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REVIEWS

The sackbut blues : Hugh Le Caine, pioneer in . By Gayle Young. Ottawa : National Museum of Science and Technology, 1989. (274 p., $29.95) (Issued in French as Blues pour saqueboute : Hugh Le Caine, pionnier de la musique 6lectronique.)

I had the pleasure of spending some time choice for this biography. It is taken with Gayle Young's well-documented from the name that Le Caine gave to one account of the life and work of Hugh Le of the pieces he composed for his pion- Caine not long after I had read Philip eering , the Electronic Marchand's biography of Le Caine's far Sackbut. But after reflecting on the more famous and controversial contem- shy, often doleful, and socially awkward porary, Marshal1 McLuhan. These two characteristics of this man, his books brought back a flood of memories feelings of rejection and lack of ful- from the 1964-68 period when I was a fillment late in his career, and the graduate student at the Faculty of Music accidental circumstances leading to his of the . During early death, I sadly concluded that the those years, I met Le Caine and worked title is an entirely appropriate one. extensively with his equipment designs in the University's Electronic Music MS Young has drawn upon a wealth of Studio, composing (among other pieces) documents and personal interviews in my Three Etudes for Magnetic Tape, which tracing Le Caine's life from his birth I dedicated to him. In the 1966- and formative years in Port Arthur (now 1967 academic year, I was a student in part of ), , through McLuhan's graduate seminar, Media and his education at Queen's University Society -- a refreshing, salubrious (Kingston, Ontario) and his obtaining a change from the stuffy seminars I en- Ph.D. in nuclear physics from the Uni- dured on the top floor of the Edward versity of Birmingham (England), to his Johnson Building. lifelong employment at the National Research Council in Ottawa. I am im- The parallels and the contrasts between pressed by the author's painstaking care these two outstanding contributors to in assembling her book, and by her 20th-century Canadian (and world) sympathetic identification with her culture are not the proper subject for a subject, whom she never met. However, book review, but clearly, Le Caine MS Young is a composer of electronic (1914-1977) and McLuhan (1911-1980) were music herself, and before writing this internationally influential in their biography, she had been engaged in the respective callings as very few editing and dissemination of materials Canadians have been. Both engaged in relating to Le Caine and his work. "interdisciplinary" or "crossover" These activities included her collabo- pursuits involving electronic media, the ration in "The Hugh Le Caine Project," arts and society, and contemporary and in the publication of its thought; both were products of a conser- newsletter, as well as the production of vative, frontier-spirit, English-speaking a recordings of Le Caine's compositions. Canadian upbringing, with moral values and a sense of individualism left over Even though Le Caine made a youthful from the Victorian era; and ultimately, decision to- become an electrical engi- both were tragic, isolated figures as neer or a scientist, music was a con- their lives played out to a close. suming preoccupation throughout his life. He studied piano with his mother At first, I wondered if MS Young's from early childhood, and in his attempt title, The sackbut blues was a proper to play in public for the first time at age six, he and his family discovered by the then-new , with that he had absolute pitch. The which Le Caine was very familiar, but recital piano, presumable correctly his design was also a direct consequence tuned, sounded a whole tone higher than of his knowledge of the equipment in the one at home -- throwing young Hugh the nuclear physics laboratories at into an "absolute panic" (p.8). But Queen's. The scientist's love of music this incident prompted his mother to was merged with his considerable talent onroll him in the class of a local piano for practical experimentation, while his teacher who followed the course of study formal training in physics brought to prescribed by the Toronto Conservatory his work the uncompromising rigour re- of Music. Later, in the summer of quired for advanced, efficient concepts. 1935, he studied piano at the Conser- Before the beginning of the Second World vatory with Viggo Kihl, a respected War, and probably before he realized it teacher. himself, Le Caine's life work had begun: the design of electronic musical Le Caine developed many of his early instruments. engineering and "tinkering" skills under the guidance of his father, an electrical With the beginning of the war, Le Caine engineer at the Current River Power was hired by the National Research Plant in Port Arthur. The elder Le Caine Council (NRC), and in March 1940 he was always bringing home interesting began his research on highly classified electrical and mechanical "junk" and radar systems. MS Young recounts the filling the family basement with it. circumstances which led to Le Caine's Hugh's sister Jeanne Le Caine Agnew has work for his only employer during his related to the author how ".. .from his entire professional career: early years Hugh enjoyed taking things His application for a position apart, more to see how they were made with NRC included a description and how they worked than from any idea of his work on the Free Reed of putting them back together. Hugh also Organ. As he later recalled, "In had a section in the basement, and the interview which followed the there was always a new project or inven- application, in the spring of tion being built there" (10). These 1940, they told me very plainly inventions from his public-school years that I wasn't to expect any elec- included a mechanical device for quickly tronic music projects at NRC. I retuning a guitar during performance and replied that I had heard about an "electronic ukulele" -- which Le the war and consequently didn't Caine later singled out as "a resounding have any Great Expectations (from failure" (17). the novel of the same name)" (25). When the war ended, Le Caine continued Assuming that he was to become an elec- with important projects and "problem- trical engineer like his father, Le solving" activities at NRC, including Caine entered Queen's University in 1934 advanced research on microwave trans- and by 1939 he received a master of mitters and electron accelerators. But science degree in physical engineering. in his spare time, he built an electronic As he gained a greater knowledge of studio at his home and began to design physics, engineering, and music, his and construct the Electronic Sackbut. MS electronic instrument designs improved Young states on p.xii that the Sackbut dramatically. He later wrote that while is ".. .now recognized to have been the still an undergraduate, "...I was first 'synthesizer,'" but one is also working on my own organ which was also struck by the evidence that Le Caine's my first successful electronic instru- 1945 home installation was almost ment" (21). This early instrument, the certainly the first North American Free Reed Organ, was partly inspired by electronic music studio. These begin- nings were to culminate in no less than scientific passions: gardening and 22 electronicmusic instruments, numerous motorcycling (the latter brought about basic circuit designs used in a variety his tragic accident). In 1960, a happy of electronic studio devices, 7 patents, event ocurred: Le Caine married Trudi pathfinding compositions of musique Janowski, step-daughter of Dr. Arnold concrste and "pure" electronic music, Walter, director of the Faculty of Music and the at NRC, at the University of Toronto. Dr. the University of Toronto, and McGill Walter, Professors Myron Schaeffer and University. Harvey Olnick of the U of T music faculty, Le Caine and the NRC adminis- Le Caine and the internationalelectronic tration, and the Canadian Broadcasting music community were fortunate that Dr. Corporation all collaborated in estab- E.W.R. Steacie became president of NRC lishing the University of Toronto in 1952. Le Caine's numerous extra- Electronic Music Studio (UTEMS); Trudi curricular compositions, lectures, and Janowski met Le Caine through his demonstrations of his equipment came to contacts with Dr. Walter. Dr. Steacie's sympathetic attention, and in 1954 the NRC electronic music lab- After a lifetime of accomplishment, Le oratory was established. Le Caine worked Caine was active in retirement, working there until his retirement in 1974. on electronic designs at home, studying During the ensuing two decades, Le Swahili, shooting films, painting, Caine's accomplishments (only briefly writing -- and riding his high-powered listed above), certainly including his motorcycle. On July 4, 1976 (the date compositions such as Dripsody -- now a of the American Bicentennial was almost classic of -- reveal certainly of no interest to Le Caine), that he was a "world class" figure in he was severely injured when his motor- electronic music. However, acclaim out- cycle slid off wet pavement as he was side Canada was elusive for this shy, riding from Ottawa to Montreal. He private man. Both Le Caine and the NRC appeared to improve after two months of administration had hoped that his equip- hospitalization, but suffered a de- ment designs would enjoy commercial bilitating stroke shortly after success, from patent or other licensing Christmas, 1976. One year lacking a day agreements with musical instrument from his accident, on July 3, 1977, Le manufacturers, but these prospects were Caine suffered another, and this time never realized. fatal, stroke.

