The Children of the Poor by David DiamondReview by: William FlanaganNotes, Second Series, Vol. 9, No. 2 (Mar., 1952), p. 334Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/890267 .

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lack of uniformity in stylistic approach. The harmonic style varies astonishingly from song to song, and, particularly in its more dissonant aspects, it seems arbitrary and lacking in direction.

Of the present group of publications, two settings of Emily Dickinson are uncommonly effective: "Because I Could Not Stop For Death," while no match for Aaron Copland's recent setting of the same poem, is an ascetic, rather spooky treatment of the poet's brooding death poem; and "I'm Nobody" has consider- able wit, and a fantastic charm. Two Sandburg settings, "Maybe," and "Up- stream," are less distinguished-the former a rather facile folk-song evoca- tion, the latter an attempt to suggest "strong" music by the specious device of outmoded, all-too-easy chords of empty fourths and fifths. "Miss T" of Walter De La Mare, "A June Day" and "Lest it be Forgotten" of Teasdale, and "Prayer" of Langston Hughes, are all effective to varying degrees; and they are useful, performable songs. David Diamond: The Children of the Poor. New York: Leeds, [1950]. [$.50]; How It Was With Them. New York: Leeds, [1950]. [5 p., $.60]; If You Can't. New York: Leeds, [1950]. [5 p., $.60]

Two of three new songs by David Dia- mond suggest that the composer is mov- ing away from the severe diatonicism of his recent practice: "The Children of the Poor" (Victor Hugo) offers a rangey, highly effective voice line over an intri- cately chromatic accompaniment; "How

lack of uniformity in stylistic approach. The harmonic style varies astonishingly from song to song, and, particularly in its more dissonant aspects, it seems arbitrary and lacking in direction.

Of the present group of publications, two settings of Emily Dickinson are uncommonly effective: "Because I Could Not Stop For Death," while no match for Aaron Copland's recent setting of the same poem, is an ascetic, rather spooky treatment of the poet's brooding death poem; and "I'm Nobody" has consider- able wit, and a fantastic charm. Two Sandburg settings, "Maybe," and "Up- stream," are less distinguished-the former a rather facile folk-song evoca- tion, the latter an attempt to suggest "strong" music by the specious device of outmoded, all-too-easy chords of empty fourths and fifths. "Miss T" of Walter De La Mare, "A June Day" and "Lest it be Forgotten" of Teasdale, and "Prayer" of Langston Hughes, are all effective to varying degrees; and they are useful, performable songs. David Diamond: The Children of the Poor. New York: Leeds, [1950]. [$.50]; How It Was With Them. New York: Leeds, [1950]. [5 p., $.60]; If You Can't. New York: Leeds, [1950]. [5 p., $.60]

Two of three new songs by David Dia- mond suggest that the composer is mov- ing away from the severe diatonicism of his recent practice: "The Children of the Poor" (Victor Hugo) offers a rangey, highly effective voice line over an intri- cately chromatic accompaniment; "How

lack of uniformity in stylistic approach. The harmonic style varies astonishingly from song to song, and, particularly in its more dissonant aspects, it seems arbitrary and lacking in direction.

Of the present group of publications, two settings of Emily Dickinson are uncommonly effective: "Because I Could Not Stop For Death," while no match for Aaron Copland's recent setting of the same poem, is an ascetic, rather spooky treatment of the poet's brooding death poem; and "I'm Nobody" has consider- able wit, and a fantastic charm. Two Sandburg settings, "Maybe," and "Up- stream," are less distinguished-the former a rather facile folk-song evoca- tion, the latter an attempt to suggest "strong" music by the specious device of outmoded, all-too-easy chords of empty fourths and fifths. "Miss T" of Walter De La Mare, "A June Day" and "Lest it be Forgotten" of Teasdale, and "Prayer" of Langston Hughes, are all effective to varying degrees; and they are useful, performable songs. David Diamond: The Children of the Poor. New York: Leeds, [1950]. [$.50]; How It Was With Them. New York: Leeds, [1950]. [5 p., $.60]; If You Can't. New York: Leeds, [1950]. [5 p., $.60]

