Fünf Lieder nach Gedichten von Johanna Zollikofer by Mordechai SheinkmanReview by: Charles HaywoodNotes, Second Series, Vol. 19, No. 3 (Jun., 1962), p. 528Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/894395 .

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thing, and one can only say de gustibus non disputandum est, even if its not in Byelorussian! Florence White & Kazuo Akiyama: Children's Songs From Japan. Illus- trations by Toshihiko Zuzuki. New York: E. B. Marks, 1960. [92 p. $4.915]

Here is a delightful collection, com- piled with taste, including colorful illus- trations capturing Japanese costume and lore, simple yet thoroughly musical ar- rangements, and, above all, demonstrat- ing a fine comprehension of child life and interests. The book covers a wide range of youthful activities. It includes songs of "creatures large and small, singing games, singing day by day, seasons and festivals, and (not the least important) street cries," which are fast disappearing in large urban centers. The precise, unaffected translations, the translitera- tions of the original Japanese, the infor- mative notes, and the unadorned sim- plicity of the tunes should make this collection a useful tool in the American educational program. To quote from Beatrice Landeck's perceptive introduc- tion: ". . . at every age level, complete and satisfying experience can be derived from the book Children's Songs from Japan. Whether singing the songs, play- ing the games, improvising Eastern- sounding accompaniments or dramatizing the various subjects of Japanese home life, of city and country living, these enjoyable and creative activities add substantially to a child's musical vocabu- lary and perceptibly forward his musical growth."

Karel Drofnatizki[ !]: N o n s en s e Rhymes by Edward Lear Set to Music. (Op. 365, &c.). London: Stainer & Bell; U. S. A.: Galaxy Music Corp., New York, 1960. [39 p., $1.50]

To anyone, with or without a voice, who would like to forget or escape from the challenging problems of life-the Algerian situation, atomic fallout, Berlin, or the Income Tax-these nonsense songs offer the best refuge. Each setting is done in the typical style of Baroque, classical, Romantic or modern composers,

thing, and one can only say de gustibus non disputandum est, even if its not in Byelorussian! Florence White & Kazuo Akiyama: Children's Songs From Japan. Illus- trations by Toshihiko Zuzuki. New York: E. B. Marks, 1960. [92 p. $4.915]

Here is a delightful collection, com- piled with taste, including colorful illus- trations capturing Japanese costume and lore, simple yet thoroughly musical ar- rangements, and, above all, demonstrat- ing a fine comprehension of child life and interests. The book covers a wide range of youthful activities. It includes songs of "creatures large and small, singing games, singing day by day, seasons and festivals, and (not the least important) street cries," which are fast disappearing in large urban centers. The precise, unaffected translations, the translitera- tions of the original Japanese, the infor- mative notes, and the unadorned sim- plicity of the tunes should make this collection a useful tool in the American educational program. To quote from Beatrice Landeck's perceptive introduc- tion: ". . . at every age level, complete and satisfying experience can be derived from the book Children's Songs from Japan. Whether singing the songs, play- ing the games, improvising Eastern- sounding accompaniments or dramatizing the various subjects of Japanese home life, of city and country living, these enjoyable and creative activities add substantially to a child's musical vocabu- lary and perceptibly forward his musical growth."

Karel Drofnatizki[ !]: N o n s en s e Rhymes by Edward Lear Set to Music. (Op. 365, &c.). London: Stainer & Bell; U. S. A.: Galaxy Music Corp., New York, 1960. [39 p., $1.50]

To anyone, with or without a voice, who would like to forget or escape from the challenging problems of life-the Algerian situation, atomic fallout, Berlin, or the Income Tax-these nonsense songs offer the best refuge. Each setting is done in the typical style of Baroque, classical, Romantic or modern composers,

thing, and one can only say de gustibus non disputandum est, even if its not in Byelorussian! Florence White & Kazuo Akiyama: Children's Songs From Japan. Illus- trations by Toshihiko Zuzuki. New York: E. B. Marks, 1960. [92 p. $4.915]

Here is a delightful collection, com- piled with taste, including colorful illus- trations capturing Japanese costume and lore, simple yet thoroughly musical ar- rangements, and, above all, demonstrat- ing a fine comprehension of child life and interests. The book covers a wide range of youthful activities. It includes songs of "creatures large and small, singing games, singing day by day, seasons and festivals, and (not the least important) street cries," which are fast disappearing in large urban centers. The precise, unaffected translations, the translitera- tions of the original Japanese, the infor- mative notes, and the unadorned sim- plicity of the tunes should make this collection a useful tool in the American educational program. To quote from Beatrice Landeck's perceptive introduc- tion: ". . . at every age level, complete and satisfying experience can be derived from the book Children's Songs from Japan. Whether singing the songs, play- ing the games, improvising Eastern- sounding accompaniments or dramatizing the various subjects of Japanese home life, of city and country living, these enjoyable and creative activities add substantially to a child's musical vocabu- lary and perceptibly forward his musical growth."