Le Caine's self-doubts were compounded In the appendices to this sympathetic by his reluctance to consider himself a biography, MS Young discusses and composer, but from the vantage point of documents photographically his many 1990, it is difficult to cite -any electronic equipment designs. I had Canadian composer of the 1950s and 1960s hoped to find some mention of Le Caine's -- electronic or otherwise -- whose work four-channel sound-in-motion panning is more original or more assured in controller that was part of the UTEMS technique than his. We must grant that instrumentation, but perhaps Le Caine his musical output was small, but each did not consider it to be significant piece is significant because of Le enough to describe it in his papers. Caine's ability to pose, and to solve, musical problems. She provides (247) a brief description of the present activities of the Le Caine's shyness and all-consuming Canadian composers who worked with Le devotion to his work appear to have pre- Caine's equipment. I would have appre- cluded much of a personal life, but he ciated some mention also of the present did have his non-musical and non- status of that equipment at the two principal Canadian electronic music Despite these minor criticisms, I found studios (at Toronto and McGi11). Is the this excellent biography to be an equipment still used and maintained in admirable and finely balanced presen- good repair, or has it been relegated to tation of the technical and human sides a "museum" role? What is the nature of of the active, productive life of Hugh the present direction and artistic out- Le Caine, Canada's leading figure in put of these two studios? Was their electronic music. In addition, as a period of ascendency and influence special bonus, the book serves as a very limited to the 1960s and early 1970s, appealing contribution to English- when Le Caine wa still active? Since I speaking Canadiana. MS Young provides worked at UTEMS in the 1960s, perhaps I an insightful view into one aspect of can be accused of an incurable case of Canadian life, work, thought, and nostalgia for Le Caine's equipment, yet aspirations from the 1930s to the 1970s, I wish that MS Young would have informed when most of Canada was emerging me and her other readers about what has -- sometimes unwillingly -- from an end- become of his legacy. of-the-Empire mentality into active par- ticipation in McLuhans's electronic My review copy suffered from lapses in "global village." While Le Caine's editing and proofreading. Over the page impact on the society of that global break 122-123, we are presented with the village may appear to be considerably statement "Le Caine was not the person less than McLuhan's, his breakthrough to show the three composers at the aware thinking and influence in electronic that the limitations of the instrument music cannot be minimized. Electronic itself determined the range of possi- are now ubiquitous: they bilities ...," and on 134-135 the text are standard instruments for the pop and reads "The Two Channel Alternator was rock music of the late 20th century. And used to alternate a sound Ciamaga." while Le Caine would immediately dismiss (Gustav Ciamaga became the second any connection between his work and the director of UTEMS after the death of proliferation of synthesizers in today's Myron Schaeffer in 1965.) At least one pop culture, his accomplishments in entire line of text must be missing electronic music have had a long-term from each of these locations. The impact. The best measurements of Hugh correct name of the 1954 German period- Le Caine's influence, of course, are to ical which Le Caine had translated into be found in his contributions to contem- English is Technische Hausmitteilungen porary art music, as an inventor, des Nordwestdeutschen Rundfunks, not teacher, composer, and thinker. Elec- "Technische Hausmitteil urgent des Nord- tronic music is much less interesting westdeutscher Rundfunk," as we find on now that he is gone. 234. On the dust cover, we find the misspelling "accoustical." Hopefully -Lowell Cross these problems will be corrected in The University of Iowa subsequent printings. The violinist and pianist GEza de Kresz and Norah Drewett : their life and music on two continents, including parts of Norah Drewett's memoirs. By P6ter Kiraly and Maria Kresz. Toronto : Canadian Stage and Arts Publications, 1989. (204 p., $15.95)

