Folk Songs of France. 25 Traditional French Songs with Guitar Chords by Barbara ScottReview by: Dena J. EpsteinNotes, Second Series, Vol. 24, No. 1 (Sep., 1967), pp. 144-145Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/894813 .

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the aboriginal peoples of the Latin-Ameri- can hinterland, limiting the selection to "songs made on European pattern, or to Negro-European or Indian-European hy- brids of reasonably manageable character" (p. v). Moreover, since Latin-American dance songs include accompaniment as an essential traditional feature, it was de- cided to indicate how the songs are ac- companied by traditional performers. This has not been attempted with examples from North America where no such well- established tradition exists. For all songs not originally in English, singable English translations have been provided together with the original text.

The geographic distribution of the songs is: United States -39; Canada -24; Vene- zuela -10; Argentina -8; Mexico, Brazil -7 each; Cuba, Trinidad-Tobago -6 each; Colombia, Peru, Chile -5; Jamaica, Ecuador, Bolivia -4; Honduras -3; Guatamala, Costa Rica, Panama, Haiti, Paraguay -2; and Uruguay -1. Guitar chord symbols are provided for only some Latin-American songs. Warmly recom- mended for all types of libraries.

Ewan MacColl, editor & compiler: Folk Songs and Ballads of Scotland.

[Music edited by Peggy Seeger.] New York: Oak Publications [1965]. [96 p., illus., $2.95]

Although an occasional Scottish song appears in general collections, this seems to be the only volume devoted exclusively to Scottish songs and ballads in the current list of Oak Publications. And, despite the long continued popularity of this body of folk music, there haven't been many col- lections published in the past few decades. Librarians and folk singers should give it a warm welcome.

Avoiding "texts that have passed through the hands of 19th-century literary surgeons" (p. 5), Mr. MacColl has tried to approach the traditional models as closely as possible. Except for "The Blan- tyre Explosion," a song describing a mine disaster of 1877, most of the songs are traditional, including some Child ballads and a goodly number of Jacobite relics. The sentimental airs that passed for Scot- tish during the nineteenth century have not been reprinted here.

the aboriginal peoples of the Latin-Ameri- can hinterland, limiting the selection to "songs made on European pattern, or to Negro-European or Indian-European hy- brids of reasonably manageable character" (p. v). Moreover, since Latin-American dance songs include accompaniment as an essential traditional feature, it was de- cided to indicate how the songs are ac- companied by traditional performers. This has not been attempted with examples from North America where no such well- established tradition exists. For all songs not originally in English, singable English translations have been provided together with the original text.

The geographic distribution of the songs is: United States -39; Canada -24; Vene- zuela -10; Argentina -8; Mexico, Brazil -7 each; Cuba, Trinidad-Tobago -6 each; Colombia, Peru, Chile -5; Jamaica, Ecuador, Bolivia -4; Honduras -3; Guatamala, Costa Rica, Panama, Haiti, Paraguay -2; and Uruguay -1. Guitar chord symbols are provided for only some Latin-American songs. Warmly recom- mended for all types of libraries.

Ewan MacColl, editor & compiler: Folk Songs and Ballads of Scotland.

[Music edited by Peggy Seeger.] New York: Oak Publications [1965]. [96 p., illus., $2.95]

Although an occasional Scottish song appears in general collections, this seems to be the only volume devoted exclusively to Scottish songs and ballads in the current list of Oak Publications. And, despite the long continued popularity of this body of folk music, there haven't been many col- lections published in the past few decades. Librarians and folk singers should give it a warm welcome.

Avoiding "texts that have passed through the hands of 19th-century literary surgeons" (p. 5), Mr. MacColl has tried to approach the traditional models as closely as possible. Except for "The Blan- tyre Explosion," a song describing a mine disaster of 1877, most of the songs are traditional, including some Child ballads and a goodly number of Jacobite relics. The sentimental airs that passed for Scot- tish during the nineteenth century have not been reprinted here.

the aboriginal peoples of the Latin-Ameri- can hinterland, limiting the selection to "songs made on European pattern, or to Negro-European or Indian-European hy- brids of reasonably manageable character" (p. v). Moreover, since Latin-American dance songs include accompaniment as an essential traditional feature, it was de- cided to indicate how the songs are ac- companied by traditional performers. This has not been attempted with examples from North America where no such well- established tradition exists. For all songs not originally in English, singable English translations have been provided together with the original text.