Karel Drofnatizki[ !]: N o n s en s e Rhymes by Edward Lear Set to Music. (Op. 365, &c.). London: Stainer & Bell; U. S. A.: Galaxy Music Corp., New York, 1960. [39 p., $1.50]

To anyone, with or without a voice, who would like to forget or escape from the challenging problems of life-the Algerian situation, atomic fallout, Berlin, or the Income Tax-these nonsense songs offer the best refuge. Each setting is done in the typical style of Baroque, classical, Romantic or modern composers,

thing, and one can only say de gustibus non disputandum est, even if its not in Byelorussian! Florence White & Kazuo Akiyama: Children's Songs From Japan. Illus- trations by Toshihiko Zuzuki. New York: E. B. Marks, 1960. [92 p. $4.915]

Here is a delightful collection, com- piled with taste, including colorful illus- trations capturing Japanese costume and lore, simple yet thoroughly musical ar- rangements, and, above all, demonstrat- ing a fine comprehension of child life and interests. The book covers a wide range of youthful activities. It includes songs of "creatures large and small, singing games, singing day by day, seasons and festivals, and (not the least important) street cries," which are fast disappearing in large urban centers. The precise, unaffected translations, the translitera- tions of the original Japanese, the infor- mative notes, and the unadorned sim- plicity of the tunes should make this collection a useful tool in the American educational program. To quote from Beatrice Landeck's perceptive introduc- tion: ". . . at every age level, complete and satisfying experience can be derived from the book Children's Songs from Japan. Whether singing the songs, play- ing the games, improvising Eastern- sounding accompaniments or dramatizing the various subjects of Japanese home life, of city and country living, these enjoyable and creative activities add substantially to a child's musical vocabu- lary and perceptibly forward his musical growth."

Karel Drofnatizki[ !]: N o n s en s e Rhymes by Edward Lear Set to Music. (Op. 365, &c.). London: Stainer & Bell; U. S. A.: Galaxy Music Corp., New York, 1960. [39 p., $1.50]

To anyone, with or without a voice, who would like to forget or escape from the challenging problems of life-the Algerian situation, atomic fallout, Berlin, or the Income Tax-these nonsense songs offer the best refuge. Each setting is done in the typical style of Baroque, classical, Romantic or modern composers,

thing, and one can only say de gustibus non disputandum est, even if its not in Byelorussian! Florence White & Kazuo Akiyama: Children's Songs From Japan. Illus- trations by Toshihiko Zuzuki. New York: E. B. Marks, 1960. [92 p. $4.915]

Here is a delightful collection, com- piled with taste, including colorful illus- trations capturing Japanese costume and lore, simple yet thoroughly musical ar- rangements, and, above all, demonstrat- ing a fine comprehension of child life and interests. The book covers a wide range of youthful activities. It includes songs of "creatures large and small, singing games, singing day by day, seasons and festivals, and (not the least important) street cries," which are fast disappearing in large urban centers. The precise, unaffected translations, the translitera- tions of the original Japanese, the infor- mative notes, and the unadorned sim- plicity of the tunes should make this collection a useful tool in the American educational program. To quote from Beatrice Landeck's perceptive introduc- tion: ". . . at every age level, complete and satisfying experience can be derived from the book Children's Songs from Japan. Whether singing the songs, play- ing the games, improvising Eastern- sounding accompaniments or dramatizing the various subjects of Japanese home life, of city and country living, these enjoyable and creative activities add substantially to a child's musical vocabu- lary and perceptibly forward his musical growth."

Karel Drofnatizki[ !]: N o n s en s e Rhymes by Edward Lear Set to Music. (Op. 365, &c.). London: Stainer & Bell; U. S. A.: Galaxy Music Corp., New York, 1960. [39 p., $1.50]

To anyone, with or without a voice, who would like to forget or escape from the challenging problems of life-the Algerian situation, atomic fallout, Berlin, or the Income Tax-these nonsense songs offer the best refuge. Each setting is done in the typical style of Baroque, classical, Romantic or modern composers,

with musical taste enough to avoid obvi- ous cliches. Tongue-in-cheek footnotes give the songs a tone of mock seriousness. The whole collection is a healthy, boister- ous, rollicking bit of buffoonery; and that includes the composer's fantastic ano- nymity and his "prolific creativity."

