[Anonymus]: The League of Composers. Executive board. Advisory board. [Objects: stimulation of the contemporary music movement]. S. [1p]
[Abbildung] Manuel de Falla. Drawn by Pablo Picasso. S. [1–2]
Adolph Weissmann: Race and modernity [World view of modern music. Debussyism; problems in Germany. Prominent positions of Schoenberg and Stravinsky. Hindemith]. S. 3–6
[Abbildung] Igor Stravinsky. Three sketches by Pablo Picasso. S. 7
Guido M. Gatti: Italy today [Traditionalists and modernists. Characteristics of contemporary music in Italy. Franco Alfano, Pizzetti, Malipiero, Respighi, Castelnuovo-Tedesco]. S. 8–14
Emile Vuillermoz: The legend of the Six [Commercial cleverness of publicity; origins of the group „the Six“; style characteristics]. S. 15–19
[Abbildung] Eric Satie by Pablo Picasso. S. [17]
Edwin Evans: The new spirit in English music [Gustav Holst, Arnold Bax, Eugene Goossens, Arthur Bliss]. S. 20–23
Brief comment and review. S. 24–28
Emerson Whithorne: And after Stravinsky — ? [Influence of satirical, ironic and sardonic elements on Italian, French, English and American composers]. S. 24–25
Svend B. Felumb: To clear up the Salzburg problem [Dissatisfaction with the performances of the International Society for Contemporary Music at the Salzburg Music Festival]. S. 25–26
[Ernest Ansermet]: [Opinion on the importance of contemporary music]. S. 25
Arthur Bliss: Berners and Bax [Satirical element in Berners; Bax’s romantic element]. S. 26–27
Lazare Saminsky: Schoenberg and Bartók, path-breakers [Schoenberg’s asorbtion and rejection of music of the past. Bartók, the representative of a new race]. S. 27–28
The League of Composers. Executive board. Advisory board. S. [1]
[Anonymus]: [Reception of the first issue of The League of Composers’ Review]. S. [2]
Pitts Sanborn: Honors of the season [Repertory of the Metropolitan Opera: revival of Stravinsky’s Petrouchka. New York Symphony Orchestra: Stravinsky, Le Chant du rossignol; Walter Damrosch (conductor). Mengelberg’s summation of Stravinsky’s formula. Stravinsky, Symphonies for Wind Instruments. Nicolas Miaskowsky, Piano Sonata. Arthur Bliss, Colour Symphony. Henry Cowell. Milhaud, L’Homme et son desir]. S. 3–8
[Abbildung] The jazz debut in Aeolian Hall. Alfred Freuth’s impressions of Eva Gauthier and George Gershwin. S. [9]
Leigh Henry: „We are seven.“ A reply to the article by M. Emile Vuillermoz in the February review [Debussy and Ravel as modernists under attack by members of the „Six“; style characteristics of the „Six“]. S. 10–17
[Abbildung] Irving Berlin. Character study of a jazz master by Stan. S. 18
Henri Prunieres: The lean years [Crisis in composition; comparison with the late sixteenth century; new classicism of Ravel, Milhaud and Stravinsky; transformation of tonality; polytonality of Milhaud]. S. 19–21
Brief comment and review. S. 22–28
Marion Bauer: The composer’s plight. An interview with Arthur Honneger [Negative economic returns for French composers; plight of Fauré; influence of Satie; Arcueil Group of composers; polytonality]. S. 22–24
[Arthur Honneger]: [Remarks on music architecture and dissonance]. S. 24
Newman Levy: The jazz formula [Jazz band; improvisation; jazz orchestration]. S. 24–25
Hugo Riesenfeld: New forms for old notes [Early jazz the first stage in the development of modern syncopated music; jazz counterpoint]. S. 25–26
Louis Gruenberg: For an American gesture [Sources fo American composers: jazz, Negro spirituals, Indian themes. Regional color from Louisiana, Tennessee and on the Canadian border]. S. 26–28
The League of Composers. Executive board. Advisory board. S. [1]
[Abbildung] Francesco Malipiero. A charcoal drawing by Maurice Sterne. S. [2]
Edwin Evans: Who is next? [Riddle of greatness; musical renaissance in England. Lord Berners, Herbert Howells, Philip Heseltine (Peter Warlock), E. J. Moeran. William Walton]. S. 3–6
Alfredo Casella: Schoenberg in Italy [Performances of Schoenberg’s Pierrot Lunaire. Italian reaction to atonality. Degeneration of German romanticism]. S. 7–10
Lazare Saminsky: The downfall of Strauss [Vulgarization of the spirit of Liszt and Wagner]. S. 11–13
Boris de Schloezer: Scriabine [Powerful influence in contemporary Russia as a revolutionist; relationship to the musical language of Wagner’s Tristan und Isolde; harmonic system based on an artificial scale]. S. 14–18
Forecast and review. S. 19–31
Guido Gatti: Italian notes [Success of Boito’s Nerone under Toscannini’s direction. Compositions of Casella and Alfano]. S. 19–22
Edwin Evans: After the festivals [International festivals in Prague and Salzburg; absence of American music]. S. 22–23
Richard Hammond: Salzburg [Ladislav Vycpalek, Lieder. Castelnuovo-Tedesco’s songs on Spanish texts. Kodaly, Duo for violin and violoncello. Satie, Socrate]. S. 23–25
Egon Wellesz: New music in Vienna [Compositions by Bartók, Strauss. Schoenberg, Serenade. Berg, Wozzeck. Verdi’s Aida conducted by Pietro Mascagni]. S. 25–27
Irving Schwerke: A forecast from Paris [List of comtemporary compositions performed in Paris]. S. 27–29
Daniel Lazarus: At the Olympic Games [Théâtre des Champs-Elysées: Stravinsky, L’Histoire du soldat. Lord Berners, Le Carrosse du St. Sacrement (operetta). Henri Sauget, Le Plumet du Colonel (opéra-bouffe). Mme Bériza’s season of Russian ballet: Milhaud, Le Train bleu; Francis Poulenc, Les Biches; Georges Auric, Les Facheux. Honneger, Pacific 231. Stravinsky, Concerto for piano and wood-winds. Prokofieff, Sept, ils sont sept]. S. 29–31
The League of Composers. Executive Board. Advisory Board. S. [2]
Leigh Henry: The new music of Spain [Pedrell’s operatic trilogy, Patria, Amor and Fideo; folklore and poetry. Granados, Goyescas. Manuel de Falla: La Vida Breve, El Amor Brujo]. S. 3–7
William Henderson: Modern homage to doctrine [Conventionalizing of art: doctrines and methods. Organization of sonata form]. S. 8–11
Paul Stefan: Schoenberg’s operas [Erwartung (monodrama) and Die glueckliche Hand. Schoenberg’s development in compositional freedom; theory of atonal music; unique structure]. S. 12–15
[Abbildung] „Myosotis d’amour Florette.“ Charles Demuth’s impression of Mme Raymonde Delaunois interpreting Stravinsky’s song at the concert of the League of Composers, November 1924. S. [16]
Roland Manuel: Ravel and the new French school [Erik Satie and the group of Six. Cocteau’s Le Coq et l’arlequin, catechism of the Six]. S. 17–23
Forecast and review. S. 24–30
Jeffrey Mark: Vaughan Williams and Holst [Vaughan Williams’s setting of Housman’s Shropshire Lad; the London Symphony and the Pastoral Symphony; Mass in G minor]. S. 24–26
Aaron Copland: George Antheil [Biographical sketch; influences]. S. 27–28
Irving Schwerke: A Brazilian Rabelais [Hector Villa-Lobos; list of compositions; personal musical language; rhythm]. S. 28–30
[Anonymus]: Contributors to this issue. S. 31
[Anonymus]: The League of Composers [Concert: works by Schoenberg, Lazare Saminsky and Louis Gruenberg. Contents of the next issue]. S. 32
The League of Composers. Executive Board. Advisory Board. S. [2]
André Coeuroy: The cure by literature [Debussy, Satie and symbolism. Cocteau’s pamphlet Le Coq et l’arlequin; music of the cabaret and musichall]. S. 3–6
Wanda Landowska: Why modern music lacks melody [Haydn’s dictum on the roles of melody and harmony; melody in Bach’s works; definition of melody]. S. 7–11
Adjoran Otvos: Magyar explorers [Béla Bartók and Zoltán Kodály; their investigation of Hungarian folk music; comparison of the personalities and compositions Bartók and Kodály]. S. 12–16
[Abbildung] Béla Bartók. A portrait by Joseph Kmetty. S. 13
Adolph Weissmann: The tyranny of the absolute [Doctrine of new music: evolution toward the absolute of counterpoint]. S. 17–20
Guido Gatti: Busoni the musician [Virtuoso pianist; interpretation; abstract music; essay on opera]. S. 21–23
[Abbildung] Ildebrando Pizzetti. A portrait by Carlo Petrucci. S. [21]
Frank Patterson: Folk fables [Query on the nature of nationalism in music]. S. 25–27
Forecast and review. S. 28–35
Frederick Jacobi: Modern music in Gallup, New Mexico [Southwest Indians and the Inter-tribal festival; description of dances, melodies and instruments]. S. 28–31
Pitts Sanborn: Another Schoenberg dithyramb [Division of opinion on Schoenberg’s music. Overview of Paul Stefan’s biography of Schoenberg]. S. 31–33
The League of Composers. Executive Board. Advisory Board. S. [1]
[Abbildung] A Parisian group drawn by Michel Larionov. Stravinsky. Diaghilev. Cocteau. Satie. S. [2]
Emile Vuillermoz: Honneger and his time [Activities of composers at the conclusion of World War I; emergence of Honneger. Success of Le Roi David; instrumentation; classicism and contrapuntal writing; polytonality; textual declamation]. S. 3–8
Boris de Schloezer: The Soviet fosters a provincial art [Affect of economic and political upheavals on music and art; systemized direction of Russia under the Soviets; separation from European developments. Heteronomy characteristic of contemporary Soviet composers. Miascowsky, Symphony no. 5; influence of Tchaikovsky and Musorgsky. Samuel Feinberg; style characteristics. Anatole Alexandrow’s criticism (Moscow, La Musique contemporaine)]. S. 9–15
[Abbildung] Lord Berners at the piano, and Leonide Massine. Drawn by Michel Larionov. S. 16
Alfredo Casella: The festival at Venice [International Society for Contemporary Music. Hindemith, Pianoforte Concerto. Strawinsky, Sonate pour Piano. Schoenberg, Serenade for voice and seven instruments. Labroca, String Quartet. Malipiero, Stagione italiche. Honneger, Sonate pour piano et violoncelle]. S. 17–19
[Abbildung] A scene from the ballet Les Noces of Igor Strawinsky. From the original designs by Natalie Gontcharova. S. [20]
Darius Milhaud: The day after tomorrow [Resumé of the current state of composition; influence of jazz; return to classicism; Satie, Strawinsky, Henry Sauget, Maxime Jacob; query on the future of music]. S. 22–24
Zoltan Kodaly: New music from old [Traditional Hungarian folk-song. 3,000 original melodies in the Bartók and Kodaly collections A Gyermekeknek and One Hundred and Fifty Transylvanian Folk-Songs, Bartók’s The Hungarian Folk-Song, and Kodaly’s Nagyszalontai Guyutjós used as source material for contemporary composition]. S. 25–29
Forecast and review. S. 30–39
Albert Roussel: The future orchestra [Pre-war enlargement of the woodwind section; post-war reduction; increase in sound clarity; addition of saxhorns and saxophones; introduction of mechanical sounds]. S. 30–31
Paul Stefan: Echoes from Prague [Spring orchestral concerts of the International Society for Contemporary Music. Query on the suitability of large orchestral compositions for modern musical expression. Janacek, The Sly Little Fox. Berg, Symphonic Fragments from Wozzek. Compositions by Rudolf Karel, Novak, Martinu. Bartók, Dance Suite]. S. 31–33
Scott Goddard: Music heard in England [British National Opera Company: Gustav Holst, At the Boar’s Head. Diaghilev’s Russian ballet]. S. 33–35
André Coeuroy: French gains and losses [French section of the Société internationale de Musique Contemporaine: list of compositions. Prokofieff, Symphony no. 2. Szymanowsky, Symphony no. 3. D’Indy, Quintet in G minor. Fauré, String Quartet. Roussel, La Naissance de la lyre. Auric, Les Matelots. Vladimir Dukelsky, Zéphire et Flore (ballet). Lazare Saminsky’s lectures: „Young Russia and Young America.“ Satie]. S. 35–37
B. H. Haggin: Two notable books [M. M. Bozman, The Problems of Modern Music (E. P. Dutton). Rosamond Johnson and Lawrence Brown, The Book of Negro Spirituals; introduction by James Weldon Johnson (Viking Press)]. S. 37–39
The League of Composers. Executive Board. Advisory Board. S. [2]
Henri Prunieres: The departure from opera [Problem of recitative; Wagner’s uninterrupted song. Overview of twentieth-century operas: Strawinsky, Mavra. Szymanowski, King Roger. Ravel L’Enfant et les sortilèges (opera ballet). French disaffection with opera. Schoenberg, Erwartung, Die Glueckliche Hand, Pierrot Lunaire. Malipiero, Orfeide (trilogy). Falla, El Retablo de Maese Pedro]. S. 3–9
Gilbert Seldes: Jazz-opera or ballet? [John Alden Carpenter, Krazy Kat Ballet; Skyscrapers. American operas based on Indian legends and the heroes of the American West]. S. 11–16
[Abbildung] [Design by Robert Edmond Jones for the opening scene of John Alden Carpenter’s ballet Skyscrapers]. S. [13]
Ottorino Respighi: Marionettes as seen by an Italian [History of operas performed by puppets; critical remarks and tributes by Bernard Shaw, Gordon Craig, Luciani. Rome, Teatdo dei Piccoli: The Sleeping Beauty]. S. 17–20
M. L.: Skyscrapers: an experiment in design. An interview with Robert Edmond Jones [Designer of the settings for the production of Carpenter’s ballet at the Metropolitan Opera House. Remarks on Carpenter’s music]. S. 21–26
[Abbildung] To suggest the transitions from work to play, and from play back again to work [Design for the ballet Skyscrapers by Jones]. S. [23]
Forecast and review. S. 27–35
Victor Belaiev: New visions in the Russian theatre [Moscow Art Theatre. Schnitzler – Sohnanyi, Schleier und Pierette. Alexander Tairov’s Kamereny Theatre; Serge Lapitsky’s Petrograd Art Opera; Konstantin Mardjannov’s Free Theatre; repertory]. S. 27–30
Hugo Risenfeld: Film music [Dr. Caligari and Beggar on Horseback]. S. 30–31
A. Walter Kramer: For a new repertoire at the opera house [Criticism of Gatti-Casazza’s repertory at the Metropolitan Opera House. Krenek, Zwingberg at the Berlin Staatsoper, an example of modern opera]. S. 31–35
[Anonymus]: Contributors to this issue. S. 36
The League of Composers presents a program of premiere performances. S. [37]
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Arthur Honneger. A charcoal drawing by Camille Roche. S. [2]
Paul Pisk: The tonal era draws to a close [Materials of tonal music; disintigration through introduction of new elements; melodic structural principle of twelve-tone music]. S. 3–7
Daniel Lazarus: Study of a recent French movement [Ballets based on real-life subjects, instrumental pieces by Poulenc, Auric and Milhaud all influenced by Strawinsky’s Pulcinella; rhythmic formulas borrowed from music of the eighteenth century; repudiation of Wagner’s chromaticism]. S. 8–12
Aaron Copland: America’s young men of promise [Grouping of composers by education and circumstance: Prix de Rome, revolutionaries, pupils of Ernest Bloch and Nadia Boulanger and „freelancers.“ Biographical notes on Sowerby, Howard Hanson, Randall Thompson, G. Herbert Elwell, Antheil, Roger Sessions, Cowell, Avery Claflin, Roy Harris, Edmund Pendleton, Richard Hammond, Bernard Rogers, Douglas Moore, Quincy Porter, Virgil Thomson, Quinto Maganini]. S. 13–20
[Abbildung] Aaron Copland. As seen by Alfred Freuth [Sketch]. S. [19]
Alfred Einstein: Paul Hindemith [Biographical note. Overview of principal works: chamber music; opera, a puppet play; Kammermusik; Marienleben (song cycle); Concerto, op. 38]. S. 21–26