The geographic distribution of the songs is: United States -39; Canada -24; Vene- zuela -10; Argentina -8; Mexico, Brazil -7 each; Cuba, Trinidad-Tobago -6 each; Colombia, Peru, Chile -5; Jamaica, Ecuador, Bolivia -4; Honduras -3; Guatamala, Costa Rica, Panama, Haiti, Paraguay -2; and Uruguay -1. Guitar chord symbols are provided for only some Latin-American songs. Warmly recom- mended for all types of libraries.

Ewan MacColl, editor & compiler: Folk Songs and Ballads of Scotland.

[Music edited by Peggy Seeger.] New York: Oak Publications [1965]. [96 p., illus., $2.95]

Although an occasional Scottish song appears in general collections, this seems to be the only volume devoted exclusively to Scottish songs and ballads in the current list of Oak Publications. And, despite the long continued popularity of this body of folk music, there haven't been many col- lections published in the past few decades. Librarians and folk singers should give it a warm welcome.

Avoiding "texts that have passed through the hands of 19th-century literary surgeons" (p. 5), Mr. MacColl has tried to approach the traditional models as closely as possible. Except for "The Blan- tyre Explosion," a song describing a mine disaster of 1877, most of the songs are traditional, including some Child ballads and a goodly number of Jacobite relics. The sentimental airs that passed for Scot- tish during the nineteenth century have not been reprinted here.

the aboriginal peoples of the Latin-Ameri- can hinterland, limiting the selection to "songs made on European pattern, or to Negro-European or Indian-European hy- brids of reasonably manageable character" (p. v). Moreover, since Latin-American dance songs include accompaniment as an essential traditional feature, it was de- cided to indicate how the songs are ac- companied by traditional performers. This has not been attempted with examples from North America where no such well- established tradition exists. For all songs not originally in English, singable English translations have been provided together with the original text.

The geographic distribution of the songs is: United States -39; Canada -24; Vene- zuela -10; Argentina -8; Mexico, Brazil -7 each; Cuba, Trinidad-Tobago -6 each; Colombia, Peru, Chile -5; Jamaica, Ecuador, Bolivia -4; Honduras -3; Guatamala, Costa Rica, Panama, Haiti, Paraguay -2; and Uruguay -1. Guitar chord symbols are provided for only some Latin-American songs. Warmly recom- mended for all types of libraries.

Ewan MacColl, editor & compiler: Folk Songs and Ballads of Scotland.

[Music edited by Peggy Seeger.] New York: Oak Publications [1965]. [96 p., illus., $2.95]

Although an occasional Scottish song appears in general collections, this seems to be the only volume devoted exclusively to Scottish songs and ballads in the current list of Oak Publications. And, despite the long continued popularity of this body of folk music, there haven't been many col- lections published in the past few decades. Librarians and folk singers should give it a warm welcome.

Avoiding "texts that have passed through the hands of 19th-century literary surgeons" (p. 5), Mr. MacColl has tried to approach the traditional models as closely as possible. Except for "The Blan- tyre Explosion," a song describing a mine disaster of 1877, most of the songs are traditional, including some Child ballads and a goodly number of Jacobite relics. The sentimental airs that passed for Scot- tish during the nineteenth century have not been reprinted here.

Besides sixty-nine well-printed melodies with guitar chords, charmingly illustrated, the book contains a Glossary, Sources and recordings of the songs, Bibliography, Dis- cography, and Index of first lines.

Ruth Rubin, editor &' compiler: Jew- ish Folk Songs in Yiddish and English. English adaptations by Ruth Rubin, guitar accompaniments by Ethel Raim.

[New York] Oak Publications [1965]. [96 p., illus., $2.45]

In contrast with many other collections of Jewish folk songs, this book contains no religious songs. Altogether secular in char- acter, its songs are drawn largely from Eastern Europe, most of them traditional, a few from World War II. None appear to be from Israel.

