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CAML REVIEW Page REVUE DE L’ACBM v. 37 no. 2 August/août 2009

Articles and Reports / Articles et rapports:

Message du président / President’s Report Kirsten Walsh 3

IAML 2012 Montréal / AIBM 2012 à Montréal Joseph Hafner 6

Rencontre annuelle de la Section québécoise de l'ACBM / Annual Meeting of the Quebec Chapter of CAML 10

Five Cent Music: Publication of an Early Series of Canadian Sheet Music 12 Peter Higham

Book Reviews / Comptes rendus:

Music, Libraries, and the Academy: Essays in Honor of 31 Lenore Coral / Lisa Philpott

Sonic Mosaics: Conversations with Composers / J. Drew 33 Stephen

CD Reviews / Comptes rendus:

The Fool ; The Death of Enkidu / Edward Jurkowski 35

Ings / Michael Berger 38

Lament in the Trampled Garden: Chamber Music by 40 Marjan Mozetich / Eric Hung

Scherzo: Piano Music by Oskar Morawetz / Elaine Keillor 42

Back Cover The Conservation, Restoration, and Repair of Stringed Instruments and Their Bows (IPCI Canada)

CAML Review, published three times a year, is the official organ of the Canadian Association of Music Libraries, Archives, and Documentation Centres. CAML Review is indexed in The Music Index and the Canadian Music Periodical Index.

Revue de l’ACBM, publiée trois fois l’an, est l’organe officiel de l’Association canadienne des bibliothèques, archives et centres de documentation musicaux. La Revue de l’ACBM est indexée dans Music Index et L’Index des périodiques de musique canadiens.

Editor / Éditrice: Cheryl Martin, Western Libraries, The University of Western Ontario, London, ON N6G 1G9. Tel: 519-661-2111 x88081; Email: [email protected]

Associate Editor/ Éditrice-adjointe : Denise Prince, Conservatoire de musique de Québec, 4750, ave Henri-Julien, Montréal, Québec H2T 2C8. tél. 514-873-4031 #247; Courriel: [email protected]

Review Editor/Éditeur des comptes-rendus: Desmond Maley, J.N. Desmarais Library, Laurentian University, 935 Ramsey Lake Rd., Sudbury, Ontario P3E 2C6. Tel: 705-675-1151 ext. 3323; E-mail: [email protected]

The editors invite submissions in the form of articles, reviews, reports, and news items. Deadline for the next issue: October 15, 2009. / Vous êtes invités à soumettre des articles, comptes rendus et informations à la Revue. Date limite du prochain numéro: le 15 octobre 2009.

Membership Secretary/Secrétaire d’adhésions : Janneka Guise, Eckhardt-Gramatté Music Library, 65 Dafoe Rd., University of Manitoba, Winnipeg, MB, R3T 2N2, 204-474-7911; Email: [email protected]. Claims are filled for six months following publication. Send all claims to the Membership Secretary. / Les réclamations de numéros manquants sont acceptées durant une période de six mois suivant la date de publication. Veuillez faire parvenir toute réclamation à la secrétaire aux adhésions.

Advertising / publicité: please contact the Editors / communiquez avec les éditrices.

CAML web site/Site web de l'ACBM: www.yorku.ca/caml Section québécoise de l'ACBM/Quebec Chapter of CAML: www.sqacbm.org

President’s Report / Message de la présidente*

It was a pleasure to see so many of you at J'ai eu le grand plaisir de rencontrer our recent conference in Ottawa, and I plusieurs d'entre vous lors de notre dernier hope that you enjoyed the meeting as congrès à Ottawa, et j'espère que vous avez much as I did. A big thank-you must go to apprécié ce congrès autant que moi. Je Cheryl Martin for putting together a varied remercie très chaleureusement Cheryl and interesting program in addition to her Martin pour avoir conçu un programme ongoing work as our CAML Review editor. intéressant et varié, en plus de travailler Many thanks are also due to Brenda Muir comme éditrice à notre Revue de l'ACBM. and her committee for doing a great job Brendra Muir et son comité de logistique with the Local Arrangements. The tours méritent aussi de sincères remerciements. and banquet were definite highlights of the Les visites et la réception de clôture ont été week. We were given a fascinating réellement des faits saillants de la semaine. glimpse into the “behind the scenes” On nous a donné un aperçu fascinant des activities of the Museum of Civilization’s activités d'arrière-scène aux archives sonores Sound Archives, and Sam Cronk turned us du Musée de la civilisation, puis Sam Cronk loose to explore one of their huge vaults nous a permis d'explorer librement une de containing priceless music artifacts. We leur grande voute, contenant des artefacts also enjoyed a tour of Library and musicaux de grande valeur. Nous avons Archives Canada’s Music Division, aussi apprécié la visite de la Section followed by Richard Green’s entertaining Musique, de Bibliothèque et Archives presentation of Treasures from the Canada, ainsi que la présentation dynamique Recorded Sound Collection. The banquet de Richard Green sur les trésors de leur at Malone’s Restaurant on picturesque collection d'enregistrements sonores. La Dow’s Lake was memorable, particularly réception au restaurant Malone, situé aux because Helmut Kallmann was able to join abords du pittoresque Lac Dow a été us and be present for the presentation of mémorable, particulièrement à cause de la the Helmut Kallmann Award to Madame présence d'Helmut Kallmann et de la remise Marie-Thérèse Lefebvre. du Prix-Helmut-Kallmann, décerné cette année à Madame Marie-Thérèse Lefebvre. Peter Higham and I met during the conference with Gillian Cantello and Peter Higham et moi-même avons eu une Mireille Miniggio at Library and Archives rencontre, durant le congrès, avec Gillian Canada (LAC), and had an encouraging Cantallo et Mireille Miniggio, à discussion about the possibility of LAC Bibliothèque et Archives Canada (BAC). taking on official co-ordination of Cette discussion a été positive et suscite de Canadian submissions to RILM Abstracts. l'espoir quant à la possibilité que BAC I am hopeful that they will agree to do prenne en charge la coordination officielle this, as is done by the national libraries of des inscriptions au RILM Abstracts. Je suis many countries. optimiste que ce projet se concrétise et que le processus se déroule de la même façon

Our thoughts are already turning towards que dans les bibliothèques nationales de next year’s meeting. Although the 2010 plusieurs autres pays. CFHSS Congress will take place in Montreal at Concordia University, the Nos pensées se dirigent déjà vers le congrès Department of Music there will be unable annuel de l'an prochain. En effet, bien que le to host us and CUMS, due an impending congrès 2010 de la FCSHS se tienne à move. The CAML Board considered l'Université Concordia de Montréal, le other options, and has decided to take up Département de musique ne peut accueillir CUMS’ invitation to meet with them at the l'ACBM et la SMUC, en raison d'un University of Regina on June 3-6, 2010, in déménagement imminent. Après avoir conjunction with The International évalué différentes options, le conseil Association for the Study of Popular d'administration de l'ACBM a accepté Music (IASPM)-Canada and the Canadian l'invitation de la SMUC de se rencontrer à Society for Traditional Music (CSTM). l'Université de Regina, du 3 au 6 juin 2010, This “mega-conference” will be an conjointement avec deux autres organismes: exciting opportunity to join forces with a l'Association internationale pour l'étude de la larger number of music folks in a diverse musique populaire - section Canada, et la and stimulating programme. Société canadienne des musiques traditionnelles. Ce méga-congrès sera Looking further ahead, plans for the l'occasion idéale de regrouper nos troupes CAML/IAML 2012 meeting in Montreal avec celles d'un grand nombre de gens en are proceeding under the able leadership musique, autour d'un programme diversifié of Joseph Hafner and Brian McMillan; et stimulant. Joseph’s report also appears in this issue. Au-delà de l'an prochain, c'est le congrès The Board will meet by teleconference ACBM/AIBM de 2012 à Montréal qui call rather than in person this fall, in order retient notre attention. La planification va to keep costs down. We were gratified bon train, sous la direction de Joseph Hafner that the proposed revision to CAML’s et de Brian McMillan; le rapport de Joseph audit procedures was passed by the est d'ailleurs publié dans ce numéro. membership, as this will enable better use of CAML’s limited resources. Another La prochaine réunion du C.A. se déroulera cost-saving change being considered is to par conférence téléphonique, permettant publish the CAML Review only in ainsi de réduire les coûts de réunion en electronic form. Your opinions on this are personne. Nous avons été heureux welcome, and Cheryl Martin would d'apprendre que l'amendement proposé aux appreciate the help of someone interested procédures de vérification annuelle de in doing some research into the l'ACBM a été accepté par nos membres. implications of dropping the print version. Cela permettra une meilleure utilisation des Please consider contacting Cheryl and ressources limitées de l'ACBM. Un autre offering your help. projet d'économie de coût nous amène à réfléchir : la publication de la Revue de I would like to thank Peter Higham, now l'ACBM sous forme électronique seulement. Past President, for his dedicated leadership Nous comptons sur vos opinions et Cheryl and his good work on the Board during his Martin apprécierait que quelqu'un fasse des

4 term as President. I am very pleased that recherches sur les conséquences Joseph Hafner was acclaimed to serve d'abandonner ou non la version imprimée. another two-year term as Member-at-large N'hésitez pas à contacter Cheryl et lui offrir on the CAML Board, and Janneka Guise votre aide. agreed to serve a new two-year term as Membership Secretary. Thanks to both J'aimerais remercier Peter Higham, ancien Joseph and Janneka for their ongoing président, pour ses qualités de chef et son commitment to CAML. If you haven’t excellent travail au C.A. au cours de son already done so, do visit our newly- récent mandat de président. Je suis très designed website at heureuse que Joseph Hafner ait été élu pour http://www.fsc.yorku.ca/caml/drupal/. I un deuxième mandat de deux ans, à titre de hope you will be impressed with the new conseiller au C.A. de l'ACBM. Aussi, look produced by our webmistress, Stacy Janneka Guise a accepté un nouveau mandat Allison-Cassin. Thank you very much, de deux ans, comme secrétaire aux Stacy! adhésions. Merci donc à Joseph et Janneka pour leur engagement continu à l'ACBM. Je I hope your summer has been enjoyable vous invite à consulter, si ce n'est déjà fait, and relaxing, and I look forward to notre site web, sous une toute nouvelle working with the Board and with all of conception, à you over the coming year. http://www.fsc.yorku.ca/caml/drupal/. J'espère que vous serez impressionnés par sa nouvelle allure, conçue par notre webmestre Stacy Allison-Cassin. Merci beaucoup Stacy!

J'espère que vous passez un été agréable et relaxant. C'est avec grand plaisir que j'anticipe le travail de cette première année avec l'équipe du Conseil d'administration et vous tous.

Kirsten Walsh Music Library University of British Columbia [email protected]

IAML 2012 Montreal / AIBM 2012 à Montréal By Joseph Hafner, McGill University / Université McGill*

Plans are underway for the International La planification est en marche pour le Association of Music Libraries Annual congrès annuel de l'Association Conference, to be hosted by CAML in 2012 internationale des bibliothèques de musique, and held in Montreal, Quebec. The local qui se tiendra en 2012, à Montréal (Québec) arrangements committee is chaired by et dont l'ACBM sera l'hôte. Le comité de Joseph Hafner and Brian McMillan, both logistique est présidé par Joseph Hafner et from McGill University. At the CAML Brian McMillan, tous deux de l'Université Conference in Ottawa on May 29, 2009, McGill. Joseph Hafner a donné, lors du Joseph gave an overview of the conference congrès de l'ACBM le 29 mai 2009 à Ottawa, planning so far. During that meeting the un aperçu de la planification jusqu'à tentative dates for the conference were maintenant. Au cours de cette rencontre, une discussed. It was suggested that the first discussion a porté sur certaines dates weekend in August should be avoided possibles. On a suggéré d'écarter la première because of a holiday Monday in some fin de semaine d'août, à cause du lundi de provinces, so that was taken into congé dans certaines provinces. D'autres consideration. Other members shared membres, ayant vécu le congrès de l'AIBM insights about the 1994 IAML Conference en 1994 à Ottawa, ont échangé leurs in Ottawa. opinions.