This book is the result of an intricate turns fractured and overly precious. To co-operative venture involving various cite but one example of many, on p.13 it Hungarian and Canadian contributors. is stated that "The merry singing of The authors are Hungarian: P6ter Kiraly pseudo-folksongs, was not customary in is a musicologist who otherwise special- the family." The context, however, izes in early music, and Maria Kresz, makes it clear that the family did like the daughter of the subjects, was the to sing "pseudo-folksongs," whatever curator of the Ethnographical Museum of those may be. Budapest from 1943 until her death in 1989. On the Canadian side, the Canada Kresz was born in Budapest in 1882 and Council and the Secretary of State pro- studied violin with Hubay, Sevcik and vided funds for the publication, and Ysaye, among others. He was no child Torontonians John Parry and George Hencz prodigy -- his professional debut, with were the editor and publisher, respec- the Vienna Symphony Orchestra, came in t ively . 1906 at the age of 23. According to most reports he wasa very competent, It was most appropriate, given the intellectual performer rather than a nature of the book, that this should be dazzling virtuoso -- more along the a joint undertaking. G6za de Kresz and lines of a Szigeti rather than a Norah Drewett spent roughly half their Heifetz, although not, of course, in the professional careers in Hungary and same league as either of those half in Canada, and they contributed violinists. Harry Adaskin, Kresz' equally to the musical life of both longtime partner in the Hart House countries. The book is based primarily String Quartet, mentioned that Kresz was on materials assembled by Norah Drewett, unsteady rhythmically and tended to play but the collections of the relevant out of tune, but that he had a good bow libraries in Canada were also consulted arm and a confident stage presence (A and associates of Kresz and Drewett in Fiddler's World: Memoirs to 1938, 19777 Hungary and Canada were interviewed. 113). Kresz also seems to have been a This is an altogether thorough and very good teacher. Since he was not a quite admirable piece of music research. naturally gifted player, he was forced to think a great deal about violin Unfortunately, the book was typeset and playing, and about how to communicate printed in Hungary, with predictable his ideas. results. While no doubt handsome by East European publishing standards, to Norah Drewett was born in England in Western eyes the cover has all the 1882 and had an unspectacular student visual appeal of a 1950s report on career at the Paris Conservatoire. She collective farming in Uzbekistan. But lived in Berlin during World War I, to be fair, nearly half of the book is where she played sonatas with, and in devoted to photographs, concert pro- 1918 married, Kresz, who was then con- grams, letters and other documents, and certmaster of the Berlin Philharmonic the black and white reproductions of Orchestra. Like her husband, Drewett this material are of good quality. No was not an outstanding virtuoso, but she translator is credited: perhaps the book seems to have been a proficient was written in English. In any case, accompanist and chamber music performer, it is a pity that John Parry was not and she too was a good teacher. She was able to improve the style, which is by evidently also a very determined woman; after an attack of arthritis in her it is clear that this was one of those right hand in 1938, she fought back and unpleasant ruptures characteristic of was able to gradually resume her string quartets. Harry Adaskin has playing career. written that Kresz was too busy with his own career to devote his full energy to Kresz, Drewett and their two children the Quartet, and also that he sometimes left Europe for Canada in the summer of booked himself instead of the Quartet 1923 after receiving an invitation from with concert-giving agencies, a clear Boris Hambourg to teach in Toronto. The case of conflict-of-interest (A Fiddler's book makes it clear that this move was World: Memoirs to 1938, 1977: 244). But a difficult decision. Kresz had the present book reveals that the resigned from the Berlin Philharmonic Quartet members and their patron, in 1921 to pursue a solo career, and he Vincent Massey, were equally unprin- and Drewett were just starting to make cipled. A European tour had been planned a name for themselves as sonata recital- for 1935, and without discussing the ists. It was a calculated gamble to matter with Kresz, who had gone to leave behind their blossoming career in Europe, Massey sent him two cables. The Europe for the uncertainties of a first informed him that the tour was teaching position in Canada. For Kresz, off; the second stated that his position at least, the gamble paid off, for he as leader of the Qu,artet was terminated. was soon to enjoy enormous success in Canada and abroad as the founding Unbowed, Kresz and Drewett returned to leader of the Hart House String Quartet. Budapest, where they resumed their teaching and performing careers. Kresz The section of the book dealing with taught first at the Academy of Music and the Hart House String Quartet is the then in 1941 was appointed principal of most complete account in print of this the National Conservatory. Kresz' important Canadian ensemble, at least interesting ideas about music education of the years when it was led by Kresz are discussed in some detail on pp. 140- (1924-35; the group disbanded in 1946). 143. Unfortunately he was not successful Included here is Drewett's description in implementing his theories at the of Ravel's 1928 visit to New York and National Conservatory, although his Toronto for concerts in which the approach was later taken up by others. Quartet participated. This is a Kresz and Drewett remained in Hungary valuable addition to Gilles Potvin's during the war years; the book notes in essay on this subject (in John Beckwith passing that Kresz was criticized by the and Frederick A. Hall, eds. , Musical Nazis for allowing Jews to teach at the Conservatory and for assisting Jewish musicians in other ways. of the Quartet's activities are provided, such Perhaps the most remarkable chapter in as the fact that during the Depression the story of Kresz and Drewett is the era the ticket price for students and ffnal one. In 1947 they moved to Canada the unemployed was reduced to ten cents. once again and, starting over at the age But I question the authors' statement of 65, resumed their lives and their that "The Quartet frequently- played performing and teaching careers in Canadian works" (87); five works In Toronto. Kresz' last concert was given eleven years hardly counts as frequent. in 1955; a stroke early in 1956 ended although it is true that after Kresz* his playing career and a second one in departure, the group played even fewer 1959 took his life. Drewett moved back Canadian compositions. to Budapest after Kresz' death and died herself just six months later. Kresz' departure from the Quartet in 1935 is described in some detail, and Kresz and Drewett were, to paraphrase Richard Strauss' remark about himself, ing, and even courageous lives, and not first-rank musicians, but first-rate their contributions to the musical life musicians of the second rank. Neither of Hungary and Canada deserve to be made any commercial solo recordings, and remembered. This book is a fine and the existing private recordings are fitting tribute to their memory. reportedly of poor quality. Their reputations lived on for a time through -Robin Elliott their pupils, but have now faded with Encyclopedia of Music in Canada time. And yet they lived full, reward-