The categories of songs represented are impressively varied-lullabies, children's songs, riddle and nonsense songs, ballads, laments, songs of poverty and work, danc- ing and drinking, courtship and weddings, struggles and soldiers, plus ten songs of literary origin by known authors. Each song is provided with a singable English translation on which Miss Rubin expend- ed much care. The Yiddish words are transliterated into Latin characters, for which a pronunciation guide is given at the end of the volume, together with the untransliterated Yiddish texts.

As in most Oak publications, the mel- odies are printed clearly, accompanied by guitar chords, historical notes, and ap- propriate illustrations. Unlike many col- lections, there is little information given about the sources of the songs and no bibliography. This lack is unfortunate, for Miss Rubin's enthusiasm is contagious and her knowledge undeniable.

Barbara Scott, editor & compiler: Folk Songs of France. 25 traditional French

songs with guitar chords. In both French and English, with bilingual documentary notes and foreword. New York: Oak Publications [1966]. [72 p., illus., $2.45]

Barbara Scott, of Irish origin but long resident in France, has selected twenty- five French songs of various types and geo-

Besides sixty-nine well-printed melodies with guitar chords, charmingly illustrated, the book contains a Glossary, Sources and recordings of the songs, Bibliography, Dis- cography, and Index of first lines.

Ruth Rubin, editor &' compiler: Jew- ish Folk Songs in Yiddish and English. English adaptations by Ruth Rubin, guitar accompaniments by Ethel Raim.

[New York] Oak Publications [1965]. [96 p., illus., $2.45]

In contrast with many other collections of Jewish folk songs, this book contains no religious songs. Altogether secular in char- acter, its songs are drawn largely from Eastern Europe, most of them traditional, a few from World War II. None appear to be from Israel.

The categories of songs represented are impressively varied-lullabies, children's songs, riddle and nonsense songs, ballads, laments, songs of poverty and work, danc- ing and drinking, courtship and weddings, struggles and soldiers, plus ten songs of literary origin by known authors. Each song is provided with a singable English translation on which Miss Rubin expend- ed much care. The Yiddish words are transliterated into Latin characters, for which a pronunciation guide is given at the end of the volume, together with the untransliterated Yiddish texts.

As in most Oak publications, the mel- odies are printed clearly, accompanied by guitar chords, historical notes, and ap- propriate illustrations. Unlike many col- lections, there is little information given about the sources of the songs and no bibliography. This lack is unfortunate, for Miss Rubin's enthusiasm is contagious and her knowledge undeniable.

Barbara Scott, editor & compiler: Folk Songs of France. 25 traditional French

songs with guitar chords. In both French and English, with bilingual documentary notes and foreword. New York: Oak Publications [1966]. [72 p., illus., $2.45]

Barbara Scott, of Irish origin but long resident in France, has selected twenty- five French songs of various types and geo-

Besides sixty-nine well-printed melodies with guitar chords, charmingly illustrated, the book contains a Glossary, Sources and recordings of the songs, Bibliography, Dis- cography, and Index of first lines.

Ruth Rubin, editor &' compiler: Jew- ish Folk Songs in Yiddish and English. English adaptations by Ruth Rubin, guitar accompaniments by Ethel Raim.

[New York] Oak Publications [1965]. [96 p., illus., $2.45]

In contrast with many other collections of Jewish folk songs, this book contains no religious songs. Altogether secular in char- acter, its songs are drawn largely from Eastern Europe, most of them traditional, a few from World War II. None appear to be from Israel.

The categories of songs represented are impressively varied-lullabies, children's songs, riddle and nonsense songs, ballads, laments, songs of poverty and work, danc- ing and drinking, courtship and weddings, struggles and soldiers, plus ten songs of literary origin by known authors. Each song is provided with a singable English translation on which Miss Rubin expend- ed much care. The Yiddish words are transliterated into Latin characters, for which a pronunciation guide is given at the end of the volume, together with the untransliterated Yiddish texts.

As in most Oak publications, the mel- odies are printed clearly, accompanied by guitar chords, historical notes, and ap- propriate illustrations. Unlike many col- lections, there is little information given about the sources of the songs and no bibliography. This lack is unfortunate, for Miss Rubin's enthusiasm is contagious and her knowledge undeniable.

