REV I EWS The Canadian Musical Heritage / Le Patrimoine Musical Canadien. 3: Songs I to Engl i sh texts/Chansons I sur des textes anglai S. Frederick- A. Ha1 l, Edi tor/Di recteur de l 'ouvrage. Ottawa- 1985. (xxx, 235 p., $34.95)

Last month I nad the pleasure of reading product of tne time, and the Canadian one, Robertson Davies' new novel, What's bred seem to be on tne level of presentation. in the bone, and tnis last weekend of watching Tne American oublisners were bound to be the television broadcast of Harry Somers' richer, and could afford showier formats, opera Louis Riel. UD Canada! It is no surprise fancier covers and the like. Also, some of then to find this songbook published by the the Canadian choices for engravers were pernaps Canadian Musical Heritage Society a real injudicious (see 00.18-19, where clearly treasure in both songs and historical someone from tne old school was westling background. That Edward B. Shuttleworth, with the new-fangled steel-type machine). who wrote the words for the romantic serenade, But the overall ~hysiognomy of the material "I am waiting for thee," (11.154) was an is virtually indistinguishable from the "acknowledged authority on the study of American product in many details. A song microbes," is interesting, but even more like "The Ottawa fire" (p.151) is a clear fun to discover is that tne song's ComDoser, imitation of the Charles K. Harris- Monroe Ro- Edwin Gledhill , was the son of a tenor who senfeld scnool of reportage songs that toured witn Jenny Lind, under tne name "Signor flourished around 1895, and it is just as Salvi". Some of tne earlier songs are ~rima.rily good and gory as the best of tnem, albeit of nistorical interest, though the 1805 "A lacking a bit of the old journalistic polish ~anadian boat song" of Tnomas Moore has a of, say, the ouroler Rosenfel d gems. Near1y good swing to it; it was written on MooreLs every genre popular in Englisn or American trip homeward from the U.S.A. and Canada, home-music nas its counterpart nere, altnougn and inspired by the voyageurs ' music. there are manifestly fewer war songs than in the U.S. product of any period. Many are Since so many 19th-century song lyrics are quite nice of their types, and it's a wonder eloyingly sentimental, it is a dleasure to that so few were familiar to me, witn tne find one as delicately teasing as "Oh! NO, notable exception of Ambrose's "One sweetly we never talk in French" (0.34). Considering solemn tnought (words: Carey; DD. 110-1121, the passions that still run high over the whicn still graces Emmett Foxian Sunday subject, its tone is even more remarkable. devotional meetings like my departed aunt's J.C. Chandler's "You can never be a girl Science of Mind Cnurch of thirty years ago. of mine again" (0.146) is a real tear-jerker; It's fun to find out that the original version its main difference from the American product of "Tne maple leaf" (11.83) had a less seems to be that instead of dying of tne felicitous first line in the chorus. usual broken heart, Door Nell actually drowns herself.0ne of the few of these songs by I was actually delighted more with the genteel women composers or lyricists, Hattie Steohens' songs than the others. Interesting musical "Ma be11 e canadienne" (D. 163), would make turns in "Love is lignt" (Arthur A. Cla~~d, a charming encore piece for tenor Or soprano. words: Wicksteed) set it apart from the mold, -Jean lbrris for example: University of Michigan

The natural question a Stateside composer and/or musicologist acquainted wi tn 19th- century American music ~1'91 ask is, How different is contemporaneous Canadian music from it, at least insofar as any (p.173) generalizations can be made? In this limited field of comnerci a1 sneet-musi c, which really On this page, be it noted, is an example became big business first around the American of the volume's editorial policy, tnat of Civil War, then again in the 1890s, the most bracketing engraver's corruptions, often immediate differences between tne American relegating the correct reading to a footnote. On tne end of the third brace a missing reader at nome at a piano, wnich is wnere eightn-note flag is not-too-silent1 y corrected. a volume like this belongs. For, witn my Tnis sort of thing distracts from the reading editorial caveat, I found it deligntful to of the music on a performance level wnen, look througn. (It was a joy, for example, as in tnis case, it would nave been mucn to come upon another Henry Russell I hadn't less fussy to restore the tail, and only seen.) Our 19th centuries are interesting footnote wnen tnere is legitimate question periods, those of Canada and the United States, as to the correct reading of the passage. and studying tnis excellent volume could Popular music from both sides of the Atlantic yield rewarding com~arisons between aspects is full of sucn corruptions, and tnere is of our close but separate cultures. scant need to remind us of it, when sucn -Yilliam Bolcom meticulousness might scare away the general University of Hi chi gan '