Adolfo Salazar: A new generation in Spain [Andalusian songs and dances. Falla, Granados, Turina, Oscar Esplá. Castile and Aragon regions: Breton and Serrano. Castilian folk song. Ernesto Halffter Escriche]. S. 27–31
Forecast and review. S. 32–40
Raymond Petit: Music written for French films [History of the film music genre in France. Honneger’s incidental music for Abel Gance’s film Le Rail. Florent Schmitt, incidental music to a film of Flaubert’s Salambo. Satie’s film music for Entr’acte. Ballet mécanique, a collaboration by George Antheil and the painter Fernand Leger]. S. 32–36
Adolph Weissmann: Unexpected developments in Germany [Austrian musicians resettling in Berlin: Schoenberg; Berg, Hindemith, Karol Rathaus, Rudolph Réti]. S. 36–38
Paul Stefan: Wozzek, an atonal opera [Berg (biographical note); Buechner’s play; Berg’s organization and orchestration]. S. 38–40
The League of Composers. Executive Board. Advisory Board. S. [2]
Pitts Sanborn: The 1925–1926 season [Metropolitan Opera House: Strawinsky, Le Rossignol; Carpenter, Skyscrapers; Falla. La vida breve. International Composers’ Guild: Strawinsky, Les Noces. Philadelphia Orchestra: Varèse, Amériques. New York Symphony: Krenek, Concerto grosso. Boston Symphony: Copland, Music for the Theatre. Carl Ruggles, Portals. Gershwin, Piano Concerto. Frederick Jacobi, String Quartet (Indian themes). Emerson Whithorne, Saturday’s Child (song cycle). Hindemith, Klaviermusik, op. 37. Friends of Music: Honneger, Le Roi David. Henry Cowell’s concert]. S. 3–9
Edwin Evans: Half-time in England [Contemporary activities of composers born between 1872 and 1883: Vaughan Williams, Bax, Holst, Bridge. „Holy alliance“ of public schools and older universities: music despised. London as a centre for modern music performance]. S. 10–15
Leon Vallas: Young romantics in Central Europe [Czech composers: Suk, Janacek, Novak, Stepan]. S. 16–20
[Abbildung] Zoltan Kodaly. A charcoal drawing by Caesar Kunwald. S. [21]
Erwin Stein: Schoenberg and the German line [Essential style characteristics of German music; problems of formal organization; harmonic structure. Influence of Wagner and Brahms. Schoenberg’s followers: Berg and the organization of Wozzek. Webern’s Passacaglia for orchestra. Hindemith and Krenek]. S. 22–27
Forecast and review. S. 28–35
Guido Gatti: A young Florentine [Venice, Teatro la Fenice: Castelnuovo-Tedesco, La Mandragola]. S. 28–30
Henri Prunieres: Honneger’s Judith [Synopsis of plot and musical treatment]. S. 30–33
Victor Belaiev: Russia’s newest composers [Lineage of Russian composers from Glinka to Prokofieff. Alexander Cherepnin, Georgi Katuar, Waldimir Kriukow, Wassily Shirinsky, Wessarion Shebalin. Alexander Mosolow, Alexander Abramsky]. S. 33–35
[Anonymus]: Contributors to this issue. S. [36]
The League of Composers announces its program for the fourth season. S. [37]
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Wozzek, Act I, Scene 2 [Panos Aravantinos stage setting for the Berlin production of Berg’s opera]. S. [2]
Boris de Schloezer: The operatic paradox [Crisis in Europe: operatic composers unable to revitalize dramatic music with idioms of the twentieth century]. S. 3–8
Emerson Whithorne: Where do we go from here? [Dilemma confronting composers of radical tendencies]. S. 9–14
Raymond Petit: Mystics in music today [André Caplet, Honneger, Louis Gruenberg. Oboukhow, Le Livre de vie; theories, harmonic style, atonality, vocal style. Wichnegradsky and quarter-tones. Felix Petyrek, Litanei, and anthroposophy, a mystical movement. Petit’s compositions]. S. 15–18
Egon Wellesz: The return to the stage [Activity in German opera houses; new operas in the neo-classic style; regeneration through the Russian ballet; opera comica-seria; Wellesz’s treatment of serious opera]. S. 19–24
[Abbildung] Wozzek, Act II, Scene 2 [Panos Aravantinos stage setting for the Berlin production of Berg’s opera]. S. [21]
Forecast and review. S. 25–38
Henry O. Osgood: The Blues [Folk songs absorbed into art music. Collection The Slave Songs of America published in 1867. „Sperichils,“ African-American folk songs. Remarks on W. C. Handy’s book The Blues]. S. 25–28
Aaron Copland: Playing safe at Zurich [1925 festival of the International Society for Contemporary Music. Hindemith, Concerto for orchestra. Anton von Webern Five Orchestral Pieces. Caplet, Le Miroir de Jésus. Hans Krasa, Pastoral and March. William Walton, Portsmouth Point. Ernst Levy, Symphony in one movement. Jacobi, String Quartet]. S. 28–31
Erwin Felber: Step-children of music [Study of chamber music in its relationship to choral music undertaken at the festivals of Donaueschingen. Military music of Krenek and Ernst Pepping]. S. 31–33
Roger Sessions: An American evening abroad [Paris, Société musicale indépendante concert. Copland, „As it fell upon a day“ (song). Antheil, String Quartet. Theodore Chanler, Violin Sonata. Virgil Thomson, Sonata d’Église. G. Herbert Elwell, piano pieces.Piston, Piano Sonata]. S. 33–36
Arthur Hoeree: Last spring in Paris [Walther Straram concerts: Vittorio Réti, L’Arche de Noé. Concerts of La Revue musicale: Schoenberg, Quintet for wind instruments. Serge Koussevitsky’s concerts: Oboukhow, La Préface du livre de vie. Théâtre des Champs-Elysées: Antheil, Symphonie and Ballet mécanique. Satie and film music. Ballet Russe: Constant Lambert, Romeo and Juliet; Réti, Barabau (ballet)]. S. 36–38
The League of Composers. Executive Board. Advisory Board. S. [2]
Henrietta Straus: Honest antagonism [Henry Edward Krehbiel’s opinion: antagonism beneficial to progress; his negative reviews of compositions by Prokofieff and Ernst Bloch. American press reaction to contemporary music from 1875. American indifference and antagonism to the „new“ in music]. S. 3–8
Lawrence Gilman: [Neglect of compositions by Americans by American symphony orchestras: the case of Charles Griffes]. S. 6
Aaron Copland: Jazz structure and its influence [Definitions of jazz by Virgil Thomson, Don Knowlton and Henry O. Osgood. Analysis of the polyrhythmic features]. S. 9–14
Marion Bauer: Impressionists in America [Biographical notes and overviews of principal compositions of Charles Martin Loeffler, John Alden Carpenter, Emerson Whithorne, Charles Tomlinson Griffes]. S. 15–20
Lazare Saminsky: East meets West [Aesthetic limitations and provincialism of native born, „old“ Americans. Progressive music of three „new“ Jewish Americans: Leo Ornstein, Gruenberg, Bloch]. S. 21–23
Pitts Sanborn: A glance toward the left [New radicalism in American music: Ruggles, Varèse, Cowell. Overview of Varèse’s principal compositions]. S. 24–27
Howard Hanson: Of critics, publishers and patrons [General needs for the future of American composition; changed attitude on the part of critics; availability of published scores; transition of composers from student to professional status]. S. 28–31
Forecast and review. S. 32–38
Frederick Jacobi: In retrospect [Tribute to the talent of Charles T. Griffes]. S. 32–33
Alexander Fried: „For the people“ [Propaganda for the popularization of „serious music“ in America. Role of film as an art form in American life; degenerate level of film music; American vaudeville circuit an accurate meter of public taste]. S. 33–37
Newman Levy: The ballads of the nineties [Sigmund Spaeth’s Read Em and Weep]. S. 37–38
The League of Composers. Executive Board. Advisory Board. S. [2]
Hugo Leichtentritt: Musical transmigrations [Innovations of modern radical art traced back to former periods: Marenzio, Monteverdi, Gesualdo and Caccini anticipate Wagner’s chromaticism; Vicentino’s quarter-tone music anticipates Alois Haba’s quarter-tone music for piano; Schoenberg’s linear counterpoint anticipated by the Netherlands school]. S. 3–7
H. H. Stuckenschmidt: Machines — A vision of the future [Subjective and „original“ interpretation replaced by mechanical instruments; problems of notation and interpretation solved by replacement of the human element in performance]. S. 8–14
[Abbildung] For the Tanz Suite of Béla Bartók. This design for stage and costume, the work of Miss Esther Peck, has been made for the neighbourhood Playhouse. S. [15]
Alfredo Casella: Russia, 1926 [Importance of music in Soviet Russia; repertory of historical works; jazz forbidden; excellence of Russian orchestras; conservatories in Leningrad and Moscow. Moscow State Theatre: a Tchaikovsky ballet. Stanislavsky Theatre: Rimsky-Korsakov, The Czar’s Betrothed. Stradivarius String Quartet. Current state of Soviet music publication]. S. 17–21
John Redfield: A wider range for chamber music [Combination of stringed instruments and wind instruments produce a wider range of tone colors; organization of chamber music societies and chamber orchestras]. S. 22–28
Henry Cowell: Our inadequate notation [Call for greater pitch differentiation and rhythmic flexibility; different notational solutions of Schoenberg and Ives; new systems proposed by Thompson, Oboukhov, Chilton and Charles Louis Seeger]. S. 29–33
Forecast and review. S. 34–38
Eric Blom: Young Britons [Berners, Fugue for orchestra, The Triumph of Neptune (ballet). Bliss, Hymn to Apollo. Constant Lambert, Romeo and Juliet (ballet). William Walton, Façade. Rebecca Clarke, Piano Trio. Frieda Swain’s instrumental music]. S. 34–37
Nicolas Slonimsky: Vladimir Dukelsky [Gondola Overture. Piano Concerto. Zéphyre et Flore (ballet). Biographical note]. S. 37–38
The League of Composers. Executive Board. Advisory Board. S. [2]
Frederick Jacobi: Music and words [Melodies performed through use of words, or on syllables without meaning, or vocalized on vowels of the alphabet; traditional fusion of words and melody. Experiments by Schoenberg (Pierrot Lunaire), Stravinsky (Mavra). Historical note on Wagner’s treatment of the voice and accompaniment]. S. 3–7
Mario Labroca: The rebirth of Italian opera [Comparison of treatment in the eighteenth and nineteenth centuries; rediscovery of the melodrama of Monteverdi. Verdi’s Falstaff forecasts a need for reconstruction. Contemporary approaches: Pizzetti (Gregorian chant and the Florentine camerata); Malipiero (important incidents expressed in cantabile set forms); and Casella and Réti (ballet)]. S. 8–14
Leonide Sabaneyev: To conquer new tonal regions [Enrichment through ultrachromaticism; theories and artificial scales of Rosenoff and Leiberg. Development of ultrachromatic instruments lags behind composition; experimental instruments by Avraamov, Prince Odoyevski, Shishoff]. S. 15–19
Adolph Weissmann: Germany’s latest music dramas [Berg, Wozzek. Krenek, Orpheus and Eurydice (libretto bu Oscar Kokoschka) and Johnny Strikes Up the Band. Kurt Weill, Winter Palace. Hindemith, Cardillac. Influence of jazz]. S. 20–26
[Abbildung] Jazzo. An expression in bronze of the jazz spirit by Annette Rosenshine. S. [21]
The spring season in review. S. 27–37
Roy D. Welch: A symphony introduces Roger Sessions [Symphony in E minor; absolute music; use of wind instruments; influence of Stravinsky; synopses of the movements]. S. 27–30
Richard Hammond: Ballyhoo [Carnegie Hall: Antheil concert. Jazz Symphony; Ballet mécanique]. S. 30–33
Herbert Peyser: And now it can be told [Metropolitan Opera House: failure of Deems Taylor, The King’s Henchman; defects of the libretto by Edna St. Vincent Millay]. S. 33–35
Edward Burlingame Hill: Copland’s jazz concerto in Boston [Boston Symphony, Copland, Piano Concerto] . S. 35–37
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Ernest Bloch. A new portrait by Roger Stackpole. S. [2]
Roger Huntington Sessions: Ernest Bloch [An important influence in American music. Biographical sketch with reference to compositions. Bloch, Macbeth; Jewish character of Bloch’s music; metrical richness; orientalism. String Quartet, Jewish Cycle, Schelomo. Problems encountered as a music educator in Cleveland: opposition to pedagogical principles and introduction of the fixed-do of solfeggio]. S. 3–11
Hugo Leichtentritt: Harmonic daring in the 16th century [Chromaticism in the madrigals of Gesualdo, Monteverdi, Marenzio. Vicentino’s quarter-tone music. Chromatic elements in Thomas Weelkes’ Elizabethan madrigals]. S. 12–21
Alban Berg: A word about Wozzeck [Musical development of Buechner’s drama; individuality of formal organization of each scene and the orchestral entr’actes]. S. 22–24
Edwin Evans: Arnold Bax [Query on modernist tendencies; reasons for use of atonality, polytonality and linear counterpoint; Celtic influences; overview of compositions]. S. 25–30
Forecast and review. S. 31–42
Aaron Copland: Baden-Baden, 1927 [Festival of the Deutsche Kammermisik; focus on chamber opera. Milhaud, The Abduction of Europa. Weill, Mahagonny. Hindemith, Hin und Zuruck. Ernst Toch, The Princess on the Pea. Berg, Lyric Suite. Bartók, Piano Sonata (1926). Hans Eisler, Diary (cantata). Nicolai Lopatnikoff and mechanical music. Hindemith’s film music for the cartoon Krazy Kat at the Circus]. S. 31–34
Adolph Weissmann: A festival that failed [Frankfurt: International Society for Contemporary Music. Busoni, Doktor Faustus. Henry F. Gilbert, Dance in the Place Congo. Copland, Music for the Theatre. W. G. Whittaker, 139th Psalm for chorus. Castelnuovo-Tedesco, Le Danze del Re David (piano concerto). Berg, Chamber Concerto for piano, violin and thirteen wind instruments. Johann Mathias Hauer, Suite for orchestra. Bartók, Piano Concerto]. S. 34–38
Lazare Saminsky: More about Faustus [Busoni. Orchestration; no Wagnerian influence; hints of Berlioz and Meyerbeer]. S. 38–39
André Coeuroy: Oedipus and other music heard in Paris [Ballet Russe: Stravinsky, Oedipus Rex; Latin libretto; orchestration; banishment of dramatic action. Straram Concerts: compositions by Roussel, Jacques Ibert. Prokofieff, Classical Symphony, Overture on Hebrew Themes. Milhaud, Carnaval d’Aix. Alexandre Tansman, Poèmes Juifs. Falla, Concerto for harpsichord. Ballet Russes: Prokofieff, Pas d’Acier. Novelties of Diaghilev’s Ballet Russes season: Berners, The Triumph of Neptune]. S. 39–42
The League of Composers. Executive Board. Advisory Board. S. [2]
André Coeuroy: Picasso and Stravinsky [Diaghilev’s Russian Ballet in Rome (description by Michel Georges-Michel in Les Montparnos). Linear classicism of Stravinsky and Picasso. Collaboration for the ballet Pulcinella; overview of Picasso’s early canvases; career parallels]. S. 3–8
[Abbildung] Stage setting and costume design by Pablo Picasso for Stravinsky’s Pulcinella. S. [5]
Henry Cowell: The music of Edgar Varèse [Relationship of pitch and instrument; harmonic combinations; nuances on repeated notes; dynamics; rhythm; discontinuance of melody; emphasis on percussion instruments. Musical examples from Octandre, Hyperprism]. S. 9–19
[Abbildung] Edgar Varèse. Portrait by Stefan Hirsch. S. [19]
Richard Hammond: Maurice Ravel, 1927 [Gradual evolution of Ravel’s personal compositional style; influence of Satie and World War I; neo-classicism]. S. 20–23