Two of three new songs by David Dia- mond suggest that the composer is mov- ing away from the severe diatonicism of his recent practice: "The Children of the Poor" (Victor Hugo) offers a rangey, highly effective voice line over an intri- cately chromatic accompaniment; "How

lack of uniformity in stylistic approach. The harmonic style varies astonishingly from song to song, and, particularly in its more dissonant aspects, it seems arbitrary and lacking in direction.

Of the present group of publications, two settings of Emily Dickinson are uncommonly effective: "Because I Could Not Stop For Death," while no match for Aaron Copland's recent setting of the same poem, is an ascetic, rather spooky treatment of the poet's brooding death poem; and "I'm Nobody" has consider- able wit, and a fantastic charm. Two Sandburg settings, "Maybe," and "Up- stream," are less distinguished-the former a rather facile folk-song evoca- tion, the latter an attempt to suggest "strong" music by the specious device of outmoded, all-too-easy chords of empty fourths and fifths. "Miss T" of Walter De La Mare, "A June Day" and "Lest it be Forgotten" of Teasdale, and "Prayer" of Langston Hughes, are all effective to varying degrees; and they are useful, performable songs. David Diamond: The Children of the Poor. New York: Leeds, [1950]. [$.50]; How It Was With Them. New York: Leeds, [1950]. [5 p., $.60]; If You Can't. New York: Leeds, [1950]. [5 p., $.60]

Two of three new songs by David Dia- mond suggest that the composer is mov- ing away from the severe diatonicism of his recent practice: "The Children of the Poor" (Victor Hugo) offers a rangey, highly effective voice line over an intri- cately chromatic accompaniment; "How

lack of uniformity in stylistic approach. The harmonic style varies astonishingly from song to song, and, particularly in its more dissonant aspects, it seems arbitrary and lacking in direction.

Of the present group of publications, two settings of Emily Dickinson are uncommonly effective: "Because I Could Not Stop For Death," while no match for Aaron Copland's recent setting of the same poem, is an ascetic, rather spooky treatment of the poet's brooding death poem; and "I'm Nobody" has consider- able wit, and a fantastic charm. Two Sandburg settings, "Maybe," and "Up- stream," are less distinguished-the former a rather facile folk-song evoca- tion, the latter an attempt to suggest "strong" music by the specious device of outmoded, all-too-easy chords of empty fourths and fifths. "Miss T" of Walter De La Mare, "A June Day" and "Lest it be Forgotten" of Teasdale, and "Prayer" of Langston Hughes, are all effective to varying degrees; and they are useful, performable songs. David Diamond: The Children of the Poor. New York: Leeds, [1950]. [$.50]; How It Was With Them. New York: Leeds, [1950]. [5 p., $.60]; If You Can't. New York: Leeds, [1950]. [5 p., $.60]

Two of three new songs by David Dia- mond suggest that the composer is mov- ing away from the severe diatonicism of his recent practice: "The Children of the Poor" (Victor Hugo) offers a rangey, highly effective voice line over an intri- cately chromatic accompaniment; "How

It Was With Them" (Whitman) is a rhetorical song of considerable strength, and "If You Can't" (Cummings) is a jazzy, cute-type song, well calculated to charm an audience.