Medieval and Renaissance Music: a Performer's Guide. By Timothy J. McGee. : Press, 1985. (xxx, 273 p,, $27.95)

Medieval and Renaissance music is a book The information McGee presents is based, wnicn will be of particular interest to pro- where this is possible, on historic documents. fessional and amateur performers of early The documents are not used anacnronistically music; nowever, teachers of music history or indiscriminately; however, wnere and music theory will find much useful documentation is wanting (as is the case information about style and composi tional with text-underlay before 14751, McGee suggests techniques from about 900 to about 1600, various possible approacnes to the problem and undergraduate students will undoubted1y and clearly identifies the solutions as nis find the book a good source of topics for own. term papers and projects. One of the major difficulties confronting tne performer of early music is tne 20th- Tne book is written with the performer in century edition. While some editors are mind, and musicological and theoretical conscientious and furnish all tne information "jargon' is avoided. Many different kinds tne performer will need to nave, otners are of readers will use tnis thought-provoking not. How should tne performer approacn various book. The amateur recorder player will be editions? How far can they be trusted? Has delighted by the step-by-step directions tne editor made faulty judgements about musica for performing a variety of early music well, by the guidelines for im~rovising f icta or text-under1 ay? McGee has devoted embell isnments (and entire pieces! and by considerable soace to discussing tnese and the suggestions for adapting music to the otner important questions, and shows tne resources at hand. The professional player performer now to cope witn some of the arbitrary editorial practices that make life will find McGee' s tables for "orcnestrating" so difficult. Among otner things, McGee medieval and renaissance music helpful , and his ideas on now to cope with good and bad presents some useful guidel ines for interpreting triple ~rooortionsin renaissance editions of music indis~ensable. ~olyphony when the edition is unclear. His McGee's aDproach to nis subject is in its "rule-of-thumbii procedure will nel~many own way very mucn like Ral ~n Ki rkpatrick's a performer to make a reasonable decision. Introduction to tne Scarlatti sonatas. (Kirkpatrick encourages the performer to Tne question of determining a suitable temDo tnink carefully about everytning ni is doing, wnen working from a modern edition is a and ne makes the reader aware tnat music difficult one at best, and at times is almost and enligntened ~erformance are two sides nopeless. McGee stresses (p.41) tnat "tnere of one coin. ) McGee's book is tnougntfully really is no totally satisfactory way to written and well organised, and his lucid determine an early tempo without looking discussion of every aspect of performance at tne original," yet nis common-sense iS enhanced by ~ractical , common-sense suggestions will undoubtedly be of great guidel ines and clear suggestions. IIelb to the many performers who do not have access to the original. His brief discussion and not be tem~ted to accent the first of some of the main features of original beat of each bar; McGee shows us exactly notation (p.41) will be lost on many readers, how to proceed, and the good performer will a1 tnough he points out (p.10) that the original find it rewarding to work his way througn notation tells us something about tne music the music using McGee 'S process discovering that a modern edition cannot. Since this for nimself how supple the rhythms of a Dufay is not a handbook of notation, but rather cnanson can be once he learns to ignore the a nandbook for the performer, McGee refers ba rlines. tnose who are interested in notation to the standard works on the subject. Medieval and Renaissance music should be on the shelf of every public library in Canada, McGeels directions for "ignoring tne bar1ines" even if the music collection is a small one. in a Dufay chanson -- and by extension in University libraries will order it as a matter mucn music of the renaissance -- (p.21) are of course. It is to be noDed that all those wonderful ly we1 l conceived and very clearly who are interested in early music will, no presented . They should be required reading matter how much they a1 ready know, read McGee's for every performer of music. The directions book from cover to cover. demonstrate how very difficult it is to work -Erich Schwandt from a modem edition barred regularly in University of Victoria