Mordechai Sheinkman: Fiinf Lieder nach Gedichten von Johanna Zolli- kofer. Berlin-Wiesbaden: Bote & Bock; U. S. A.: Associated Music Publishers, New York, 1960. [11 p., $3.50]

In these five short moods or impres- sions the composer effectively captures the essentially subtle quality of the lyrics. A short chromatic motivic figure, appearing in altered versions in the voice and in the accompaniment, gives unity and structural coherence to the cycle. Singers who are on the lookout for material that is not wholly dissonant, serial, or difficult for the voice should welcome these songs.

Ballads of Sacco & Vanzetti. Com- missioned by Moses Asch, 1945. Composed & sung by Woody Guth- rie, 1946-47. New York: An Oak Publication, 1960. [34 p., illus., $1.50]

Woody Guthrie, one of America's fore- most folk-balladeers, who has gained fame chronicling such major social and economic phenomena as the Dust Bowl, TVA, and the Grand Coulee Dam, docu- ments in this collection the lives, trial, and execution of Sacco and Vanzetti in Boston on August 23, 1927. The humble background, the modest existence, and the bitter tribulations of the fish peddler Bartolomeo Vanzetti and the shoemaker Nicola Sacco are recounted in simple though, regretfully, undistinguished- "folk-verse." Guthrie's tunes capture the lilt and spirit of the folk melody; but, un- fortunately, his originality is not of the highest. A pervading sameness dominates most of the tunes. One gets the feeling that Woody is unconsciously composing a set of variants of "Foggy, Foggy Dew," with the harmonic texture staying pre- dominantly in the I, IV, V, I sequence. "Old Judge Thayer," and "Two Good Men," may be singled out as perhaps the

with musical taste enough to avoid obvi- ous cliches. Tongue-in-cheek footnotes give the songs a tone of mock seriousness. The whole collection is a healthy, boister- ous, rollicking bit of buffoonery; and that includes the composer's fantastic ano- nymity and his "prolific creativity."

Mordechai Sheinkman: Fiinf Lieder nach Gedichten von Johanna Zolli- kofer. Berlin-Wiesbaden: Bote & Bock; U. S. A.: Associated Music Publishers, New York, 1960. [11 p., $3.50]

In these five short moods or impres- sions the composer effectively captures the essentially subtle quality of the lyrics. A short chromatic motivic figure, appearing in altered versions in the voice and in the accompaniment, gives unity and structural coherence to the cycle. Singers who are on the lookout for material that is not wholly dissonant, serial, or difficult for the voice should welcome these songs.

Ballads of Sacco & Vanzetti. Com- missioned by Moses Asch, 1945. Composed & sung by Woody Guth- rie, 1946-47. New York: An Oak Publication, 1960. [34 p., illus., $1.50]

Woody Guthrie, one of America's fore- most folk-balladeers, who has gained fame chronicling such major social and economic phenomena as the Dust Bowl, TVA, and the Grand Coulee Dam, docu- ments in this collection the lives, trial, and execution of Sacco and Vanzetti in Boston on August 23, 1927. The humble background, the modest existence, and the bitter tribulations of the fish peddler Bartolomeo Vanzetti and the shoemaker Nicola Sacco are recounted in simple though, regretfully, undistinguished- "folk-verse." Guthrie's tunes capture the lilt and spirit of the folk melody; but, un- fortunately, his originality is not of the highest. A pervading sameness dominates most of the tunes. One gets the feeling that Woody is unconsciously composing a set of variants of "Foggy, Foggy Dew," with the harmonic texture staying pre- dominantly in the I, IV, V, I sequence. "Old Judge Thayer," and "Two Good Men," may be singled out as perhaps the

with musical taste enough to avoid obvi- ous cliches. Tongue-in-cheek footnotes give the songs a tone of mock seriousness. The whole collection is a healthy, boister- ous, rollicking bit of buffoonery; and that includes the composer's fantastic ano- nymity and his "prolific creativity."

Mordechai Sheinkman: Fiinf Lieder nach Gedichten von Johanna Zolli- kofer. Berlin-Wiesbaden: Bote & Bock; U. S. A.: Associated Music Publishers, New York, 1960. [11 p., $3.50]

In these five short moods or impres- sions the composer effectively captures the essentially subtle quality of the lyrics. A short chromatic motivic figure, appearing in altered versions in the voice and in the accompaniment, gives unity and structural coherence to the cycle. Singers who are on the lookout for material that is not wholly dissonant, serial, or difficult for the voice should welcome these songs.

