stephen, Roberta, arr. "La danse des Bois Brules" (Metis song). D major; [D.sub.4]-[F#.sub.5]; Tess: M; 4/4, Allegro; V/mE, P/E; 2 pages.

--. SONGS FOR HOBBLEDEHOYS & GIGGLE-DE-SHE'S. Book Two. Edited by Roberta Stephen. Medium high and medium low volumes. Alberta Keys Music Publishing Co. Ltd., 2007.

Book Two of this anthology contains thirteen more songs for young singers, including several very well known songs also found in many other collections. In general, the songs in this volume are somewhat more advanced than in the first volume. There is one anomaly that perhaps occurred only in the first few copies printed. Thomas Arne's "Blow, Blow, Thou Winter Wind" has a confusion of keys in both the medium high and medium low volumes. In the medium high volume, the first page is printed in E[flat] major, while the rest of the pages are printed in G major, the correct key. In the medium low volume, the entire song is printed in G major, where as it probably should be in E[flat]. In the annotations below, only the key is given for well known songs. The first key listed is medium high and the second medium low.

1. Anon. "My Little Pretty One." A major/G major; [E.sub.4]-[F#.sub.5]; Tess: CR; 3/4, Lightly; V/E, P/E; 1 page.

2. Arne, Thomas. "Blow, Blow, Thou Winter Wind" (William Shakespeare). Confused keys: should be G major/should be E[flat] major;

3. Arne, Thomas. "Under the Green wood Tree" (William Shakespeare). E[flat] major/C major.

4. Schubert, Franz. "An die Nachtigall." G major/E major.

5. Chopin, F. "Witchcraft" (Slwa Stefan Witwiechkiego). F minor/D minor; [E.sub.4]-[D[flat].sub.5]; Tess: M; 2/4; V/mE, P/mE; 1 page.

6. Hensel, Fanny Mendelssohn (1805-1847). "Sehnsucht" (Johann Gustav Droysen). E[flat] major/C major; [E[flat].sub.4]-[G.sub.5]; Tess: CR; 4/4, Andante; V/M, P/M; 2 pages.

7. Brahms, Johannes (1833-1897). "In stiller Nacht." G major/E major.

8. Schumann, Clara (1819-1896). "Das ist ein Tag, der klingen mag" (von Hermann Rollett). E major/C major; [F#.sub.4]-[B.sub.5]; Tess: H; 6/8, Lebhaft; V/mD, P/M; 3 pages.

9. Viardot, Pauline (1821-1910). "Les Filles de Cadix" (Alfred de Musset). F major/D major; [A.sub.4]-[G.sub.5]; Tess: CR; 3/8, Vivace; V/mD, P/M; 5 pages.

10. Stanford, C. V. (1852-1924). "The Merry Month of May" (T. Dekker). F major/D major; [D.sub.4]-[F.sub.5]; Tess: M; 2/4, Allegretto [crochet] = 92; V/M, P/M; 4 pages.

11. le Sieur, Leo (1897-1983). "Tango d'amour" (Henri Letondal). A minor/F minor; [G#.sub.4]-[A.sub.5]; Tess: M; 2/2, Moderato; V/M, P/M; 5 pages.

12. Stephen, Roberta (b. 1931). "Let Life Fall" (Margaret George-Hahle). Tonal; [E[flat].sub.4]-[F.sub.5]; 2/2, 3/4, 4/4, Leisurely [crochet] = 99; V/M, P/E; 2 pages.

13. Archer, Violet (1913-2000). "In Just Spring" (e. e. cummings). Tonal; [E[flat].sub.4]-[G.sub.5]; Tess: M; 6/8, 9/8, Allegretto giocoso; V/M, P/M; 4 pages.

Danish

Weyse, Christoph Ernst Friedrich (1774-1842). Sange Med Klaver. Copenhagen: Edition SAMFUNDET, 2007. Two volumes.