Student's Dictionary of Music. Compiled and edited by Wayne Gilpin. Oakville, Ont.: The Frederick Harris Music Co. Ltd., 1985. (299 p., $11.95)

When I first saw it, I took an instant liking for quick "first-aid1' answers, for a text to tnis volume. The cover design is attractive uncluttered by pedantic ifs, buts, excepts, and colourful, tne type large and easy to and other qualifications wnen all you want Pead, Canadian coverage is impressive and is to check Niels Gade's dates or who wrote m~resentative (The Lesl ie Bell Singers and An Oxford Elegy. No advanced student will "New Zealand com~oser" Ronald Tremain, a expect a 10-word definition to suffice as Canadian resident since 1970, should be added an aid to writing a tnesis, but will turn to tne Canadian index on pages 297-2981, to -MGG or The New Grove. and almost any musical term Or name I could think of at random nas an entry. Tne scope Tne horizon of music students undoubtedly is wide, including musicians, forms, has widened since my undergraduate days instruments, tecnnical terms, nicknames and 1946-1949, thanks to the ever-expanding distinct titles sucn as Manzoni Requiem and literature available in printed or recorded Das Marienleben. The number of Frencn, German form and to tne introduction of musicology and 1tal fan terms given definition Or as a subject of instruction. The mere tnougnt translation is astounding, and I had a vision of having need in my student time for of tne compiler poring over sympnony after information about Bernart de Ventadorn, a symphony by Mahler and oDera after opera troubadour, or Diego Pisador, a Spanish by Verdi, extracting every last direction vinuelist, is hilarious. On the otner hand, or instruction. even in tnat remote -past students and teachers nad outgrown tne habit of labelling Mendelssonn I reflected that the compiler of any snort Songs without words witn such tags as "Tne dictionary nas two choices: deal with a limited bee's wedding." Surely no student needs number of entries at some lengtn, or include tnat bit of information in 1986! But seemingly a vast number of entries with very brief superfl uous entries can lead to discoveries. comnents. Gi'ipin has cnosen the second aporoacn, offering an estimated 6,500 entries Who, I wondered, was "Scnnyder zu Wartensee" with an average length of perhaps three lines. to interest tne modem student. (Grove, Baker, (The longest entry I could find is on Mozart, and call nim "Schnyder von", Tne New witn 117 lines). I am willing to support Oxford Com~anion to Music I1zu1'). My curiosity his choice since sometning is to be said aroused, I looked at and to my astonishment I learned tnat Furtwangler had hign praise To me botn definitions were new. So I checked for tne Swiss composer's spphonies, tnat tne Harvard Dictionary of Music (1969 ed. ): Scnnyder was an extraordinary orchestrator Walze [G.]. (1) Crescendo pedal of and contrapuntalist and tnat nis Goethe tne organ. (2) An 18th-century term choruses deserve a place next to Schubert's for stereotyped undulating f jures, best. By now I was almost ready to found sucn as an *Alberti bass. a Canadian Scnnyder von Wartensee Society: And then Tne New Oxford Companion to Music l was going to invite Gil~into be honorary (1983) : president. Alas, a few days later, in tne Walze (Ger.). 1. Crescendo organ Percy Scnoles files at tne National Library, pedal. 2. 18tn-century term for I came across a clipping from a 1940 Swiss conventional musical figures, such radio scnedule announcinq- a performance of as the *Alberti bass. tne Symphony no. 2. Scribbled Scholes: "Beethoven imitated? until rubbishy last I continued comparing entries in the Student's movement." My dream was snattered. Dictionary with those in The New Oxford Companion to Music. Apart from a missoelled Poor proof-reading plagues most Canadian entry "Waltzer (Ger.) Waltz" (and as such publications and they jump at one's eyes in tne wrong alphabetical spot) in Gil~in, when the print is SO bold. Errors are both works continue with "'Wanderer' Fantasia" especially unfortunate wnen tne book is a and "The Wand of Youtn" -- Gilpin's being dictionary to which people turn to cneck abbreviated versions of the NOCM -- and after spellings and when tne compiler is the