This year several Canadians attended the Récemment, plusieurs canadiens ont assisté IAML Annual Conference in Amsterdam au congrès annuel de l'AIBM, qui s'est tenu à July 5 to 10, 2009. This group included: Amsterdam, du 5 au 10 juillet 2009. Parmi eux, on retrouvait: Andrew Hankinson, McGill University Brian McMillan, McGill University Andrew Hankinson, Université McGill Daniel Paradis, Université de Montréal Brian McMillan, Université McGill Ichiro Fujinaga, McGill University Daniel Paradis, Université de Montréal Joseph Hafner, McGill University Ichiro Fujinaga, Université McGill Mélissa Gravel, Université Laval Joseph Hafner, Université McGill Mélissa Gravel, Université Laval We took the opportunity to speak to people involved with the planning for the Nous avons profité de l'occasion pour Amsterdam conference, to get ideas about rencontrer certains organisateurs du congrès organizing the conference and planning the d'Amsterdam, afin de partager leur budget. After returning from the conference expérience d'organisation et de planification Joseph and Brian decided to call a meeting budgétaire. Au retour de ce congrès, alors of the planning committee, since the que tout était frais à leur esprit, Joseph et

Amsterdam conference was fresh in their Brian ont convoqué une rencontre du comité minds. This meeting was held on July 22, de planification. Les participants à cette 2009 from 19:00 to 21:30 and included: rencontre, tenue le 22 juillet 2009 de 19:00 à 21:30, étaient: Andrew Hankinson, McGill University Benoît Migneault, BAnQ Andrew Hankinson, Université McGill Brian McMillan, McGill University Benoît Migneault, BAnQ Daniel Paradis, Université de Montréal Brian McMillan, Université McGill Ichiro Fujinaga, McGill University Daniel Paradis, Université de Montréal Jared Wiercinski, Concordia University Ichiro Fujinaga, Université McGill Joseph Hafner, McGill University Jared Wiercinski, Université Concordia Justine Lamoureux, UQAM Joseph Hafner, Université McGill Justine Lamoureux, UQAM They reviewed the details for the planning including the budget, potential locations for Ils ont alors étudié la planification en détail: the sessions, ideas for concerts, possible budget, emplacements potentiels pour les tours, publicity, and more, along with ideas séances, suggestions de concerts, visites from things that worked well at the possibles, publicité et autres, et les points Amsterdam Conference. One major forts du congrès d'Amsterdam. Une décision decision that came out of this session was importante a émergé de cette réunion: des the choice of dates for the conference: dates ont été choisies pour le congrès de Sunday, July 22, 2012 to Friday, July 27, Montréal en 2012, soit du dimanche 22 juillet 2012. Since this meeting, the CAML Board au vendredi 27 juillet. Depuis cette réunion, and the IAML leadership have approved the le conseil d'administration de l'ACBM et les dates. dirigeants de l'AIBM ont approuvé ces dates.

Having the conference in Canada will give La tenue du congrès au Canada permettra de us a chance to showcase Canadian music mettre en valeur la musique canadienne et and musicians, showcase innovative ideas nos musiciens, ainsi que les idées from Canadian libraries, give tours of our innovatrices des bibliothèques canadiennes. libraries, and highlight some special tourist Ce sera aussi une merveilleuse occasion sites. It is exciting to think about the d'organiser la visite de nos bibliothèques et possible concerts that we could plan on a de souligner certains sites touristiques couple of the nights, along with music at importants. C'est vraiment excitant de penser the opening event and/or banquet. We think à tous les concerts que l'on pourra planifier that it would be great to have the closing en soirée, de même que les événements banquet in Old Montreal, and we have musicaux d'inauguration et de clôture. Ce looked at a venue there that could work serait merveilleux d'avoir le souper de clôture well for this event. dans le vieux Montréal et nous avons déjà un emplacement en vue... qui conviendrait Looking at the budget, we will want to parfaitement à cet événement. ensure that we plan well to cover all of our costs, and we will look for ways to Sous l'aspect budgétaire, nous nous supplement the registration costs with assurerons de bien planifier tous les coûts et grants and donations. We are working on a rechercherons différentes façons de proposal for a grant that would support the subventionner les frais d'inscription, par des

7 activities related to a program of Canadian bourses et des dons. Nous travaillons déjà à music and musicians and/or enable un projet de bourse qui supporterait les Canadians to attend this international activités reliées à un programme de musique meeting. The price for the conference this canadienne et/ou aux musiciens, pour year, including the banquet, was about permettre aux canadiens d'assister à ce $500 Canadian. congrès international. Cette année, le tarif d'inscription au congrès était de 500$ The Local Arrangements Committee will be canadien, incluant le souper de clôture. touring a couple of possible locations for hosting the conference sessions, and we Le comité de logistique visitera différents hope to have an announcement soon about emplacements possibles pour la tenue des where we plan to hold the conference in séances du congrès, et nous souhaitons Montreal. We are looking at places in the annoncer bientôt à quel endroit, à Montréal, downtown area that have easy access to nous planifions que le congrès se déroule. hotels, shopping and public transportation. Nous évaluons, au centre-ville, où sont situés The conference usually attracts between 160 les facilités d'accès aux hôtels, au and 250 people when it is held outside magasinage et les transports publics. Europe, so we need a place that can easily Lorsqu'il se tient à l'extérieur de l'Europe, le hold this many people, especially when the congrès attire généralement entre 160 et 250 exact numbers of attendees might not be personnes. Nous avons donc besoin d'une verified until the very end. place qui peut facilement accueillir ce nombre et devons prévoir aussi que le We think Montreal will be a great place for nombre exact de participants ne sera IAML 2012, and those of us that went to probablement pas connu avant la toute fin Amsterdam heard that many IAML des inscriptions. members are excited about coming to Montreal in 2012. If you are interested in Montréal sera une très belle destination pour being part of the Local Arrangements l'AIBM 2012 et ceux d'entre nous qui sont Committee, or would like to be a volunteer allés à Amsterdam ont su que plusieurs during the conference, we would appreciate membres de l'AIBM sont très enthousiastes à your help. Please contact Joseph and he will l'idée de venir à Montréal. Si vous souhaitez add you to the list: [email protected] joindre le comité de logistique, ou être bénévole durant ce congrès, nous The current members of the Local apprécierions votre aide. Veuillez contacter Arrangements Committee are: Joseph afin qu'il ajoute votre nom à la liste du comité : [email protected] Joseph Hafner, McGill University, Co-Chair Brian McMillan, McGill University, Co- Les membres actuels du comité de logistique Chair sont: Andrew Hankinson, McGill University Audrey Laplante, Université de Montréal Joseph Hafner, Université McGill, co- Benoit Migneault, BAnQ président Brenda Muir, LAC Brian McMillan, Université McGill, co- Cathy Martin, McGill University président Christiane Melançon, Université de Andrew Hankinson, Université McGill Montréal Audrey Laplante, Université de Montréal

Daniel Paradis, Université de Montréal Benoit Migneault, BAnQ Denise Prince, Conservatoire de musique de Brenda Muir, BAC Montréal Cathy Martin, Université McGill Ichiro Fujinaga, McGill University Christiane Melançon, Université de Montréal Jared Wiercinski, Concordia University Daniel Paradis, Université de Montréal Justine Lamoureux, UQAM Denise Prince, Conservatoire de musique de Kirsten Walsh, UBC Montréal Lucinda Walls, Queens University Ichiro Fujinaga, Université McGill Megan Chellew, McGill University Jared Wiercinski, Université Concordia Nicole Blain, CBC Justine Lamoureux, UQAM Peter Higham, Mount Allison University Kirsten Walsh, UBC Lucinda Walls, Queens University Megan Chellew, Université McGill Nicole Blain, CBC Peter Higham, Mount Allison University

Rencontre annuelle de la Section québécoise de l'ACBM / Annual Meeting of the Quebec Chapter of CAML La Section québécoise de l’ACBM est The Quebec Chapter of CAML is pleased to heureuse de vous annoncer sa deuxième announce its second annual meeting, which rencontre annuelle! Elle se tiendra vendredi, will take place on Friday, October 23, 2009, le 23 octobre 2009, au Conservatoire de at the Conservatoire de musique et d'art musique et d’art dramatique de Montréal. dramatique de Montréal. Full information, Tous les renseignements, incluant le including the programme and registration programme et le formulaire d’inscription, form, are available at the QCCAML sont disponibles sur le site web de website: SQACBM: http://sqacbm.org/rencontre-en.html. http://sqacbm.org/rencontre.html. This one-day meeting will offer participants Cette rencontre d'une journée offrira à ses the opportunity to meet and discuss work- participants l’occasion de se rencontrer et de related issues. All who work with music in discuter de questions professionnelles. libraries and/or are interested in music Toute personne travaillant avec la librarianship are welcome to attend. documentation musicale dans le milieu des bibliothèques ou s'intéressant à la Many of the day’s presentations are related bibliothéconomie musicale est invitée à se to digitization issues and projects, and other joindre à nous pour cette journée! music library issues will be explored at the meeting as well. Highlights include: Plusieurs présentations de cette journée se · A keynote presentation of the CBC’s new concentrent sur le thème de la numérisation digital delivery of audio (questions, projets). D’autres préoccupations · An update on RDA: Resource Description des bibliothèques de musique seront aussi and Access abordées lors de cette rencontre. Voici · Concordia University's audio e-reserves quelques faits saillants : project - conférence d’ouverture "La discothèque · Music digitization projects of the BAnQ virtuelle : le projet VML et la numérisation · Online music periodicals des collections musicales de Radio- · Public library support of young adults' Canada/CBC" music information seeking. - RDA et la musique : un survol des changements par rapport aux RCAA2 Tours of the Conservatoire’s Library will - un projet de réserve de cours avec contenu also be offered. The day will end with a audio sur Internet, à l’Université Concordia wine and cheese reception. - processus de numérisation des enregistrements sonores à BAnQ Finally, the day’s events will also include a - périodiques de musique en ligne popular feature from last year’s meeting: 5- - services d’orientation en bibliothèque minute “Hot Topics” presentations. Is there publique : les adolescents et les collections a project you feel particularly proud of? de musique Would you like to highlight a special feature of your library’s collections or services? Des visites de la bibliothèque du Share your experiences with your Conservatoire seront aussi offertes. Une colleagues! All are welcome to participate.

réception, avec vins et fromages, terminera Contact Brian McMillan cette journée. ([email protected], 514-398-8485) for more information or to reserve a spot. Nous reprendrons aussi la populaire activité de l’an dernier : conférences-éclair, d’une We look forward to seeing you this fall! durée maximum de 5 minutes! Vous avez des projets qui vous tiennent à cœur? dont QCCAML Annual Meeting organizing vous êtes particulièrement fiers? des committee: réalisations mettant en valeur vos Brian McMillan, McGill University (Chair) collections ou vos services? N’hésitez pas à Cathy Martin, McGill University partager ces expériences avec vos collègues. Denise Prince, Conservatoire de musique et Toutes les participations sont bienvenues! d'art dramatique de Montréal Communiquez sans tarder avec Brian Tania Siglinde, Université de Montréal McMillan ([email protected], 514- Jared Wiercinski, Concordia University 398-8485), pour des informations supplémentaires ou pour y inscrire votre participation.

Au plaisir de vous rencontrer cet automne!

Comité organisateur de la rencontre annuelle de la SQACBM: Brian McMillan, Université McGill (président) Cathy Martin, Université McGill Denise Prince, Conservatoire de musique et d'art dramatique de Montréal Tania Siglinde, Université de Montréal Jared Wiercinski, Université Concordia

Five Cent Music: Publication of an Early Series of Canadian Sheet Music by Peter A. Higham*

The little that is known about Irving’s Canadian series of five cent music is encompassed in an article by Dr. Helmut Kallmann included in The Encyclopedia of music in Canada (Kallmann 1992a, 637). This Series of 750 sheet music issues was published in Toronto and Clifton (Niagara Falls) by the Toronto News Company and in Montreal by the Montreal News Company. The popular songs of the day were issued without copyright notice or an indication of

the year of publication; it was thought, however, that most were published in the 1880s and a majority of those issues which have been catalogued and whose bibliographic records appear in the Amicus database, indicate the probable years of publication as 1880 to 1885 (Amicus catalogue). However, bibliographic records for issues held by Library and Archives Canada guess that number three in the Series was published between 1867 and 1873, and number six between 1871 and 1874. Those bibliographic records also indicate that 1885 is the probable date of publication for titles near the end of the Series. Information below indicates more precisely the years of publication in Canada of this large sheet music series.

In his book The Beginnings of the book trade in Canada George L. Parker mentions the Toronto News Company in the context of mail-order book companies, such as Rose-Belford’s Library and Robertson’s Popular Library. Managed by Andrew S. Irving, the Toronto News Company issued its own American Library, whose titles were light reading by authors such as Joaquin Miller, Fleming and Roe. “The library series filled an important economic and cultural role because for the first time in our history, Canadian publishers supplied literature at affordable prices to everyone who could read” (Parker 1985, 196). This can be affirmed in a parallel manner to the publication and availability of sheet music during the same period. The Canadian Institute of Historical Microreproductions reproduced, in microfiche format (CIHM no. 92361), a short piece of fiction entitled, “The Hidden Hand,” by Mrs. [Emma Dorothy Eliza Nevitte] Southworth. It was published by the same Toronto News, publishers, in Toronto and Niagara Falls, Ont. Following the eighty-six pages of text is a list which advertises song titles numbered one through 501 from the series Irving’s Five Cent Music. If the year of publication of this item was as CIHM established, i.e., between 1874 and 1876, then two-thirds of Irving’s Five Cent Music Series must have been published by 1876.