Three studies : College songbooks; Toronto Conservatory; Arraymusic. By Rebecca Green; Gaynor G. Jones; Colin Eatock. Toronto : Institute for Canadian Music, 1989. (CanMus Documents, 4) (194 p., $15.00)

It is encouraging that the Institute for Rebecca Green's "Gaudeamus igitur: Canadian Music of the Faculty of Music, College Singing and College Songbooks in University of Toronto, has committed Canada" (pp.3-48) is a discussion of itself to giving wide distribution to more than thirty extant college song- material dealing with various aspects books from ten universities across of musical Canadiana through its publi- Canada and dating from 1879 until the cations program, currently making 1930s. Green relates the appearance of available three volumes of documents such documents in Canada to similar (with three more in preparation) and developments in the United States four handbooks (two more in preparation). (principally at Yale university) and in Three studies retains the high standard Europe, showing the influence that other that its predecessors set both in terms such songbooks had upon their Canadian of typography and design. One would counterparts. In addition, she traces only have wished that the Institute had the development of college glee clubs as gone to the small additional expense of the catalytic force behind this move- preparing the photographic plates on a' ment, and often the publisher of these different quality of paper, as they booklets. She deals substantially with appear lifeless and lacking in detail the texts of many songs, particularly in the present document. In addition, a those which deal in parody, and with reorganization of the Table of Contents contrafacta (i.e. words and/or melodies (perhaps indenting the titles of the borrowed from other sources and four appendices) would have given the sometimes adapted to their new setting). titles of the three main papers greater She also attempts to set the contents of prominence. the college songbooks examined into a social context -- a mirror, as it were. Three Studies comprises, as the title of the social conscience .of the writer suggests, three extensive papers which and compilers. She takes particular deal with college songbooks, the early notice here of racial slurs and the history of the Toronto Conservatory of implied differences between the "inside" Music, and a detailed account of the and "outside" of the university social activities of Arraymusic from its strata. inception in 1972 until 1986. While at first glance the papers seem unrelated, Perhaps the most important contribution all are what might be described as of this paper is the section which deals "local history" endeavors, and this with newly-composed songs by Canadian tends to give a certain unity to the composers. Unfortunately, this aspect of volume. Each paper will be examined in the study comprises little more than one tGrn . page of text, but does include two interesting musical examples. records of the activities of the Conser- vatory which have hitherto been Appendix A provides a list of Canadian uninvestigated. college songbooks while Appendix B lists other selected college and student song- She is careful to set each of the de- books. A bibliography of books, velopments in the story of these early articles and archival materials is in- years into a social and historical cluded. context, giving the reader a broader It appears that only one question perspective of the significance of each remains to be answered. Why? element. She is also careful to give us detailed biographical information about The second paper "The Fisher Years: The each of the individuals mentioned, thus Toronto Conservatory of Music, 1886 - clarifying the importance of some people 1913" (59-136) is athoroughly-researched involved in these developments who have and well-written document which ob- otherwise been forgotten. viously forms the first part of a far more extensive study. Those of us who An appendix provides two sample concert have endured the rigours of the Toronto programs from 1887, and although there (later Royal) Conservatory external is no bibliography, the endnotes are examinations have a certain pride in extensive. this institution which reaches far beyond the metropolitan boundaries of Arraymusic (formerly Array) has had, Toronto -- it is truly a Canadian estab- since 1972, a significant impact on the lishment. Whatever Edward Fisher's development, performance and preser- primary motives may have been in de- vation of modern music -- particularly veloping his conservatory (and these are music of young Canadian composers. The covered in considerable detail in the article "Arraymusic: The First Fifteen article), this movement has resulted in Years" is written in a much more jour- the raising of both musical conscious- nalistic style than the other two, but ness and musical standards all across this does not detract from its signifi- Canada. Thus this article will be of cance as an important historical great interest not only to music his- document. torians and those interested incanadiana but also to the many young ladies and Eatock begins his study of Arraymusic by gentlemen who sat "at the altar of St. detailing developments as early as the Cecilia" awaiting the impending 1950s as background to the formation of appearance of the guru from the East who a consortium of six young composers in would perform a kind of symbolic "laying 1971; this group would later become on of hands" which, hopefully, would Array. He deals not only with the bare also include a certificate. chronological facts associated with the early days of the group, but makes his Apart from occasional lapses into col- story more vivid and telling through the loquialisms in an otherwise highly words and ideas of its original members. academic article (and she might be for- Thus he is able to paint an extensive given for "drummed up" on p.66, and accurate picture not only of the considering the subject matter and the group, but of the individuals who context), Jones presents an enter- struggled to make the concept succeed. taining, lucid and highly-documented account of the various political The article is divided logically into intrigues which Fisher and his col- several chronological sections deter- leagues had to endure in order to bring mined largely by the changing personnel the Conservatory to the prominence which and objectives of the group. Through it had already achieved by 1913. Jones the use of material gathered from was fortunate in having access to early programs, the Array Newsletter and news- paper reviews, Eatock shows the direc- includes a short postscript which tions which the group took in estab- provides an update to 1989. Two appen- lishing itself as a vital force for dices list the programs for all concerts modern Canadian music -- and, especially given in Toronto, and the touring per- in later years, for modern music in formances (without repertoire), from general. He is also careful to list 1972 until 1986. A short bibliography both "permanent" members of the group is included. and guest artists who performed with them, and the changing structure of the This article should be required reading relationship between composer and for any student of modern Canadian music. performer which emerged over the years. -Dale McIntosh The article, which was written in 1986, University of Victoria

Guidelist of unpublished Canadian band music suitable for student performers. By Patricia Martin Shand. Toronto : Canadian Music Centre, in cooperation with the Canadian Music Educators' Association, 1987. (76 p., $6.00)