general a useful cross-reference in Gilpin "Wanha1 , manager of the publishing nouse. Miss~ellings see Vanhaf", both carry on witn indentical disfigure many a heading, such as "Boosey entries for "Wankend (Ger. ) Wavering, shaking", & Hawes", "I Purtiani", "Metramorphosen" and similar ones for "War and Peace" and Or "Ousely" (instead of Ouseley). Some "Ward, John". ~rinting errors are entertaining, however. Johann Walter was not only tne oldest musician I com~ared three or four other pages and ever, but probably tne oldest numan being, the coincidences were similarly frequent, wnen ne died in 1670 at tne age of 174; especially with regard to the foreign-language Scnubert wrote the "Wanderer" Fantasia 54 terms. My vision of our compiler leafing years after nis death, in 1882, and Quesnel tnrougn Manler and Verdi scores was snattered; Colas et Colinette 70 after his. Of course nis work was much simpler. One may argue we all know tne famous singer "Louis Marshall" tnat once there is a good definition, tnere (p.2981, and who hasn't heard of "Berstein" is no use trying to im~rove it, and that (D. 111, "Back" (~.25), or "Shostavich" (p.249). a German word keeps the same English equivalent, no matter what dictionary one Editing German terms requires a specialist. turns to. But it so happens tnat my Cassell's In many German words, umlauts, articles and Compact translates "Wankend" as "staggering" endings come and go as the context changes. rather than "wavering" or "snaking". And Take the word "Symphonic" away from Haydn's wnen tnree music dictionaries overlook the Die Schulmeister Sym~honie, and you are caught meaning of "Walze" as barrel or cylinder, in a trap, writing "Scnulmeister, Die" when two editors have failed to do original it should be "Der". There is no word spelled research. "Todt": as a noun (death) it is m, as an adjective (dead) tot. A person familiar with Condensing has dangers of its own. Under German could have corrected over 20 missing, "S~anisches Liederbuchn NOCM makes it quite mi s~lacedor su~erfluous umlauts. clear tnat 1852 is tne year when the Spanish Doems were published in their German And tnen I came across the entry "Walze". translation. However, E's sumnary, "Wolf's In a flash, my own definition appeared in 44 songs on Spanish Doems translated into my head: a barrel, as in Mozart's Fantasias German( 1852) " may lead the innocent reader for Orgelwalze, or a cylinder, as in Edison's to accept 1852 as the year of composition. wax cylinder recordings. Then I went on Something a1 so went wrong witn 'second species' reading: under "S~ecies counter~oint" which &CJ Walze (Ger.1 1. Organ swell pedal. describes as "two against each note", meaning 2. 18th c. tern for musical figures two successive nalf notes against one whole like the A1 berti bass. note. Giloin wrongly interarets this as "two parts are added to a given melody". "Pathetic" The relatively long entry on Mendelssohn S~nn~nonymay be British usage for Tchaikovsky's requires extensive revision, and the statement Sixtn; in Nortn America I have never heard that the com~oser's ~hilosopher-grandfather anytning but 'Pathktique". Moses sponsored his educational trips is pure fantasy -- after all, Moses died 23 A few other errors, res sum ably unique to years before Felix's birth! tne should be mentioned. This is not done in the spirit of fault-finding, but in order Though I am disillusioned by tne sparseness to advocate an improved second edition, an of original work in this book, and by some edition in which Gil~inshould assert far sloo~y editing, I still stand by the more independence of judjement and scholars hi^ recornendations given at the beginning of and drastically reduce the number of entries, this review. At the end of the book an omitting even "Schnyder von (or zu) Wartensee". announcement for the May 1986 publication He should make it clear that the words for of a Student's Dictionary of Canadian Music "0 Canada" are by A.B. Routhier, in French, by Wayne Gil~inis printed. Let me trust and that R.S. Weir only provided an English that this time my visJon of the comoiler-edi tor text. Tne "Gesel lschaft der Musi kf reunde" poring over primary sources of information should be identified as Austrian, not German. and distilling facts and figures into new (Curiously, as if to make amends, Ricnard observations will come true. We could do Strauss is identified as an Austrian comooser with such a work. in the same publisher's new volume Careers in Music (~.30)). Boris Hambourg was oily -Helmt Kal lmann a co-founder, with his father Michael and Mational Library of Canada brotner Jan, of the family 'S conservatory.