A Dictionary of Toronto printers, publishers, booksellers and the allied trades, 1798-1900 by Elizabeth Hulse supplies more details about the Toronto News Company. It was originally incorporated as the Canadian News Company, but changed its name and became active as the Toronto News Company in July of 1876, as a wholesale bookseller, stationer, and newsdealer; a publisher; publishers’ agent; sheet music publisher; and sporting goods dealer (Hulse 1982, 262). Hulse does not indicate the demise of the company, but it was still active in 1888 when it published John Marchant Whyte’s “The Land of No-Where,” a copy of which is held by the Archives and Research Collections at McMaster University (email message to the author from Archivist Librarian Rick Stapleton, 3 February 2009).

Hulse gives the location of the Toronto News Company as 14 Jordan Street from 1877 to 1881, and as 42 Yonge Street from 1882. As already noted, the year of publication is not indicated on the issues in Irving’s Five Cent Music. These street addresses would help to establish what years Irving’s Series was published, because most of the issues indicate the three places of publication. However, only the Montreal location carries a street address. It has not been determined what years the Montreal News Company existed at its different addresses, which included 588 Craig Street and 386 and 388 St. James Street. There was an overlap between the Toronto News Company and its predecessor, Irving & Co. (February 1874 – September 1876), since early numbers (including numbers 1, 2, and 6) in the Five Cent Music series carry the address of 35 King Street Toronto, which was the address of Irving & Co. (Hulse 1982, 132). Because 14

numbers 49 and 50 of the Series indicate the address of Jordan Street, it may be surmised that Irving’s Canadian Series of Five Cent Music began between 1874 and 1876, probably closer to 1876. It was finished by 1888, when the previously mentioned song, “The Land of No-Where,” was published by the Toronto News Company, but the sheet music itself does not carry a Series number or refer to the Series title.

Hulse also provides further information about Andrew Scott Irving, who was manager and later president and managing director of the Toronto News Company (1982, 133). He was born in Scotland in 1837 or 1839 and was active in Toronto as a bookseller, stationer, newsdealer, publisher, and music publisher from 1862 until his death in 1904. Besides the Toronto News Company, which had branches in Clifton and Montreal (the Montreal News Company), he was involved with other companies, including Irving & Thomson, Canadian News and Publishing Co., Irving & Co., and the National Electrotype & Stereotype Co. He published, under the name of A. S. Irving, a ninety-six-page book of song-texts, measuring fifteen centimeters high, called The Canadian Maple Leaf Song Book. It was supposedly published between 1867 and 1872 (Amicus catalogue).

The Encyclopedia of Music in Canada article indicates that “nearly 700 numbered items” were published, but Library and Archives Canada actually holds what appear to be among the last of the Series, number 748, “I Loved You Better than You Knew” and number 749, “My Dad’s the Engineer.” It is surprising that Rare Books and Special Collections of McGill University Library has only five of the Series, but it does hold a copy of what appears to be the final number, 750, entitled “Sweet Bunch of Daisies.” The back page of most sheet music issues normally includes a list of the Series issue numbers along with the accompanying song titles. The last title in the numbered lists is number 744. The author has collated into a single complete list the song titles and their Series issue numbers [see appendix 1]. Because of an entry in the WorldCat catalogue, it was thought that someone had previously made a complete list of the Series titles. The entry indicates that Brown University Library in Providence, Rhode Island has a copy of a book published in Saint John, New Brunswick in 1890 with the title, List of Irving’s Five Cent Music: containing all the new and popular songs of the day (WorldCat). However, it turns out that the item is, in reality, a single broadsheet with only 501 titles of the whole Series in its list.

The songs were published in octavo format: single sheets which probably before trimming measured 11 by 14 inches (28 X 35.5 cm.). When folded the sheets produced a title page, the music on the inside two pages, and the back page which, as already mentioned, normally listed numbered titles from the Series. The folded sheets measure 17 by 26.5 cm.

It is not so surprising that the song Series was published, not by a music publisher, but by a so- called news company. This, of course, was some forty years before the time of radio, so what better way of ‘broadcasting’ the typical songs of the day than by making them easily accessible and affordable in sheet music format? The publication of the sheet music served in its time to make popular songs available to a wider public, and the purpose of the publications would be to get the songs into the hands of many people in a timely manner, something in which a “news” company was experienced. “As a commercial musical marketplace emerged in the closing decades [of the nineteenth century], publishing firms, piano manufacturers, and touring musical shows encouraged the production of music designed to cater to fashionable tastes” (Hall 1985, viii).

Assuming that number 750 was the last issued in the Series, all titles, except numbers 745, 746, and 747 are known. However, holdings of the Series by different libraries are quite incomplete: a keyword search of WorldCat for “five cent music” produced 492 hits. But few of the hits are relevant to the Series at hand, though at least two other Series showed up: G. Schirmer’s octavo church music: five cent series and Cundy’s Five cent series of popular music which was published in Boston. There is at least one copy accessible of 57% of the Series, but that leaves no known holdings for 323 of the sheet music issues. There are just eleven with no holdings from among the first 100 of the Series, but eighty among the last 100 numbers. Mount Allison University Libraries holds thirty-nine of the songs in its rare books collection. At Queens University in the Lorne Pierce Canadian sheet music collection of the W.D. Jordan Special Collections and Music Library are found eighty-eight numbers. To date, somewhat surprisingly, no significant holdings of the Series have been located in one of the publisher’s locations, Montreal. The Bibliothèque et Archives nationales du Québec holds just five issues, as does the McGill University Libraries, including, as mentioned previously, the last issue known. Two locations in Toronto have holdings in their special collections: the Toronto Reference Library of the Toronto Public Library system has eighty-two, and the University of Toronto Faculty of Music Library has confirmed holdings of ninety-nine. The latter includes fifty-six of the songs bound together probably by a Walter Goodman Haynes, whose signature appears in the endpaper dated in Toronto, “Sept 29th / 89.” This collection is also stamped, “THE RITA HAYNES COLLECTION.”

As might be expected, the largest number of issues of Irving’s Canadian Series of Five Cent Music is held at Library and Archives Canada. It has 324, which is still less than half of those issued. Most of these are listed in its catalogue, Amicus, though others have not been fully catalogued. Electronic copies of forty-six of the songs (one appears to be duplicated) are available on the web site Sheet music from Canada’s past. No recordings of the songs, however, are available on Collections Canada’s music streaming web site The Virtual gramophone: Canadian historical sound recordings.

Most of the titles in the Series are not of significant or of particular interest in themselves, except for indicating popular, mostly American or British, tunes of the day. When putting together the complete list of song titles for the Series, it was necessary to scan several lists. Optical character recognition produced some unlikely titles, such as: “Call Me flack Again,” “Be’s the Picture of his addy,” “A Faded Pansy,” and “When the Moon-Beanie Fall.” But some of the actual titles are just as odd and amusing: “Yakie and Leedle Louvise,” “I’m Glad my Heart’s my Ain yet,” and “The Butterfly Dude.” The name “Kathleen” appears in several titles, and one wonders what might have transpired between the earlier song in the Series, “Kathleen’s Answer,” and a later one, “I’ve Called you back Again, Kathleen.” “Mavourneens” were prolific: there is “Kathleen Mavourneen,” “Norah Mavourneen,” “Mollie Mavourneen,” and finally, two of “Good-bye, Mavourneen” (numbers 480 and 572). It is not known if these numbers are duplicate songs since 18

there are no known holdings of number 572. Other titles elicit curiosity too, like, “Grogan the Masher,” and “Creep into Bed, My Baby.” Among my favorite are two titles issued not long before the Series was finished, “I Don’t Want to Play in Your Yard,” and the subsequent (and companion piece?), “You Can’t Play in Our Yard any More.” However, many titles are more recognizable and memorable, even 130 years later: “The Little brown jug,” “Old Black Joe,” “Old folks at home,” “Beautiful dreamer,” “A Rolling stone gathers no moss,” “Hush, little baby, don’t you cry,” “Wait till the tide comes in,” and “Irene, good night.”

It seems inevitable that inflation sets in, as witnessed by the few sheet music songs held by the Faculty of Music Library at the University of Toronto in the series, Robertson’s Half-Dime Music. These are republications of six of Irving’s Five Cent Music, numbers 119, 121, 123, 140, 141, and 163. The Toronto Reference Library owns two issues in a series entitled Irving’s Canadian Series of Ten Cent Music which also carry the Five Cent Series’ numbers (248 and 253). Unlike their original size they have been published in large format, measuring 26 by 35 centimeters. The back page lists just eight in the Series with the testimonial: New and popular pieces will rapidly follow. None but the very best will appear in this Series. The above can be had at any Music, Book, or News Store in the dominion, or by enclosing Ten Cents each to the Publishers. The new Series was perhaps not as popular as anticipated since “Reduced to 5 cents” in large font size is stamped diagonally across the sheet music covers.

Other than the place of publication, there actually is not too much that is Canadian about Irving’s Five Cent Music. Out of 750 songs in the Series, only two titles have a Canadian reference and just five were found to be written by Canadian composers or lyricists. Is this an accurate indicator of how Canadian culture was so dominated by British and American influences? Judging by these popular songs of the day, is it any wonder that it was well into the twentieth century before Canada could claim a musical life in a distinctive culture? All the songs having English lyrics is perhaps another reason why so few titles show up in Montreal, where interest in British and American popular songs would be less than in other parts of the country. The parlour songs, ballads, patriotic verses, temperance choruses, and character pieces are largely imported from the British and American music hall, vaudeville stage and other popular entertainments. The choice of publishing these titles in a sheet music series is, to some extent, a mirror of contemporary taste and social life (Kallmann 1988, vol. 3, 1419). The songs are primarily composed for solo voice with keyboard accompaniment, though some are set for four-part chorus. The song-composers are generally not well known. Among the composers who have contributed a greater number of songs to the Series are David Braham with ten, somebody identified only as Claribel (but who was also known as Mrs. Barnard (1830-1869)) with six, Hart Pease Danks with seven, Will. S. Hayes (1837-1907) with nine, Joseph P. Skelly (1853-1895) with eight, and Charles Albert White with five.

The two “Canadian” song titles are number 114, “Canada: national song and chorus,” and number 269, “The Maple Leaf, our Emblem Dear.” Only the latter title appears in facsimile in the post-confederation patriotic songs gathered in The Canadian Musical Heritage collection of Songs to English Texts. The copy does not, however, replicate the Toronto News Company edition, but rather one which was published at the Guardian Office on King Street East. Naturally, the names of the composers and lyricists are known only for those songs of which there are holdings locations, that is, about 170 song-writers [see appendix 2]. The five songs which boast Canadian composers or lyricists include Calixa Lavallée’s “Beautiful girl of Kildare” (number 55), Frances J. Hatton’s “Canada” (number 114), William Horatio Clarke’s “The Vine-covered Cottage” (number 194), James Austin Butterfield’s “When you and I Were Young, Maggie” (number 254), and Alexander Muir’s “The Maple Leaf, our Emblem Dear” (number 269). Among these five, Alexander Muir is the only composer represented in the Songs to English Texts volume of The Canadian Music Heritage series.

Most of the songs in the Series were not likely to have been newly composed for the Series; this was the case with Lavallée’s “Beautiful girl of Kildare,” with words by R. A. Warren, which was originally published by Whittemore in 1869 (Potvin 1992, 728). William Horatio Clarke was the organist-choirmaster at Jarvis Street Baptist Church in Toronto from 1880, and also the father of Herbert L. Clarke (Kallmann and Potvin 1992, 275). One can view the music to his song, “The Vine-covered Cottage,” on the Sheet music from Canada’s past web site. Here the music is subtitled, “song and chorus; also a quartette and chorus” with words by J. C. Johnson.

The song, “When you and I Were Young, Maggie” has its own entry in the Encyclopedia of music in Canada (Miller 1992, 1399). It was a popular ballad in the early twentieth-century, was recorded by several vocalists and instrumentalists, and was also treated by jazz musicians in the 1930s. The composer, James Butterfield (1837-91) was actually English, but the words were taken from a poem written in Hamilton by George Washington Johnson (1839-1917) for his beloved wife, Maggie Clarke. Butterfield published his song in Indianapolis in 1866, so its appearance in the Irving Canadian Series of Five Cent Music would have been a re-publication. Besides a later American publication of the song, the Sheet music from Canada’s past web site displays three versions of it, all published in the Five Cent Music Series, and apparently differing from each other only in their printing and probable year of publication. This indicates that there were multiple printings of at least some of the songs in the Series.

The Sheet music from Canada’s past web site includes three piano pieces by Frances J. Hatton, otherwise known as Mrs. Chas. G. Moore. It does not, however, include “Canada,” a national song and chorus, which is “dedicated to all loyal Canadians.” Apparently, it was first published in Belford’s magazine in 1878 (Kallmann 1992a, 637), and was perhaps intended as a possible national anthem in English to match the rising popularity of Lavallée’s “Chant national,” which, of course, was later to be known as “O Canada.”