A guide to unpublished Canadian brass chamber music suitable for student performers. By Eleanor Victoria Stubley. Toronto : Canadian Music Educators' Association, in cooperation with the Canadian Music Centre, 1989. (106 p., $10.00)

The John Adaskin Project, named for the difficulty; there are successive former cellist, broadcaster, and from groupings of easy, medium and difficult 1961 to 1964, Executive Secretary of the material with grading criteria explained Canadian Music Centre, has in recent in the Preface and Explanatory Notes. years, under the direction of Dr. The Band volume contains information on Patricia Shand, Professor of Music original, unpublished works for band Education at the University of Toronto, composed by Canadians before July 1983. produced a number of guidelists publici- In 1983-84, during a research project zing music by Canadian composers funded by the Ontario Ministry of suitable for grade school and high Education, Shand compile3 a list of 103 school performers. workspossibly suited for performance by elementaryand secondary school students. The first was entitled Canadian Music: A Criteria for assessing levels of Selective Guidelist for Teachers (1978), difficulty were developed in consul- which listed, graded, and briefly de- tation with a panel of band directors, scribed published works recommended for and eventually 81 pieces were chosen for school choirs, bands, string orchestras further assessment. From classroom or chamber ensembles. Other titles of trials of works for which scores and that nature have followed, notably parts are available, 63were recommended. Shand's Guidelist of Un~ublished The resultant Guidelist entries include Canadian String Orchestra Music (1986) instrumentation, duration, availability, and the two publications under level of difficulty, and prose notes on discussion. musical characteristics, technical chal- lenges and pedagogical value. There are These volumes are clearly laid out with also alphabetical indexes by composer tie entries arranged alphabetically by and title, notes on standard band inst- composer according to level of rumentation, and glossaries of abbreviations and instrumental ranges. rather than perpetuate a colonial per- Both volumes are printed on good quality ception of our artists. paper and have practical cerlox binding for ease of use. After expressing strong approval for the Project and its aims, I have however a The John Adaskin Project constitutes a few suggestions for future publications. necessary and laudable effort to in- A brief biographical note, perhaps with troduce more Canadian music into the a photo, for each composer, would be country's classrooms. While I cannot welcome and instructive. Learning more judge the Canadian content of choral and about Canadian composers, how they come string programs, I am the product of a to write music, and what they are trying band program which was probably then all to express in specific works could be as too typical of those throughout this enlightening for student performers as country. From the time before I began my playing the music, (Even on the undergraduate music studies at the Uni- idealistic assumption of a copy of the versity of Toronto, no titles by Encyclopedia of Music in Canada in every Canadian composers return to mind, among band room or school library, not all the works for band or ensemble in which composers in the band volume are in- I had played. Even during my time at the cluded in EMC. ) U of T, little Canadian music was programmed by the conductors of the Mention of other works by the composers large student ensembles such as the for the same medium would also be useful concert band, orchestra and chorus. to the teacher; if playing Godfrey (This contrasts sharply with my later Ridout ' S Taf elmus ik to take only one experiences at two universities in the example from the Band Music Guidelist, United States, where American music was was a positive experience for a high unabashedly championed.) school wind ensemble, might not the director (or even the students) also From news items which have come to my like to know about Ridout'S unpublished attention since I graduated, I assume Partita Accademica for full band, with that things- have improved in that. de- is neither included not mentioned, partment, but fear that little may have although of about the same level oi changed during the interim in the difficulty, and available from the CMC? primary and secondary school instrumen- tal classes across the country. The In comparing the format of the Band principal resources available to volume with the first Project publi- instrumental teachers and ensemble cation, Canadian Music: A Selective directors for finding and orderin new Guidelist for Teachers, I prefer the literature are still the publishers' and original, where a representative page of retail dealers' catalogues. Since there score is shown along with the data and is little or no band music published in comments about each work. A page of Canada, and since few Canadian works of score can sometimes tell an experienced any type are published abroad, most of conductor much more than written what is studied and played in Canadian comments, and make the difference be- band programs is of foreign imprint, tween considering it for performance or largely American. In my view, this is a not. In the current volumes, apart from regrettable situation; if music students some brief rhythmic excerpts, there are were led by enlightened teachers, using no musical examples. Shand remarks on resources like the Adaskin Project subjective response and musical tastes guidelists, to study and perform music in her Preface to the Band volume, but from our own country, they might even- seems to have sacrificed in this publi- tually as audiences or music teachers cation what I would consider important themselves, consider Canadian repertoire in stimulating a positive response -- just as viable and relevant as foreign, graphic illustrations of the melodic or harmonic materials discussed -- in favour the brass. The Finale mixes a Walton- of an admittedly less cluttered page esque opening with the bite of Poulenc arrangement, larger type and more blank (bitonality, trombone glissandi, a theme space per page. rather close to "Merrily we Roll Along") and the harmonic style of Morton Gould While on the topic of subjective res- in a movement of cheerful good spirits. ponse, I cannot ignore the dry, academic Shand describes it as: style of the prose notes in the Band a brilliant Allegro ...featur(ing) volume and the lack of basic information an introductory triplet passage, in some of them. While the choice of followed by three contrasting titles is explained for some works, no themes. This material is then de- explanation is given for colourful ones veloped. The melodic material is such as Murray Adaskin's Night is No folk-like in style, with chordal Longer Summer Soft or Clifford Crawley's and rhythmic accompaniment figures Tvendinana. Much is made of rhythmic reminiscent of Bartok... challenges, technical demands, staccato If ensemble directors are to be en- passages, and so on, in the discussion couraged to perform Canadian works, it of each piece, buth the commentary does is important that these guidelists not little to promote any enjoyment value underwhelm their readership or damn with or fun in the music; obviously didactic faint praise the music for which they in aim, they come across, regrettably, are designed to rally interest. If as rather stuffy and uninspired. music is interesting or fun to play (and Ridout's Tafelmusik is described in the Ridout most definitely is!) let's part thus: be sure to say it. Movement I, Blues, is in ABA coda form. It is tonal, being based The Brass Chamber Music Guide includes on a blues scale on F. There are original unpublished compositions for quite frequent chromatic embel- heterogeneous brass trios, quartets and lishments characteristic of the quintets written by Canadian composers blues idiom, and some chordal ex- before December 1985. Based on the same tensions characteristic of the well-established criteria for inclusion jazz idiom. It is in a slow as the Band volume, this undertaking 414 ...Extensive use of triplets ... also employed the expertise of a pro- This information is not inaccurate but fessional panel. While the text has a it does not tell the whole story. While similar format, though allowing two space may have been a consideration, pages per entry rather than just one, once again there is no background in- it groups most of its prose commentary formation or explanation of the title-- under the headings Technical, Musical it would add to the appreciation of and Ensemble Challenges. One wonders this work to know it was commissioned whether is -all must be expressed as by the Alumni Association of the U of T challenges: while giving teachers what Faculty of Music for a banquet they need to make informed choices of (Tafelmusik = banquet music) honouring appropriate repertoire, it seems to me Robert Rosevear, Canada's first pro- that such a Guide also has a promotion- fessor of instrumental music, on the al function, to "sell" this music to occasion of his 30th anniversary there. its reader, Canadian brass teachers, This light-hearted piece is typical of and ultimately to the student performers Ridout's wit and humour, combining and their audiences. Am I being to rather different popular styles. The sensitive in asking whether such head- moody "Blues" movement features trumpet ings might contribute to a reverse and woodwind solos over a "walking effect? Two laudable features of this bass" line, with such jazz trappings as volume are the line graphs in each entry "blue" notes and harmonies, repeated which give a more precise indication of "riffs", and wa-wa and plunger mutes in relative difficulty within the general levels of Easy, Medium and Difficult, On perusing both publications it becomes and the cross-referencing of works which clear that musch more Canadian material might be attempted by students at a is needed for first- and second year lower level of proficiency. Glossaries players than the three band works and of ranges and abbreviations are also four brass ensemble pieces included in included. the Easy sections. Perhaps the impetus of inclusion in guides such as these, In this vo1un.e too, although there is and, one hopes, the performances which generally more extensive instructive should follow, will provide the commentary, in certain cases, titles necessary spark for future work. The and techniques might be better ex- John Adaskin Project is providing an in- plained: in deriving a soggetto cavato valuable service to Canadian music and for a "Flourish" on Alfred Whitehead's music educators. Publications such as name, why did Graham George consider these should be required reading for the H to equal B-natural? High school music education students and copies students won't know this, and the brass should be on the shelves of every brass instructor may have long since for- and band instructor in the country. May gotten. Why did Derek Healey use the they both enjoy many reprintings. title "Divisions" for a theme and variations? Basic music history lessons -Timothy Maloney could be included here in addition to National Library of Canada performance pedagogy.