Ballads of Sacco & Vanzetti. Com- missioned by Moses Asch, 1945. Composed & sung by Woody Guth- rie, 1946-47. New York: An Oak Publication, 1960. [34 p., illus., $1.50]

Woody Guthrie, one of America's fore- most folk-balladeers, who has gained fame chronicling such major social and economic phenomena as the Dust Bowl, TVA, and the Grand Coulee Dam, docu- ments in this collection the lives, trial, and execution of Sacco and Vanzetti in Boston on August 23, 1927. The humble background, the modest existence, and the bitter tribulations of the fish peddler Bartolomeo Vanzetti and the shoemaker Nicola Sacco are recounted in simple though, regretfully, undistinguished- "folk-verse." Guthrie's tunes capture the lilt and spirit of the folk melody; but, un- fortunately, his originality is not of the highest. A pervading sameness dominates most of the tunes. One gets the feeling that Woody is unconsciously composing a set of variants of "Foggy, Foggy Dew," with the harmonic texture staying pre- dominantly in the I, IV, V, I sequence. "Old Judge Thayer," and "Two Good Men," may be singled out as perhaps the

with musical taste enough to avoid obvi- ous cliches. Tongue-in-cheek footnotes give the songs a tone of mock seriousness. The whole collection is a healthy, boister- ous, rollicking bit of buffoonery; and that includes the composer's fantastic ano- nymity and his "prolific creativity."

Mordechai Sheinkman: Fiinf Lieder nach Gedichten von Johanna Zolli- kofer. Berlin-Wiesbaden: Bote & Bock; U. S. A.: Associated Music Publishers, New York, 1960. [11 p., $3.50]

In these five short moods or impres- sions the composer effectively captures the essentially subtle quality of the lyrics. A short chromatic motivic figure, appearing in altered versions in the voice and in the accompaniment, gives unity and structural coherence to the cycle. Singers who are on the lookout for material that is not wholly dissonant, serial, or difficult for the voice should welcome these songs.

Ballads of Sacco & Vanzetti. Com- missioned by Moses Asch, 1945. Composed & sung by Woody Guth- rie, 1946-47. New York: An Oak Publication, 1960. [34 p., illus., $1.50]

Woody Guthrie, one of America's fore- most folk-balladeers, who has gained fame chronicling such major social and economic phenomena as the Dust Bowl, TVA, and the Grand Coulee Dam, docu- ments in this collection the lives, trial, and execution of Sacco and Vanzetti in Boston on August 23, 1927. The humble background, the modest existence, and the bitter tribulations of the fish peddler Bartolomeo Vanzetti and the shoemaker Nicola Sacco are recounted in simple though, regretfully, undistinguished- "folk-verse." Guthrie's tunes capture the lilt and spirit of the folk melody; but, un- fortunately, his originality is not of the highest. A pervading sameness dominates most of the tunes. One gets the feeling that Woody is unconsciously composing a set of variants of "Foggy, Foggy Dew," with the harmonic texture staying pre- dominantly in the I, IV, V, I sequence. "Old Judge Thayer," and "Two Good Men," may be singled out as perhaps the

with musical taste enough to avoid obvi- ous cliches. Tongue-in-cheek footnotes give the songs a tone of mock seriousness. The whole collection is a healthy, boister- ous, rollicking bit of buffoonery; and that includes the composer's fantastic ano- nymity and his "prolific creativity."

Mordechai Sheinkman: Fiinf Lieder nach Gedichten von Johanna Zolli- kofer. Berlin-Wiesbaden: Bote & Bock; U. S. A.: Associated Music Publishers, New York, 1960. [11 p., $3.50]

In these five short moods or impres- sions the composer effectively captures the essentially subtle quality of the lyrics. A short chromatic motivic figure, appearing in altered versions in the voice and in the accompaniment, gives unity and structural coherence to the cycle. Singers who are on the lookout for material that is not wholly dissonant, serial, or difficult for the voice should welcome these songs.

Ballads of Sacco & Vanzetti. Com- missioned by Moses Asch, 1945. Composed & sung by Woody Guth- rie, 1946-47. New York: An Oak Publication, 1960. [34 p., illus., $1.50]

Woody Guthrie, one of America's fore- most folk-balladeers, who has gained fame chronicling such major social and economic phenomena as the Dust Bowl, TVA, and the Grand Coulee Dam, docu- ments in this collection the lives, trial, and execution of Sacco and Vanzetti in Boston on August 23, 1927. The humble background, the modest existence, and the bitter tribulations of the fish peddler Bartolomeo Vanzetti and the shoemaker Nicola Sacco are recounted in simple though, regretfully, undistinguished- "folk-verse." Guthrie's tunes capture the lilt and spirit of the folk melody; but, un- fortunately, his originality is not of the highest. A pervading sameness dominates most of the tunes. One gets the feeling that Woody is unconsciously composing a set of variants of "Foggy, Foggy Dew," with the harmonic texture staying pre- dominantly in the I, IV, V, I sequence. "Old Judge Thayer," and "Two Good Men," may be singled out as perhaps the

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This content downloaded from 62.122.73.250 on Sat, 14 Jun 2014 08:46:02 AMAll use subject to JSTOR Terms and Conditions