Irving Weil: The noise-makers [Modern music and the influences of contemporary city sounds; Varèse and Antheil. Criticism of modern music in Edward J. Dent’s Terpander, or Music of the Future. Rhythm and jazz; African influences]. S. 24–28
Alexander Fried: The prestige of good music [George Santayana’s dictum that art music is „good.“ Changes in the social order and in music. Definition of „good taste“]. S. 29–32
George Santayana: [On the prestige of good music]. S. 32
Forecast and review. S. 33–38
Oscar Thompson: New music heard before Christmas [Review of compositions contemporaneous only in time: Adolf Busch, Delius, Reger. Ernst Schelling, Morocc (tone poem). Martinu, La Bagarre. Pizzetti, Abramo ed Isaac. Réti, Concerto for wind instruments and orchestra. Bartók, Rhapsody. Kodaly, Psalmus Hungaricus; Suite from Háry Janos. Heinrich Kaminsky, Magnificat. Copland, Cortège macabre, Scherzo for orchestra. Whithorne, New York Days and Nights. Saminsky, Symphony of the Seas]. S. 33–36
Lazare Saminsky: Russian composers in review [Leonid Sabaneyeff, Modern Russian Composers (International Publishers). Chapters on Scriabin, Stravinsky, Prokofieff]. S. 36–38
The League of Composers. Executive Board. Advisory Board. S. [2]
Arthur Lourié: Neogothic and neoclassic [Clash between the concepts of expressive music and plastic realism; effort to transcend the legacy of the late nineteenth century; break with the past not achieved; new recognition of the nineteenth century musical heritage; Stravinsky and Schoenberg and neoclassicism]. S. 3–8
Roger Sessions: On Oedipus Rex [Stravinsky’s „return to Handel.“ Synopsis of the dramatic structure. „Tonic“ quality of the harmonic structure and tonal freedom; orchestral style; rhythmic element; use of Latin]. S. 9–15
Aaron Copland: Music since 1920 [Variety of meanings for modern music and its practitioners: Strauss and Debussy; Stravinsky and Schoenberg. Hindemith’s Piano Pieces, op. 37; influences of Stravinsky and jazz; melodic style. Milhaud, Honneger, Prokofieff and Krenek]. S. 16–20
Boris de Schloezer: An age of plenty [Struggle of the age: major composers all strive toward different directions. Stravinsky, Schoenberg, Prokofieff, Hindemith. New historical interest in music; problems of opera; influence of Bach]. S. 21–25
Forecast and review. S. 26–34
Henrietta Straus: The fruits of victory [League of Composers concert: Frescobaldi, Toccata; Sweelink, Sonata. Sessions, Choral Preludes. Hindemith, Das Marienleben (song cycle). Bartók, Piano Concerto. Leo Weiner, Carnival Overture. Sibelius, Symphony no. 1. Marc Blitzstein, Piano Sonata. Roy Harris, Sextet for string quartet, clarinet and piano. Marion Bauer, String Quartet]. S. 26–27
Domenico De Paoli: Young voices in Milan [Activities of the Teatro alla scala, Società del quartetto and Teatro del popolo. Prize to composition offered by Il Popolo: winners Antonio Veretti, Giacomo Benvenuti. Livio Luzzato, Judith (opera). Mario Pilate. Religious works of Giulio Bas]. S. 28–33
Robert Simon: Songs of the American folk [The American Songbag. By Carl Sandburg (Harcourt, Brace & Co.) Arrangements with piano accompaniment]. S. 33–34
The League of Composers. Executive Board. Advisory Board. S. [2]
Hugo Leichtentritt: Schönberg and tonality [Analysis of Schönberg’s Six Little Piano Pieces, op. 19; in order from the simplest to the most complex; fourth chords, atonal melody; chord connection; ostinato; major-minor scale; motivic development; polytonality]. S. 3–10
Frederick Jacobi: The new Apollo [Commission at the Coolidge Festival at the Library of Congress, Washington. Stravinsky, Apollo Musagète (ballet); synopsis]. S. 11–15
Alfredo Casella: Reflections on the European season [International Society for Contemporary Music at Zurich. Renaissance of Verdi’s operas in Germany. Krenek, Jonny spielt auf. Stravinsky, Oedipus Rex. Munich: Carpenter, Skyscrapers]. S. 16–18
[Two designs for the Munich production of Hindemith’s Cardillac made by Leo Pasetti]. S. [19–20]
[Abbildung] Cardillac. Act 2 [Representing the home of Cardillac]. S. [19]
[Abbildung] Cardillac. Act 3 [Pasetti’s projection of the scene in the street]. S. [20]
Henry Cowell: New terms for new music [Sixteen examples drawn from contemporary composers]. S. 21–31
Harmonic polytonality [Bartók, Bagatelle no. 1]. Contrapuntal polytonality [Chavez, Energia]. Suggested polychord [Honneger, Pacific 231]. Polyharmonic succession [Ives, Premonitions] Suggested polychord [Stravinsky, Suite]. Counterchord [Ornstein, The Corpse]. Counterharmonic succession [Ornstein, The Corpse]. Dissonant counterpoint [Stravinsky, L’Histoire du soldat]. S. 23–25
Carlos Chavez: Technic and inner form [Speculation about music education]. S. 28–31
Forecast and review. S. 32–38
Edward Burlingame Hill: The Young Composers’ Movement [Edith Totten Theatre: Robert Delaney, Violin Sonata. Sessions, Sonata. Porter, Quintet. Copland, Pieces for String Quartet]. S. 32–34
Marc Blitzstein: Hin und Zuruck in Philadelphia [Hindemith. Philadelphia Society for Contemporary Music]. S. 34–36
Marion Bauer: The case for a music laboratory [John Redfield, Music: A Science and an Art (Alfred A. Knopf)]. S. 36–38
The League of Composers. Executive Board. Advisory Board. S. [2]
Boris de Schloezer: The drift of the century [Query on the existence of musical characteristics that differentiate the first quarter of the twentieth century from the preceding century. Representatives of the age: Debussy, Pelléas et Mélisande; Schoenberg, Pierrot Lunaire; Stravinsky, Le Sacre du printemps; Scriabin, Prometheus]. S. 3–10
André Schaeffner: Georges Auric — Peasant of Paris [Compositional characteristics]. S. 11–17
Adolph Weissmann: Ernst Krenek [Advocate of radical tendencies in composition; periods of creativity; Krenek’s Jonny spielt auf]. S. 17–23
[Abbildung] Design for Apollon Musagète [Bauchant painting for Diaghilev’s production]. S. [18]
Richard Hammond: Ballets Russes, 1928 [New productions: Nikolas Nabokoff, Ode. Stravinsky, Apollon Musagète. Revivals: Stravinsky, Les Noces; Prokofieff, Le Pas d’Acier]. S. 25–28
Design for Apollon Musagète, scene 2 [Bauchant painting for Diaghilev’s production]. S. [27]
Alfred Einstein: The newer counterpoint [Abolishment of the functional chord connection; examples for Schoenberg, Piano Suite, op. 25; Hindemith, String Trio, op. 34; Mossoloff, String Quartet, op. 24]. S. 29–34
Forecast and review. S. 35–42
Alfredo Casella: Sienna’s festival [International Society for Contemporary Music: overview of events: compositions by Vincenzo Tommasini, Hindemith, Zemlinski, Frank Bridge, Falla, Walton, Martinu]. S. 35–38
Oscar Thompson: More fun, less music [German Chamber Music Festival at Baden-Baden. Milhaud, The Return of the Prodigal Son. Toch’s film music for a Felix cartoon. Hermann Reuter, Saul. Film music by Wolfgang Zeller, Werner Graff and Paul Richter: Morning Spooks. Hugo Herrmann, Gallow Songs. Hauer, Wanderlungen (oratorio)]. S. 38–40
Hans Gutman: Berlin and modern works [Theater Unter den Linden restrictive repertory. Conductors Erich Kleiber and Bruno Walter. Repertory of contemporary operas and symphonic music]. S. 40–42
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Portrait of Serge Prokofieff. By Natalia Gontcharova. S. [2]
Leonid Sabaneyeff: Russia’s strong man [Prokofieff; strong connection to Russia; not a modernist; unresponsive to movements; neoclassicism; objectivism; comparison with boldness of Beethoven; overview of compositions]. S. 3–9
[Abbildung] Design for Buffoon by M. Larionov, used at the Ballet Russe. S. [7]
[Abbildung] Larionov, Prokofieff, Diaghilev. Sketched at a Ballet Russe rehearsal by Michel Larionov. S. [8]
G. Francesco Malipiero: A plea for true comedy [Development of opera buffa in eighteenth-century Italy; Stravinsky’s musical grotesquerie]. S. 10–13
Aaron Copland: The lyricism of Milhaud [Opinion of Boris de Schloezer in La Revue musicale (1925). Milhaud, La Création du monde and Le Pauvre Matelot]. S. 14–19
Robert Simon: Jerome Kern [The craftmanship of this musical comedy composer. Show Boat seen as a „leit opera“ with quotation and development of themes in a Wagnerian fashion]. S. 20–25
Carol Berard: Recorded noises — Tomorrow’s instrumentation [New instruments like the Thérémin and the Ondes Martenot need interpreters. With noises, recorded from nature and factories one can create symphonies]. S. 26–27
Forecast and review. S. 30–42
Arthur Mendel: First fruits of the season [Hindemith, Die junge Magd. George Antheil, Second String Quartet. Cowell, Paragraphs for two violins and cello. Wagenaar, Sonate. Lopatnikoff, Sonate; Colin McPhee. Gershwin, An American in Paris. Bloch, America. Richard Strauss, The Egyptian Helen. Respighi, The Sunken Bell]. S. 30–32
Herbert Peyser: Jonny over there [Ernst Krenek, Jonny spielt auf. Written for Europeans not for Americans. Possible changes for performance at the Metropolitan Opera House]. S. 32–35
Henri Prunières: Stravinsky and Ravel, winter 1928 [Stravinsky, Le Baiser de la fée, an imitation of Tchaikovsky’s musical style. Ravel, Le Bolero. Stage set and costumes: Alexander Benois]. S. 35–39
Domenico De Paoli: Pizzetti’s Fra Gherardo [Opera]. S. 39–42
The League of Composers. Executive Board. Advisory Board. S. [2]
[Abbildung] Design for Stravinsky’s Les Noces, second tableau, by Sergei Soudeikine. S. [2]
Hugo Leichtentritt: On the art of Béla Bartók [Collector of original Hungarian folk melodies. The Allegro barbaro and its scales. The influence of Asiatic music. Ostinato rhythms in the Dance Suite. The mixed tonality in the second Violin Sonata]. S. 3–11
Henry Cowell: Music of the hemispheres [Comments from a Chinese musician and scholar on western music; different influences govern Chinese music]. S. 12–18
Richard Hammond: Viewing Les Noces in 1929 [Stravinsky. Victor Belaiev’s guide-book An Outline of „Les Noces“ (Oxford University Press). A new stage in Russian national music. The score, musical substance, harmony, rhythm. Comparison of Soudeikine and Diaghilev’s staging]. S. 19–25
[Abbildung] Les Noces — Costume designs for the bride by Sergei Soudeikine. S. [20–21]
[Abbildung] Two studies for Les Noces by Sergei Soudeikine: The matchmaker; group of young girls. S. [25]
Lazare Saminsky: Race and revolution [American music is reactionary, the racial factor revolutionizes the adopted musical syntax]. S. 26–29
Forecast and review. S. 30–36
Leonid Sabaneyeff: Dawn in Sweden [Composer Gösta Nyström, absorbed folk-melos like Bartok. Rondo for Violin, Symphonic poem Ischavet. Regrets for orchestra]. S. 30–32
Pitts Sanborn: Making the grand tour [André Coeuroy, Panorama de la musique contemporaine. Review with concise citations about composers and their music]. S. 32–36
The League of Composers. Executive Board. Advisory Board. S. [2]
Irving Weil: The American scene changes [New American music gained its own identity: virility and reflections of American life]. S. 3–9
Aloys Mooser: Geneva — Another disappointment [Seventh festival of the International Society for Contemporary Music: more quantity than quality. Marcel Delannoy, Le Fou de la dame. Nikolas Nabokof, Chants à la Vierge Marie and Werkleute sind wir. Maurice Delage, Hais-Kais. Alexander Jemnitz, Serenade for String Trio. M. Fitelberg, String Quartet. Max Butting, Symphony]. S. 10–14
Aaron Copland: From a composer’s notebook. S. 15–19
[Stravinsky and his inspiration]. The American composer again [Reaction to a remark of critic George Jean Nathan]. The Mahler question [The virtues of his music]. A common-sense critic [Ernest Newman]. Music and words [Text treatment by Virgil Thomson]. Modern music made easy [Characteristics of an appreciated modern composition by the large public]. Signs of the times [The importance of Wagner’s Tristan und Isolde].
Oscar Thompson: Heard in New York [Ernest Toch, Piano Concerto, op. 54. Pizzetti, Fra Gherardo. Respighi, La Campana sommersa. Stravinsky, Apollon Musagète. Arthur Honneger, Rugby. Bernard Wagenaar, First Symphony. Jacobi, Indian Dances. Two concerts of the League of Composers. Pro Musica concert and Copland – Sessions concerts. Otakar Jeremias, Zborov]. S. 20–24
Forecast and review. S. 25–33
Nikolai Lopatnikoff: New life in Berlin [Modern Opera: Hindemith, Cardillac, Stravinsky, Oedipus. Krenek, three one-act pieces. Brecht and Weill, Dreigroschenoper. Berg, Wozzeck. Symphonical works: Hauer, Sinfonietta. Krenek, Kleine Sinfonie. Hindemith, Concerto for viola d’Amore. Chamber music: Steuermann, Piano Sonata]. S. 25–28
Marion Bauer: Rediscovering the dynamic line [Daniel Gregory Mason’s essay The Tyranny of the Barline and his book The Dilemma of American Music. Natural dynamics were formerly linked to emotion. Contemporary composers have to reformulate dynamic rules]. S. 28–31
Henry Cowell: Hidden Irish treasure [Henebery, Handbook of Irish Music ]. S. 31–33
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Schönberg’s Opera, Die glückliche Hand [Scene from the Duisberg production (1929); design by Johannes Schröder]. S. [2]
Arthur Lourié: An inquiry into melody [Dissappearance of melody owing to its subjectiveness and conflict with the impersonal esthetics of our time. Role of melody compared to harmony and rhythm]. S. 3–11
Farewell to Diaghilev. S. 12–23
Darius Milhaud: I. The brilliant impresario [Renewing changes of collaborators, interesting matches from painters with musicians. Not only Russian (Stravinsky), but also French repertory]. S. 12–15
André Schaeffner: II. Though far from Russia [The Russian character in the art of Diaghilev. The Stravinsky-Diaghilev combination]. S. 15–19
Nicholas Roerich: III. A lone fighter [Roerich’s collaboration as decor designer. Diaghilev’s financial responsibility]. S. 19–23
[Abbildung] [Portrait of Diaghilev] from a cartoon by M. Larionov. S. [12]
[Abbildung] Le Sacre du printemps by Stravinsky. Design by Nicholas Roerich. S. [22]
Paul Stefan: Schönberg’s operas [Erwartung, Die glückliche Hand]. S. 24–28
Jeffrey Mark: An exact notation [Scientific terminology descriptive of musical performance by using a recording instrument]. S. 29–33
Forecast and review. S. 34–44
Hans Gutman: Tabloid Hindemith [The opera Neues vom Tage. Description of the libretto. His „serious“ music]. S. 34–37
Lazare Saminsky: Jürg Jenatch [Opera of Heinrich Kaminski. Exquisite treatment of spoken word]. S. 37–39
Oscar Thompson: Fly-wheel opera [Max Brand, Maschinist Hopkins]. S. 39–42
Mary Ellis Opdyke: De Falla in review [J. B. Trend, Manuel De Falla and Spanish Music (A. A. Knopf): Spanish rhythms, colors and idioms are the essence of Falla’s music]. S. 42–44
[Abbildung] Scene from Neues vom Tage [Opera from Hindemith]. S. [35]
[Abbildung] The machines in Brand’s opera Maschinist Hopkins. Design by Johannes Schroeder. S. [41]
[Abbildung] Bony’s Bar [by] Johannes Schroeder. Scene of Maschinist Hopkins.