Look at the record: an album of Toronto's Lyric Theatres 1825-1984. Compiled and annotated by Joan Parkhill Baillie. Oakville, Ont.: Mosaic Press, 1985. (298 p., $39.95.)

The ~resence of a book on Toronto's lyric particular hall. The format is that of a tneatres is cause for celebration. And indeed, scrapbook, capturing at once the spirit of tne publication of Look at tne record happily nostalgia, of which tnis book is surely born, coincides witn tne thirty-fiftn anniversary and offering free rein as to material presented, season of the . mucn of it reproduced in facsimile.

Joan Parkhill Baillie, arcnivist of tne COC And the com~ilation is impressive. Included since 1974,, has chosen tne documentary method are maps of the city, railway track layouts, to present her fascinating survey of the fifty exterior and (less frequent because less locations in wnich Torontonians nave heard obtainable) interior views of the halls, opera since 1825. Over the years these have and a few house plans showing the snaDe of included taverns, hotel S, temperance ha1l S, the hall, size of tne stage and seating churches, a mechanics' institute, skating capacity. Of particular interest are those and curling rinks, sports arenas, zoological of the Royal Lyceum, Grand O~eraHouse, Toronto gardens, art gal leries, hign school auditoria, Opera House, Princess Theatre and Shea's Theatre university tneatres, outdoor oavil ions, concert -- a1 l demo1 ished or non-operati ve nalls and a number of large, beautiful tneatres establishments now. There are pictures of --three bearing the designation "ooera house", singers, composers, conductors and impresarios, two of wnicn opened in September 1874. re~roductions of Drograms, advertisement, tickets, letters and petitions, as well as Tne basic plan of the book has been to give articles from newsDaDers and magazines. These each venue a separate cna~ter. All are latter describe the halls, and where a~plicable, introduced by annotations locating each hall offer reports of their destruction. in time and sDace. At the conclusion of most chaoters a chronological list is given of Of the f lfty locations surveyed, eleven were the various ensembles who appeared in .a destroyed by fire due to Illumination by gas, and after1889 due to faulty electrical wiring. 1925, p.22)? And speaking of onotos, Mrs. The last theatre fire took place at the Princess Baillie nas been Drone to too mucn repetition. in May 1915. Bail1ie astutely includes pictures Anna Bishop appears no less than seven times of the emergency exit staircase at the Majestic in the same guise, and the "big fat tenor1' (Regent) Theatre circa 1910. The fact tnat Pasquale Brignoli pops up five times. At least such a picture was taken (and preserved) Emna Albani returns in three quite different Indicates that tneatres were still considered Doses. I would have liked to see a portrait fire hazards at the turn of the century and of another Canadian soprano, Beatrice La~alme, tnat precautionary measures were necessary. wno, with Louise Edvina, appeared with the The newspapers also furnish us with first Montreal Opera Company (1910-13) in Toronto's hand accounts of ~erformances by visiting Royal Alexandra Tneatre. There are good photos or by Canadian artists and ensembles. Reviews of LaPalme in Romain Gour' s LaPalme- Issaurel : cnosen for presentation range from the typical biograpnie critique (Montreal, 1948). And re-and post-performance puffery pieces to in general, tnere are numerous portraits of the more balanced and occasional scathing the singers, conductors and impresario's who comnentary. Of tne latter tyDe, two somewhat visited