This critical scholarly edition of the vocal works of Danish composer C. E. F. Weyse is included here for the benefit of those who read and speak Danish and might have an interest in early nineteenth century Danish songs, theater pieces, and church cantatas. The two volumes contain ninety-two songs and almost fifty theater and church pieces. No English translations either of the lengthy front material or of the song texts are provided.

Looking at the songs on the page, one can see that they resemble the songs of the Second Berlin School (Reichardt) and the Viennese composers who slightly predated or were contemporaries of Schubert. They are not, however, of the caliber of Schubert songs.

In addition to Danish poets, numerous texts of well known German poets are also set. There are a number of settings of poems by Holty, including "Mailied," as well as poems by Schiller, Goethe ("Erlkonig" and "Haidenroslein"), and Claudius. These poems are set in German.

Although marginally useful to most American singers, these volumes are of interest to scholarly researchers.

German

HANDEL, GEORG FRIEDRICH (1685-1759). 9 DEUTSCHE ARIEN (HWV 202-210), Sopran, Violine (Flote, Oboe) und Basso continuo. Edited by Jurgen Blume. Edition Peters, 1994. Music Partner CD included.

This edition of Handel's Nine German Arias, contains a scholarly Preface, the aria scores with instrumental obbligato, vocal line, continuo part, and a piano realization, along with separate parts for obbligato instrument, voice, and basso continuo. The inclusion of the musicPartner play-along CD makes this a valuable tool for sopranos who wish to learn one or more of these arias.

CONTENTS: 1. "Kunft'ger Zeiten eitler Kummer"; 2. "Das zitternde Glanzen der spielenden Wellen"; 3. "Susser Blumen Ambraflocken"; 4. "Susse Stille, sanfte Quelle"; 5. "Singe, Seele, Gott zum Preise"; 6. "Meine Seele hort im Sehen"; 7. "Die ihr aus dunkeln Gruften"; 8. "In den angenehmen Buschen"; 9. "Flammende Rose, Zierde der Erden."

ULLMANN, VIKTOR (1898-1944). SAMTLICHE LIEDER fur Singstimme und Klavier. Edited by Axel Bauni and Christian Hoesch. Edition Schott, 2004.

Viktor Ullmann never found a commercial publisher for his compositions during his lifetime. Born near Prague, he died at Auschwitz in October 1944.

In September 1942 Ullmann and his family were arrested and taken to Theresienstadt where the composer spent two years of artistic creativity in the infamous Terezin ghetto, where he was the head of the "contemporary music studio." Many of his compositions are not dated, but in at least one instance, it appears that a song composed many years earlier was possibly rewritten from memory in Terezin. Ironically, almost all of his compositions of that period are preserved in their entirety, where as his previous works are largely lost because of the political climate of the time. Most of the extant works are for voice and piano, and the maturity of his compositional style can be seen in this collection, the first commercial publication of his works--fifty years after his death.

As a young composer, Ullmann was attracted to the late romanticism of Strauss and Mahler, but in 1919, while studying law in Vienna, he attended Arnold Schoenberg's composition classes. This experience changed his harmonic perspective, although in the end he did not follow Berg and the other Second Viennese School composers into atonality and serialism. Instead, he created his own harmonic language using tones eight through fourteen of the overtone series. Naturally, this approach produces a dissonant harmonic tapestry, but it is relieved periodically by the appearance of well placed major chords.

Ullmann took a brief detour from music by becoming deeply involved with anthroposophism and temporarily operated an anthroposophic bookstore in Stuttgart. The poetry of Albert Steffen, "Rudolf Steiner's successor as the head of the Anthropo sophic Society in Dornach" (Preface), brought him back to the musical path, where he stayed the rest of his life. The anthroposophic ideals also stayed with him and became a fundamental perspective of his creativity.

This volume contains an extensive scholarly Preface (in German with English translation), twelve pages of editorial notes (German only), an alphabetic listing of the songs by title, and sixty-one vocal works, mostly songs with piano accompaniment. The songs are printed in as near chronological order as the editor could ascertain, so that it is possible to see the entirety of Ullmann's compositional style.