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] The creature of destiny by Robert Edmond Jones [Design for the chimera, figure in Schönberg’s opera Die Glückliche Hand for the American première at the Metropolitan Opera House on April 22, 1930]. S. [2]
Hans Gutman: Young Germany, 1930 [Ideals of neo-classicism, reaction to expressionism. Schönberg’s Grundgestalt. Alban Berg. Webern. Hans Eisler. Hindemith. The social aspect of music. Gebrauchsmusik, music for everybody. Kurt Weill. Ernst Krenek]. S. 3–10
Darius Milhaud: Experimenting with sound films [The problem of synchronisation. La Petite Lilie, film music by Darius Milhaud]. S. 11–14
Hermann Closson: The case against „Gebrauchsmusik“ [Music for the amateur, dancing and background. Fear of loss of integrity]. S. 15–19
Richard Hammond: Music and the dance theatre [Abstract dance. Dance Repertory Theatre of Martha Graham, Tamiris, Doris Humphrey, Charles Weidman]. S. 20–23
Nicolas Slonimsky: Composers of New England [Edward MacDowell. Henry Gilbert. Edgar Stillman Kelley. Henry Hadley. Paul Hastings Allen. G. W. Chadwick. Arthur Foote. Frederick Converse. Edward Burlingame Hill. Carl Ruggles. Charles Ives. Roger Sessions]. S. 24–27
Forecast and review. S. 28–41
Oscar Thompson: Variations and the season’s new music [Tommasini, Variations after Paganini. Busch, Variations on a Theme by Mozart. Schönberg, Variations. Arnold Bax, Symphony no. 2. Anton Webern, Symphony for chamber orchestra. Goossens, Concertino for a double string orchestra. Hindemith, Concerto for organ and chamber orchestra. Arthur Bliss, Pastoral. Villa-Lobos, Rasga o coracao (chorus). Joseph Schillinger, Suite for Thérémin. Louis Gruenberg, Enchanted Isle. Werner Janssen, New Year’s Eve in New York. Bernard Wagenaar, Sinfonietta]. S. 28–31
André Schaeffner: Stravinsky’s Capriccio [Fractionism. Chromatism, without endangering the tonal unity. Les Six: ten-year jubilee. Poulenc, Aubade]. S. 31–34
Henry Cowell: Vocal innovators of Central Europe [E. F. Burian, the Voice-Band (vocalists). Hans Eisler, primitive sound in choral harmonic scheme. Kurt Schwitters, compositions of words to be spoken aloud]. S. 34–38
Eberhard Preussner: Germany’s new music literature [Kurt Westphal, Die moderne Musik. Heinz Tiessen, Zur Geschichte der jüngsten Musik. Hans Mersmann, Die Tonsprache der neuen Musik. Herman Erpf. Studien zur Harmonie und Klangtechnik der neueren Musik. Paul Bernhard, Jazz: eine musikalische Zeitfrage. Walter Gronostay, Kunst und Technik]. S. 38–41
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Décor for Krenek’s opera, Orest by Giorgio Di Chirico. S. [2]
Boris de Schloezer: The way of understanding [Music as language; interpretation; spiritual and intellectual content; perception of unity]. S. 3–17
Paul Amadeus Pisk: Schönberg’s twelve-tone opera [Von Heute auf Morgen. Text by Max Blonda. Despite difficult structure and twelve-tone technic, a gay opera. Chanting spoken words instead of singing]. S. 18–21
H. H. Stuckenschmidt: Hellenic jazz [Krenek’s opera Leben des Orest. Five acts, eight scenes; synopsis; Mixture of styles]. S. 22–25
[Abbildung] Two designs for Krenek’s Orest by Giorgio Di Chirico. S. [25]
Edwin Evans: Walton and Lambert [Comparison of their works and development]. S. 26–31
Dane Rudhyar: The mystic’s living tone [Western Music is algebra and tone. A single tone dominates in non-Western music and is used by musical mystics]. S. 32–36
Forecast and review. S. 37–45
Raymond Petit: A critical portrait of Stravinsky [André Coeuroy (Editor), La Musique moderne. Paris, Aveline. Volume Le Jazz, by Schaeffner and Coeuroy, and a volume on Stravinsky by Schloezer]. S. 37–41
Willy Reich: Berg’s new work, Der Wein [Concert-aria for soprano and orchestra, based on Stefan George’s translation of three poems by Baudelaire]. S. 41–43
Marion Bauer: New Musical Resources [Henry Cowell (A. A. Knopf). Use of overtone series as a mathematical, acoustical and historical gage]. S. 43–45
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Arnold Schönberg from the portrait by the famous painter, Oskar Kokoschka. S. [2]
Erwin Stein: Schönberg’s new structural form [Compositional technic. Twelve-tone music illustrated by the String Quartet no. 3]. S. 3–10
George Antheil: Wanted — Opera by and for Americans [Contemporary subject and staging]. S. 11–16
[Abbildung] Antheil’s opera, Transatlantic. Design by Ludwig Sievert. S. [14]
Paul Stefan: Music in post-empire Austria [Gustav Mahler, Arnold Schönberg, Alexander von Zemlinsky, Anton von Webern, Alban Berg, Egon Wellesz, Karl Horwitz, Paul Amadeus Pisk, Josef Mathias Hauer, Rudolf Réti, Franz Schreker, Ernst Krenek, Alois Haba, Felix Petyrek, Wilhelm Grosz, Josef Marx, Franz Schmidt, Max Springer, Erich Wolfgang Korngold, Hans Gal, Egon Kornauth, Ernst Toch, Otto Siegl, Walter Klein, Joseph Messner, Bernhard Paumgartner, Julius Bittner, Alma Mahler]. S. 17–24
Charles Louis Seeger: On dissonant counterpoint [More than a link between harmony and counterpoint and „free composition“. Dissonant melody. Heterophony. Rhythm and form versus tonal organization]. S. 25–31
The German opera season reviewed. S. 32–41
Hans Gutman: Mahagonny and other novelties [Bertolt Brecht and Kurt Weill, The Rise and Decline of the City of Mahoganny: not opera, but new musical theatre. Wilhelm Grosz, Achtung, Aufname!. Jaromir Weinberger, Schwanda, der Dudelsackpfeifer]. S. 32–36
Nikolai Lopatnikoff: Christophe Colomb [Opera by Darius Milhaud, based on a poem of Claudel]. S. 36–38
Theodor Wiesengrund-Adorno: Transatlantic [Opera by George Antheil] . S. 38–41
[Abbildung] Four scenes from Christophe Colomb [Milhaud]. Designed by Panos Aravantinos. S. [22–23]
The League of Composers. Executive Board. Advisory Board. S. [2]
A. Walter Kramer: American composers. III. Louis Gruenberg [Born in Russia; educated in America; worked in Vienna and Paris. No personal musical voice apparent at present]. S. 3–8
[A. Walter Kramer]: List of works by Louis Gruenberg. S. 9
[Abbildung] Louis Gruenberg. An unpublished sketch by the late Enrico Caruso. S. [7]
Frederick Jacobi: Liège, 1930 [Eighth festival of the International Society for Contemporary Music]. S. 10–20
[Officially-chosen works in chronological order: Karel Haba, Septour for violin, clarinet, viola, horn, cello, bassoon and piano. Michel Erhard, Musique. Germaine Tailleferre, Trois Chansons françaises. Arnold Bax, Sonata for two pianos Albert Huybrechts, Second String Quartet. Karel Bohuslav Jirak, Quintet for flute, oboe, clarinet, horn and bassoon. Fernand Quinet, Moralités non légendaires. Karl Stimmer, Quintet for saxophone and strings. Alfredo Casella, Serenade for clarinet, bassoon, trumpet, violin, and cello. Albert Roussel, Trio for flute, viola and cello]. S. 10–13
[Two orchestral concerts: Volkmar Andreae, Musique pour orchestre. Bernard Wagenaar, Sinfonietta. Antonio Veretti, Sinfonia italiana. Florent Schmitt, Ronde burlesque. Marcel Poot, Poème de l’espace. William Walton, Concerto for viola and orchestra; Lionel Tertis. Johann Matthias Hauer, Concerto for violin and orchestra. Henry Gibson, Temptation. Jean Rivier, Chant funèbre. Marcel Mihalovici, Fantaisie. Alexander Mossolov, Steel Foundry]. S. 13–16
[Karol Szymanowski, Stabat mater]. S. 16–17
[Aix-la-Chapelle: Alban Berg, Wozzeck]. S. 17–18
[Brussels, Le Palais des Beaux-Arts: Chamber music concert by the Pro Arte Quartet. Boruslav Martinu, String Quintet (2 violins, 2 violas and cello). Bela Bartok, String Quartet no. 4. Darius Milhaud, La Création du Monde, arranged by the composer for the Pro Arte Quartet. Eric Satie, Relăche (excerpts of the opera); Paul Collaer (pianist)]. S. 18–19
[The opening concert by the Guides, a Belgian military band; Prevost (conductor). Joseph Jongen, Pièce symphonique (piano concerto). Ernst Toch, Spiel. Paul Hindemith, Konzertmusik. Florent Schmitt, Dionisiaques. Igor Stravinsky, Sinfonies d’instruments à vent]. S. 19–20
Domenico De Paoli: Italy’s new music of the theatre [Castelnuovo-Tedesco, Bacco in Toscana (ballet). Malipiero, Il Mistero di Venezia (opera). Casella, La Donna serpente. Alfano, L’Ultimo Lord]. S. 21–26
Hans Gutman: The festivals as music barometers [Donaueschingen retrospect: new compositions judged by a tribunal; history of competitions; Hindemith and Gebrauchsmusik. German section of the International Society for Contemporary Music at Bad Pyrmony: works by Helfritz, Heinz Schubert, Hans Jelinek, Karl Vollmer]. S. 27–32
Forecast and review. S. 33–44
Irving Weil: Mr. Kleiber [conductor] presents — [Bax, Castelnuovo-Tedesco, Berg, Hindemith, Weinberger, Lopatnikoff]. S. 33–35
Alfred V. Frankenstein: Hindemith and Bach at Chicago [Hindemith, Konzertmusik; Sonatina for two flutes; Die Serenaden (cantata). Malipiero, Ritrovari. Loeffler. Carlos Salzedo, Préambule et Jeux]. S. 35–37
Lazare Saminsky: St. Francis by Faggi and by Malipiero [Sculptor Faggi’s application of musical form to bronze doors. Relationship of Malipiero’s St. Francis to concrete form]. S. 37–40
Alexander Smallens: Musica Americana in a handy manual [Brochure of the International Society for Contemporary Music entitled American Composers of To-day]. S. 40–41
Aaron Copland: Modern orchestration surveyed [Egon Wellesz, Die neue Instrumentation]. S. 41–44
[Abbildung] St. Francis by Alberto Fraggi. Bronze doors for the Chicago University Chapel, whose sculptural treatment is contrasted with that of Malipiero for the same subject. S. [39]
[Anonymus]: Contributors to this issue. S. [45]
Index to back numbers of Modern Music. S. [46–47]
[Anonymus]: Coming features of Modern Music. S. [48]
Supplement to Volume VIII, No. 1 November — December 1930 issue .
[Anonymus]: [Notes about a series of monographs to be published with Modern Music in special supplements]. S. [1p] 48/1
Joseph Yasser: The future of tonality. Tonality and atonality as synthesized by supra-tonality. S. 1–24
What is tonality? Atonality defined. Constructive elements. Historical proof. „Live“ scales. The universal pentatonic. Effects of temperament. A forced arrangement. The auxiliary degrees. Harmonic evolution. The evils of neutrality. Infra-atonality. Stages of revolt. Practice in fauxbourdon. Signs of transition. Infra-polytonality. „Just a lucky accident.“ Tempering infra-tonality. Steps toward Ars nova. Hypothetical progress. Distempering the scale. Scriabin’s chord. Breaking with the old.