The bandonion : a tango history. By Javier Garcfa M6ndez and Arturo Pen6n; translated from the French by Tim Barnard. London, Ont. : Nightwood Editions, 1988. (88 p., $8.95)

Discourse about music -- in the form of Osvaldo Pugliese, Arturo Pen& decided theory, history, biography, essay, etc. to leave his post. It was then that I - - comes usually after the fact, with contacted him to join Tango X 4, an the intention of confirming, describing, ensemble which I founded in Montrgal in or interpreting it... re there by 1980. The book in question was the chance any music works composed in order product of dialogues between ~endnand to confirm a theory? And if so, with the Uruguayan-Canadian journalist Javier what results?) The recent comeback of arcf fa M6ndez. tango has, indfed, inspired some remarkable studies . Among them is this The original bilingual edition in book by pen611 and arcf fa Mgndez. Spanish and French, CO-signed by Penbn and arcf fa Mendez with the title Le I had some involvement in the circum- bandon6on depuis le tango / El bandodon stances which led to the production of desde el tango (1986),was made possible this book. Towards the end of 1984, t from the airline Aerolineas after seventeen years as the principal Argentinas. A reprint by VLB followed, bandonion player of the most original with a more comprehensive title: Petite tango orchestra of Buenos Aires, that of histoire du bandoneon etdu tango (1987). Thus, a small history of the bandonion Argentina came also the bandonion. ) becomes a small history of. the tango. And while the English edition here After an imaginary sketch describing a reviewed is an exact and insightful "musical occasion"with the participation translation of the French-Spanish one of the new arrival -- the bandonion-- (some graphic material has been elimin- the authors draw an organological, ated, however), the book title becomes musical and aesthetic profile of this more sweeping. Here arc fa M6ndez is polyphonic instrument, characterized by promoted to the first place in the two monodic keyboards whose buttons give author's binomium, and a musical different sounds when the bellows are consultant is added to the staff. Now, deployed or closed. Its "proteic" form (hi)story is being promoted to History. favours an intimate contact between player and instrument, its timbre Setting aside this case of semantic and dynamics can be modulated, and its inflation, a book in English about the articulations richly contrasted. Above bandonion and the Argentine tango is a all, there is a resemblance between the welcome and overdue enterprise. Other bandonion's sound and human speech than Collier's solid study of Carlos intonation. This phenomenon may explain Gardel, there are in English only scat- why the bandonion has been considered tered articles about the tango. "the principal voice of the tango."