Ullmann chose poetry from a variety of sources. German poets include Wedekind, Steffen, Huch, Morgenstern, Trakl, and Holderlin. The composer also set six sonnets of the French Renaissance poetess, Louize Labe, three sonnets from Elizabeth Barrett-Browning's Sonnets from the Portuguese in Rilke's German translation, two Chinese texts (also in German translation), and three Yiddish texts.

The use of a narrow harmonic language does not mean that the vocal lines contain only small intervals; to the contrary, there is frequent use of large intervals as well as conjunct lines that sometimes approach diatonicism. Moreover, the vocal lines often encompass wide ranges, both tonal and dynamic, and call for a substantial instrument. Smaller voices would probably not be comfortable with these songs.

The piano parts are often dense and chromatic, and many of them are quite difficult. There are, of course, no key signatures, so each page is full of accidentals. Only in some of the shorter songs and the Yiddish folk songs are the piano parts of medium difficulty. In general, these songs are appropriate for advanced performers who are interested in this musical style. In addition, researchers of music composed by those incarcerated in such ghettos as Terezin during the early 1940s will find this collection of value. The volume is physically well constructed, printed on excellent paper, and bound for ease of performance for the pianist.

CONTENTS: "Wendla im Garten" (Wedekind), soprano; "Schwer ist's, das Schone zu lassen" (Steffen), high voice; Sechs Lieder nach Gedichten von Albert Steffen, soprano; Funf Liebeslieder von Ricarda Huch, soprano; Geistliche Lieder, high voice; Drei Sonette aus dem Portugiesischen (E. B. Browning), soprano; Liederbuch des Hafis, bass; Six Sonnets de Louize Labe, soprano; Drei Lieder (Meyer), baritone; Der Mensch und sein Tag op. 47. 12 Bilder von Hans Gunther-Adler, baritone; "Little Cakewalk," high voice; <Zwei> Chine sische Lieder, [medium] voice; Immer inmitten (Adler) [solo cantata], mezzo soprano; Holderlin-Lieder [three], high voice. Appendix: Drei jiddische Lieder [medium] voice; "Herbst" (Trakl), low voice; Lieder der Trostung (Steffen), [medium] voice and string trio (in piano reduction).

Accompaniments & Broadway

The Hal Leonard Corporation has added to its volumes of song accompaniments on enhanced CDs capable of being used in computer format for variable tempo and key. Each title listed below contains two CDs of piano accompaniments recorded by pianist Laura Ward on a Yamaha concert grand piano.

Accompaniments For The French Song Anthology. High and low voice versions.

Accompaniments For The Lieder Anthology. High and low voice versions.

Accompaniments For Anthology Of Spanish Song. High and low voice versions.

Boytim, Joan Frey, compiler. The First Book Of Broadway Solos Part II. Four volumes: Soprano, Mezzo soprano, Tenor, Bass/Baritone. Hal Leonard Corporation, 2007

As with The First Book of Broadway Solos, the songs in these volumes were chosen with beginning voice students in mind, those whose teachers give them training in classical vocal technique applicable to Broadway songs. The difficulty levels are the same as in the first publications, the second adding additional material. Each volume contains an enhanced CD of the piano accompaniments played by Laura Ward. For the contents of these volumes, see www.halleonard.com. All are valuable additions to the catalog of publications of Broadway songs for beginning singers.

Lerch, Louise, Compiler. Boy's Songs From Musicals. Hal Leonard Corporation, n.d.

This new volume in the series of Broad way songs for young children contains ten songs and an enhanced CD of piano accompaniments and performances by child singers. CONTENTS: "Casey Junior," "Catch a Falling Star," "I Need to Know," "I'm Late," "Let's Go Fly a Kite," "Never Smile at a Crocodile," "Prince Ali," "The Unbirthday Song," "The Wells Fargo Wagon," and "The Wonderful Thing about Tiggers."

Judith E. Carman holds the BM and MM degrees in vocal performance with minors in piano and languages from George Peabody College (Nashville, TN), the DMA degree in vocal performance and pedagogy from the University of Iowa, and has done postdoctoral studies in advanced musical analysis and conducting at the University of Houston. Her dissertation in American art song, "Twentieth-Century American Song Cycles: A Study in Circle Imagery," led to the editorship of the first and third editions of Art Song in the United States, 1759-1999: An Annotated Bibliography (3rd ed., Scarecrow Press, 2001).