Stefan Wolpe: Epitaph. New York: Hargail, [1951]. [5 p., $.75]; If It Be My Fate. New York: Hargail, [1951]. [5 p., $.75]

Robert Starer: Advice To a Girl. New York: Leeds, [1951]. [5 p., $.60]; Dew. New York: Leeds, [1951]. [3 p., $.50]; Silence. New York: Leeds, [1951]. [3 p., $.50]; To Be Superior. New York: Leeds, [1951]. [5 p., $.75]

Two songs of Stefan Wolpe, "Epitaph" and "If It Be My Fate," from Songs of Israel, make a most striking impression: they are stark and highly-charged of mood, subtle of texture, and altogether effective as voice writing. Robert Starer has set "Advice to a Girl" and "Dew" of Sara Teasdale, and "Silence" and "To Be Superior" of D. H. Lawrence. "Dew" and "Silence" both have affecting moods and pretty voice lines; the other two songs, both fast, should make a good impression, although they seem to me a bit commonplace vocally, and distinctly inelegant texturally and harmonically.

WILLIAM FLANAGAN

Correction: In the December 1951 issue, p. 158, the publisher of the first volume of the new series Musica Britannica (The Mulliner Book) was listed as The Royal Musical Association. The listing should have read: London: Stainer & Bell, Ltd., for the Royal Musical Association, 1951.

It Was With Them" (Whitman) is a rhetorical song of considerable strength, and "If You Can't" (Cummings) is a jazzy, cute-type song, well calculated to charm an audience.

Stefan Wolpe: Epitaph. New York: Hargail, [1951]. [5 p., $.75]; If It Be My Fate. New York: Hargail, [1951]. [5 p., $.75]

Robert Starer: Advice To a Girl. New York: Leeds, [1951]. [5 p., $.60]; Dew. New York: Leeds, [1951]. [3 p., $.50]; Silence. New York: Leeds, [1951]. [3 p., $.50]; To Be Superior. New York: Leeds, [1951]. [5 p., $.75]

Two songs of Stefan Wolpe, "Epitaph" and "If It Be My Fate," from Songs of Israel, make a most striking impression: they are stark and highly-charged of mood, subtle of texture, and altogether effective as voice writing. Robert Starer has set "Advice to a Girl" and "Dew" of Sara Teasdale, and "Silence" and "To Be Superior" of D. H. Lawrence. "Dew" and "Silence" both have affecting moods and pretty voice lines; the other two songs, both fast, should make a good impression, although they seem to me a bit commonplace vocally, and distinctly inelegant texturally and harmonically.

WILLIAM FLANAGAN

Correction: In the December 1951 issue, p. 158, the publisher of the first volume of the new series Musica Britannica (The Mulliner Book) was listed as The Royal Musical Association. The listing should have read: London: Stainer & Bell, Ltd., for the Royal Musical Association, 1951.

It Was With Them" (Whitman) is a rhetorical song of considerable strength, and "If You Can't" (Cummings) is a jazzy, cute-type song, well calculated to charm an audience.

Stefan Wolpe: Epitaph. New York: Hargail, [1951]. [5 p., $.75]; If It Be My Fate. New York: Hargail, [1951]. [5 p., $.75]

Robert Starer: Advice To a Girl. New York: Leeds, [1951]. [5 p., $.60]; Dew. New York: Leeds, [1951]. [3 p., $.50]; Silence. New York: Leeds, [1951]. [3 p., $.50]; To Be Superior. New York: Leeds, [1951]. [5 p., $.75]

Two songs of Stefan Wolpe, "Epitaph" and "If It Be My Fate," from Songs of Israel, make a most striking impression: they are stark and highly-charged of mood, subtle of texture, and altogether effective as voice writing. Robert Starer has set "Advice to a Girl" and "Dew" of Sara Teasdale, and "Silence" and "To Be Superior" of D. H. Lawrence. "Dew" and "Silence" both have affecting moods and pretty voice lines; the other two songs, both fast, should make a good impression, although they seem to me a bit commonplace vocally, and distinctly inelegant texturally and harmonically.

WILLIAM FLANAGAN

Correction: In the December 1951 issue, p. 158, the publisher of the first volume of the new series Musica Britannica (The Mulliner Book) was listed as The Royal Musical Association. The listing should have read: London: Stainer & Bell, Ltd., for the Royal Musical Association, 1951.