One of the most popular patriotic songs, and among the most renowned of all the songs of Irving’s Canadian series of five cent music, is “The Maple Leaf, our Emblem Dear.” It predates Hatton’s and Lavallée’s national songs, as words and music were composed in the year of Confederation by Alexander Muir (1830-1906) (Kallmann 1992b, 802). The first publication of it, probably in 1868 though without copyright notice, and two other editions published in Toronto in 1871 and 1897, are reproduced on the web site Sheet music from Canada’s past. The Five Cent Music version must have been issued before 1880. It remained one of the few songs published in the sheet music Series with a distinctive Canadian importance and appeal, and thus is an indicator in itself of the significance and role which Irving’s Canadian series of five cent music played in Canada’s musical development.

Appendix 1: Song Titles with Series Numbers

Adieu, Sweetheart, but not Good-bye 181 Cantilena 48 Ellie Rhee 81 After the ball 732 Carry me back to old Virginny 242 Eva 207 After the Storm is Past 547 Cast One Little Thought for Me 518 Evening News, or "Ragged Matt" 738 Aileen Aroon 299 Castles in the Air 120 Exile’s Lament 629 Allena 504 Cat Came Back 741 Eyes that Stole my heart away 549 Alone in the Street 575 Charming Little Ada 485 Faded Pansy 562 Always Show Respect, Joe! 718 Charming Little Bo-Peep 571 Fairies Watch our little Darling 680 Always Take Mothers Advice 621 Chiming of the Bell 573 Fairy Footsteps Gently Falling 273 Amber Tresses tied in Blue 57 Climbing the Golden Stair 295 Far Away 83 Angel Gabriel 240 Climbing up de Golden Stairs 560 Father Says I May 3 Angels are Watching Above 460 Cobwebs on the Wall 540 Father, bring Home your Money 28 Angels Called Thee, Little Darling 484 Come again To-morrow Night 10 Father’s Growing Old 338 Angels Meet Me at de Cross-roads 104 Come along, my Darling 635 Fifty cents 491 Angels Whisper soft Good-night 173 Come Back to Erin 32 Finger Prints upon the Pane 446 Angels will open the Beautiful Gates 448 Come Down Mrs. Flynn 721 Finnigan and his Flute 365 Annie o’ the Banks o’ the Dee 138 Come o’er the Lake 301 Fisherman and his Child 568 Annie Rooney’s Baby 719 Come sit by my Side, little Darling 4 Five O’Clock in the Morning 143 Annie Rooney’s Sister 716 Come, Birdie Come 9 Flower from Mother’s Grave 217 Are We Forgotten when Were Gone? 96 Coming home From Meeting 541 For you are Praying at Home 395 Are you there, Moriarity 223 Convict and the Bird 666 Found Dead in the Street 493 As Good as Gold 121 Cottage by the Sea 263 Free as the Air 266 As I sat upon my dear old Mother’s Knee 614 Cows are in the Corn 292 Fritz’s Lullaby 337 As long as the World goes round 557 Cradle isn’t Empty, Baby smiled 391 Gallagher’s Baby 692 As She went Passing by 154 Cradle’s Empty, Baby’s Gone 340 Gates are Wide Open 58 Au Elegant Irish Gentleman 704 Creep into Bed, My Baby 619 Gathering Shells from the Sea Shore 38 Autograph Album 578 Cricket on the Hearth 634 Gathering the Myrtle with Mary 626 Babies on our Block 213 Daffney, do you Love me 303 Gently down the Stream of Time 30 Baby Mine 177 Dancing in the Barn 309 Give an Honest Irish Lad a Chance 482 Baby’s Gone 149 Dare to do Right 51 Give the Poor all they honestly Earn 426 Baby’s Laughing in Her Sleep 655 Darling Bessie of the Lea 151 God Bless my dear old Mother 241 Baby’s Tears 715 Darling Minnie Lee 209 Golden Picture of Home 596 Balm of Gilead 421 Day when you’ll Forget me 267 Golden Stair 256 Banks of Conway 684 Days that are gone Seem the Brightest 454 Golden Years are passing by 214 Barney Machree 270 De Angels am a Coming 417 Gone Before 128 Barney McCoy 412 De day I was Sot Free 318 Good Evening 155 Barney take me Home Again 607 De Golden Wedding 311 Good old Jeff; or, the Poor Old Slave 255 Barney, Come Home 707 De Huckleberry Pic-nic 313 Good-bye, Katie Darling 597 Barney, Don’t Forget 193 Dear Little Colleen 184 Good-Bye, Mavourneen 572 Beautiful Child of the Street 556 Dear Little Isle Fat Away 188 Good-Bye, Mavourneen 480 Beautiful Dreamer 280 Dear Little Pansy Blossom 470 Good-bye, Old Cabin Home 537 Beautiful girl of Kildare 55 Denny Grady’s Hack 652 Grandfather’s Clock 101 Beautiful Isle of the Sea 109 Dese Bones shall rise again 304 Grandma’s Vacant Chair 611 Beautiful Nell 144 Died in the Streets 282 Grandmother’s Chair 261 Beware 141 Dimpled Hands 468 Gray Hairs of my Mother 204 Bidalia McCann 231 Dip Me in de Golden Sea 414 Grogan the Masher 600 Birdie has Come 6 Do not turn me from your Door 53 Hand that Rocks the World 583 Birdie you must never Tell 158 Don’t be angry, Mother 489 Hannah, Boil dat Cabbage Down 316 Birdie, tell Winnie I’m Waiting 113 Don’t be Crying, Little Girl 402 Has Father been Here? 298 Birds will Come Again 146 Don’t be Sorrowful, Darling 116 Haunting Eyes 103 Black-eyed Binie’s gone to Rest 432 Don’t Forget a Friend 459 Have I not been Kind to Thee 63 Blind Mother 693 Don’t Forget me, Darling 236 He ain’t in it 712 Blow the Bellows, Blow 590 Don’t Forget the Fireside 525 He holds the Fort of Heaven 78 Boat Song 570 Don’t give up the old Friends for the new 588 He never Smiled Again 268 Bonnie Sweet Bessie, the Maid o’ Dundee 286 Don’t go out To-night Dear Father 513 He’s the Picture of his Daddy 606 Boodle 565 Don’t leave Grandmother now she’s old 79 Hear Dem Bells 664 Bo-Peep 490 Don’t you cry so, Nora Darling 67 Her Bright Smile haunts me Still 133 Boston Fire 351 Don’t you go, Tommy 164 Her Own Boy Jack 649 Boy’s best Friend is his Mother 543 Don’t you miss the Train 358 High-Water Pants 344 Brannigan’s Band 197 Dot Leedle Yawcob Strauss 80 Hildebrant Montrose 62 Break the News gently to Mother 312 Down Amid the Clust’ring Roses 352 Home Again 371 Bright flays of Early Morning 108 Down among de Sugar Cane 61 Homeless and Alone To-night 310 Bring Back My Fisher Boy 610 Down among the Daisies 681 Homeless To-night 171 Bring me a Letter from Home 438 Down the shadowed Lane she goes 93 Hope 162 Bring the Absent back to me 496 Draw aside the Curtain, Mother 278 How I miss those Little Footsteps 277 Broken Down 331 Draw the Line at That 539 How Paddy Stole the Rope 689 Broken Playthings on the Floor 613 Dream of Love is o’er 305 How the Gates came Ajar 11 Brooklyn Theatre Fire 535 Dreaming and Drifting 201 Hush, Little Baby, Don’t you Cry 601 Brown Eyes Close to the Window 404 Dreaming of Home and Mother 72 Hush, my Darling, do not Cry 469 Bury me Neath the Old Home 515 Dreamy Eyes are Closed or ever 457 I Cannot Sing the Old Songs 211 Butterfly Dude 598 Drifting 136 I Don't Want to Play in Your Yard 743 By and by You Will Forget me 434 Drifting down to Sea 314 I Guess you have All been There 445 Bye-bye, Baby bye-bye 520 Drifting With the Tide 246 I had Fifteen Dollars in my Inside Pocket 640 Call her Back and Kiss Her 153 Driven from Home 112 I Have No Home 2 Call Me Back Again 554 Dublin Bay 84 I know you’ll be true to me, Robin 105 Campbells are Coining 196 Dying Nun 383 I know, Love, you’ll be True 60 Canada 114 Eileen Alanna 66 I Like it, I do 647 23

I love the Merry Sunshine 137 Lessons Learned at a Mother’s Knee 674 Miss Gruber’s Boarding House 329 I Loved You Better than You Knew 748 Let me be 126 Mister Dooley’s Geese 589 I Owe $10 to O’Grady 660 Let the Dead and the Beautiful Rest 308 Moet and Chandon 119 I want to see my Little Girl again 553 Let these Kisses say Farewell 501 Mollie Darling 1 I will be True to Thee 410 Let your Tears Kiss the Flowers 300 Mollie Mavourneen 366 I Will Return Again 659 Letter came at Last 643 Mollie’s Answer 5 I wish he’d make up his Mind 530 Letter that Never Came 639 Molly is waiting for me 706 I’ll await my Love 561 Letter to the Old Folks 574 Moonlight at Killarney 443 I’ll be all smiles to-night 676 Light in Nellie s Eyes 623 Mora Marie 416 I’ll be Watching for you at the Window 182 Lighthouse by the Sea 622 Morning Lark 661 I’ll bet you a Dollar you don’t 343 Linger near Me, Little Darling 175 Mother Comes to Me in Dreams 407 I’ll go back to Erin 288 Little Blonde in Blue 89 Mother Dear Draw Near to Me 577 I’ll Meet You when the Sun Goes down 464 Little Bow of Blue 189 Mother is the Best Friend 529 I’ll Remember You in my Prayers 376 Little Boy Blue 668 Mother Kissed me in my Dream 362 I’ll Rock me to Sleep in my Grandmother’s Chair 592 Little bright Eyes at the Window 90 Mother Told Me So 665 I’ll see that your Grave is Kept Green 321 Little Brother Joe 429 Mother, is the Old Home Lonely 25 I’ll Take you Home again, Kathleen 450 Little Brown Jug 41 Mother, take me Home again 157 I’ll Wait till the Clouds Roll by 503 Little Daisy 21 Mother’s Calling Baby Home 397 I’ll Wait Till the Clouds Roll By 579 Little Emily 159 Mother’s Darling Boy 546 I’m a Dude 510 Little Footsteps 14 Mother’s Last Letter to me 555 I’m a Hustler 645 Little German Home across the Sea 350 Mother’s Last Letter to me 559 I’m Dying for Some One to Love me 437 Little Jessie 279 Mother’s Last Request 593 I’m Glad my Heart’s my Ain yet 360 Little Mag and I 413 Mrs. Brady’s Daughter 422 I’m Going Home to Chloe 399 Little Maggie Ann 471 Mrs. Murphy’s Boy Dennis 646 I’m going to Write to Papa 502 Little Maggie, the Pride of Kilvane 406 Mulligan Guards 22 I’m One of the Ticklish Kind 447 Little May 24 Mulligan’s Funeral 382 I’m so shy 648 Little Mollie Brown 23 Must we Leave Thee? 506 I’m Still a Friend to You 473 Little Old Cabin in the Lane 34 Must We then Meet as Strangers 56 I’m thinking of Mamma in her Grave 505 Little One Whisper you love me 508 My Angel Mother 357 I’m Waiting, my Darling, for Thee 13 Little Ones at Home 46 My Bonnie, Blue-Eyed Lad 558 I’se Gwine back to Dixie 186 Little Rosebud 287 My dad's the engineer 749 I’se Gwine to Alabama 497 Little Sister’s gone to Sleep 205 My Home on the Old Ohio 249 I’ve Called you back Again, Kathleen 587 Little Spring beside my Home 218 My Little Side Door 542 I’ve no mother 334 Little Stars are brightly Shining 47 My Love to All at Home 59 I’ve only been Down to the Club 202 Little Sunshine 8 My Maggie 694 If the Waters could Speak 679 Little Sweetheart, come and Kiss Me 17 My Mother’s Dear Old Face 347 In her Little Bed We Laid Her 122 Little Widow Dunn 232 My Mother’s dear old Face 682 In His Mind 474 Little Wife Nellie, the light of my Home 377 My Nellie’s Blue Eyes 517 In the Evening by the Moonlight 380 Lost Letter 580 My poor heart is sad with its Dreaming 69 In the Gloaming 271 Love and Be True 569 My pretty Red Rose 230 In the Morning by the Bright Light 239 Love at Home 521 My Sailor Lad’s Return 653 In the Twilight I am Dreaming 551 Love Letters 720 Nancy Lee 167 Irene, Good Night 739 Love Lives for Ever 714 Nearer the Beautiful Gates 29 Irish Christening at Tipperary 603 Love Will Roll the Clouds Away 465 Neath the Maple by the Mill 420 Irishman’s Toast 624 Love’s Chidings 315 Nestle me close to your heart 332 Is it wrong to Kiss? 550 Loved Ones Far Away 179 Never take No for an Answer 657 Is that Mr. Reilly? 476 Loved Ones Passed Away 456 Never take the Horse-shoe from the Door 381 It’s English You Know 616 Lovers once, but Strangers now! 711 Never to Meet Again 670 Jennie, the Pride of Kildare 234 Madeline 702 Ninety and Nine 42 Jenny who Lives in the Dell 134 Madoline 724 No Work 235 Jenny, my Loved one 483 Maggie Darrow’s Welcome 617 Nobody home but Me 545 Jerusalem the Golden 131 Maggie Murphy’s Home 725 Nobody’s Darling 132 Jim Fisk 200 Maggie’s Welcome 139 Nobody’s Darling but Mine 64 Jim, the Carter Lad 327 Maid of a Mountain Land 685 Nora O’Neal 260 John Riley’s always Dry 346 Make believe I’m l)reaming 165 Norah Mavourneen 354 Juanita 208 Man Behind the Plough 487 Norah, the Pride of Kildare 264 Just a Little Sunshine 669 Man in the Moon was looking 172 Noreen Maureen 220 Just to Pay our Respects to Maguiness 638 Man o’ Airlie 129 Now I Lay Me down to Sleep 221 Kathleen 698 Man That Struck O’Hara 651 Now That’s What I think, Don’t You 709 Kathleen Aroon 216 Maple Leaf, our Emblem Dear 269 O! Saviour of the World 206 Kathleen Mavourneen 85 Marching Through Georgia 390 O, Mother, come back to your Boy 265 Kathleen of Kilkenny 253 Marchioness 333 O, Restless Sea 697 Kathleen’s Answer 142 Mary Aileen 98 Oh! Mama, Buy Me That 717 Katie Molloy 722 Mary Ann McLaughlin 427 Oh, ain’t He Sweet on Me 123 Keep dem Golden Gates Wide Open 384 Mary Kelly’s Beau 627 Oh, de Darkie’s home am Lonely 290 Keep Hammerin’ 608 Mary Smiled the Clouds Away 462 Oh, dem Golden Slippers 243 Keep in the Middle of the Road 361 Mary’s Gone with a Coon 428 Oh, I’ll meet you dar 396 Keep pretty flowers on my Grave 248 Massa’s in the Cold Ground 667 Oh, My! How We Pose 594 Keep the horse-shoe over the Door 400 McDonnell’s Old Tin Roof 424 Oh, Nannie, Wilt thou gang wi’me 297 Killarney 210 McSorley’s Twins 291 Oh, Tom, tell them to Stop 342 Kiss and Forget, Love 176 Meanest Folks on our Block 328 Old Black Joe 68 Kiss me and call me your Darling 274 Meet me at Twilight 293 Old Cabin Home 374 Kiss me and I’ll go to Sleep 152 Merriest Girl that’s Out 145 Old Chimney Corner 275 Kissing Sunbeams 452 Midnight Fire Alarm 514 Old Fashioned Roses are Sweetest 695 Last Sweet Words of Mother 533 Midnight Fire Alarm 618 Old Folks at Home 75 Lay aside the little Shoes and Stockings 319 Milwaukee Fire 536 Old Home ain’t what It used to be 190 Laziest Man in all the Town 330 Mirror’s the Cause of it all 387 Old Home down on the Farm 703 Leave Me not in Anger 415 Miss Brady’s Piano For-tay 451 Old Log Cabin in the Dell 251 Led Astray 12 Miss Fogarty’s Christmas Cake 534 Old Man ain’t What he used to be 302 24

