Charles Wakefield Cadman

Indian Love-Charm

novel interest. Volume IV is marked Easy Medium. It is for four parts, mixed voices. As indicative of the contents, we may mention Gevaerts The Sleep of the Infant Jesus; Since First I Stn» you,r Face, by Thomas Ford; Beethovens canon, To Maelzel,o Pitonis lovely Adoramus Te; a Czecho-Slovakian Dance Song, chiefly known heretofore through Smetanas use of it. A Foreword gives essential instructions for observing the textual rhythms that so often confuse singers accustomed to strict measure-rhythms, and a system of indicating these irregular metrical and accentual divisions is adopted in the printed notation. While not so extraordinary a contribution as V olume I, solely because four-part music is more plentiful, one can not but be grateful thus to have handed to him a rich selection of pieces that would have cost him many months of study to find, and which but few editors could equal. V olume V is again for four parts, mixed voices, and is classified as M edium to Moderately Difficult. Naturally, the compositions are longer, but by judicious and clear printing, ten selections, five sacred and five secular, are still fitted into the slender volume. Byrds heavenly Ave Verum Corpus, the familiar but unmatched H ospodi P 0miliui of Lvovsky, and The King and the Star, by Cornelius, are among the sacred numbers. The secular list includes In the Merry Spring, by Thomas Ravenscroft, and Macfarrens brilliant Robin Goodfellow, which has had far too little currency in this country. Each selection in all volumes is introduced by an informative program note that adds much to the educational value the students will receive. The Foreword to each volume refers to an accompanying Conductors Manual for each, but these as yet appear to be in the realm of hoped-for pleasures.-WILL EARHART.