Barbara Scott, editor & compiler: Folk Songs of France. 25 traditional French

songs with guitar chords. In both French and English, with bilingual documentary notes and foreword. New York: Oak Publications [1966]. [72 p., illus., $2.45]

Barbara Scott, of Irish origin but long resident in France, has selected twenty- five French songs of various types and geo-

Besides sixty-nine well-printed melodies with guitar chords, charmingly illustrated, the book contains a Glossary, Sources and recordings of the songs, Bibliography, Dis- cography, and Index of first lines.

Ruth Rubin, editor &' compiler: Jew- ish Folk Songs in Yiddish and English. English adaptations by Ruth Rubin, guitar accompaniments by Ethel Raim.

[New York] Oak Publications [1965]. [96 p., illus., $2.45]

In contrast with many other collections of Jewish folk songs, this book contains no religious songs. Altogether secular in char- acter, its songs are drawn largely from Eastern Europe, most of them traditional, a few from World War II. None appear to be from Israel.

The categories of songs represented are impressively varied-lullabies, children's songs, riddle and nonsense songs, ballads, laments, songs of poverty and work, danc- ing and drinking, courtship and weddings, struggles and soldiers, plus ten songs of literary origin by known authors. Each song is provided with a singable English translation on which Miss Rubin expend- ed much care. The Yiddish words are transliterated into Latin characters, for which a pronunciation guide is given at the end of the volume, together with the untransliterated Yiddish texts.

As in most Oak publications, the mel- odies are printed clearly, accompanied by guitar chords, historical notes, and ap- propriate illustrations. Unlike many col- lections, there is little information given about the sources of the songs and no bibliography. This lack is unfortunate, for Miss Rubin's enthusiasm is contagious and her knowledge undeniable.

Barbara Scott, editor & compiler: Folk Songs of France. 25 traditional French

songs with guitar chords. In both French and English, with bilingual documentary notes and foreword. New York: Oak Publications [1966]. [72 p., illus., $2.45]

Barbara Scott, of Irish origin but long resident in France, has selected twenty- five French songs of various types and geo-

144 144 144 144

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graphical regions as a sort of introduction to French folk song. Songs of love, drink- ing, work, dancing, shanties, marches, ballads, and lullabies-some in provincial dialect-demonstrate the variety and flavor of French song drawn from such widely disparate regions as Angomois, Savoy, Brit- tany, Saintonge, Languedoc, Champagne, and Auvergne. Six of the twenty-five come from Joseph Canteloube's Anthologie des Chants Populaires Frangais; the sources of most of the other nineteen are not identi- fied, though historical notes are given for each song, sometimes more inspirational than informative. While the volume is too slight to interest the serious student, the selections appear to be representative and well chosen, and the illustrations attractive. Bilingual text for preface and notes as well as song texts and a map of the provinces of France should make the book inviting and useful to French teach- ers and students. Still, $2.45 seems a steep price for twenty-five songs.

Haig & Regina Shekerjian, compilers: A Book of Ballads, Songs and Snatches.

Arranged for piano, with guitar chords, by Robert de Cormier. New York:

Harper & Row [1966]. [159 p., illus., $7.50]

graphical regions as a sort of introduction to French folk song. Songs of love, drink- ing, work, dancing, shanties, marches, ballads, and lullabies-some in provincial dialect-demonstrate the variety and flavor of French song drawn from such widely disparate regions as Angomois, Savoy, Brit- tany, Saintonge, Languedoc, Champagne, and Auvergne. Six of the twenty-five come from Joseph Canteloube's Anthologie des Chants Populaires Frangais; the sources of most of the other nineteen are not identi- fied, though historical notes are given for each song, sometimes more inspirational than informative. While the volume is too slight to interest the serious student, the selections appear to be representative and well chosen, and the illustrations attractive. Bilingual text for preface and notes as well as song texts and a map of the provinces of France should make the book inviting and useful to French teach- ers and students. Still, $2.45 seems a steep price for twenty-five songs.

Haig & Regina Shekerjian, compilers: A Book of Ballads, Songs and Snatches.