Old Man’s Drunk Again 118 Rose-Bush by the Gate 481 There Goes McManus 713 Old Musician and his Harp 35 Roses Underneath the Snow 252 There is an Eden Bright and Fair 686 Old Rustic Bridge by the Mill 425 Sadie Ray 99 There’s a Dear Spot in Ireland 499 Old Wooden Rocker 228 Safely Rocked in Mother’s Arms 671 There’s a Letter in the Candle 54 Old-fashioned Photograph of Mother 408 Sailor’s Return 581 Thinking and Dreaming of Mother 226 Ole Plantation Home 418 Save the Boy 127 Third Degree Full Moon 349 On the Banks of the Beautiful River 306 Scanlan’s Rose Song 511 Thou hast wounded the Spirit that loved 370 One Horse Open Sleigh 690 Scanlan’s Swing Song 678 Three Angel Visitants 49 One more River to Cross 296 Scotch Lassie Jean 339 Three Calls 50 One Smile for Me, Sweetheart 615 Secrets 135 Three Leaves of Shamrock 708 Only 37 See that my Grave’s kept Green 94 Tidings of Comfort and Joy 564 Only a Baby’s Tiny Shoe 644 Send me a Rose from my Mother’s Grave 582 Till the Clouds go By 169 Only a Crave on time Door 472 Sequel to Grandfather’s Clock 225 Tim Flaherty 27 Only a Letter 591 Shadows on the Floor 227 Time may steal the Roses, Darling 307 Only a Pansy Blossom 467 Shells upon the Shore 373 Tiny hands 398 Only a Picture of Her Boy 691 Shells We Gathered Years Ago 224 Tis but a Little Faded Flower 163 Only a Rose from Mother’s Grave 363 Shining Curls of Gold 372 Tis darkest just before the Day 285 Only a Violet 523 Ship that Never Returned 605 Tis for Money 633 Only a Workingman’s Child 463 Shivering and Shaking out in the Cold 317 To Love and be Loved 552 Only an ivy Leaf 368 Silver Stars are Softly Gleaming 106 To-day and To-morrow 82 Only Speak Kindly to Me 102 Silver Threads among the Gold 16 Tommy make Room for your Uncle 74 Only Tired 696 Since Benny went Over the Sea 519 Touch me gently, Father Time 87 Only to see her Face again 356 Sing to me, Robin. 294 Touch the Sleeping Strings 409 Order of Full Moons 324 Six Feet of Earth 662 Trabling Back to Georgia 76 Our Cot in Tennessee 436 Skidmore Guard 33 Tread Softly, Angels are Calling 531 Our Good Old Friends 31 Skids are out to-day 284 True as the Stars that are Shining 532 Out in the Snow 423 Slavery Days 195 Twas the Master that Knocked 73 Out of Work 359 Sleep, my Little Blue-eyed Treasure 92 Twenty-seven Cents 192 Over the Garden Wall 341 Sleeping ‘Neath the Fair Spring Flowers 198 Twickenham Ferry 326 Over the Hill to the Poorhouse 43 Slightly on the Mash 512 Twilight Coterie 325 Over the Mountain 630 Softly Sing the Old Songs 178 Twinkle, Twinkle, Little Stars 281 Papa’s Baby Boy 527 Some Day I’ll Wander Back Again 431 Two Little Girls in Blue 736 Papa’s Footsteps 687 Somebody’s Coming 219 Two Orphans 401 Papa’s Footsteps 701 Something Sweet to think of 336 Uncle Tom’s Gwine to Stay 411 Pardon Came Too Late 737 Song of the Steeple 735 Uncle Tom’s Lament 237 Pass under the Rod 45 Song that reached my heart: home, sweet home 733 Under the Chestnut Boughs 584 Pass us not By 430 Sons of Ham 386 Under the Daisies 111 Pat and His Little Brown Mare 586 Spanish Cavalier 604 Under the Moon-lit sky 516 Patter of the Shingle 449 Speak to me 97 Under the Roof-tree 498 Paving the Way 130 Spider and the Fly 492 Vacant Chair 526 Peek-a-Boo! 440 Standard of England 636 Vine-covered Cottage 194 Peep Out of the Window 650 Standing on the Platform Waiting for the Train 156 Violet from Mother’s Grave 348 Peggy O’Moore 632 Star of the Evening 160 Volunteer Organist 742 Pen and the Press 528 Starlight on the Sea 466 Wait till the Clouds Roll by 419 Phantom Footsteps 405 Starry Night for a Ramble 40 Wait till the Moonlight falls 91 Picture turned toward the wall 726 Stealing a Kiss at the Garden Gate 150 Wait Till The Tide Comes In 656 Please Give me a Penny 478 Still I love Thee 147 Waiting ‘Mid the Pansies 524 Please God, make room for a little Boy 18 Stitch in Time Saves Nine 675 Waiting a Letter from over the Sea 548 Please Sell no more Drink to my Father 595 Strangers Yet 212 Wake Nicodemus 433 Poor Little Joe 486 Strolling on the Sands 7 Watching the children play 734 Poor Little Johnny 585 Sweet as a Peach 441 Water Mill 199 Poor Old Dad 612 Sweet Bunch of Daisies 750 We Never Speak as we pass by 461 Poor old Tramp 247 Sweet Bye and Bye 168 We Ought to be Thankful for that 710 Prayer on the Pier 479 Sweet Eyes of Irish Blue 705 We Parted by the River Side 257 Pretty as a Picture 65 Sweet Face at the Window 276 We shall Meet all the Little Ones there 183 Pretty Little Cottage in the Meadow 455 Sweet Genevieve 107 We’d better Bide a Wee 44 Pretty Little Dark-Blue Eyes 609 Sweet Heather-Bell 642 We’ve Both been There before Many a Time 673 Pretty Little South Carolina Rose 367 Sweet Little May 509 What is home without a Mother? 369 Pretty Pond Lilies 544 Sweet Marie 740 What is it? 335 Pull Down the Blind 36 Sweet Mary Ann 215 What kind of Shoes you gwine to wear 392 Put me in my Little Bed 117 Sweet sunny smile of my Darling 88 What sin a Kiss 599 Put on my Long White Robe 323 Sweet Violets 494 What were all the World without Thee 77 Queen Victoria’s Jubilee 631 Sweetest Love, I’ll not Forget 70 Wheel the Baby out 345 Rain upon the Roof 244 Take Me Back Home 475 When Autumn Leaves turn Red and Gold 458 Razors in the Air 375 Take Me back to Home and Mother 453 When I Mean to Marry 507 Razzle Dazzle 683 Take Me Home 245 When Jamie comes over the Sea 272 Regular Army, O 166 Take me to the Ball to-night 125 When Leaflets from toe Roses fall 180 Remember you have Children 229 Take this Letter to my Mother 185 When Little Mamie Died 20 Remember, Boy, you’re Irish 628 Talk about your Moses 394 When My Rover Comes Again 576 Riding in a Pullman Car 140 Tar’s Farewell 238 When Nellie was Raking the Hay 620 Ring my Mother Wore 258 Tenting on the Old Camp Ground 389 When Silver Locks replace the Gold 19 Ring the Bell, Watchman 259 That Husband of Mine 95 When the Flowers fall Asleep 364 Rise it, Riley 322 That Melody Divine 658 When the Leaves begin to Turn 378 Robin, tell Kitty I’m Coming 233 That Song of Thine 110 When the Little Birds are singing in the Garden 654 Rock Dat Ship 663 That won’t Keep a Wife and Baby 435 When the Mists have Rolled Away 86 Rock-a-bye Baby 625 That’s the reason why! 700 When the Moon Shines Bright 538 Rollin’ to de Sea 567 There are Kisses waiting for me 353 When the Moon-Beams Fall 477 Rolling Stone gathers no Moss 566 There are Strangers on the Old Farm 730 When the Robins nest Again 522 Roman Fall 161 There goes Major Casey 699 When the Roses come Again 442 25

When We meet in the Sweet Bye and Bye 289 Why did the Angels take Mamma away 439 You Can’t Always Tell 355 When you and I Were Young, Maggie 254 Why does Mother stay so long? 187 You Can't Play in Our Yard any More 744 Where are the Angels, Mother? 385 Why Paddy’s always Poor 637 You know how it is Yourself 124 Where is Heaven? 393 Why was I Looking out? 148 You’ll miss your Mother when she’s gone 563 Where is my Boy To-night? 488 Widow in the Cottage by the Sea 388 You’ve Been a Friend to Me 262 Where pretty Violets Grow 320 Widow Nolan’s Goat 444 Your Lassie Will be True 379 Where the Moonbeams love to smile 191 Will Mother know me in the Sky 170 Your Pocket Book’s Your Friend 500 Where the Woodbine Twineth 115 Will the Dear Old Times come back 403 Whip-poor-Will 222 Will You Remember Me 250 Whip-poor-Will’s Song 15 Will you Love me when I’m Old 174 Whisper softly, Mother’s Dying 52 With all her faults I love her 672 Whispering Hope 495 Would I Were With Thee 39 Whist! The Bogie Man 723 Write to me Often 71 Whistling Coon 688 Yakie and Leedle Louvise 283 White Wings 602 You and I! 100 Who’s dat Callin’ so Sweet? 641 You and I, Love 677 Whoa Emina 203 You are always Young to Me 26

