Choral Dance Suite, for SATB a cappella by Alec RowleyReview by: Alan MoremanNotes, Second Series, Vol. 16, No. 2 (Mar., 1959), p. 318Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/892760 .

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harp occasionally crossing. From time to time a quiet touch of the tamtam fuses all together with its somber radiations.

The Rogers is an even more economical piece; it takes the marimba seriously but avoids its clich6s. The piece and its title -Mirage-fit each other perfectly. The technical problems are slight, but it will take a sensitive player to keep a uni- formlv translucent sound throughout.

Humphrey Searle: Two Practical Cats. For speaker, flute (picc.), guitar, & cello. Poems by T. S. Eliot: Macavity, the Mystery Cat, and Growltiger's Last Stand. London & New York: Oxford University Press, 195,6. [Score, 14 p., $2.25]

This is, one supposes, the genre of Walton's Fagade brought "up to date." Two rather amusing poems by T. S. Eliot are set for speaker, flute (picc.),

guitar and cello. The result is like an animated cartoon without the cartoon. That is, the music is essentially a descrip- tive background to the recitation, and nowhere attains the grace of autonomous life. This is a pity because it is a lot of work for the players, with meagre reward. The harmonic style is dissonant and some- what arbitrary, and one either likes it or not. But more dubious is the matter of balance and sonority: the guitar would seem to be outweighed by the cello, and some of the dovetailing of rhythmic figures is hazardous. However, there is no doubt that this work will find its way into the programs of small colleges where instrumental ensembles are fortuitous, where the feeling for Eliot runs high, and the spirit of musical curiosity is strong. Besides, not much harm can be done in five minutes.

JACOB AVSHALOMOV

CHORAL MUSIC Alec Rowley: Choral Dance Suite, for SATB a cappella. London: No- vello; U. S. A.: H. W. Gray, New York, 1956. [22 p., $1.00]

This short suite appears to offer little of interest in rhythm or structure; and there is no text, just syllables such as ta-ra-da, etc. While not music of con- sequence, it is a novelty of some charm and subtlety. The folk-like melodies are given a simulated accompaniment by the other voices, For this reason the inter- vallic leaps are sometimes awkward to sing and do not always provide a basic stable harmonic structure. Incidentally, a couple of costumed dancers could appro- priately enhance the effectiveness of the presentation. Ralph Vaughan Williams: Epithala- mion. A cantata for baritone solo, chorus, & small orchestra, based on the masque, "The Bridal Day," words by Edmund Spenser. New York & London: Oxford University Press, 1957. [Piano-vocal score, 66 p., $3.00; score & parts for rent]

Spenser's lyric poem written in 1595 to celebrate his marriage has been called his highest poetic achievement. While the full power and genius of Vaughan Wil-

liams is not summoned by these fragile stanzas, the hand of the master composer is unmistakably present in the refined skill of his craftsmanship and art.

We might have looked for a text and a setting along the line of grand propor- tions which would seem to sum up more adequately the gifts of this noble and illustrious composer. He has chosen his manner of departure from us, however, with gayety rather than with gravity. It is wedding bells-not a funeral dirge- that continue to ring in our ears. He has said, "How then do I justify music? There is no need to justify it, it is its own justification; that is all I know and all I need to know." Tony Hewitt-Jones: Seven Sea Poems, for alto or baritone solo, chorus, & strings with oboe & cor anglais, obbligato. London: Novello; U. S. A.: H. W. Gray, New York, 1958. [Piano-vocal score, 81 p., $2.75]

Long time "favorites" by celebrated poets constitute the lyrics of this cycle; but can a composer escape the musical cliches generally associated with senti- ments such as John Masefield's "A wind's in the heart of me, a fire in my heels, etc"? T. H. - J. has succeeded remarkably

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