[Abbildung] Plate I [The infra-diatonic scale 5+2. The diatonic scale 7+5. The supra-diatonic scale 12+7]. S. [5]
[Abbildung] Plate II [The infra-diatonic scale 5+2. The diatonic scale 7+5. The supra-diatonic scale 12+7]. S. [11]
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Stravinsky’s Oedipus Rex. A preliminary sketch by Robert Edmond Jones. S. [2]
Paul Rosenfeld: The destiny of exile [American tendency present in the contemporary psyche; Henry James’s question on destiny; American expatriate writes from Rome; Freud]. S. 3–8
Hugh Ross: Szymanowski and his Stabat mater [Structural analysis; harmonic procedures; impressionism]. S. 9–13
Hans Heinscheimer: A new patron for music [Kulturwille of the German people; tally of productions of Berg’s Wozzeck; contemporary stage life in Germany afflicted by severe economic distress; struggle of the youth]. S. 14–19
Mary Wigman: Composition in pure movement [Relationship of music to dance]. S. 20–22
Richard Hammond: American composers. IV. Emerson Whithorne [Style characteristics: mechanistic, jazz-rhythm; development of compositional techniques]. S. 22–28
List of works by Emerson Whithorne. S. 28
[Abbildung] Emerson Whithorne. A portrait made in 1929 by the late Robert Winthrop Chanler. S. [25]
Theodor Wiesengrund-Adorno: Berg and Webern — Schönberg’s heirs [Adherence to principles of atonality and twelve-tone technique; extreme poles of Schönberg’s domain; overview of Berg and Webern’s compositions]. S. 29–36
Forecast and review. S. 39–47
Marc Blitzstein: New York chronicle of new music. S. 39–42
Dec. 10. League of Composers [Sessions, Organ Prelude; Hindemith, selections from the Liederbuch; Petyrek, Litanei; Saminsky, Jephtha’s Daughter; Marion Bauer, Carol]. S. 39
Dec. 17. Harry Cumpson’s piano recital [Roy Harris, Piano Sonata]. S. 40
Dec. 18. Women’s University glee club [Gerald Reynolds conducting choral works by Randall Thompson, Robert Russell Bennett and Robert Delaney]. S. 40–41
Jan. 4. League of Composers [Copland, Piano Variations]. S. 41–42
Jan. 8. Boston Symphony [Stravinsky, Capriccio; Jesus Maria San Roma (pianist)]. S. 42
Walter Piston: Stravinsky as psalmist — 1931 [Stravinsky, Symphony of Psalms; structural overview]. S. 42–45
Henry Cowell: The „Sones“ of Cuba [Afro-Cuban songs with extraordinary instrumental accompaniment; modality; incorporation of melodies and instrumental effects into concert music; Amadeo Roldan, Alejandro Caturla (composers)]. S. 45–47
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Figure from The Age of Steel. Design for a dancer in the forthcoming American première of Prokofieff’s ballet celebrating the mechanical era, Pas d’acier by Lee Simonson. S. [2]
Boris de Schloezer: Man, music and the machine [Mechanization of music increases the number of intermediaries between producer (composer) and listener. Prolongation of sound by mechanical means: phonograph, a sound accumulator, radio; comparison of live performance to a recorded performance]. S. 3–9
Hans Heinscheimer: Film opera — Screen vs. stage [1929 project to film the operatic repertory cancelled; unsuitability of operatic performance to film; experimental film directed by Walter Rautmann; examination of music and film technique in The Movietone Follies of 1929; controversy in Germany and Central Europe]. S. 10–14
Max Butting: Music of and for the radio [Radio a government monopoly in Germany; broad scope of programming; differences in hearing of engineers and musicians; definition of music written for radio broadcast]. S. 15–19
Charles Weyl: The orchestra on the air [Difficulties associated with orchestra broadcasting and methods to overcome them]. S. 20–24
[Abbildung] The barracks’ scene in Wozzeck — Design by Robert Edmond Jones. For the American première of Alban Berg’s opera given in Philadelphia with Leopold Stokowski conducting. S. [25]
Joseph Schillinger: Electricity, a musical liberator [History of the introduction of electricity to musical instruments; acoustical oscillations obtained by means of electro-magnetic oscillations; electric instruments by Theremin, Mager, Martenot, Bertrand, Trautwein]. S. 26–31
[List of compositions specifically written for electric instruments]. S. 31
Henry Cowell: Music of and for the records [Uses of mechanical recording in „modern music“; query on writing music for the phonograph; examples by Antheil, Hindemith, Lopatnikoff]. S. 32–34
Forecast and review. S. 35–47
Richard Hammond: Pioneers of movie music [Copland – Sessions concerts at the Broadhurst Theatre: movie scores by Milhaud, Blitzstein, Sessions, Copland, McPhee]. S. 35–38
Marc Blitzstein: Dancers of the season [Agnes De Mille, Civil War Songs; Martha Graham, Primitive Mysteries; Doris Humphrey; Tamiris, Wiedman, Zemach, Wigman]. S. 38–42
Colin McPhee: Winter chronicle: New York. S. 42–46
Schola Cantorum concert, Jan. 29 [Szymanowski, Stabat mater. Lambert, Rio Grande]. S. 42–43
Chamber Orchestra of Boston at the New School, Feb. 7 [Ives, Three Places in New England; Cowell, Sinfonietta; Ruggles, Men and Mountains]. S. 43
Theremin at the New School, Feb. 17. S. 43–44
The League of Composers. Feb. 4, March 1 [Works by Ruth Crawford, Waldimir Vogel and Tolbie Snydermann]. S. 44
New opera at the Metropolitan [Deems Taylor, Peter Ibbetson]. S. 44–45
Stravinsky’s Symphonie des Psaumes, Boston Symphony, May 5. S. 45
Alfred Einstein: Schönberg’s super – film musik [Schönberg, Begleitmusik zu einer Lichtbildszene]. S. 45–46
Marion Bauer: World almanac of radio [Andre Coeuroy, Panorama de la radio; French and German radio, the BBC]. S. 46–47
The League of Composers. Executive Board. Advisory Board. S. [2]
Arthur Lourié: The crisis in form [Domination of German music at the turn of the twentieth century; evolution of method; Brahms and neo-classicism; new paths in French and Russian composition; problem of form]. S. 3–11
Alfred Schlee: Expressionism in dance [Dance Repertory Theatre. Historical review of dance in the United States: Diaghilev, Isadora Duncan, Jacques Dalcroze, Rudolf von Laban. Dance as a communal art]. S. 12–16
Randall Thompson: American composers. V. George Antheil [Biographical sketch; overview of compositions]. S. 17–28
List of works by George Antheil. S. 28
[Abbildung] George Antheil. A new portrait by Boris Smirnoff. S. [25]
Nikolai Lopatnikoff: Independents in Central Europe [Composers not influenced by Schönberg’s atonality and twelve-tone method: Philip Jarnach, Karol Rathaus, Alexander Jemnitz, Alexander Tcherepnine, Bronislav Martinu, Conrad Beck]. S. 29–32
Forecast and review. S. 33–47
Marc Blitzstein: Spring season in the East. S. 33–39
String quartet music [Bartók, String Quartet no. 4; New World Quartet. Schönberg, String Quartet, op. 30]. S. 33–34
Other chamber music [Stravinsky, Three Pieces for clarinet. Varèse, Octandre. Leo Ornstein, Six Cello Preludes]. S. 34–35
Piano music [Cowell’s piano recital]. S. 35–36
Orchestra music [Philadelphia Orchestra: Copland, Dance Symphony]. S. 36
Music and the stage [Philadelphia: Berg, Wozzeck. League of Composers concert: Stravinsky, Oedipus Rex. Prokofieff, Pas d’acier. Polyhymnia Society: Mikhail Gniessin, Phoenician Maidens. Stravinsky, L’Histoire du soldat]. S. 36–39
Bernard Rogers: Rochester’s American series [Eastman School of Music: Festival of American Music orchestral concerts. Herbert Inch, Symphony. William Grant Still, Africa (orchestral suite). Wagenaar, Divertimento. Douglas Moore, A Symphony of Autumn. Dorothy James, Paolo and Francesca (scene from the opera)]. S. 39–42
Alfred V. Frankenstein: The Coolidge Festival — Music and dance [Washington, Library of Congress: Irene Lewisohn’s dancers. Nina Koshetz (singer), Miguel Llobet (guitarist). Prokofieff, String Quartet, op. 50; Brosa Quartet. Holle’s Madrigal Singers: Schönberg, Peace on Earth. Petyrek, Settings from Des Knaben Wunderhorn]. S. 42–44
Waldimir Vogel: New drift in Germany’s ISCM [Problems in post-war (WWI) Germany; Max Butting’s efforts to save the collapse of the ISCM resistance to the modern music repertory by Furtwängler, Walter, Edwin Fischer, Bronislaw Huberman; efforts of reorganization]. S. 44–47
The League of Composers. Executive Board. Advisory Board. S. [2]
Hans Heinscheimer: Youth leaves the vanguard [Problem of the second generation in new music; success of Krenek and Weill. New youth and its attitude towards art]. S. 3–7
John Tasker Howard: American composers. VI. John Alden Carpenter [Biographical sketch of the businessman-composer. Overview of important compositions: Violin Sonata (1911); Advertures in a Perambulator (suite); Concertino for piano and orchestra; jazz influences in Krazy Kat; whole tone and overtone progressions in The Green River]. S. 8–16
[Abbildung] John Alden Carpenter. A portrait by Gregor Philpot. S. [9]
Aaron Copland: Contemporaries at Oxford, 1931 [Festival of the International Society for Contemporary Music at Oxford and London]. S. 17–23
[Orchestral concerts. Roman Palester, Symphonic Music. Waldimir Vogel, Two Études for orchestra. Webern, Symphony for small orchestra. Dukelsky, Symphony no. 2. Constant Lambert, Music for orchestra. Juan José Castro, Three Symphonic Pieces. Fernand Quinet, Symphonic Movements. Virgilio Mortari, Rhapsody for orchestra. George Gershwin, An American in Paris]. S. 17–20
[Choral compositions by Szymanowski and Ferencz Szabo. Vaughan Williams, Benedicite. Roussel, Psalm 80. Lew Knipper, Suite lyrique for small orchestra. Jan Malakiewicz, Four Japanese Songs for voice and orchestra. Ernesto Halffter, Sinfonietta]. S. 20–21
[Chamber music. Mario Pitati, Quintet. Goossens, Violin Sonata. Josef Koffler, String Trio. Otto Jokl, Sonatina for piano. Marcel Delannoy, Quartet. Jean Cartan, Sonatina for flute and clarinet. Roger Sessions, Piano Sonata]. S. 21–23
[Hindemith, Wir bauen eine Stadt (children’s musical game). Ballets given by the Camargo Society (London) and Milca Mayerova Dancing Group (Prague)]. S. 23
Alfred Schlee: Laban and the Berlin Staatsoper [Choreographer Rudolf von Laban]. S. 24–27
[Abbildung] Sketch of Laban by Heinrich Heckroth. S. 24
Jerzy Fitelberg: Aspects of instrumentation today. S. 28–30
[Stravinsky’s small orchestra in L’Histoire du soldat. Enlargement of the chamber orchestra. New instrumentation in Stravinsky’s Scherzo fantastique and Szymanowski’s Violin Concerto. Solutions for the technique of orchestration: tuba, horns, valve-trombone, alto-flute. Problems of scoring and bass doubling in broadcast music].
Forecast and review. S. 31–45
Randall Thompson: The bartered cow [Julliard Institute of Musical Arts: Louis Gruenberg, Jack and the Beanstalk (children’s opera); synopsis of John Erskine’s libretto; scoring]. S. 31–33
Hans Gutman: Janacek’s House of the Dead [Productions in Mannheim and at the Krollopera in Berlin. Janacek’s adaptation of Dostoievsky’s prose; song and dance; orchestration; musical idioms]. S. 33–35
Arthur Mendel: Source book of American music [John Tasker Howard, Our American Music: Edward MacDowell, Stephen Foster]. S. 35–38
Lazare Saminsky: Encounters stimulating and otherwise [Summer festivals of contemporary music in Europe]. S. 39–41
[Paris Pan-American Festival, Nicolas Slonimsky (director). Ives, New England Corners; Ruggles, Men and Mountains. Cowell, Synchrony. Riegger, Canons]. S. 39
[London International Society for Contemporary Music Festival: Vogel, Études for orchestra; Mario Bruschettini, String Quartet; Randall Thompson, Symphony no. 2; Mark Wessel, Suite for orchestra]. S. 39–41
Hans Gutman: Standstill at Bremen [Allgemeine Deutsche Musik-verein: Hermann Reuter, Piano Concerto; Hans Brehme, Symphony Concerto; Julius Weismann, Concerto for wind instruments; Felix Petyrek, Bedouin Divan; Richard Strauss’ setting of Mozart’s Idomeneo; Manfred Gurlitt, Soldaten]. S. 41–44
Paul Pisk: The Bacchantes of Wellesz [Vienna Staatsoper: Die Bacchantinnen]. S. 44–45
[Anonymus]: Contributors to this issue. S. [46]
[Anonymus]: Index to back numbers of Modern Music. S. [47–48]
The League of Composers. Executive Board. Advisory Board. S. [1p]
Arthur Hoeree: The renaissance of choral music [Historical overview of contemporary choral composers]. S. 51–61
[Honneger, Le Roi David. Schmitt, Psaume. Stravinsky, Les Noces. Nabokoff, Ode. Roussel, Poème de la forêt. Gebrauchsmusik. Summary of aesthetic principles].
Willi Reich: Schönberg’s new männerchor [Analysis of the „new structural form“ in Schönberg’s Six Pieces for Male Chorus, op. 35; philosophical implications of the texts; explanation of the structures of the twelve-tone melodies]. S. 62–66
Virgil Thomson: American composers. VII. Aaron Copland [Examination of the music: American in rhythm, Jewish in melody, eclecticism in other matters]. S. 67–73
List of works by Aaron Copland. S. 73
[Abbildung] Aaron Copland. A portrait by Frances E. O’Brien. S. [69]
Raymond Petit: Latin gaiety today [Stage works by Henri Sauget, Jacques Ibert, Vittorio Réti. Compositions by Pedrell, Alfonso Broqua, Allende]. S. 74–78
Marc Blitzstein: Tame season in New York. S. 79–85
Orchestra works [Berg, Lyrische Suite; Erich Kleiber. Castelnuovo-Tedesco, Overture to the Taming of the Shrew; Pizzetti, Concerto dell’estate; Toscannini (conductor). Alexandre Tansman, Tryptique for orchestra; Vladimir Golschman (conductor). Harold Morris, Piano Concerto; Koussevitsky (conductor). Efrem Zimbalist, Daphnis and Chloe; Milhaud, Concerto for instruments of percussion; Stravinsky, Violin Concerto; Stokowski (conductor)]. S. 79–83
Choral music [Frederic Jacobi, Sabbath Evening Service. Dessoff Choirs: Randall Thompson, Rosemary; Franz Philipp, Cycle on the Virgin. Henry Street Settlement: Hindemith, Wir Bauen eine Stadt]. S. 83–84
Chamber music [Igor Markevich, Serenade. Henry Brandt, Sonata for two pianos. Dukelsky, Étude for violin and bassoon]. S. 84–85
Aaron Copland: Stravinsky and Hindemith premières [Neo-classicism. Stravinsky, Violin Concerto. Hindemith, Das Unaufhörliche (oratorio). Jerzy Fitelberg, Violin Concerto]. S. 85–88
Richard Hammond: Paris notes [Chamber music: Société Sérénade repertory. Orchestre symphonique de Paris: Markevich, Cantate. Prokofieff, Classical Symphony, Piano Concerto, Symphony no. 4. Roussel, Bacchus et Arianne (ballet)]. S. 88–89
Nikolai Lopatnikoff: America in Berlin [Berlin Symphony Orchestra; Ernest Ansermet (conductor): Copland, Symphony no. 1; Sessions, Symphony; Ruggles, Portals; Gruenberg, Jazz Suite]. S. 90–92
Henry Boys: America in London [London Contemporary Music Centre: Chavez, Sonatina; Copland, Piano Variations; Sessions, Piano Sonata; Israel Citkowitz, Five Songs from James Joyce’s „Chamber Music“; Paul Bowles, Sonata for oboe and clarinet]. S. 92–93
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] „The Cocoanut.“ Costume design by Diego Rivera for the H. P. by Carlos Chavez. S. [98]
Adolph Weiss: The lyceum of Schönberg. S. 99–107
[Fundamental principles of composition]. The twelve-tone series. Melody. Rhythm. Harmony. Counterpoint. Instrumentation. [Schönberg’s master-class at the Berlin State Academy of Fine Arts].
Alfred Schlee: Under the red flag [Dialogue on artistic developments in the U.S.S.R. between a proletarian and a bourgeois. Russian aesthetic philosophy. Problems of concert management. People’s music played and sung by the masses. Avoidance of „modern music.“ repertories of opera houses. Realism and the ballet]. S. 108–13
[Abbildung] „On the boat.“ Design by Diego Rivera. For scene two of H. P. by Carlos Chavez. S. [114]
Hans Heinscheimer: German music on the breadline [Subsidies for theaters; new economic policies and reduction of support; rise and terrorism of the Hitlerites; failure of Pfitzner’s Das Herz; rise of primitive theatre]. S. 115–20
Forecast and review. S. 121–39
Marc Blitzstein: Premières and experiments — 1932. S. 121–27
Music for orchestra [New York Philharmonic Symphony Orchestra, Bruno Walter (conductor); Prokofieff, Le Fils prodigue (L’Enfant prodigue); Krenek, Der Triumph der Empfindsamkeit; Daniel Gregory Mason, Symphony no. 2. Boston Symphony Orchestra, Koussevitsky (conductor): Gershwin, Rhapsody; Copland Symphonic Ode; Hindemith, Konzertmusik]. S. 121–23
Chamber works [New World Quartet concert: Roy Harris, String Quartet; Ives, In the Night; Chavez, Energia. League of Composers concert]. S. 123–25
Old music — New instruments (New School concerts) [Chinese concert. Hebrew concert directed by Lazare Saminsky. Judith Litante’s concert: trouvère songs, Monteverdi, „Lasciatemi morire.“ Henry Cowell’s „rhythmicon“ (instrument); demonstration by Leon Theremin]. S. 125–27
Paul Stefan: Vienna resists the Depression [Staatsoper: Pfitzner, Das Herz. Kricka, Spul im Schloss (opera). Closing of the Volksoper. Vienna Philharmonic concerts. Austrian Composers’ League concert of American compositions]. S. 127–30
Jeffrey Mark: The „organic“ approach to music [Arthur Lourié, Serge Koussevitsky and his Epoch. Cecil Gray, Sibelius (book reviews)]. S. 130–33
Alexander Smallens: The professor looks at music [Edward MacDowell professor at Columbia University. Daniel Gregory Mason’s Tune In, America; criticism of Toscannini, Stokowski and Walter concerning their repertories and attitude toward contemporary composers (book review)]. S. 134–37
Lazare Saminsky: A Mediterranean Stravinsky — A new myth [Domenico De Paoli, Igor Stravinski (book review)]. S. 137–38
L. S.: A conductor of the modern orchestra [Herman Scherchen, Lehrbuch der Dirigieren (book review)]. S. 138–39
The League of Composers. Executive Board. Advisory Board. S. [142]
Aaron Copland: The composer and his critic [Response to criticism of Copland’s remarks made at the Festival of American Chamber Music at Yadoo; knowledge of contemporary American music by critics questioned]. S. 143–47
Robert Russell Bennett: Orchestrating for Broadway [The orchestrator’s particular talent; importance of training in voice leading; scoring for „voiceless voices“; conductors of theatre orchestras; style in playing brass and woodwind instruments; scoring Rose Marie and Showboat]. S. 148–52
Paul Rosenfeld: American composers. VIII. Carlos Chavez [Dry, percussive rhythmically alert compositional style; overview of Chavez’s compositions; description of the music for the Aztec ballet H. P.]. S. 153–59
[Abbildung] Carlos Chavez. A new portrait by Diego Rivera. S. 154
Guido M. Gatti: Opera advances in Italy [Casella, La Donna serpente based on Carlo Gozzi’s text. Antonio Veretti, Il Favorito del Re. Mise en scène at the Teatro alla Scala]. S. 160–63
Forecast and review. S. 164–87
Marc Blitzstein: Music and theatre — 1932 [Machine-as-art in music of Stravinsky. Chavez, H. P.. Respighi, Maria Egiziaca. Broadway musicals: Gershwin, Of Thee I Sing; Irving Berlin, Face the Music; Jerome Kern, The Cat and the Fiddle]. S. 164–68
Israel Citkowitz: Spring concerts in New York [League of Composers concert: Antheil, Chamber Concerto for eight instruments. Schola Cantorum: Randall Thompson, Odes of Horace; Hektor Villa-Lobos, Quatour. Philadelphia Orchestra: Prokofieff, Symphony no. 3; Stokowski. League of Composers: Berg, Four Pieces for clarinet and piano; Nicolai Berezowsky, String Quartet. Thompson, Americana. Boston Symphony Orchestra: Toch, Suite for orchestra. New York Association of Music School Settlements: Hans Jelinek, Suite for string orchestra. New York Philharmonic: Arnold Bax, The Garden of Fand. Schönberg, Gurrelieder]. S. 168–72
Alfred H. Meyer: Yadoo — A May festival [Festival of American Contemporary Music: Copland, Piano Variations. Piston, Sonata for flute and piano. Virgil Thomson, Stabat mater. Ives, Seven Songs. Roy Harris, Sonata for piano. Wallingford Rieger, Movements for unaccompanied flute. Gruenberg, Four Diversions. Berezowsky, Quartet. Blitzstein, Serenade for String Quartet. String Quartets by Citkowitz and Revueltas. Oscar Levant, Sonatina for piano]. S. 172–76
Pitts Sanborn: All- America on the air [Stokowski and the Philadelphia Orchestra. Griffes, The Pleasure Dome of Kubla Khan. Cowell, Synchrony. Copland, Music for the Theatre. Gruenberg, Nine Colors. Arcady Dubensky, Atonal Fugue]. S. 176–78
Harrington Shortall: Chicago season in review [Repertory of the Chicago Symphony Orchestra, Frederick Stock (conductor). Chicago Civic Orchestra. Budapest String Quartet: Bartók. String Quartet no. 1. Amy Neill String Quartet: music by Szymanowski, Sowerbery and Prokofieff. International Society for Contemporary Music: Roussel, Concert pour petit orchestre; Hindemith Die junge Magd; Miaskowski, Concertino lirico; Sowerby, Rhapsody for chamber orchestra]. S. 178–82
Emanuel Balaban: Progress at Rochester [Concerts of compositions by American composers and student composers at Eastman School of Music. Thompson, Symphony no. 2; Cowell, Concerto for piano]. S. 182–84
Jerzy Fitelberg: More Americans and Kurt Weill in Berlin [International Society for Contemporary Music and Pan-American Association of Composers, Cowell, Synchrony. Ives, Suite no. 2. Varèse, Arcana. Riegger, Dichotomy. Berlin Municipal Opera: Weill, Die Bürgschaft]. S. 184–87
[Anonymus]: Contributors to this issue. S. [188]
Supplement to Modern Music May-June 1932 .