Appendix 2: Known Composers

Abraham, Edward J. Clarke, William Horatio (1840-1913) Adams, Master Clephane, Miss E. C. Adams, Stephen Clifton, Harry Alexander, G. W. Collins, Charlie Arlington, George Connolly, Charles Armstrong, J. A. Conroy, Jack authors of the Mulligan Guard Cooper, George (1840-1927) Bagnall, Samuel Crouch Baker, Charlie Danks, Hart Pease Baker, Geo. Davis, Gussie L. Barney, James A. De Peyster, Maud Barton, J. Maj. Donly Berdan, Cub Dumont, Frank Birch, Harry Eastburn (1837-1918) Bischoff, J. W. (1850-1909) Emmet, J. K. (1840-1891) Bishop, T. Brigham Evans, Geo. T. Blackman Ford, J. Blake, Charles. D. Foster, Stephen C. Blamphin, Charles Fox, Eddie Bland, James A. (1854-1911) Fox, G. D. Bliss, J. W. Fox, J. S. Bostwick, Helen Louise French, Arthur W. Brace, C. C. French, Charles T. Braham, David Fulmer, H. J. Braham, John Gabriel, Virginia Bray, Charles E. Geibel, Adam Brewster, Louis Gibson, D. L. Brockway, W. H. Gill, William Brown, William B. Graham, Charles Browne, Miss. Gulick, Joe A. Butterfield, James Austin H. C. Cady, C. M. Harrigan, Edward (1844-1911) Campana, Fabio Harris, Charles K. (1867-1930) Carroll, Johnnie Harrison, Annie Fortescue Carswell, Edward Hatton, Frances J. (Mrs. Chas. G. Moore) Carte, Reuné Haven, Claude de Carter, Otis H. Hawthorn, Alice Chamberlain, Jacob Chester Hayes, Will. S. (1837-1907) Christie, Edwin Higgins, H. M. Christy, E. P. Holmes, J. Claribel (1830-1869) Horn, C. Frank Clark, James Gowdy Howa, Frank

Howard, Frank Persley, George W. Hoyes Pratt, Charles E. Hughes, C. H. Pyke, C. M. Huntley, William A. Read, John Johnston, Archibald Rexford, Ebon E. Jones, Thomas Rimbaulet, Edward Francis Jordan, Julian Rogers, Wm. T. Jordan, Leopold Rosabel Keily, Harry P. Rosenfeld, Monroe H. Kelley, J. W. Rutledge, John T. Kelley, T. B. Sankey, Ira D. Kennedy, Harry Scanlan, Wm. J. Konollman, Charlie (1843- ) Schleiffarth, Geo. Lang, Alfred Scott, Sue Ingersoll Lavallée, Calixa Sherman, Wm. F. LeCroix, Jean Sinclair, W. F. Lee, Alfred Skelly, Joseph P. (1853-1895) Leslie, Herbert Smith, Dexter Levoy, Leon Smith, T. Lockwood, C. T. Stanley, Harry C. Lonsdale, T. S. Stewart, James E. Lucas, Sam (1840-1916) Straight, Ned MacEvoy, Fred. Sturm, Max Macy, James C. Tannenbaum, J. Marzials, Theophilus Julius Henry Taylor, Judson Maxwell, Harry Thomas, John Rogers McNaughton, J. H. Thompson, Will L. Miers, Chas. J. Tompkins, Clara Millard, Harrison (1830-1895) Tucker, Henry Milton, W. S. Vicars, George M. Minasi, Carlo Von Thilo, W. Mitchell, Sam’l N. Wambold, D. S. Moulton, Charles Webster, J. P. Muir, Alexander Westendorf, Thomas P. Mullaly, W. S. Wheeler, J.W. Nannie White, Charles Albert North, J. M. Williams, Ben Norton, Hon. Mrs. Williams, Gus O'Neil, Jim Winner, Sep. Ordway, J. P. Winter, Banks Owen, Anita Woodbury, I. B. Packard, William A. Work, Henry Clay Peabody, J. H. Wrighton, W. P.

References

Amicus: Canadian national catalogue. http://www.collectionscanada.gc.ca/amicus/index-e.html. (accessed 8 April 2009).

Hall, Frederick A., ed. 1985. Songs I to English texts = Chansons I sur des textes anglais. Ottawa: Canadian Musical Heritage Society = Société pour le patrimoine musical canadien.

Hulse, Elizabeth. 1982. A dictionary of Toronto printers, publishers, booksellers and the allied trades: 1798-1900. Toronto: Anson-Cartwright Editions.

Kallmann, Helmut. 1988. Music publishing. In The Canadian encyclopedia., ed. James H. Marsh. Vol. 3, 1419. Edmonton: Hurtig Publishers. http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=A1SEC824780 (accessed 12 February 2009).

———.1992a. Irving's Canadian series of five cent music. In Encyclopedia of music in Canada, ed. Helmut Kallmann and Gilles Potvin, 637. Toronto: University of Toronto Press.

———. 1992b. The maple leaf for ever. In Encyclopedia of music in Canada, ed. Helmut Kallmann and Gilles Potvin, 802. Toronto: University of Toronto Press.

Kallmann, Helmut, and Gilles Potvin, ed. 1992. Encyclopedia of music in Canada. Toronto: University of Toronto Press. http://www.thecanadianencyclopedia.com/index.cfm?PgNm=EMCSubjects&Params=U2.

Krummel, D.W., and Stanley Sadie, ed. 1990. Music printing and publishing. London; New York: Macmillan; W.W. Norton.

Library and Archives Canada. Sheet music from Canada’s past. http://www.collectionscanada.gc.ca/sheetmusic/.

List of Irving's five cent music: containing all the new and popular songs of the day. 1890. Saint John, N.B.: Landry & Co.

Miller, Mark. 1992. When you and I were young, Maggie. In Encyclopedia of music in Canada, ed. Helmut Kallmann and Gilles Potvin, 1399. Toronto: University of Toronto Press.

Parker, George L. 1985. The beginnings of the book trade in Canada. Toronto: University of Toronto Press. 29

Potvin, Gilles. 1992. Lavallée. In Encyclopedia of music in Canada, ed. Helmut Kallmann and Gilles Potvin, 726-729. Toronto: University of Toronto Press.

Southworth, Emma Dorothy Eliza Nevitte. The hidden hand. Toronto and Niagara Falls: Toronto News, [1874-1876]. CIHM no. 92361. Ottawa: Canadian Institute for Historical Microreproductions, 1993.

WorldCat catalogue. http://www.worldcat.org/. (accessed 10 March 2009).

Music, Libraries, and the Academy: Essays in Honor of Lenore Coral. Edited by James P. Cassaro. Middleton, WI: A-R Editions, 2007. xi, 265 p. ISBN 978-0-89579-612-7 $50.00*

This important collection aptly reflects the wide-ranging interests and influence of the librarian-scholar Lenore Coral (1939-2005). Fourteen essays are contained within three disparate, yet roughly equal, sections entitled “Eighteenth Century Music,” “Music Libraries and Collections,” and “New Approaches to the Musical Canon.” Also included are the text of the International Association of Music Libraries’ citation awarded to Coral and Anders Lönn in 2001, and “La Lenore,” a musical work for harpsichord by David Yearsley. Intended as a festschrift to honour Coral’s retirement from Cornell University, the book instead became a memorial upon her untimely passing.

There are already two published reviews of the book. J. Bradford Young, in his review in Fontes Artis Musicae, discusses the essays found in the “Music Libraries” section. I would recommend in particular his comments on the essays about collectors and collecting. Don Krummel, music bibliographer par excellence, discusses Coral’s scholarly and professional biography in his review in Notes. He offers insights into her perfectionist character and the passion for bibliographic access that she shared with her dear friend and colleague, Anders Lönn, who also died recently of cancer.

Linda Solow Blotner’s essay, “Music Libraries of Tomorrow: Virtual or Concrete, Harmony or Discord?,” summarizes the literature of academic libraries’ paradigm shift from print repository to technology partner/teaching and learning centre, and provides a valuable list of ten desirable features of new libraries. There also is a list of new facilities from 1995-2006, along with a sizeable bibliography.

Mary Wallace Davidson surveys the history of cooperative cataloguing projects in her essay, “Academic Music Librarianship: ‘Back to the Future’.” Successful projects are due to a confluence of critical factors including leadership, committed partners, funding, cooperative agreements between institutions and host associations (OCLC and RLIN), and the development of standards. The latter is an area where music librarians have been consistently proactive – and no one more so than Coral. Wallace-Davidson reprints a questionnaire designed by the National Initiative for a Networked Cultural Heritage (2001) to ascertain scholars’ access needs for primary sources. The summary of the responses is a valuable reminder for us to continue the work of acquiring these materials.

Barbara Dobbs Mackenzie’s essay on the international “R-projects,” specifically Répertoire International de Littérature Musicale (RILM), details its history, scope and progress towards currency and comprehensiveness. The introduction of an online form by which authors can submit their own abstracts directly to RILM has dramatically enhanced the currency of the resource. A forthcoming retrospective index of pre-1966 festschriften will provide access to some 6,000 articles in 800 books. Entitled Liber amicorum: Music Festschriften, 1840-1966, Music Scholars and Others, the index will provide unprecedented access to this literature. One wonders, however, why it will be only a print rather than an online publication. Still, this is an excellent summary that should be required reading for budding music librarians.

Geraldine Ostrove’s “Headings and Subdivisions for Musical Works: Patterns to Express Medium of Performance” is based on a pre-conference workshop she gave at MLA in 2003. (Due to the overwhelming response, the workshop was offered a second time and I was able to attend the post-

*© 2009 The author and the Canadian Association of Music Libraries, Archives, and Documentation Centres/L’auteur et l’Association canadienne des bibliothèques, archives et centres de documentation musicaux. 31 conference session.) Ostrove’s essay and well-chosen examples do much to illuminate the intricacies of this topic. I was especially pleased to see the inclusion of percussion music, a topic about which I had inquired at the time. In his review, J. Bradford Young suggested that someone should sell offprints of this essay to cataloguers. I would add that reference librarians would also benefit from studying it. The Library of Congress Subject Headings are murky territory at the best of times. Knowledge of the principles of their formulation can only enhance a reference librarian’s ability to quickly retrieve specific ensemble instrumentations.

Lenore’s eighteenth-century interests are well represented. Cornell faculty member Neal Zaslaw’s research into Mozart’s reworking of his incidental music for Tobias Philipp von Bebler’s obscure play, Thamos, is fascinating. Zaslaw offers his informed best guess to solve the mystery surrounding the texts for the play. Sarah J. Adams, Keeper of the Isham Memorial Library at Harvard and also a Cornell graduate, offers a convincing case for reconsidering the value of mixed chamber music. The “purity” and classicism of the string quartet genre seems to be an anomaly that is tied to reception history of the nineteenth century; Adams suggests that the fluidity of the earlier century’s instrumentation was due to performance practice that later became “set” as compositional practice. Daniel Heartz’s “A Pilgrim’s Progress Report Concerning ‘Music in the Classic Era’” is a remarkable account of the tenacity required to write that definitive musical history. Heartz’s proposed third book, which will cover the period 1781- 1803, will complete the long-planned project that was to be called “Music in the Classic Era.” Heartz inherited the project in 1971. Envisioned thirty years previously, it had passed from Paul Henry Lang to Friedrich Blume.

Sandra Mangsen, another Cornell graduate, documents in “Moonlight Excursions: Beethoven’s Op. 27, No. 2 on Recordings” the remarkable dissemination of the Moonlight Sonata. Not only does this canonical work appear in its pure form as a piano sonata, but also in a host of arrangements and in numerous anthologies of “popular classics.”

This volume is well laid-out with an attractive and readable font. My paperback copy is not sewn. Rather it possesses “perfect binding,” a misnomer since it already exhibits the need for a rebind; fortunately, the gutter is sufficiently wide to accommodate this. Otherwise, the book is exceedingly well edited.

This festschrift stands as a fitting tribute to one of our own who was diminutive in stature, yet a giant of our profession. We are indebted to H. Colin Slim for his advice to his student, Lenore Coral, regarding her future career: “I suggested she become a music librarian. Indeed, she did, and the rest is history” (p. 223). Should anyone have doubts about a music librarian’s influence on scholarship, they need look no further than this handsome volume, which is recommended for all music collections.

Lisa Rae Philpott The University of Western Ontario

Sonic Mosaics: Conversations with Composers. By Paul Steenhuisen. Edmonton: University of Alberta Press, 2009. xxviii, 314 pp. ISBN 978-0-88864-474-9 $34.95*

Most texts dealing with Canadian music are organized as surveys – Elaine Keillor’s Music in Canada: Capturing Landscape and Diversity of 2006 provides a recent example – that address significant trends in musical composition and place them into larger historical and cultural contexts. The survey format generally provides a clear overview of compositional developments, yet often prioritizes works and composers representing a modernist mainstream while seldom broaching in any detail the thoughts or personalities of individual composers. An alternate approach – and one that has, in the last forty years, become more common generally in contemporary music texts – is to present in a single volume a collection of interviews or conversations with selected composers. Although this approach is less inclusive and does not address explicitly any larger trends or developments, it often provides better insight into the musical activities of each composer, conveys a stronger sense of his or her individual personality, and explores the musical works on their own terms rather than in the way they fit into a larger picture. Paul Steenhuisen has chosen the latter path and the result, Sonic Mosaics: Conversations with Composers, is an excellent – and welcome – view of contemporary music activity in Canada.