It Was With Them" (Whitman) is a rhetorical song of considerable strength, and "If You Can't" (Cummings) is a jazzy, cute-type song, well calculated to charm an audience.

Stefan Wolpe: Epitaph. New York: Hargail, [1951]. [5 p., $.75]; If It Be My Fate. New York: Hargail, [1951]. [5 p., $.75]

Robert Starer: Advice To a Girl. New York: Leeds, [1951]. [5 p., $.60]; Dew. New York: Leeds, [1951]. [3 p., $.50]; Silence. New York: Leeds, [1951]. [3 p., $.50]; To Be Superior. New York: Leeds, [1951]. [5 p., $.75]

Two songs of Stefan Wolpe, "Epitaph" and "If It Be My Fate," from Songs of Israel, make a most striking impression: they are stark and highly-charged of mood, subtle of texture, and altogether effective as voice writing. Robert Starer has set "Advice to a Girl" and "Dew" of Sara Teasdale, and "Silence" and "To Be Superior" of D. H. Lawrence. "Dew" and "Silence" both have affecting moods and pretty voice lines; the other two songs, both fast, should make a good impression, although they seem to me a bit commonplace vocally, and distinctly inelegant texturally and harmonically.

WILLIAM FLANAGAN

Correction: In the December 1951 issue, p. 158, the publisher of the first volume of the new series Musica Britannica (The Mulliner Book) was listed as The Royal Musical Association. The listing should have read: London: Stainer & Bell, Ltd., for the Royal Musical Association, 1951.

It Was With Them" (Whitman) is a rhetorical song of considerable strength, and "If You Can't" (Cummings) is a jazzy, cute-type song, well calculated to charm an audience.

Stefan Wolpe: Epitaph. New York: Hargail, [1951]. [5 p., $.75]; If It Be My Fate. New York: Hargail, [1951]. [5 p., $.75]

Robert Starer: Advice To a Girl. New York: Leeds, [1951]. [5 p., $.60]; Dew. New York: Leeds, [1951]. [3 p., $.50]; Silence. New York: Leeds, [1951]. [3 p., $.50]; To Be Superior. New York: Leeds, [1951]. [5 p., $.75]

Two songs of Stefan Wolpe, "Epitaph" and "If It Be My Fate," from Songs of Israel, make a most striking impression: they are stark and highly-charged of mood, subtle of texture, and altogether effective as voice writing. Robert Starer has set "Advice to a Girl" and "Dew" of Sara Teasdale, and "Silence" and "To Be Superior" of D. H. Lawrence. "Dew" and "Silence" both have affecting moods and pretty voice lines; the other two songs, both fast, should make a good impression, although they seem to me a bit commonplace vocally, and distinctly inelegant texturally and harmonically.

WILLIAM FLANAGAN

Correction: In the December 1951 issue, p. 158, the publisher of the first volume of the new series Musica Britannica (The Mulliner Book) was listed as The Royal Musical Association. The listing should have read: London: Stainer & Bell, Ltd., for the Royal Musical Association, 1951.

SELECTED CURRENT POPULAR MUSIC SELECTED CURRENT POPULAR MUSIC SELECTED CURRENT POPULAR MUSIC SELECTED CURRENT POPULAR MUSIC SELECTED CURRENT POPULAR MUSIC Revivals

Any time. Words and music by Her- bert "Happy" Lawson, orchestration arr. by Johnny Warrington. New York: Herbert Happy Lawson Music Pub. Co., c1921; Hill & Range Songs, Inc., c1948. [Song, $.40; orchestra- tion, $1.00] Charmaine. Words and music by Erno Rapee and Lew Pollack, or- chestration arr. by Jack Mason. Featured in the Paramount picture,