Toronto in George C.D. Odell 'S 15-vol~1ne amusing examples are reprinted -- one from Annals of the staqe (New York, The British Colonist in September 1839, and 1927-49). Tne portraits are indexed separate1y: another from Belford's monthly magazine in tnere is a gorgeous one of Sallie Holman in December 1876, from whicn I quote the following v.IX, p.44. Incidentally, tne numbered com~osite excerpt describing compromi sed operatic portrait of the Holman Englisn Opera Company, performance practice: reproduced from tne Toronto Telegram of July Tne musical season, wnicn may now be 10, 1926, which appears in Baillie's book said to nave commenced in Toronto, was on p.43, is incorrectly annotated. Baillie inaugurated by tne performance of Max claims tnat Frank Tannenill, number 7 in the Strakoscn's Operatic Company at tne portrait, is really George Holman and is Grand Opera House just a month ago. unnumbered. Mr. Tannenill returns as George It is, pernaos, too late now to enter Holman several times thereafter, and each into any detailed criticism...but we time the number 7 on nis rignt lapel becomes may be permitted to say that tne general more sharply focussed. ISit Holman or style of tne oerformance was no great Tannenil l? com~limentto tne critical or appreciative Dowers of a Toronto audience.. .Tne Tne book includes four illustrations in graph imperfect acquaintance witn their parts or cnart form of various aspects of operatic wnicn some of [the soloists] evinced, activity in Toronto between 1825 and 1984. and wnicn necessitated constant and I almost wish that these had not been included, audible orom~ting, was tne more for tnree of them are incomplete snd inaccurate. inexcusable. Tne mise en sckne was Door Figure 3 lists all operas presented in Toronto and inadequate. Altnougn tne practice of during those years. Baillie's rather stiff omitting a scene or a song nere and criterion for inclusion here is a "minimum there is too general to be denied of five full or part ~erformances". Thus her sanction, yet tne indiscriminate Chart only begins in 1850. What of all those elimination wnicn was adopted in tne comic opera's sucn as Reeve's The Purse; or performance of "Martha" is slovenly, The benevolent tar, Branam's The Devil 'S bridqe, and is greatly to be deprecated.. . Storace's No sonq, no supper and Samuel Arnold's The Mountaineer ,presented at Frank's Hotel There are a few items which I believe would Assembly Room in December 1825-January 1826 easily find accomnodation in Mrs. Baillie's by tne strolling players from Albany? Does book. Perhaps there could nave been room for tne fact that they were performed just once one of several By-Laws issued by the City or twice jeopardize their rightful place in of Toronto, stipulating tnat theatrical managers our operatic annal S? had to Day a license fee for their engagement before any a1 cohol ic beverages could be sold. Tne same argument may be applied to the per- And where is tnat lovely family portrait of formances in Toronto of tne Montreal Opera tne Holmans which is available in William Company between 1910 and 1913. The following H. Crane's Footprints and echoes (New York, works were each resented at least twice and ought to be included in Mrs. Baillie's llst: on we-Confederation music societies in Toronto, Del ibes' Lakme, Mascagni 'S L'ami CO Fritz, and my own tnesis on opera in Montreal and Charpentier' s Louise, and Massenet's Le jongleur Toronto, the omission of a bibliograohy is de Notre Dame, Tnais, and Herodiade. glaring. And may I suggest for the next edition tnat tnere be a thorough overhaul of tne Index, And what of the many Canadian