Willi Reich: Number two of a series of monographs. Wozzeck. A guide to the words and music of the opera by Alban Berg. S. [1]-25
Alban Berg [biographical sketch]. A guide to Wozzeck. Introduction. Berg’s method used. Berg’s organization of the text. The musical structure as a whole. Coherence and variety. The a-b-a formula. The notorious „old forms.“ Variety by interlude. Analysis of the individual scenes. The history of the opera.
Ed.: [Introduction to the monograph series; note on Willi Reich]. S. [2]
[Anonymus]: Scheme of the dramatic and musical forms in Wozzeck. S. [13]
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Emperor Jones. Drawn by Jo Mielziner for the opera of Louis Gruenberg, adapted from the play by Eugene O’Neil, whose première will be given at the Metropolitan Opera House in January 1933. This setting is in the heart of the jungle, with a Voodoo moon hanging low in the background. S. [2]
Gilbert Seldes: An open letter to Roxy. My Dear Mr. Rothafel [Concern about the inclusion of works by American composers, writers and artists at the renamed Roxy Theater, the Radio City Music Hall in the Rockefeller Center]. S. 3–9
Boris de Schloezer: The enigma of Stravinsky [The prominence of the composer considered „disturbing“ and „even irritating.“ Incompatibility between Stravinsky’s music and that of other composers. Reorganization of existing art by Picasso and Stravinsky leads to artificiality in art. Discussion of Stravinsky’s works after 1920]. S. 10–17
Virgil Thomson: Igor Markevich. Little Rollo in big time [Concert at the Parisian Théâtre Pigalle; endorsement by Jean Cocteau; description of the audience of the haute monde; list and discussion of Markevich’s compositions]. S. 18–23
[Abbildung] Igor Markevich. Portrait by Pavel Tchelitchev. S. [18]
Henry Cowell: American composers. IX. Charles Ives. S. 24–33
[Influences. Point of view: music a vehicle of expression. Method of notation; interest in quarter-tones; folk music, hymn tunes; rhythm; poly-harmony].
Nicholas Slonimsky: The works of Charles E. Ives. S. [33]
[Abbildung] Charles E. Ives [photograph]. S. [25]
Frederic Jacobi: Reflections on the Vienna Festival [International Society for Contemporary Music, June 1932. Period of reaction; role of juries in selection of contemporary compositions; different trends in composers of Central and Western Europe]. S. 34–39
[Western Europe. Conrad Beck, Innominata. Nikolai Lopatnikoff, Piano Concerto no. 2. Jerzy Fitelberg, Violin Concerto. Malipiero, Cantari alla madrigalesca. Bliss, Quintet for oboe and strings. Réti, Serenade for violin concertante and eleven instruments. Jean Françaix, Bagatelles. Delvincourt, Bal venitien]. S. 34–37
[Central Europe. Influence of Schönberg. Hannenheim, Piano Concerto. Karl Reiner, Piano Sonata. Miroslav Ponc, Prelude to a Greek Tragedy. Krenek, Durch die Nacht. Robert Gerhard, Six Catalonian Songs]. S. 37–39
Forecast and review. S. 40–57
André Schaeffner: The Russians in Paris [Diaghilev’s productions of opera and ballet. Serge Lifar’s Ballets Russes de Monte Carlo: Richard Strauss, Le Bourgeois Gentilhomme; Casella, The Jealous Comedians; Poulenc, Les Biches. Film music by Georges Auric. Ballet productions with scenery by Christian Bérard and Juan Miro]. S. 40–42
Alfred Schlee: The Germans in Paris [Kurt Jooss and his Folkwangschule dance group: Die grüne Tisch. Dance competition]. S. 43–46
Paul Stefan: Italy glances at the new world of music [Venice International Music Festival: concerts by members of different nationalities]. S. 46–48
Ashley Pettis: Musical flashlights from Moscow [Military choral demonstration. State Music Publishing. Effect of the five year plan on music production. Gniessin Conservatory of Music. Impressions of concerts and opera performances]. S. 49–52
Isaac Goldberg: A composer on the Music of Our Day [Lazare Saminsky’s monograph (book review)]. S. 52–54
Richard Donovan: American Music, 1912–1932 [Published by the United States Section of the International Society for Contemporary Music (book review)]. S. 54–56
Lazare Saminsky: New tonal horizons [Joseph Yasser, A Theory of Evolving Tonality (book review)]. S. 56–57
The League of Composers. Executive Board. Advisory Board. S. [1p]
M. L.: [Tenth anniversary of Modern Music: the decade defined as the decade of the composer, characterized by his emergence as a force in organizing musical life]. S. [62]
Roger Sessions: Music in crisis. Some notes on recent musical history [Public out of touch with „modern music.“ Dissociation of composers with German music; national styles; neo-classicism and traditionalism; Schönberg; economic chaos and changes to musical life in Germany; music as a vehicle of political and social propaganda; return to expression]. S. 63–78
Eugen Braudo: The Russian panorama [A decade of Soviet music and composers by a Soviet critic. Significance of the revolution; Proletcult and Association of Proletarian Composers; new composers in Georgia, Armenia, the Ukraine and White Russia; Union of Soviet Composers. Reemergence of older, experienced composers: Ippolitoff-Ivanoff, Vasilenko, Gliere, Krein and Miaskowsky. Young composers: Shostakovitch, Scherbacheff, Roslavetz, Kortshmareff, Bielyi, Davidenko]. S. 79–86
Aaron Copland: The composer in America, 1923–1933 [Retrospect on the modern music movement; the International Composers’ Guild (1922); League of Composers; American Music Guild. Championship of contemporary music by Koussevitzky and Stokowski; public opinion and the critics; mutual cooperation of composers; Manuscript Society; new publishers]. S. 87–92
Lazare Saminsky: Europe and America in music today [Europe the mausoleum of cultural relics; America and reborn Russia leaders in the re-orientation of music]. S. 93–95
Marc Blitzstein: Popular music — An invasion: 1923–1933 [Definitions of „popular music.“ Chronological list of important compositions of the decade. Popular dances: shimmy, fox-trot, Charleston and tango. Jazz and ragtime. Influence of Stravinsky. Jazz influences in American music: Gershwin and Copland. Musical comedy and Tin-Pan-Alley]. S. 96–102
Irving Kolodin: Ten years of modern music recording [Introduction of electrical recording and the adequate reproduction of instruments. Negative attitude of major recording companies and the public to modern music. Growth of interest; list of European modern music composers represented in recordings; Schelling’s Victory Ball the sole recording by an American composer]. S. 103–06
Forecast and review. S. 107–17
Virgil Thomson: Home thoughts [Efforts of musicians in New York and Barcelona to create serious music from popular melody and rhythm]. S. 107–09
Randall Thompson: The emperor at the opera [Metropolitan Opera House: Gruenberg, Emperor Jones; Lawrence Tibbett, Tullio Serafin (conductor)]. S. 109–10
Israel Citkowitz: Experiment, necessity — New York, 1932 [Twelve-tone compositions. Mastery of the abstract in Schönberg’s Piano Suite, op. 25. Lack of decisive orientation in Riegger’s Dichotomy and Jerome Moross’s cantata Those Everlasting Blues. Confusion of intention in Ives’s Washington’s Birthday. Shostakovitch, May Symphony. Jean Wiener, Franco American Jazz Concerto. Prokofieff, Piano Concerto no. 5. Wagenaar, Symphony no. 2]. S. 110–14
I. C.: Birthday and baptism [Tenth anniversary concert of the League of Composers: Marion Bauer, Noël; Hindemith, Marienleben. Formation of the Young Composers Group]. S. 114–15
Hans Heinscheimer: Nightmare in Germany [Cultural aims of the National Socialists’ party]. S. 115–17
Index to back numbers of Modern Music. S. [118–19]
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Pierrot lunaire. Preliminary sketch by Robert Edmond Jones. S. [122]
Eric Blom: The twentieth-century slump [Reasoned explanation of unfertile periods in music history; current aspects of Stravinsky, Schönberg, Hindemith]. S. 123–29
Hugo Leichtentritt: Bartok and the Hungarian folk-song [Bartok, Twenty Hungarian Folk-songs; method of arrangement; predominance of the piano part; fidelity of the transcriptions; synoptic analyses with musical examples]. S. 130–39
1. „In Prison.“ 2. „Song of Sadness.“ 3. „The Fugitive.“ 4. „Shepherd’s Song.“ 5. Lassü. 6. Friss. 7. „Swineherd’s Dance.“ 8. „Six-Gulden-Dance.“ 9. „The Shepherd.“ 10. „Humorous Song.“ 11. „Nuptial Serenade.“ 12. [Humorous Song]. 13. „Dialogue Song.“ 14. Lament. 15. „Drinking Song.“ 16 to 20. Songs of Youth.
[Abbildung] Malipiero’s Masque of Venice. Design for the world première at Coburg this season, made by Oscar Walleck. S. [140]
Virgil Thomson: Now in Paris [Sauget, Le Plumet du Colonel (operetta); La Chatte (ballet). Nabokov, Ode (ballet); Symphonie lyrique. Italian composers Réti and Leone Massimo. Cliquet-Pleyel, Commode; concert variations on „Swing low, sweet chariot.“ New growth in modern music]. S. 141–48
Henry Cowell: Towards neo-primitivism [Adventures in dissonance and rhythm by Schönberg, Ives and Stravinsky; neo-classicism; primitive music of New Zealand, Mongolia, Siberia and Africa. New trends in the U.S.S.R. and Hungary. Radical American music of Varese and Russell]. S. 149–53
Forecast and review. S. 154–71
Israel Citkowitz: Winter music — New York, 1933 [New York Philharmonic: Prokofieff, The Gambler symphonic suite; Piano Concerto no. 3. Richard Donovan, Sextet for woodwinds and piano. Mossolow, String Quartet. Chavez, Sonata. Henry Brandt, Concerto for eleven flutes. Harris, Fantasy. Howard Hanson, Symphony]. S. 155–57
Paul Love: False dawn for the dance [Martha Graham, Doris Humphrey, Charles Weidman]. S. 157–60
Theodore Chanler: All – American [League of Composers. Mark Wessel, String Quartet. Alexander Lipsky, „Tears“ and „Lilacs“ (songs). Suzane Bloch, Suite for flute and piano. Thomson, Stabat mater.Songs by Vivian Fine. Citkowitz, Andante molto tranquillo]. S. 160–62
Nicolas Slonimsky: The gaiety and sadness of Harris [Overture from the Gaiety and Sadness of the American Scene]. S. 162–63
H. H. Stuckenschmidt: German season under the crisis [National Socialist policy on the arts. New operas. Karl Marx, Passacaglia. Gottfried Müller, Variations. Programs of conductor Eugen Jochum. Hermann Heiss, Kindersymphonie. American music concerts of Ansermet and Slonimsky]. S. 163–67
André Schaeffner: Paris season under the crisis [Decline of concert and opera performances. Stravinsky, Duo concertant, Sérénade. Ravel, Concerto for the left hand. Prokofieff, Sur la Borysthène (orchestral suite)]. S. 167–70
Irving Kolodin: A book and two chapters on new music [Guido Pannain, Modern Composers. Marion Bauer and Ethel Peyser, Music through the Ages]. S. 170–71
The League of Composers. Executive Board. Advisory Board. S. [174]
Serge Tchemodanoff: An economic approach to music [Doctrines of Marx and Lenin adopted as a new methodology for musicologists in the U.S.S.R.; Marxist method emphasizes the ideal content of a work of art; overview of the history of music in Marxist terms; contemporary composition in the U.S.S.R.]. S. 175–81
Mark Brunswick: American composers, X. Roger Huntington Sessions [Biographical sketch. Harris, Violin Concerto (synopsis)]. S. 176–87
[Abbildung] Roger Sessions. Pen and ink sketch by Anny Schröder. S. [183]
Virgil Thomson: A little about movie music [Satie, Entr’acte. Shostakovitch, Onda. Auric, La Vie d’un poète. Introduction of musical numbers into film dialogue. Films prepared to describe music visually. Music as an integral part of the drama]. S. 188–91
Julius Hijman: Dutch contemporaries [Sem Dresden, Matthys Vermeulen, Daniel Ruynemann, Willem Pijper]. S. 192–96
Forecast and review. S. 197–99, 202–27
Israel Citkowitz: Spring finale in New York. S. 197–99
Stage works [Hindemith, Wir Bauen eine Stadt. Weill, Der Jasager. Schönberg, Pierrot Lunaire. Orazio Vecchi, L’Amfiparnasso]. S. 197–98
Chamber works [Chavez, Quartet for winds. Copland, Elegies for violin and viola]. S. 198–99
Orchestral works [Weprik, Songs and Dances of the Ghetto. Markevich, Rébus]. S. 199
Paul Love: Dance première and season’s end [Gluck-Sandor, Phobias. Ruth St. Denis. Charles Weidman, Candide]. S. 199, 202–03
Alfred V. Frankenstein: Washington — Festival and experiment [Chamber music at the Library of Congress: Martinu, Sextet; Pizzetti, String Quartet; Busch, Nine Pieces for String Quartet; Stravinsky, Octet. Students of the Julliard Institute of Musical Arts: Cimarosa, Il Matrimonio segreto. Schönberg, Verklärte Nacht]. S. 203–07
[Philadelphia Orchestra concert heard in Washington by means of an amplifier developed by Bell Telephone Laboratories]. S. 205–06
Adelaide Hooker: Crusading for Americans at Rochester [Eastman School of Music: all- American programs directed by Howard Hanson: Bernard Rogers, Rhapsody Nocturne; Harris, Andantino; Saminsky, Litanies of Women; Douglas Moore, Babbitt; Bennett, Concerto grosso; Rogers, The Exodus (cantata). William Grant Still, La Guiablesse]. S. 207–09
X. T.: Kultur-Terror [Nazi decrees affecting cultural life in Germany; Joseph Goebbels; formation of the Fighting Union for German Culture; overview of contemporary compositions; revolutionary music and the German Workers’ Singing Union]. S. 209–13
Serge Braudo: Concerts, opera, ballet in Russia today [Formation of the Soviet Composers’ League in 1932. Miascowsky, Symphony no. 12. Schebalin, Lenin (symphony-cantata). Krtein, USSR—A Shock Brigade. Bielyi, Hunger March. Lew Knipper, Symphony for the Red Army. Talent of Shostakowitch: Symphony no. 1; The Screw (symphonic suite). New principles for opera and ballet; overview of new productions. Shostakowitch, The Nose; Lady Macbeth from Mzensk. Boris Asafiew, The Flame Out of Paris (ballet)]. S. 213–19
H. T. Parker: Boston’s first times [Overview of Koussevitzky’s repertory for the Boston Symphony Orchestra. William Walton, Facade. Loeffler, Evocation. Leo Schmitt, Symphonie concertante. Bax, Winter Legends; Harriet Cohen (pianist). Chamber music]. S. 219–23
A. F.: New music in Chicago [Chicago Symphony Orchestra; Stravinsky, Symphony of Psalms. Prokofieff, Piano Concerto no. 5; The Gambler (orchestral suite). Shostakovitch, May Symphony. Eric De Lamarter, Symphony no. 3. International Society for Contemporary Music (Chicago): Ibert, Paris; Hindemith, Kammermusik]. S. 223–25
Irving Kolodin: Composers about composers [American Composers on American Music, compiled by Harry Cowell. Appraisals of Ruth Crawford, Walter Piston, Carl Ruggles, Howard Hanson, Copland, Cowell, Slonimsky. Lazare Saminsky on American tonal speech. Colin McPhee, Chavez]. S. 226–27
European productions of the past season. S. [200–01]
[Abbildung] Design by Ckrusny for Jaromir Weinberger’s opera The People of Poker Flat. S. [200]
[Abbildung] Scene 5 from The People of Poker Flat which was given its première last winter in Brno in Czechoslovakia.
