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A HISTORY OF SONG

[Reviewed by J.A.R.I A History of Sone. Edited by Denis Stevens. Hntchinson. 491 pp.

Did you know anything of the songs of Alberto Williams, Luis Gianneo. Carlos Guastav.no? They are three of a great number of Argentinian song composers. Or that just over the Pacific Oeean in

Peru. Andre Sas. Carlos Sauchey Malaga and Rodolfo Holyrrtann have set up a flourishing school of song composition? Such is the scope of this volume that it is able to incorporate not only facts such as these but also some detailed discussion of a few songs by these men. Books on the solo song are not numerous. The few that spring to mind are either confined to particular periods or to specialist activities such as accompanying, interpretation or vocal resource. Here is a volume that, above all else, is comprehensive. Its pirn is simple and effective. Two large chapters are devoted to song in the Middle Ages and the Renaissance. followed by 15 shorter articles dealing with "the modern period" (that is from the seventeenth century onwards) on a nationalist basis, including the British Isles. Germany. France, and Russia but also going as far afield as the United States and Latin America. Contributors to this symposium, apart from the editor whose survey of Renaissance song is masterly, and Michael Tippett, who very briefly makes a concluding generalisation or two, are Gilbert Reaney, David Cox. Arthur Jacobs, Gerald Abraham. Philip Radcliffe. Hans Nathan. Anthony Milner, and Gilbert Chase. A twenty-four page index which includes the titles of some 2200 songs will prove of inestimable value to the singer who cannot think of what to turn to next. Solo singers of every description will be at home with this material. They will learn how little reason there can be for regularly following well-worn paths. While most interest may be shown in the last two centuries, even a casual glance over Gilbert Reaney's thorough survey of mediaeval song may be relied upon to produce some unexpected stimulus. Fortunately, throughout the book, musical illustrations are in good supply, so that the reader is able to judge for himself on occasions. For practical as well as cultural reasons most singers will be grateful for the generous allotment of space to Arthur Jacobs's article on “The British Isles.’’ After lightly examining the fore:gn hegemony which has stultified indigenous growth from time to time, Mr Jacobs reminds us of the surprising residue we inherit from such unlikely eras as the Restoration, the post-Handelian monopoly and early Victorian times. From Parry and Stanford onwards a great deal of material is covered. It is good to observe Mr Jacobs, who has always rather prided himself on his avant-garde sympathies, producing such a strong supporting case for the songs of Somervell. Between these men and our present contemporaries there is some keen probing into new’ techniques as they occur. Cyril Scott and Holst in particular were innovators. Of Hoist's “Four Songs for Voice and Violin” *1920) we read that “the violin supplies interjections” and that, elsewhere, it "accompanies in almost parallel fashion,” Surely it is obvious why. These songs mark a return to the troubadour technique of viol and voice belonging to the same person. In fact there is a good story still told of Hoist’s embarrassment at being confronted by a Singer AND a violinist for the performance of this cycle. Mixed up with bis examination of twentieth century song composers, Mr Jacobs has been able to hint at the effects on their work of the gramophone, the radio, the increased following of symphonic music, the film score and American jazz. Such considerations give this section a commendable sense of occupational realism. Because of the scope of the subject such discussion must necessanly be brief, but brevity suits Mr Jacobs down-to-earth and chatty style admirably. He can move from Benjamin Britten to Donald Swann without incnngniify, ■Hrat there is no mention of New Zealanders is posrtbly a matter for our Tourist department A few Australians. including Peter Daware squeezed into the te.rt under the heading British Isles.” surely an unusual extension of geographers’ licence. While it is impossible sdeouately to review so much mention must be made of Professor Abraham's mature and confident writing on song in Russia. He is able so well to convey much information in uncrowded sentences. The few pages in which he deals with Balakirev. Rimsky-Kor-sakov. Borodin and Moussorgsky illustrate this. The professor is able to marshal texts, accompaniment melodies. harmonic structures and rhythm in a fluent inevitable and interesting manner. The same kind of intimate perception marks David Cox’s attractive contributions on France, Holland and Switzerland. A generally unrecognised feature is the clear line of development from Berlioz, Gounod and Offenbach to the more perceptibly Gallic inflexions of twentieth century French song. Mr Cox establishes this helpfully and. in so doing, is able to deal briefly with the question of tonic

accent, on which composers especially seldom show sure

With Dutch and Swiss song, Mr Cox covers material generally unknown to the world at large. To the work Pijper and Frank Martin we must add many more names, and, most sensibly, their publishers. In conclusion, for those who prefer to give or receive their songs in the English language. Hans Nathan’s discussion of the United States of America could well become the most informative chapter in the whole volume. Charming examples are given of the “folky” New England period and MacDowell’s later romantic offerings. Even more valuable is the account of the work of Charles Ives. This appropriate expansion of one of America's enigmatic but early modernists prevents the article from becoming a list and nothing more. Personally one feels that Samuel Barber justifies more space, if only for his early songs. But one can understand that classics such as the Hermit Songs, like Finzi's "Dies Natalis,” are perhaps best glossed over rather than be subjected to a mere cursory glance in detail.

This, then, represents the calibre of this fine book. Denis Stevens is to be congratulated on conceiving its form and coverage. As well, he has added a sure ability to select a panel of contributors. Individually and collectively -they have integrated their attitudes, their subject-matters and their plans of attack.

Permanent link to this item
Hononga pūmau ki tēnei tūemi

https://paperspast.natlib.govt.nz/newspapers/CHP19610429.2.11.1

Bibliographic details
Ngā taipitopito pukapuka

Press, Volume C, Issue 29500, 29 April 1961, Page 3

Word count
Tapeke kupu
1,040

A HISTORY OF SONG Press, Volume C, Issue 29500, 29 April 1961, Page 3

A HISTORY OF SONG Press, Volume C, Issue 29500, 29 April 1961, Page 3

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