The Bandonion : A Tango History offers A technical discussion about the tango's more and less than what its title leads slow tempo, its meditative character and one to expect. Indeed, we do not get a the bandonion's r6le in the tango closes comprehensive history of the bandonion the first section of the book. and of the tango, but rather a partial and particular perspective. In fact, In a kind of intermezzo, the voice of the Argentine tango is seen through an Manuel Romgn, the expert consultant, instrument, the bandonion, which gave it joins the bicinium ~en6n- arc fa. Accor- timbral and articulatory identity, and, ding to Romh (and contrarily to common at the same time, severely limited its belief), the bandonion was invented by a possibilities for new instrumental com- certain C. Zimmermann, of Carlsfeld binations. However, this restricted (Saxonia), who presented the new instru- vision of tango history is compensatcd ment tc the 1849 Industrial Exposition for by the authenticity of a privileged under the name "Carlsfelder Concertina." participant-observer's oral testimony. This instrument is supposed to have been identical with the later Krefelder The narrative has been transcribed, re- "Bandonion." written and filtered by Garcfa Mndez, ~eno'n'S interlocutor. However you might In the following chapter, the authors consider it -- as a palimpsest, as a deal with the tango's passage from clan- process of double subject ivi zat ion destineness to public acceptance by (tango--oral account by author l--wr t r t en Argentine society after World War I. text by author 2), or, to put it in While the subject has often been covered Bakhtinian terms, as a kind of poly- in more depth by sociologists and phony, where 'one voice includes other historians, what is interesting in the voices ' --the result is a heterogeneous book under scrutiny are the particular book: it contains some of the best pages observations about the professionali- ever written about the bandonion (e.g. za t ion of tango musicians , the tran- 29-34), as well as dispensable anecdotes sition from oral to written tradition and sociological commonplaces (as. for (with the consequent neglect of improvi- instance, the description of Ar~ntina's sation), and Julio De Caro's importance social context at the end of the 19th in tango hf.story. Considered to be the century when with immigration to systematizer of the instrumental tango in the twenties (i.e. in the time when Furthermore, we could ask, what is then Gardel defined tango as song, and El the relation between the advanced state Cachafaz the Argentine style of tango of musealisation (and "touristifica- dancing), Julio De Caro (1899-1980) tion"?) of today's tango in Buenos Aires created the tango's characteristic and Argentina's changing social reality? swing. It was in De Caro's sextet that As a young bandonion player put it: "We the bandonion players Pedro ~Surenzand only play for tourists in Argentina and Pedro Maffia developed playing tech- for foreigners abroad..." niques (bordoneo, fraseo, arrastre, mordente, etc.) which have defined the Another question remains open: is the identity of the bandonion as "the Argentine tango able to refunctionalize tango's soul." Penon's observations itself aesthetically and technologically are the more authoritative as he without ceasing to be the tango? This became, in the fifties, a bandonion answer lies in the hands of the public player in De Caro's orchestra. and the musicians, certainly not those of musical consultants and musicologists. After elaborating on the styles of the famous tango orchestras of D'Arienzo, Despite the fact that The Bandonion: A Pugliese,Troilo, di Sarli and the young Tango History is more a history of the Piazzolla, the book ends with a bandonion than of the tango itself, the reflection of the "penuries of tango" insights into the history of the tango in Argentina and abroad today. It would through the looking glass of the take too long to deal here with ~enbn's bandonion make the book recommendable -- contradictions. As, while the postulate as a fine testimony of a bandonion according to which the "perpetual trans- player who speaks authentically with a formation of tango is a product and a borrowed voice. testimcny of its vinculation with the changing reality" is meant to be valid -Ram& Pelinski in Argentina, why shouldn't it be valid University of Montr6al for the practice of tango abroad? l. For example, Simon Collier, The life, music h times of Carlos Gardel (Pittsburgh : University of Pittsburgh Press, 1986); Dieter Reichardt, Tango, Verweigerung und Trauer (Frankfurt am Main : Suhrkamp, 1984).

Preventing physical problems in violin playing : a guide for teachers. By Vic Pomer. Ottawa : University of Ottawa Press, 1988. (61 p., $13.75) (Issued in French as Le violon sans douleur : Guide 3 l'intention des professeurs.)

Music schools and symphony orchestras minute "subbing," and even prevent everywhere today are faced with in- traumatic career changes. More and more creasing evidence of physical problems published papers deal with the problem, in their senior students and professional and specialized musicians' clinics have players. This is nowhere more obvious emerged in response to this phenomenon. than in string players' problems of tendinitis or other muscular-related Vice Pomer's "guide" is timely and stress. Indeed, mariy of these welcome. The little book is a concen- institutions now hire resident or part- trated 61 pages of advice and warnings, time physiotherapists in an effort to of sound pedagogical principles and curtail the rising numbers of deferred suggested exercises. I am convinced exams or recitals, eliminate last- that, had I andlor my first teacher been able to take advantage of this book, as same number of years as Pomer, I found well as the writings of Paul Rolland and little to disagree with, and much that others today, I would have been spared is clearly organized and well-articula- the various physical ailments I with ted. The "square" or "Franco-Belgian" most of my colleagues have experienced bow hold has for my students long been over the years. themost natural and efficient. .Emphasis on a curved right thumb and straight After a short introduction, Pomer left wrist (often reversed in beginning devotes chapters to discussing general players!), pronation of the hand and posture; the right hand and arm, from forearm at the tip, some form of com- the initial bow hold to developing sound fortable shoulder support, a left thumb concepts and bow changes; the left hand relaxed and at the right height, the and arm including shifting and position upper arm initiating a shift, and some work; vibrato from the beginning stages caution against beginning vibrato too to achieving complete control; and some soon -- all are principles that should closing comments on practising, sitting not be ignored. position, and advice for the senior per- former. While the text at times reads The "floating shoulder" concept in bow like a beginner's manual on playing changes at the heel (33-34) would techniques, the author relates each bit benefit from a video or live demons- of advice to the key word in his title, tration to avoid misconstruing this the preventing of future physical technique, and a solution for the problems. "double-jointed" or "inside-out" left or right thumb of some students would In his introduction, for example, he be helpful. Equal finger pressure in recommends a flatter model of chinrest, soft and loud passages is well one which extends over the tailpiece: discussed, although a special warning excellent advice indeed, given the array against excessive left hand pressure in of other artful, geometric designs forte passages could have been added. available today to hinder a comfortable A selected bibliography would also have chin! Some mention might have been made been useful, especially with reference here of the importance of selecting not to the emphasis on relaxation in the only a violin of the right size, with writings and films of Paul Rolland, Ivan properly adjusted strings and bridge, Galamian, William Starr (on Suzuki) and but also a bow with a straight stick and others. Many of these would support good hair. String students often become and augment Pomer's excellent comments discouraged and tense from stretching on bow changes, vibrato, shifting, and with a violin or bow too large for arms how to practise. and fingers. This booklet, with its excellent illus- "Keep the head straight" (p.15), illus- trations, can be read in one sitting, trated well in photo 1, is a maxim too and much can be digested and implemented often ignored, with dire consequences in in the first few weeks or months of a later eight-hour recording sessions! student's violin/viola career. Valuable While some pedagogical writings differ for teachers, students, and even parents slightly in discussing hand and arm to read, it speaks well for Pomer's positions, Pomer's warnings to keep dedication, concern, and experience as shoulders low and relaxed, adjust the a teacher. Favourable critiques from left elbow position as you play, and such luminaries of the string world as avoid squeezing the chinrest or clench- Starker, Prystawski, Staryk and Gulli ing the teeth, are universally accepted would suggest the booklet is a good in- truths in playing the violin or viola. vestment indeed -- against future inflationary stress! Having taught the violin for almost the -Robert Skelton University of Western Ontario Directory of associate composers. Ed. by Carolyn Beatty and Mark Hand. Toronto : Canadian Music Centre, 1989. (unpaged, $8.95) (Also issued in French as ~dpertoiredes compositeurs agrC6s)