Dr. Carman has taught studio and class voice and related subjects at Shenandoah Conservatory of Music, The University of Iowa, Central Michigan University, Lansing (MI) Community College, Houston Baptist University, and Texas Southern University, as well as maintained a private voice studio in Houston, 1979-2007. She has made numerous presentations on American art song, including three NATS Summer Intern sessions and a NATS Winter Workshop (Miami).

Dr. Carman has taught yoga with a special emphasis on yoga for singers since 1999 and has conducted numerous Yoga and Singing workshops. She presented three sessions on Yoga and Singing at the NATS Winter Workshop in Los Angeles (2008) and will teach Yoga for Singers classes at the NATS National Conference in Nashville (2008). Dr. Carman is certified at the 500 hour level (RYT500) by the American Viniyoga Institute and is registered with Yoga Alliance.

--. Girl's Songs From Musicals. Hal Leonard Corporation, n.d. The companion to Boy's Songs from Musicals, this volume contains ten songs and an enhanced CD of piano accompaniments and performances by child singers. CONTENTS: "Baby Mine," "Cruella de Vil," "Edelweiss," "Getting to Know You," "I Got the Sun in the Morning," "My Favorite Things," "Some Day My Prince Will Come," "Someone's Waiting for You," "We're All in This Together," and "Wouldn't It Be Loverly."

ABBREVIATION KEY: Diff = difficulty level; V = voice; P = piano; E = easy; mE = moderately easy; M = medium; mD = moderately difficult; D = difficult; DD = very difficult; Tess = tessitura; LL = very low; L = low; mL = moderately low; M = medium; mH = moderately high; H = high; HH = very high; CR = covers range; CS = covers staff; X = no clear key center.

Acknowledgements

Alberta Keys Music Publishing Co. Ltd. 37 Hollyburn Road S. W., Calgary, AB T2v 3H2 Canada. phone/fax: 403-255-6029.

Boosey & Hawkes. www.boosey.com (Hal Leonard).

Edition Peters (C.F. Peters Corporation). 373 Park Avenue South, New York, NY 10016.

Edition SAMFUNDET. Copenhagen. www. samfundet.dk (Edition Peters).

Edition Schott. Schott Musik International. www.schott-music.com (Hal Leonard).

Hal Leonard Corporation. www.halleonard. com.

Judith E. Carman holds the BM and MM degrees in vocal performance with minors in piano and languages from George Peabody College (Nashville, TN), the DMA degree in vocal performance and pedagogy from the University of Iowa, and has done postdoctoral studies in advanced musical analysis and conducting at the University of Houston. Her dissertation in American art song, "Twentieth-Century American Song Cycles: A Study in Circle Imagery," led to the editorship of the first and third editions of Art Song in the United States, 1759-1999: An Annotated Bibliography (3rd ed., Scarecrow Press, 2001).

Dr. Carman has taught studio and class voice and related subjects at Shenandoah Conservatory of Music, The University of Iowa, Central Michigan University, Lansing (MI) Community College, Houston Baptist University, and Texas Southern University, as well as maintained a private voice studio in Houston, 1979-2007. She has made numerous presentations on American art song, including three NATS Summer Intern sessions and a NATS Winter Workshop (Miami).

Dr. Carman has taught yoga with a special emphasis on yoga for singers since 1999 and has conducted numerous Yoga and Singing workshops. She presented three sessions on Yoga and Singing at the NATS Winter Workshop in Los Angeles (2008) and will teach Yoga for Singers classes at the NATS National Conference in Nashville (2008). Dr. Carman is certified at the 500 hour level (RYT500) by the American Viniyoga Institute and is registered with Yoga Alliance.
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Author:Carman, Judith
Publication:Journal of Singing
Article Type:List
Geographic Code:1USA
Date:Jan 1, 2009
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