Arranged for piano, with guitar chords, by Robert de Cormier. New York:

Harper & Row [1966]. [159 p., illus., $7.50]

graphical regions as a sort of introduction to French folk song. Songs of love, drink- ing, work, dancing, shanties, marches, ballads, and lullabies-some in provincial dialect-demonstrate the variety and flavor of French song drawn from such widely disparate regions as Angomois, Savoy, Brit- tany, Saintonge, Languedoc, Champagne, and Auvergne. Six of the twenty-five come from Joseph Canteloube's Anthologie des Chants Populaires Frangais; the sources of most of the other nineteen are not identi- fied, though historical notes are given for each song, sometimes more inspirational than informative. While the volume is too slight to interest the serious student, the selections appear to be representative and well chosen, and the illustrations attractive. Bilingual text for preface and notes as well as song texts and a map of the provinces of France should make the book inviting and useful to French teach- ers and students. Still, $2.45 seems a steep price for twenty-five songs.

Haig & Regina Shekerjian, compilers: A Book of Ballads, Songs and Snatches.

Arranged for piano, with guitar chords, by Robert de Cormier. New York:

Harper & Row [1966]. [159 p., illus., $7.50]

The six collections already considered shared certain characteristics-a simple format and editors who were active singers or collectors. A Book of Ballads, Songs and Snatches, on the other hand, is in the tra- dition of the gift songbook-expensive, hard covers, attractive illustrations in two colors, a handsome appearance likely to impress any buyer, no matter how limited his knowledge of music, and writer-editors. To set the tone, they placed a shortened simplified version of Nanki-Poo's aria "A Wand'ring Minstrel, I" before the table of contents, which is appropriately divided into Ballads, Songs, and Snatches. The sev- enty songs and ballads from thirty-six countries, too, are sometimes shortened and simplified, with their distinctive qualities frequently elided in the arrang- ing process, reducing them to a common style. Yet the editors have selected an interesting group of songs, some familiar, some off the beaten path.

It seems a pity that editors of such taste should regard a handful of copyright acknowledgements as an adequate report of their two years of research. Today's folk singers demand more information than "Dutch folk song" or "Freely trans- lated."

DENA J. EPSTEIN The University of Chicago

The six collections already considered shared certain characteristics-a simple format and editors who were active singers or collectors. A Book of Ballads, Songs and Snatches, on the other hand, is in the tra- dition of the gift songbook-expensive, hard covers, attractive illustrations in two colors, a handsome appearance likely to impress any buyer, no matter how limited his knowledge of music, and writer-editors. To set the tone, they placed a shortened simplified version of Nanki-Poo's aria "A Wand'ring Minstrel, I" before the table of contents, which is appropriately divided into Ballads, Songs, and Snatches. The sev- enty songs and ballads from thirty-six countries, too, are sometimes shortened and simplified, with their distinctive qualities frequently elided in the arrang- ing process, reducing them to a common style. Yet the editors have selected an interesting group of songs, some familiar, some off the beaten path.

It seems a pity that editors of such taste should regard a handful of copyright acknowledgements as an adequate report of their two years of research. Today's folk singers demand more information than "Dutch folk song" or "Freely trans- lated."

DENA J. EPSTEIN The University of Chicago

The six collections already considered shared certain characteristics-a simple format and editors who were active singers or collectors. A Book of Ballads, Songs and Snatches, on the other hand, is in the tra- dition of the gift songbook-expensive, hard covers, attractive illustrations in two colors, a handsome appearance likely to impress any buyer, no matter how limited his knowledge of music, and writer-editors. To set the tone, they placed a shortened simplified version of Nanki-Poo's aria "A Wand'ring Minstrel, I" before the table of contents, which is appropriately divided into Ballads, Songs, and Snatches. The sev- enty songs and ballads from thirty-six countries, too, are sometimes shortened and simplified, with their distinctive qualities frequently elided in the arrang- ing process, reducing them to a common style. Yet the editors have selected an interesting group of songs, some familiar, some off the beaten path.

It seems a pity that editors of such taste should regard a handful of copyright acknowledgements as an adequate report of their two years of research. Today's folk singers demand more information than "Dutch folk song" or "Freely trans- lated."