The thirty-one interviews included in the book were conducted by Steenhuisen between July 2001 and November 2004. Almost all were undertaken initially for publication in the Toronto-based classical music magazine, The Wholenote. The choice of interviewees was linked to current events – either a live performance in the Toronto area or a major CD release during the month of publication – that would be of interest to the magazine’s readership. While this was undoubtedly a practical solution for a regular feature in a monthly publication specializing in concert listings, it makes for an oddly diverse collection when the interviews are taken out of their original context and presented together in one volume. It also leads to glaring omissions. One can easily come up with a list of major composers (Anhalt, Hatzis, Hétu, Tremblay, Forsyth…) who were not interviewed and thus not included in the book. On the other hand, lesser-known composers (some in their early thirties) who certainly would have been otherwise overlooked are presented alongside established figures to present a wide range of compositional styles and techniques. The format also accommodates six composers outside of Canada, including such notable figures as Pierre Boulez and George Crumb. Their examples place the Canadians interviewed in an international context and greatly enhance the scope of the book. Sonic Mosaics makes no attempt to be inclusive or comprehensive. It provides instead a glimpse of the new music scene in Toronto during the early years of the twenty-first century.

Steenhuisen is excellent in his role as interviewer. He is an accomplished composer with strong new music affiliations and a history of service with the Canadian League of Composers, the Canadian Music Centre, and the International Society for Contemporary Music. As a result he knows the topic thoroughly and approaches the composers as an insider who is familiar with their work and sympathetic to their situations. “I soon realized,” writes Steenhuisen, “that composers were speaking candidly and openly to me about their work for two main reasons: first I’m a composer, I know their work, and while being critical, I asked questions as an ‘insider’; second, I happened to be talking to them about two of their favourite subjects – themselves and their work!” (xiii). Since most of the interviews were linked to a performance, the discussions often focus on a single work. It is here that Steenhuisen’s insider status is most apparent and appreciated. His knowledge of contemporary music and familiarity with the interviewees’

*© 2009 The author and the Canadian Association of Music Libraries, Archives, and Documentation Centres/L’auteur et l’Association canadienne des bibliothèques, archives et centres de documentation musicaux. 33 musical styles and oeuvres allows for intricate and detailed discussions. He engages the composers in a thoughtful and meaningful way to provide the reader with insight into the philosophical issues related to new music and the challenges and joys of composing. Steenhuisen approaches each composer on his or her own terms, asking questions that are unique and appropriate to each rather than following a set formula. He is also adept at asking good opening questions and then stepping aside to let the composers speak for themselves. In most cases a strong sense of each composer’s personality is apparent.

Beyond the interviews, Steenhuisen provides additional information in an eighteen-page foreword and a nine-page afterword. He uses the afterword to describe his own work as a composer, “so the reader can examine how my creative inclinations influenced the questions” (xiv). In the foreword, he outlines his methodology for conducting the interviews and discloses his relationship with the contributing composers (he had met, known, worked, studied or had been close friends with all but two of them before commencing the interview project). He also addresses issues of contemporary music making and provides insight into “the practicalities of life as a composer” (xvi). The passages outlining the working methods of professional composers and the challenges they face to gain their musical incomes are especially enlightening. Many readers will be surprised (and dismayed) at the amount of work required to produce a composition, the shortage of funding sources, and the meagre sums to be earned through commissions and royalties. Steenhuisen also provides a discography that lists a maximum of five recordings per composer, so that listeners can be introduced to or explore further the music of the composers interviewed. His familiarity with the repertoire makes him an excellent guide and one hopes many readers will pursue his suggestions. Since the book’s publication, numerous recordings of the works of most of the composers interviewed have become available online thanks to the Canadian Music Centre’s CentreStreams initiative.

Overall, Sonic Mosaics is an enjoyable book that provides pertinent insights into the new music scene in Toronto at the beginning of the twenty-first century. The fact that the interviews are short (most are around seven pages) makes the book easy to read and accessible. The focus on single works adds depth to the interviews, although in some cases the works discussed are not typical or representative of the composer’s output. Since the book’s format facilitates browsing rather than reading from cover to cover, the chronological presentation of the interviews is unwieldy and it is often necessary to consult the contents page. An alphabetical organization would have enhanced the ease of use. Despite this, the book provides a valuable and revealing overview of current trends in music. Whereas most books on music have difficulties addressing the twenty years prior to publication, Steenhuisen focuses almost exclusively on the current decade to reveal the thoughts, challenges, and artistic endeavors of contemporary Canadian composers.

J. Drew Stephen University of Texas at San Antonio

The Fool / The Death of Enkidu. Music by Harry Somers; libretti by Michael Fram (1st work) and Martin Kinch (2nd work). Toronto: Centrediscs CMCCD 14209, 2009. 2 compact discs. (A Window on Somers.) Contents: The fool (47:00); The death of Enkidu (40:22). Participants: Tamara Hummel, soprano; Sandra Graham, mezzo-soprano; Darryl Edwards, tenor; Gary Relyea, bass-baritone; Robert Cram, flute; Lawrence Cherney, oboe; Max Christie, clarinet; Nadina Mackie-Jackson, bassoon; Annalee Patipatanakoon, violin 1; Carol Fujino, violin 2; Doug Perry, viola; Roman Borys, cello; Ed Tait, bass; Jamie Parker, piano; David Currie, conductor (1st work). Amanda Parsons, actor; Julie Nesrallah, mezzo-soprano; Martin Houtman, tenor; David Pomeroy, tenor; Doug MacNaughton, baritone; Alain Coulombe, bass; Robert Cram, flute; Max Christie, clarinet; Barkyhl Gievori, Dan Gress, French horn; Robin Engleman, Russell Hartenberger. Beverly Johnson, percussion; Erica Goodman, harp; Andrea Grant, piano; Les Dala, conductor (2nd work). $30.00*

This new addition to the series entitled A Window on Somers – a CD project produced by Pierrot Concerts for Centrediscs in commemoration of the lifework of Harry Somers (1925-1999) – consists of two one-act operas: the 1953 The Fool and The Death of Enkidu from 1977. While it probably goes without saying that any new recording of the music of one of Canada’s major composers deserves attention, this spectacular two-disc set is a milestone. Not only does it mark The Fool’s long-overdue return to the catalogue of recorded performances, it also contains the world premiere of the curiously neglected Death of Enkidu. The recording is a winner in terms of its stunning, exhilarating performances. And by filling a significant gap in the Somers discography, it is to be strongly recommended to anyone with an interest in opera or contemporary music.

The first disc contains a forty-seven minute performance of Somers’ most frequently staged opera, The Fool. Based on the libretto by Michael Fram, the work had to wait three years following its completion before receiving its premiere in 1956. Set in a medieval court, the opera tells the tale of a court jester (“the fool”) who announces to the king and queen, who love him as a son, and to the lady-in-waiting who loves him as a man, that he intends to jump off the castle wall and fly. After realizing that for the first time ever the fool is serious, the king tries to avert what he believes will be certain death. The ensuing eight-minute argument between the king and fool (track nine) culminates with the fool’s suicidal leap from the tower. The musical dialogue is a model of text setting: the increasing agitation of the dialogue is matched by the gradual escalation in instrumental texture (primarily the strings) and feverish melodic activity. The remainder of the scene is a beautiful lament by the queen and lady-in-waiting, followed by a brilliant short monologue in which the king questions whether the fool fell to his death or, in fact, flew.

In the program notes, Somers suggests that The Fool can be interpreted in different ways. On one level, the opera is about the four characters. Yet, on another, it can also be seen as representing the four inner emotional states of one person. Finally, the four characters can be

recognized as an allegory for different aspects of our society. For instance, the conflict between the king and the fool can be read as the inherent tension between authority and the right to criticize or satirize such power. In Somers’ words, “The Fool, then, is a stylized music drama of the conflict that exists in both our inner world and the external world during a time of crisis.”

The Fool may be best described as pluralistic in style, ranging from overt tonal references to extremely atonal material. The variety of harmonic styles underscores the dramatic elements of the work. Somers also employs an array of vocal styles including Sprechstimme, dramatic recitation, and traditional sung lines, again to accentuate the text.

Despite a gripping musical score, The Death of Enkidu has not received the same attention as The Fool. Composed in 1977 to a libretto by Martin Kinch, The Death of Enkidu was intended to be the first of a trilogy of one-act operas. Although there were plans for a production, they never came to fruition and the opera was not heard during Somers’ lifetime. Indeed, this premiere recording is also the first complete performance.

Derived from the epic of Gilgamesh, arguably the oldest written story on record, The Death of Enkidu is in two scenes. The setting is the camp of the invading army of Chaldea. In the first scene, Enkidu, who is King Gilgamesh’s chief captain, is dying. The plot essentially divides between two contrasting realities: that of Enkidu, who recounts on his deathbed his glorious past and the many battles in the land in which his soldiers are now fighting; and that of the soldiers, who identify only with their current harsh conditions and the futility of their fate.

In the second scene, a courtesan bathes Enkidu’s forehead in an attempt to relieve his fever. This induces Enkidu to recall his seduction by a prostitute during his youth. While he curses the prostitute for destroying his early days of peace and joy and alienating him from his soldiers, Enkidu also relives the passion and lust that the encounter brought. Enkidu’s memories are matched by the seduction of one of the soldiers by the same courtesan that bathed Enkidu. A brawl ensues between the soldier and two others over the woman; at the same time, Enkidu begins to curse what his civilization has become. The clash ultimately results in the soldier’s utter defeat and humiliation. The present reality is matched by Enkidu reliving a similar experience that occurred to him (“I touched my forehead to the ground. I called him Master.”). The opera ends with Enkidu’s three cries of “Gilgamesh,” followed by silence.

Compared with The Fool, the vocal writing in The Death of Enkidu is generally more virtuosic; the actual use of the voice also more traditional. Further, the harmonic language of the work is far less heterogeneous and more consistently atonal in character than in Somers’ earlier opera. While this is an impressive opera with many strengths—there is energy, passion and astonishing writing on virtually every page—the conflicts established in the work are more psychological than dramatic. In my opinion, future performances of the composition may be more successful in a concert medium rather than as a staged production.

While accolades must go to all the singers, it is the riveting performances by bass-baritone Gary Relyea and tenor Darryl Edwards, in the roles of the king and the fool respectively, and tenor David Pomeroy, for his dazzling presentation of the demanding role of Enkidu, that impress the

most. David Curie (in The Fool) and Les Dala (in The Death of Enkidu) expertly direct a rock- solid group of select chamber musicians in these two recordings (ten musicians are needed for The Fool; The Death of Enkidu is scored for nine, three of which are percussion).

The sound quality and clarity meet the standard of current CMC Centredisc releases. A small criticism is the slightly forward balance of the voices, particularly in The Fool. The accompanying booklet contains brief synopses by Somers and the librettos in English with French translations, as well as informative background details about the operas and the performers. One quibble I have with the booklet is the failure to identify the tracks (ten for The Fool, two for Enkidu) within the libretto, rather than just the back of the CD case. Although space was no doubt an issue, it is also unfortunate that the conductors and singers are all listed on the outside of the CD case, yet the chamber musicians for each opera are only listed inside the booklet.

As noted at the outset, the present recording is a landmark and an important step forward for Canadian music. One can only hope that recorded performances of other operas by Somers (is it not time for a new recording of Louis Riel—a piece that many commentators regard as Canada’s greatest opera?) will appear in the not-too-distant future.

Edward Jurkowski The University of Lethbridge

Ings. Christina Petrowska Quilico, piano. Toronto: Welspringe Productions WEL0008, 2008. 2 compact discs. Contents: Disc 1: Glass houses / Ann Southam (8:44) — After Handel’s “Vesper” / Gavin Bryars (13:15) — Première communion de la Vierge / Olivier Messiaen (7:29) — Première sonate / Pierre Boulez (10:27) —Quivi sospiri / David Jaeger (10:15) — Star filled night / Alexina Louie (7:02) — Les yeux clos / Toru Takemitsu (4:42) — Apparitions (4) / Lowell Liebermann (11:08). Disc 2: Six Ings / Henry Cowell (8:41) — Fantasy pieces (4) / David Del Tredici (8:52) — Winnsboro Cotton Mill blues / Frederic Rzewski (9:02) — Capriccio for piano / Masamitsu Takahashi (6:05) — Suite (Prelude, Wannabe a rag, Ballade, All boogies) / Bill Westcott (16:10) — I’ll never be the same ; Don’t get around much anymore / Art Tatum (1:36) (1:18) — Surfacing / Omar Daniel (10:46). $24.99*

Ings, pianist Christina Petrowska Quilico’s twentieth album, is a diverse collection of performance recordings made and broadcast by the Canadian Broadcasting Corporation over the last several years. The two-CD set, released in May of 2008, appropriately takes its name from the American composer Henry Cowell’s 1917 set of short pieces featured at the beginning of the second disc. Cowell’s pieces (Floating, Frisking, Fleeting, Scooting, Wafting, and Seething) have little in common with each other apart from the piano instrumentation. The set’s title, Six Ings, underscores this disparity and by so doing brings out the pieces’ only remaining similarity. Each is a gerund, an action. The emphasis for Cowell is not on the specifics of each piece, but on the quality of “action” they all share: their “ing.” So too, in this CD set, “ings” is a metaphor for the common thread running through every piece, the presence of Petrowska Quilico herself. The metaphor places emphasis on the masterful performances instead of the specifics of the pieces themselves.