An information source on Canadian corn- there, but not Mathieu, for example, posers and their works has been Champagne- but not Tanguay-- - or Gratton. needed for several years. Contemporary This too weakens the Directory 'S Canadian Composers (1975) and the potential as a reference tool. Encyclopedia of Music in Canada (1981), though still useful, have become Each living composer was asked to outdated. The ~anadian Music Centre, select a maximum of thirty works to be sponsors of the former, haw now issued listed in the Directory alongside this Directory, in a handy and inex- his/her biography. Some young asso- pensive looseleaf form, which is ciates have yet to complete thai number intended to fill this need, and -- of works, whereas it represents for especially for works composed since the veterans like Somers less than a third early 1980s -- succeeds in doing so, at of their output. Thus, what the list least to a commendable degree. But consists of -- what the list shows several words of caution to users are about a composer's composing career -- necessary. differs from one case to another. This is not made clear in the introduction. The Directory consists of a two-page (one leaf) entry on each of 199 Canadian My own entry includes (atmy suggestion) composers who are (or were before their the information that I have produced death) associates of the CMC. The "over eighty compositions" (by now the biographical information is uniform in number is in fact over ninety). However format and length for each (none are this point does not appear in the French more equal than others), and is based -- translation of the entry. This raises for living composers at least --on forms the inevitable question (inevitable in submitted by the composers themselves. Canadian enterprises) whether the French Composers who, in the words of Simone and Englishlistings are exactly parallel. Auger's introduction, "chose not to It appears they are not. A suggestion participate" i.e. did not send in for future revisions of the entries: their forms), have been excluded. I when composers are sent copies for compiled a list of seventeen associate checking, they should be sent both composers whose works have achieved language versions. enough prominence that one would expect to find them, but who have been left out The price is extremely reasonable, and evidently for this reson: Adaskin, the Directory is handy, well edited, Beecroft, Behrens , Cable, Ciamaga , and attractively designed. The format Collier, Ford, Goldberg, Hambraeus, consists of lodse shLets suitable for Hawkins, Heard, Kelsey Jones , placing in a binder, packaged in plastic Montgomery, Pannell, Pedersen, Vallerand, with a sticker to label the spine of Winiarz. I believe their omission the binder. Two minor annoyances: 1) An weakens the usefulness of the Directory "ordinary binder," suggested in the in- as a guide to current compositional troduction, will not be adequate: the activity in Canada. ones I bought (one for each language) are already too full; I recommend Twenty deceased composers are included. "larger than ordinary." 2) The stickers They clearly did not fill out their lose their adhesiveness as the volumes forms. But the basis on which they were are hand led. chosen for inclusion is obscure, since one notes not all deceased associates of The effort by the CMC is welcomed, and the Centre are covered. MacMillan is the Directory will be frequently consul- ted -- at least until the appearance of weaknesses noted above may be Son of EMC. The intention is corrected with time. apparently to enlarge and update it with looseleaf additions and corrections; -John Beckwith this inspires the hope that some of the University of Toronto

NOTES ON CONTRIBUTORS

John Beckwith is a composer, and director of the Institute for Canadian Music, Faculty of Music, University of Toronto. He was awarded this years Richard S. Hill prize by the MLA for his article "Tunebooks and Hymnals in Canada, 1801-1939," pub- lished in American Music, 6:2 (Summer 1988) :193-234. Lowell Cross teaches in the School of Music, The University of Iowa, and directs its Electronic Music Studio. Robin Elliott's recent doctoral dissertation examined the history of string quartet performance and literature in Canada. He is English style editor for the second edition of the EMC.

Bryan Gooch is a writer, pianist, and conductor who teaches in the Dept. of English, University of Victoria. He currently directs the ShakespeareMusicProject.

Timothy Maloney, chief of the Music Pivi.sion of NLC, has directed student ensembles and taught at Lakehead University and Stetson University (Florida). His doctoral dissertation focussed on Canadian wind ensemble music.

R. Dale McIntosh is chairman of the Dept. of Arts in Education in the Faculty of Education of the University of Victoria. His most recent book is History of music in British Columbia. 1850-1950.

Ramon Pe l insk i , an Argent ine-Canadian (ethno)musicologis t , teaches at the University of Montrgal. He has conducted fieldwork among the Inuit and has also worked in the popular music of Argentina. He is a pianist, arranger and composer of tango, and leader of the ensembles Tango X 3 (formerly Tango X 4) and Metatango.

Rober t Skel ton is co-ordinator of the String Department and teaches violin and chamber music at the Faculty of Music, University of Western Ontario. He is a member of the CJRT Orchestra and Toronto Philharmonic and is concertmaster of the London Concert Players. He recently embarked on a round-the-world study of violin pedagogues.