DENA J. EPSTEIN The University of Chicago

ORCHESTRAL MUSIC ORCHESTRAL MUSIC ORCHESTRAL MUSIC

Anton von Webern: Im Sommerwind. Idyl for large orchestra. [3352-6200- timp., perc.-2 harps-str.] From the

composer's autograph manuscript in the Moldenhauer Archive. (Carl Fis- cher Study Score Series, No. 26.) New York: C. Fischer, 1966. [Score, 32 p., $3.50.]

Im Sommerwind is one of three early works for large orchestra by Webern. Com- posed during the summer of 1904-at about the time Webern began his studies with Schoenberg-it stands between the more youthful Siegfrieds Schwert (1903) and the more mature Passacaglia, Op. 1 (1908).

It follows the structure of a poem of the same title by Bruno Wille (1860-1928), in which is depicted a summer landscape before, during, and after a summer breeze.

Anton von Webern: Im Sommerwind. Idyl for large orchestra. [3352-6200- timp., perc.-2 harps-str.] From the

composer's autograph manuscript in the Moldenhauer Archive. (Carl Fis- cher Study Score Series, No. 26.) New York: C. Fischer, 1966. [Score, 32 p., $3.50.]

Im Sommerwind is one of three early works for large orchestra by Webern. Com- posed during the summer of 1904-at about the time Webern began his studies with Schoenberg-it stands between the more youthful Siegfrieds Schwert (1903) and the more mature Passacaglia, Op. 1 (1908).

It follows the structure of a poem of the same title by Bruno Wille (1860-1928), in which is depicted a summer landscape before, during, and after a summer breeze.

Anton von Webern: Im Sommerwind. Idyl for large orchestra. [3352-6200- timp., perc.-2 harps-str.] From the

composer's autograph manuscript in the Moldenhauer Archive. (Carl Fis- cher Study Score Series, No. 26.) New York: C. Fischer, 1966. [Score, 32 p., $3.50.]

Im Sommerwind is one of three early works for large orchestra by Webern. Com- posed during the summer of 1904-at about the time Webern began his studies with Schoenberg-it stands between the more youthful Siegfrieds Schwert (1903) and the more mature Passacaglia, Op. 1 (1908).

It follows the structure of a poem of the same title by Bruno Wille (1860-1928), in which is depicted a summer landscape before, during, and after a summer breeze.

Webern's well-known love of nature is expressed in this work, which may be con- sidered a hymn to nature. Wille's poem is not published with the score, nor are sec- tions of the work labeled with fragments of the poem.

While generally following the expressive changes of the poem, the music is organ- ized into a rather tight structure. The- matic material consists of many motives that relate to each other by organic trans- formation. Principal motives are exposed simply as solos ever pedal points or with tonally stable harmonic accompaniment. After each new motive is exposed, it is combined contrapuntally with other motives.

Although no clear sonata or rondo form operates in this work, sections are clearly set off by pedal points, or other means of achieving a clear tonal center; by the

Webern's well-known love of nature is expressed in this work, which may be con- sidered a hymn to nature. Wille's poem is not published with the score, nor are sec- tions of the work labeled with fragments of the poem.

While generally following the expressive changes of the poem, the music is organ- ized into a rather tight structure. The- matic material consists of many motives that relate to each other by organic trans- formation. Principal motives are exposed simply as solos ever pedal points or with tonally stable harmonic accompaniment. After each new motive is exposed, it is combined contrapuntally with other motives.

Although no clear sonata or rondo form operates in this work, sections are clearly set off by pedal points, or other means of achieving a clear tonal center; by the

Webern's well-known love of nature is expressed in this work, which may be con- sidered a hymn to nature. Wille's poem is not published with the score, nor are sec- tions of the work labeled with fragments of the poem.

While generally following the expressive changes of the poem, the music is organ- ized into a rather tight structure. The- matic material consists of many motives that relate to each other by organic trans- formation. Principal motives are exposed simply as solos ever pedal points or with tonally stable harmonic accompaniment. After each new motive is exposed, it is combined contrapuntally with other motives.

Although no clear sonata or rondo form operates in this work, sections are clearly set off by pedal points, or other means of achieving a clear tonal center; by the

145 145 145

This content downloaded from 62.122.76.54 on Mon, 16 Jun 2014 21:17:43 PMAll use subject to JSTOR Terms and Conditions