premisre wnere at present, the editorial policy is ~erformances given by Stuart Hamilton's Opera inconsistent. Welcome also would be an in Concert since 1975? Works such as Massenet's introductory essay wnere discussion mignt Tnerkse, Bizet 'S Djami leh, Berl ioz ' Beatrice focus on patterns of growth in operatic et Benbdict, Verdf 'S I1 Corsaro, Mozart's performance, and where descri~tionand critical La clemeza di Tito, Bellini's I Capuletti comment might be given on the various operatic e I Montecchi, and a dozen others were all associations formed over tne years in Toronto. neard twice. Has tnere been distortion for the sake of brevity? Also, I do not know Wnen all is said and done, however, Look at to which 1875 perfotmance of Mozart's tne record must be regarded as an important marriaqe of Fiqaro (listed in Figure 3) Mrs. contribution to the iconography of musical Baillie refers. The earliest production that life in Canada. It is a handsomely-produced I nave found of this opera in Toronto was volume, and in its own special way makes an given by V1 adimi r Rosi ng 'S American Opera eloquent plea for tne establishment of a proper Company in November 1929 at tne Royal Alex. opera/ballet house in our midst and for our time. The 1890-1910 period as shown in Figure 1 -Dori t h Cooper suggests tnat operatic activity practical1y Institute for Canadian Music came to a halt, and then picked up tremendously durfng tne mid-1930's. Surely this was not so, There is much work yet to be done to unravel tne 1890-1910 period, and my own suspicion is tnat it was a particularly eventful time in tne lyric theatre -- a kind of golden age 1. Musicians in Canada; a bio-bibliogmpnical of opera. The tours were far from over; but finding list / Musiciens au Canada; index by the 1930's it was common wisdom that tne bio-bibliogmphique. 2d. ed. Ed. Kathleen road was "shot to oieces" (rising costs, M. Toomey, Stepnen C. Willis. 1981. 185 tn@ Depression, the tal kies and declining P. $18.00 + postage. standards are all reasons commonly cited.) 2. Union list of music periodicals in Canadian Figure 4 lists opera composers whose works libraries / Inventaire des publications em nave been presented in Toronto from 1825 to s6rie sur la wsique dans les biblio~ues 1984. The only Canadian composers listed are Ca~di~IIneS.2d. ed. Ed. Larry C. Lewis. Somers and Pannel l: cons~icuously absent 1981. 293 D. $10.00 + postage. are Healey Willan (Deirdre, MacMillan Theatre, 1965; 0' Keefe Centre, 1966), John Beckwi th 3. R6pertoire bibliogmphique Q teas (Night bloominq cereus, Hart House, 1960; de prSsentation gh5rale et d1ana1ySe dloeuvres The Snivaree, Town Hall, 1982), Maurice MlSfCales caruldieltlles (1900-1980) / Canadian Blackburn (Une mesure de silence, Eaton wsical mrlrs 1900-1980: a bibliograpny of Audi toriurn, 1956), Charles Wi1 son (HBloise general and analytical sources. Directi on and Abelard, 01Keefe,1973, The selfish qiant, Lucien Poirier. 1983. 96 p. $7.00 + postage. Town Hall 1975), R. Murray Schafer (Lovina, MacMil lan Tneatre, 19731, Graham George (A Also available: kinq for Corsica, Hart House, 1981). Witn Canadian lusic: a selected cnecklist 1950-1973 the exce~tion of Schafer's Loving, tnese all / La lusique canadienae: me liste dlective fall within the criterion for inclusion, namely 1950-1973. Ed. Lynne Jarman. 1976. 170 p. "a minimum of tnree full or part ~erformances". $10.00 + postage. CAML/ACBM Pub1i cations Though tne reader is referred to tne Faculty of Music Library Encyclopedia of music in Canada, the Dictionary University of Toronto Toronto, Canada M5S 1Al of Canadian bioqra~ny, David Sale's thesi S