[Abbildung] Michel Larionov’s décors for Serge Prokofieff’s ballet Sur la Borysthène — première 1932 in Paris. S. [201]
[Abbildung] Silbersee, opera by Georg Kaiser and Kurt Weill. Design by Caspar Neher for the Leipzig première.
The League of Composers. Executive Board. Advisory Board. S. [2]
Roger Sessions: Music and nationalism. Some notes on Dr. Göbbels’ letter to Fürtwängler [Nazi cultural policy: removal of Jewish music and musicians. Exchange of letters Fürtwängler’s protest concerning the dismissal of Bruno Walter, Otto Klemperer, Artur Schnabel, Adolf Busch and Schönberg; Göbbels’ rejoinder. Qualification of „experimentalism“; Wagner the spiritual father of National Socialist musical ideal]. S. 3–12
[Wilhelm Fürtwängler]: [Extract from letter of protest]. S. 5
[Dr. Josef Göbbels]: [Extract from the letter defining „the task of art and the artist“]. S. 5–6
Virgil Thomson: Most melodious tears [Kurt Weill and Lotte Lenja: Mahagonny, Les Sept Péchés capitaux]. S. 13–17
[Abbildung] The Seven Cardinal Sins by Kurt Weill. Design by Caspar Neher. Presented in Paris last Spring by the Ballets 1933. S. [15]
Israel Citkowitz: The role of Heinrich Schenker [Sketch of the life and philosophy of music; the Harmonielehre; analyses of compositions by Beethoven]. S. 18–23
Alfred Schlee: Decline of the prima ballerina [Oskar Bie’s observations on the sociological background of ballroom dancing; application to modern dance. Mary Wigman. Solo dance competition if Warsaw: prizewinners Ruth Abramowitch-Sorel, Rosalia Chladek]. S. 24–27
The designs reproduced on these pages are by André Derain. S. [28–29]
[Abbildung] Décors for Henri Sauget’s Fastes. Presented in Paris last Spring by Ballets 1933. S. [28]
[Abbildung] La Concurrence by Georges Auric. This ballet is among the novelties to be presented by the Monte Carlo troupe in New York in December. The choreography is by the celebrated Georges Balanchine, now in New York. S. [29]
Frederick Jacobi: Festival impressions — Amsterdam, 1933 [International Society for Contemporary Music; summary of compositional styles. Walton, Belshazzar’s Feast. Pijper, Halewijn (opera)]. S. 30–33
Forecast and review. S. 34–52
Marc Blitzstein: Talk – music – dance; New York, 1933. S. 34–40
Talk [Advent of Schönberg in Boston and New York as a teacher; repudiation of Egon Wellesz’ theories; outline of Schönberg’s course of study. Balanchine’s ballet troupe in Hartford]. S. 34–36
Music [New York Philharmonic: Janacek, Taras Bulba; Walter. Philadelphia Orchestra: Werner Josten, Concerto sacro; Stokowski. Thompson, Symphony no. 2. American Chamber Orchestra: Henry Brandt, Four Choral-Preludes for two pianos]. S. 36–38
Dance [Shan-Kar. Kurt Jooss’s ballet The Green Table. Serge Lifar dancing Beethoven’s Prometheus and Debussy’s L’Après-midi d’un faune]. S. 38–40
Randall Thompson: The second year at Yadoo [Discussion of problems confronting the composer]. S. 40–42
Virgil Thomson: Paris news [Ascendancy of Mozart. Popov, Septour. Compositions by Milhaud, Réti, Françaix, Nabokov. Weill, Mahagonny. Markevich festival. Monte Carlo ballets; Ballets 1933]. S. 42–46
Eugen Braudo: Preparations in Moscow and Leningrad. S. 46–49
Opera [Composer Victor Shelobinsky and poet Ossip Brik’s historical opera about Ivan Bolotnikoff. Yurij Shaporin, The Dekabrists (Decemberists)]. S. 46–47
Ballet [Boris Assafieff, The Fountains of Bachtissarai]. S. 47–48
Symphonic music [Maximilian Steinberg, Waldimir Tcherbatcheff and Miaskowsky]. S. 48–49
H. H. Stuckenschmidt: Under the Swastika [Influence of Jewish musicians reduced to a minimum. Dissonant music is the manifesto of an enemy of the state. Hermann Reuter, Der grosse Kalender (oratorio). Werner Egk, Vier Italienischen Gesänge. Hermann Simon, Klopstock-Tryptichon. Italian Academy concerts. Hans Krasa, Verlobung im Traum (opéra-bouffe). Georg Vollerthun, Freikorporal]. S. 49–52
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] De Falla’s El Sombrero des tres picos. Décor by Pablo Picasso. S. [58]
Aaron Copland: One hundred and fourteen songs [Charles Ives’s catalogue; overview; Ives’s role as an innovator]. S. 59–64
Alfred Einstein: German opera, past and present [Standard repertory; predominance of Wagner’s operas; banishment of operas not conforming to National Socialists ideals. Works by Schönberg, Berg, Schreker and Richard Strauss. New operas by Hindemith, Krenek, Weill]. S. 65–72
Walter Piston: American composers, XI. Roy Harris [Melody, counterpoint, harmony, form, style, orchestration]. S. 73–83
Works by Roy Harris [List 1925 to 1933]. S. 83
[Abbildung] Costume designs for El Sombrero des tres picos by Pablo Picasso. S. [84]
Nikolai Lopatnikoff: Finnish youth movement [Orchestral works by Uuono Klami; chamber music by Aare Merikanto, Sulho Ranta; song composer Yrjö Kilpinen]. S. 85–88
George Antheil: Opera — A way out [Importance of ballet and opera for the growth of American music; national instinctive feeling against opera]. S. 89–94
Forecast and review. S. 95–111
Guido Gatti: Italy’s newest recruits [Overview of young and middle-aged composers. Luigi Dallapiccola, Dalla mia terra (songs); Due Laude de Jacopone Da Todi; Partita for orchestra. Goffredo Petrassi, Introduzione e Allegro; Preludio, Aria e Finale]. S. 95–99
Marc Blitzstein: Mid-season in New York. S. 99–103
[New York Philharmonic Symphony: Respighi, Church Windows; Bax, Summer Music and Overture to a Picaresque Comedy; Bloch, Hiver-Printemps; Walter and Lange (conductors)]. S. 99–100
[League of Composers all Schönberg program. Nabokov, Coeur de Don Quichotte; Bowles, Sonatina; songs by Sessions]. S. 100–01
[Soviet music at the New Masses benefit concert. Paul Whiteman’s Sixth Experiment in Modern American Music. Milhaud, La Création du monde]. S. 102–03
[Ballet Russe de Monte Carlo: soloists and repertory]. S. 103
Alfred V. Frankenstein: Chicago premières [Chicago Symphony: Carpenter, Sea Drift; Hindemith, Das Nusch-Nusch. Pro Arte String Quartet: Harris, Variations for a String Quartet. Women’s Symphony Orchestra of Chicago: compositions by Poulenc. Intimate operas by Gluck, Rimsky-Korsakoff, Debussy and Stravinsky]. S. 106–09
John Weatherwax: On the Pacific coast [Slonimsky’s concerts at the Hollywood Bowl. Composers active in the movie studios. New Music Society of California; Finnish Workers’ Chorus]. S. 103–09
Irving Kolodin: Books of the month [Marion Bauer, Twentieth Century Music. From Bach to Stravinsky — The History of Music by its Foremost Critics]. S. 110–11
The League of Composers. Executive Board. Advisory Board. S. [114]
Roger Sessions: New vistas in musical education [Symptoms of „unsureness“ characteristic of contemporary musical life; need for coordination of teaching and actual practice of music]. S. 115–20
Charles Seeger: On proletarian music [Based on Marx and Engels, an integral part of the social evolution of music; opinion of Lenin; stages of development; the Deygeter Club of musicians with leftist tendencies; New Song Book published by the Workers’ Music League]. S. 121–27
Irving Kolodin: American composers and the phonograph [Release of Harris’ Concerto (Columbia Records) and the New Music Quarterly Recordings may assist to rectify the paucity of recordings of native American music]. S. 128–37
A tabulation of contemporary music on records (as of March 1st, 1934). S. [134–37]
Gilbert Seldes: Delight in the theatre [Gertrude Stein’s texts for Four Saints in Three Acts and Concurrence]. S. 138–41
Forecast and review. S. 142–59
Theodore Chanler: New York, 1934 [Roy Harris, Symphony, Variations for string quartet. Hindemith, Concerto. Stravinsky, L’Histoire du Soldat. League of Composers concert. New Chamber Orchestra. Diatribe on the future of American opera: Thomson, Four Saints in Three Acts; Antheil, Helen Retires; Hanson, Merry Mount]. S. 142–47
Alfred Schlee: German opera in transition [Policy of the National Socialists: Schillings, Mona Lisa. Ottmar Gerstner, Madame Liselotte. Overview]. S. 147–49
Paul Love: Dance invasion of America [Ballet Russe de Monte Carlo continuing Diaghilev’s tradition. Tchaikovsky, Le Lac des Cygnes with Alexandra Danilova. Kochno, Les Matelots. Falla, Le Tricorne. Dancers from the Soviet Union. Martha Graham]. S. 149–53
Gerth-Wolfgang Baruch: Czech novelties in Prague [Martinu, Spalicek (ballet). Kricka, Spul im Schloss (comic opera). Mieczyslav Kolinski, Sonata for violin and piano. Disciples of Alois Haba. German Music Society and Czech Philharmonic concert repertory]. S. 153–56
Guido Gatti: More Italian opera [Rome, Teatro dell’Opera: Respighi, La Fiamma. Nino Catozzo, L’Alba della Rinascita]. S. 156–59
The League of Composers. Executive Board. Advisory Board. S. [166]
Arnold Schönberg: Problems of harmony [Tonality and dissonance in modern music; relationship of tones. Explanation of tonality. Must tonality be unconditionally present in every piece? Use of conventional formulas]. S. 167–87
[Abbildung] Arnold Schönberg as seen by Freuth [Sketch]. S. [188]
Lincoln Kirstein: In defense of the ballet. S. 189–94
[Abbildung] Malipiero’s opera The Prodigal Son. Settings for the Roman première by Cipriano Oppo. S. [195]
Paul Stefan: Vienna menaced but not doomed [Prospects of an Anschluss and a takeover by National Socialists; prospects of German artists working in Austria; anti-semitism]. S. 196–99
Raymond Petit: Exotic and contemporary music [Recordings from distant locales permit the hearing of indigenous music]. S. 200–03
Forecast and review. S. 204–23
Theodore Chanler: New York, Spring, 1934 [Bloch, Sacred Service. League of Composers: Falla, Concerto for harpsichord; Bartók, String Quartet no. 2; Songs of Charles Ives. Pan-American Association: Colin McPhee, Piano Concerto; Salzedo, Concerto for harp; Varèse, Equitorial. Martha Graham. Ballet Russe de Monte Carlo: Nabokov, Union Pacific. Hindemith, Concerto for strings and brass instruments. Walter Piston, String Quartet]. S. 204–09
Frederick Jacobi: The ISCM at Florence [Franco Alfano, Symphony. Markevich, Psalm. Malipiero, Sinfonia. Casella, Introduzione, Aria e Tocatta for orchestra. Honneger, Mouvement symphonique. Bartók, Rhapsody for violin and orchestra. Osteric, Four Lyrics. Overview]. S. 209–13
Guido Gatti: Malipiero and Pirandello at the opera [Rome. Teatro dell’Opera: La Favola del figlio cambiato]. S. 213–16
Alfred V. Frankenstein: New music and the Monte Carlo in Chicago [Repertory of Colonel de Basil’s Ballet Russe. Chicago Symphony: Copland, Symphony. Sowerby, Passacaglia, Interlude and Fugue. Women’s Symphony Orchestra: Ravel Piano Concerto. Tomford Harris’s piano recitals of contemporary music: Antheil, Airplane Sonata]. S. 216–18
Adelaide Hooker: Rochester sees Anthony Comstock [Ballet by Martha Aller. Irene Gedney’s piano recital: Griffes, Piano Sonata; Gruenberg, Polychromatica; Morton Gould, Three Conservative Dances. Rochester Philharmonic: Hans Spialek, The Tall City; Werner Janssen, Dixie Fugue; Bernhard Rogers, Three Japanese Dances. William Grant Still, Sahdji (ballet)]. S. 218–21
Irving Kolodin: Recordings of the last months [Roy Harris, Symphony; Boston Symphony Orchestra; Koussevitzky (Columbia). Griffes, The Pleasure Dome of Kubla Khan; Minneapolis Orchestra; Eugene Ormandy (Victor). Selections from Gruenberg’s Emperor Jones; Tibbett (Victor)]. S. 221–23
The League of Composers. Executive Board. Advisory Board. S. [1p]
André Schaeffner: On Stravinsky, early and late [Combination of orientalism, occidentalism and modernism. Comparison of Stravinsky’s Perséphone, Le Rossignol and Apollon Musagète]. S. [2]-7
[Abbildung] Igor Stravinsky by Pablo Picasso [Drawing]. S. [2]
Paul Becker: Dream at twilight [Imaginary conversation in the Berlin Tiergarten about the mechanization of music and the contest between vocal and instrumental music]. S. 8–11
Roger Sessions: Hindemith’s Mathis der Maler [Synopsis of movements; Hindemith’s return to a simpler style; tonal complexity; question of program music]. S. 12–17
[Abbildung] Paul Hindemith. A portrait by Richard Heinisch. S. [12]
[Abbildung] Design for Aaron Copland’s ballet Hear Ye! Hear Ye! by Nicolas Remisoff. This work, with scenario and choreography by Ruth Page, will be given its première at the Chicago Opera House on November 30th. S. [18]
Alfredo Casella: Modern music in modern Italy [Resistance to avant-garde theories and experiments; gradual acceptance of Berg, Hindemith and Stravinsky; cult of beauty maintained]. S. 19–22
Dmitri Shostakovitch: My opera, Lady Macbeth of Mtzensk [Leskov’s ironic portrayal of women in pre-revolutionary Russia; Shostakovitch’s interpretation from the contemporary Soviet point of view; synopsis; musical development on a symphonic form; musical characterization of the protagonists]. S. 23–30
Scenes from Lady Macbeth of Mztensk by Dmitri Shostakovitch. The illustrations on this page are of the Nemirovitch Dantchenko production staged last spring in Moscow [Photographs]. S. [26–27]
[Abbildung] Act I — Her father-in-law forces Katerina to kneel before her husband, who is about to go on a journey.