Revivals Any time. Words and music by Her- bert "Happy" Lawson, orchestration arr. by Johnny Warrington. New York: Herbert Happy Lawson Music Pub. Co., c1921; Hill & Range Songs, Inc., c1948. [Song, $.40; orchestra- tion, $1.00] Charmaine. Words and music by Erno Rapee and Lew Pollack, or- chestration arr. by Jack Mason. Featured in the Paramount picture,

Revivals Any time. Words and music by Her- bert "Happy" Lawson, orchestration arr. by Johnny Warrington. New York: Herbert Happy Lawson Music Pub. Co., c1921; Hill & Range Songs, Inc., c1948. [Song, $.40; orchestra- tion, $1.00] Charmaine. Words and music by Erno Rapee and Lew Pollack, or- chestration arr. by Jack Mason. Featured in the Paramount picture,

Revivals Any time. Words and music by Her- bert "Happy" Lawson, orchestration arr. by Johnny Warrington. New York: Herbert Happy Lawson Music Pub. Co., c1921; Hill & Range Songs, Inc., c1948. [Song, $.40; orchestra- tion, $1.00] Charmaine. Words and music by Erno Rapee and Lew Pollack, or- chestration arr. by Jack Mason. Featured in the Paramount picture,

Revivals Any time. Words and music by Her- bert "Happy" Lawson, orchestration arr. by Johnny Warrington. New York: Herbert Happy Lawson Music Pub. Co., c1921; Hill & Range Songs, Inc., c1948. [Song, $.40; orchestra- tion, $1.00] Charmaine. Words and music by Erno Rapee and Lew Pollack, or- chestration arr. by Jack Mason. Featured in the Paramount picture,

"Sunset Boulevard." New York: Miller Music Corp., c1926. [Song, $.50; orchestration, $1.25] A Garden in the Rain. Words and music by James Dyrenforth and Carroll Gibbons, orchestration arr. by Larry Fotin. London: Campbell, Connelly & Co., c1928; New York: Melrose Music Corp., c1946. [Song, $.50; orchestration, $1.00] Just One More Chance. Words by Sam Coslow, music by Arthur Johns-

"Sunset Boulevard." New York: Miller Music Corp., c1926. [Song, $.50; orchestration, $1.25] A Garden in the Rain. Words and music by James Dyrenforth and Carroll Gibbons, orchestration arr. by Larry Fotin. London: Campbell, Connelly & Co., c1928; New York: Melrose Music Corp., c1946. [Song, $.50; orchestration, $1.00] Just One More Chance. Words by Sam Coslow, music by Arthur Johns-

"Sunset Boulevard." New York: Miller Music Corp., c1926. [Song, $.50; orchestration, $1.25] A Garden in the Rain. Words and music by James Dyrenforth and Carroll Gibbons, orchestration arr. by Larry Fotin. London: Campbell, Connelly & Co., c1928; New York: Melrose Music Corp., c1946. [Song, $.50; orchestration, $1.00] Just One More Chance. Words by Sam Coslow, music by Arthur Johns-

"Sunset Boulevard." New York: Miller Music Corp., c1926. [Song, $.50; orchestration, $1.25] A Garden in the Rain. Words and music by James Dyrenforth and Carroll Gibbons, orchestration arr. by Larry Fotin. London: Campbell, Connelly & Co., c1928; New York: Melrose Music Corp., c1946. [Song, $.50; orchestration, $1.00] Just One More Chance. Words by Sam Coslow, music by Arthur Johns-

"Sunset Boulevard." New York: Miller Music Corp., c1926. [Song, $.50; orchestration, $1.25] A Garden in the Rain. Words and music by James Dyrenforth and Carroll Gibbons, orchestration arr. by Larry Fotin. London: Campbell, Connelly & Co., c1928; New York: Melrose Music Corp., c1946. [Song, $.50; orchestration, $1.00] Just One More Chance. Words by Sam Coslow, music by Arthur Johns-

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This content downloaded from 195.34.79.253 on Sun, 15 Jun 2014 19:36:56 PMAll use subject to JSTOR Terms and Conditions