Now a Professor of Piano Performance and Musicology at York University, Petrowska Quilico made her performance debut at age ten with the Royal Conservatory of Music orchestra in Ottawa. Shortly after, she began studies at the Julliard School of Music and, at fourteen, had her New York debut with the Municipal Arts Orchestra at Town Hall. Later she studied musicology at the Sorbonne in Paris and composition in Berlin and Darmstadt with György Ligeti and Karlheinz Stockhausen. Petrowska Quilico has since devoted her career to promoting a union between contemporary and traditional repertoires and has become a champion of Canadian new music.

This is made clear in the repertoire chosen for this album and by the passion and grace with which it is realized. Contributions from Canadian composers Ann Southam, Alexina Louie, Omar Daniel and David Jaeger (who also produced the album) are featured prominently with works by composers from England, the US, France, and Japan. The pieces present many levels of complexity, accessibility and style, and all are handled with precision and dedication.

The ordering of the pieces creates a general narrative shape on each CD. On the first, we begin with the slowly evolving, yet highly active, tonal-textural landscape offered by Ann Southam’s Glass Houses. After the rhythmic repose and gentle confidence of Gavin Bryars’ After Handel’s “Vesper,” we move quickly into murkier waters. Messiaen’s Première Communion de la Vierge is a shimmering, almost explosive work, with all the deep colours and sweeping gestures for which the composer is known. Boulez’s Première Sonate, with its sharp angles and abrupt yet supple phrasing, provides relief to the preceding pieces and leads well into David Jaeger’s Quivi Sospiri. The only electro- acoustic work on the album, Quivi Sospiri marries the timbre and intensities of the piano with electronics in thrilling and unexpected ways. Star Filled Night by Alexina Louie brings us back to the purely acoustic, with upward gestures and broad sparkling brushstrokes of light and colour. Takemitsu’s Les Yeux Clos complements Star Filled Night through its introspective exploration of a different kind of darkness. Rounding out the material on the album’s first disc is Lowell Liebermann’s four Apparitions. Liebermann confidently lays out four simple and moving pieces whose breadth and warmth are matched only by the weight that each carries.

The second disc begins with fresh and lively performances of Henry Cowell’s Six Ings followed by David Del Tredici’s Fantasy Pieces. The anachronistic titles of the four pieces (“Adagio: espressivo,” “Poco Allegretto,” etc.) contrast with the lively raw (sometimes atonal) spirit that each possesses. Next is Rzewski’s oft-played Winnsboro Cotton Mill Blues. Here the juxtapositions between the mechanical and the lively, the fixed with the free, come to life under Petrowska Quilico’s relentless fingers. Lesser- known composer Masamitsu Takahashi follows Rzewski with his Capriccio for Piano, where traditional Japanese sounds are fused with American jazz. Bill Westcott, Petrowska Quilico’s colleague at York University, follows with his Suite, a set of four jazz-steeped, emotionally tumultuous short pieces. Two brief arrangements by the virtuoso jazz pianist Art Tatum demonstrate, perhaps more vividly than any of the other pieces on the album, Petrowska Quilico’s range on the instrument. Canadian composer Omar Daniel completes the final CD of the album with his composition, Surfacing. This relentless and poignant struggle delivers a strong conclusion to the album whose energy refuses to subside even through its final moments.

The recordings themselves are all quite good, except that crowd noise is an issue on several of the tracks, especially during the performance of Del Tredici’s Fantasy Pieces. Frequent coughing and commotion may be heard at almost any moment in the performance. The overall recording quality on both discs is a little muffled and unclear. This may be easily remedied by increasing the treble setting on one’s stereo to taste.

What is perhaps the most markedly impressive aspect of this collection is the fantastic energy that Petrowska Quilico brings to even the most distant musical extreme without compromising her technique. The dynamic range of sensitivity and boldness that she brings to every piece on this album is truly remarkable. This is a terrific example of the human energy that is at the core of all music, and that is often lost in the face of extended techniques, new notations, and philosophical abstractions.

Michael Berger Stanford University

Lament in the Trampled Garden: Chamber Music by Marjan Mozetich. Performers: Penderecki String Quartet; Gryphon Trio; Erica Goodman, harp; Shalom Bard, clarinet; Christopher Dawes, harmonium; Nora Shulman, flute. Toronto: Centrediscs, 2009. 1 sound disc + 1 booklet in English & French. Contents: Angels in Flight (17:58) – Lament in the Trampled Garden (13:02) – Hymn of Ascension (13:18) – Scales of Joy and Sorrow (18:16). CMCCD 14009 $17.98*

Marjan Mozetich (born 1948) has been one of the most sought-after composers in Canada over the past quarter century. Although he studied with John Weinzweig, Franco Donatoni and Luciano Berio, Mozetich’s own music is tonal, lush, and full of quiet intensity. Often, it touches on issues of spirituality. Featuring some of Canada’s best instrumentalists, the present release contains four works composed between 1987 and 2007. Throughout, one is struck by the beauty of Mozetich’s music and his masterful handling of timbre and texture. Also notable is the CD booklet, which contains interesting programmatic interpretations of each work by Alexander Colpa. Although I sometimes disagree with Colpa (see below), the booklet does demonstrate the wide variety of readings these works can generate.

The earliest work, Angels in Flight (1987), is also the one that requires the biggest ensemble (string quartet, harp, flute and clarinet). Inspired by an Annunciation scene painted by the Italian Renaissance artist Filippo Lippi, this piece is a triptych. The picturesque first “panel,” entitled “Arrival and Dialogue,” opens with an extended section that appears to depict angels (melodic instruments) floating with and above the wind (the arpeggios). After the movement slows (landing on earth), a dance-like segment – which Colpa takes to be a depiction of “communal dancing” – sounds to me more like the beginning of the dialogue between Mary and the angels. The second panel is a brief and tender “Song to the Eternal,” and the final panel, “Departure,” contains both angelic flight music as well as big reflective melodies that suggest the ruminations of humans on the angels’ message. At several points in the work, the subtle timbral changes – the way one instrument takes over the melody from another, the addition and subtraction of doublings, and so on – are breathtaking. Kudos to the performers for bringing off these effects so well!

Lament in the Trampled Garden was commissioned to be the mandatory piece at the 1992 Banff International String Quartet Competition, and it explores the many different ways a person can grieve. There are individual laments (opening), communal laments (1:39), angry cries (3:09), hopeless sighs with its downward-sliding pizzicatos (6:34), and, to use Colpa’s words, the burying of sorrow “in feigned exuberance” (7:51). In almost all these tiny sections, the Penderecki String Quartet captures the mood perfectly. My one wish is that the “feigned exuberance” section had sounded wilder and less controlled.

For me, the most moving work on this album is Hymn of Ascension (1998) for string quartet and harmonium. This sprawling one-movement work begins with a series of short sections with varying textures, all held together by a slow but flexible pulse, that build toward a tremendous climax about three-quarters of the way through the work. For Colpa, this peak is “unnerving”

and “nightmarish,” but to this listener the long buildup might equally express a moment of religious ecstasy. After the climax, the pulse subsides, and a calm coda – perhaps nostalgic, perhaps simply reflective – leads to a slow fadeout.

The most recent work on this CD, Scales of Joy and Sorrow for piano trio (2007), is a beautiful piece, but it is ultimately less successful. The most gripping elements of the earlier works are the constantly varying textures and timbres. Given the unsustained nature of the piano sound, the medium of the piano trio simply does not allow for that type of subtlety. Nonetheless, the excellent Gryphon Trio provides a heartfelt and energetic rendition of the work.

Overall, this disc contains important works by one of Canada’s leading composers. Given the excellence of the playing, I urge anyone with an interest in Canadian or contemporary music to obtain this CD. All four works are worth a listen, and those who are studying these pieces will find plenty of food for thought with these performances. My one major reservation is the great similarities between these four works. In the future, I see myself pulling out this CD to listen to single works, but probably not the entire CD in one sitting.

Eric Hung Westminster Choir College of Rider University

Scherzo: Piano Music by Oskar Morawetz. Darrett Zusko, piano. Toronto: Centrediscs CMCCD 14309, 2009. 1 compact disc. Contents: Suite for Piano (9:42); Ten Preludes for Piano, (25:04); Scherzo (5:29); Ballade (8:49); Fantasy on a Hebrew Theme (13:08); Fantasy, Elegy and Toccata (14:14). $17.98*

This is the first recording, over 76 minutes in length, devoted to works for piano by the esteemed Canadian composer, Oskar Morawetz (1917-2007). The composer was a fine performer on the piano in his own right. Consequently, his piano music shows not only a broad knowledge of piano literature, but imaginative ways of extending the possibilities of the instrument without using the American-influenced avant-garde techniques associated with Henry Cowell, John Cage and others.

The CD includes compositions that have entered the repertoire of many pianists, such as the Scherzo (1947), Ballade (1946, revised 1983), and Fantasy, Elegy and Toccata (1956). There are also works that are less well-known, and indeed the Ten Preludes for Piano (1964) here receive their first complete recording. According to the Morawetz web site (www.oskarmorawetz.com), the composer withdrew his Fantasy on a Hebrew Theme (1951). However, the score remains available at the Canadian Music Centre and a performance of the work is included on the CD. The retrospective opens with Suite for Piano (1968), the last completed piano work. Since Morawetz did not finish a piano work based on Sephardic themes in 1995, we must be satisfied with this overview of over two decades of piano composition. Pianist Darrett Zusko has made a point of living with these works for some time, frequently performing them in recital, and that definitely comes across in this recording.

In the Suite for Piano, Zusko uses a more impressionistic approach in its first movement, “Prelude,” than in previous recordings made by Anton Kubalek and Angela Hewitt respectively. This approach works well and it is followed by the clear delineation of inner melodies and responsorial effects in the central “Nocturne.” Unfortunately, there were some slight rhythmic problems as well as a misread note. To me, the concluding “Dance” has influences of central European dances with their changing metrical patterns. Zusko clearly demarcates those patterns with clean articulation, thus underlining the dance-like quality.

The Ten Preludes for Piano are generally quite short in length but varied in mood. Zusko manages to bring out the palette that Morawetz asks from the piano. To my ears, the performances improve as the set continues because there are some rhythmic problems in No. 3 and even a misread note. Occasionally there is also a tendency to slightly wait before the first beat, which has the effect of interrupting the flow of the line. A highlight of this recording for me are the performances of the fourth and fifth in the series as well as the last one where the changes of metre are particularly well done.

Scherzo, which also lends its title to this recording, is the most frequently performed Morawetz piano piece. Zusko generally gives it an excellent performance. However, I feel he could have brought out some of the playful aspects by creating a surprise effect at the arrival of an

unexpected dissonance, and more could be made of the offbeat accents by asserting a strong first beat in previous bars.

For the most part, Zusko succeeds in bringing out the various contrapuntal threads of the story told in the Ballade. My only problem with his interpretation is that I feel that the storyteller needs to take a real breath from time to time. Similarly, the Fantasy on a Hebrew Theme, which consists of five variations on the Israeli song, “Artzah Alinu” (“We Went Up to the Land”), could also have the occasional moment of silence to better articulate changes of mood and dynamic.

The recording has a strong conclusion with the effective Fantasy, Elegy and Toccata. The opening piece, written in free sonata form, occasionally lacks continuity in the melodic line and the sudden change of dynamic that the composer calls for could be handled more deftly. Some of the same problems occur in the Elegy along with the occasional rhythmic imprecision, but the ending is absolutely exquisite. It sets the mood for the virtuoso rendition of the closing Toccata.

Even though I would prefer to hear the lyrical melodies always shaped instead of having sometimes a perfunctory quality, overall this is a fine recording. It is a pleasure to listen to the excellent sound of the Yamaha piano at St. George the Martyr Church, Toronto, with engineer David Quinney assisted by Chris Jackson and producer David Jaeger. Produced with assistance from the Ontario Arts Council, Scherzo includes extensive, well-written notes in English and French by Robin Elliott.

Elaine Keillor Distinguished Research Professor Emerita Carleton University

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