[Abbildung] Katerina and her lover Sergei. S. [26]
[Abbildung] Katerina Lvovna, Lady Macbeth of Mtzensk. S. [27]
[Abbildung] Act IV — Katerina and her rival, Sonetka, whom she drags to death with her.
[Abbildung] The sketches of the four characters are drawn by V. Belaiev: The father Boris Timofeevitch; The husband Zinovy Borisovitch; The lover Sergei; The maid Xenia. The designs for the Moscow production are by V. V. Dimitriev [Drawings]. S. [26–27]
Dmitri Shostakovitch. Caricature by Irina Schmitt. S. [26]
David Josef Bach: New music by Berg, Webern, Krenek [Webern, Drei Gesägne on poems by Hildegarde Jone. Leopold Spinner, Romance for piano. Berg, Lulu. Krenek, Karl V; Kantate von der Vergänglichkeit des Irdischen]. S. 31–38
[Abbildung] Ernst Krenek. A portrait by Felix Albrecht Harta. S. [37]
Forecast and review. S. 39–48
Luis Sandi: Music in Mexico, 1934 [Chavez, Llamados to a text by Diego Rivera; The Sun, a Proletarian Song-Narrative. Jarabe tapatío, Indian-Spanish Mexican music: Daniel Ayala, U Kayin Chaac; Chavez, Song of Mexico. Compositions of Manuel M. Ponce. Point of view: Counter-revolutionary art to yeild to the full cry of the revolution]. S. 39–41
Alfred V. Frankenstein: Festival at Pittsfield [Sponsored by Elizabeth Sprague Coolidge. Respighi, Concerto a cinque. Henry Eicheim, Violin Sonata based on Balinese melodies. Laurent Wind Quintet. Frank Bridge, Violin Sonata]. S. 41–43
Frederick Jacobi: Nabokov’s oratorio Job. S. 43–44
Hans Gutman: Literature, music and the ballet in Paris [Role of Ida Rubinstein. Co-operation of writers and composers. Stravinsky, Perséphone. Honneger, Semiramis (Valéry)]. S. 44–47
Arthur Mendel: Orchestral version of Harris’ Chorale [From the String Sextet]. S. 47–48
The League of Composers. Executive Board. Advisory Board. S. [1p]
Alfred Einstein: Art and technology [Independent fields of human endeavour; creation of art as „art“ in the nineteenth century; art as communication opposes natural art; art without a place in the world of technology]. S. 55–61
George Antheil: Composers in movieland [New complications in composing for films; lack of organic unity; list of noteworthy film scores; economic factors; Hollywood’s desire to use film scores created by a single composer; method used in completing a film score; preparation of The Gay Divorcée]. S. 62–68
Nicolas Slonimsky: Lazare Saminsky [Russian, Hebrew and American composer; overview of successful compositions. Litanies of Women; Gagliarda of a Merry Plague; Symphony no. 4 and use of the Neapolitan Sixth chord; choral writing]. S. 69–72
Frederick Jacobi: Reflections on Ariane and Mavra [Sense of theatre in Strauss’ 1911 opera. Placement of Mavra in Stravinsky’s works; absurd and unreal Russian elements]. S. 73–78
[Abbildung] Characters and scenes from [Stravinsky’s] Mavra by George Soudeikine. S. [77]
Richard Gilbert: Discs as a medium for new music [Increase in the recording of contemporary compositions: Roy Harris’ Trio and Three Variations on a Theme by RCA Victor; Varèse’s Ionization by Columbia. Prognosis for the future of the recording industry]. S. 79–81
Alfred Schlee: Dancers in Germany today [Trudy Schoop and Kurt Jooss, Rudolph von Laban, Dorothea Gunther’s dance troupe in Barbarische Suite]. S. 82–85
Forecast and review. S. 86–96
Cecil Michener Smith: Copland’s Hear Ye! Hear Ye!; Ibert’w ballet [Chicago Grand Opera Company: Ruth Page’s ballet troupe; Rudolph Ganz (conductor). Synopsis of Copland’s ballet. Ibert, The Gold Standard]. S. 86–89
Lazare Saminsky: New Malipiero, Harris and Weill [Malipiero, Symphony; Harris, Song for Occupations; Weill, Night Scenes for orchestra]. S. 89–90
Israel Citkowitz: Choral music, New York, 1935 [Schola Cantorum: Walton, Belshazzar’s Feast; Nabokoff, Ode; Saminsky, Songs of Russia and the Orient]. S. 90–92
Herbert Elwell: Whithorne’s Symphony; Josten’s Serenade. S. 92–94
Aaron Copland: Scherchen on conducting and Ewen on composers [Scherchen, Handbook of Conducting (Oxford University Press). David Ewen, Composers of Today (W. H. Wilson Company)]. S. 94–96
[Anonymus]: Contributors to this issue. S. [97]
Index to back numbers of Modern Music. S. [98–100]
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Alban Berg. Portrait made February, 1935 by Franz Rederer. S. [102]
Willi Reich: Lulu — The text and the music [Synopsis and remarks on forms; comparison with Wozzeck]. S. 103–11
[Ernst Krenek]: [Remarks on Weedkind’s drama and Berg’s setting of Lulu]. S. 108–09
Frederick Jacobi: On hearing Stravinsky’s Perséphone [Boston Symphony performance; Paris première of the melodrama with Ida Rubinstein’s declaration of the title role; synopsis of the form and musical idioms]. S. 112–15
Arthur Farwell: Pioneering for American music [Recollections of Nikisch, Paderewski, MacDowell, Dvořák in the first decade of the twentieth century; Arthur Farwell’s recitals of native Indian music; founding of the Wa-Wan Press (1901) and the New Music Society of America (1905) and the Wa-Wan Society (American Music Society in 1908); lists of American composers and concerts active in the early twentieth century]. S. 116–22
Virgil Thomson: Socialism at the Metropolitan [Examples of populism in opera: Gustav Charpentier’s Louise and Mascagni’s Cavalleria rusticana. Human interest drama in Shostakovitch’s Lady Macbeth of Mtzensk; remarks on the musical style]. S. 123–26
[Abbildung] Décor by Caspar Neher for the Dresden première of the opera Der Günstling by Rudolf Wagner-Régeny. S. [127]
Marc Blitzstein: Theatre-music in Paris [Émigré musicians from Germany: Weill denounced by Florent Schmitt. Sauget, Le Sicilien, ou l’Amour peintre (Molière). Auric, Rosalinde. Craze for films; film scores by Honneger, Arthur Hoerée, Jean Wiéner, Weill. Josephine Baker in Offenbach’s La Créole]. S. 128–32
Forecast and review. S. 135–48
Randall Thompson: Jacobi’s Quartet and Sessions’ Sonata [League of Composers: Bartók, String Quartet no. 4. Nabokoff, Five Songs. Jacobi, String Quartet no. 2. Sessions, Piano Sonata]. S. 135–38
Lehman Engel: Les Ballets Américains [American Ballet troupe; excellence of the dancers; repertory; Balanchine as ballet master]. S. 138–41
Israel Citkowitz: Symphonic music; New York [Boston Symphony: Toch, Big Ben. Cello concertos by Castelnuovo-Tedesco and Berezowsky. Copland, Symphony no. 1]. S. 141–43
Arthur V. Berger: Boston hears American works [Federal Emergency Relief Association Symphony Orchestra: Douglas Moore, Pagent of P. T. Barnum; Schelling, Victory Ball; McKinley, Masquerade. Repertory of the People’s Symphony, Fabien Sevitzky (conductor). Frederick Converse, American Sketches. Chamber music of Piston and Copland]. S. 143–46
L. E.: Dance note [Remarks on the choice of music employed by Doris Humphrey and Charles Weidman. Martha Graham’s Course to music by George Antheil]. S. 146
Pitts Sanborn: Music Ho! A brilliant survey [Constant Lambert (Charles Scribner’s Sons)]. S. 146–48
[Anonymus]: Contributors to this issue. S. [149]
Index to back numbers of Modern Music. S. [150–52]
The League of Composers. Executive Board. Advisory Board. S. [154]
Alfred Einstein: Music and wish fulfilment [Agency of art is a substitution of a fiction for reality]. S. 155–62
Colin McPhee: The „absolute music“ of Bali [Impersonal and non-expressive sounds of the gamelan used in the religious and domestic rites of Bali; technical details of the music]. S. 163–69
Roger Sessions: Heinrich Schenker’s contribution [A Rapprochement between musical theory and actual musical thought; explanation of Schenker’s principles in Harmonielehre; objections to Schenker’s abstract thought]. S. 170–78
[Abbildung] Design for Act II of Malibran. This American opera, by Robert Russell Bennett and Robert Simon, was presented at the Julliard School in March 1935. S. [179]
Hans Eisler: Reflections on the future of a composer [Crisis in music created by the general crisis in society]. S. 180–86
Forecast and review. S. 187–207
Israel Citkowitz: Symphonic and chamber music, New York [New York Philharmonic Symphony: Schönberg’s free transformation of a Handel Concerto grosso. Boston Symphony: Berg, Symphonic Suite from the opera Lulu. League of Composers: Hindemith, Serenade. Piston, Suite for oboe and strings. Shostakovitch, Six Preludes. Ross Lee Finney, Violin Sonata. Toch, Songs]. S. 187–92
Paul Bowles: Thomson’s Mass and other choral works [Dessoff Choirs: Thomson, Mass. A Capella Singers: Schönberg, Freide auf Erden. Adesi Chorus: Hermann, Choralvariationen über die Sonnengesänge. Jacques Pillois, Three Choruses]. S. 192–94
Marion Bauer: Native opera — Metropolitan and Julliard [John Laurence Seymour, In the Pasha’s Garden; Tibbett. Bennett and Simon, Maria Malibran]. S. 194–96
Cecil Michener-Smith: String festival — Washington, 1935 [Library of Congress: Berg, Lyric Suite; Kolisch String Quartet. Bartók, String Quartet no. 5. Malipiero, Sonata a cinque. Janssen, String Quartet no. 2. Paris Instrumental Quintet]. S. 196–200
C. E.: Americans in Chicago [David Van Vactor, Concerto grosso. Gruenberg, Serenade to a Beauteous Lady. Normand Lockwood, A Year’s Chronicle. Repertory of the Chicago Symphony]. S. 200–01
Adelaide V. Hooker: Tenth Rochester celebration [Eastman School of Music and the Rochester Civic Orchestra repertory]. S. 201–03
Lehman Engel: Dancers, foreign and home-grown [Martha Graham’s repertory. Radio City Music Hall: De Falla, El Amor Brujo]. S. 203–04
Richard Gilbert: A „première“ disc; more modern records [Roy Harris’ When Johnny Comes Marching Home commissioned by the RCA Victor Company. Carlos Salzedo, Concerto for harp and seven wind instruments (Columbia). Copland, Dance Symphony (Victor)]. S. 205–07
L. E.: Shostakovitch „accompanies“ a film [Soviet film The Youth of Maxim]. S. 207
[Anonymus]: Contributors to this issue. S. [208]
Joel Lifflander: Modern Music. A quarterly review. Index. Volumes I to XII. November 1924 to June 1935. S. 1–59
Tables of contents by issues [1924 – 1935]. S. 60–63
The League of Composers. Executive Board. Advisory Board. S. [2]
Alfred Einstein: The composer, the state and today. S. 3–12
I. Our heritage. II. The composer and the community. III. Music and the state.
Benedict de Spinoza: [Purpose of the state (Tractatus Theologico-Politicus)]. S. 3
Virgil Thomson: George Gershwin [Style characteristics of symphonic compositions; Rhapsody in Blue. Opera Porgy and Bess]. S. 13–19
[Abbildung] George Gershwin. A caricature by Alfred Freuth. S. [15]
Nicolas Slonimsky: Russia revisited [Dissolution of RAPM (Association of Proletarian Musicians). Influence of nineteenth-century Russian tradition on Soviet musicians. Visit with Dmitriy Shostakovitch; query on the fate of the opera The Nose. Visit to the Tchaikovsky House-Museum at Klin. Compositions of Youri Shaporin. Modern music composer Heinrich Litinsky. Compositions of Julian Krein, Gniessin, Julia Weissberg. Turkmenian music]. S. 20–25
Edward Burlingame Hill: Charles Martin Loeffler [Biographical sketch]. S. 26–31
H. H. Stuckenschmidt: Opera in Germany today [Desire for folk elements and heroism. Supression of operas by Hindemith and Richard Strauss. Paul Graener, Prinz von Homburg. Strauss, Die Schweigsame Frau. Rudolf Wagner-Regenyi, Der Günstling. Werner Egk, Zaubergeige]. S. 32–37
Louis Gruenberg: Modern youth at Prague, 1935 [International Society for Contemporary Music festival: Otakar Ostrcil, The Kingdom of Hans. Karl Amadeus Hartman, Muserae for orchestra. Schönberg, Orchestral Variations. Vessarion Shebalin, Symphony no. 2. Hank Badings, Violin Sonata. Sandor Veresz, String Quartet. Goffredo Petrassi, Introduction and Allegro. Anton von Webern, Concerto for Nine Instruments. Elizabeth Moconchy, Prelude, Interlude and Fugue. Sandor Jemnitz, Sonata for Harp. Jef van Durme, Poème héroique. Pierre-Octave Ferroud, Symphony in A minor. Pavel Borkovec, Piano Concerto. Alois Haba, La Chemin de la Vie (symphonic fantasy). Alban Berg, Lulu]. S. 38–44
Forecast and review. S. 45–58
Israel Citkowitz: Schönberg’s Suite for String Orchestra [New York Philharmonic]. S. 45–47
Marc Blitzstein: Composers as lecturers in concerts [Aaron Copland on Russian composers: Shostakovitch, Stravinsky and Prokofieff. Hans Eisler on music in crisis. Carl Sands on colonial music. Compositions of Copland and Roy Harris]. S. 47–50
Eva Goldbeck: A Thomson soirée [New School: Sonata for violin and piano. Forty Portraits. Stabat mater]. S. 50–51
Frederick Jacobi: Stravinsky begins his chronicles [French-language publication of Chroniques de ma vie]. S. 51–53
Lehman Engel: Dancers in New York, Autumn 1935 [Ballet Russe de Monte Carlo: Fokine / Rimsky-Korsakoff, Scheherazade. Scarlatti, Les Femmes de bonne humeur. Nijinska, Les Cent Baisers. Doris Humphrey and Charles Weidman: Wallingford Riegger, New Dance; Jerome Moross, American Saga]. S. 53–55
L. E.: Manifestoes of the Modern Dance [Virginia Stewart’s collection of articles on dance in Germany and the United States]. S. 56
Roger Sessions: For the layman [Olga Samaroff, The Layman’s Music Book (W. W. Norton and Company)]. S. 56–58
The League of Composers. Executive Board. Advisory Board. S. [2]
Israel Citkowitz: American composers, XII. Walter Piston — Classicist [Elements of style: contrapuntal texture, examples from first and second string quartets; harmonic texture a combination of diatonic and chromatic; prominence of and individuality in treatment of form; neo-classicism]. S. 3–11
Works by Walter Piston [1926–1936]. S. [11]
[Abbildung] Walter Piston. A portrait by Kathryn Nason. S. [5]
Lazare Saminsky: The composer and the critic [Lack of relationship]. S. 12–14
Ernst Toch: Sound film and music theatre [Freedom of sound accompanying film without the visual interference of the orchestra and conductor]. S. 15–18
Grigori Schneerson: The changing course of Russian music [Western performances led to a misunderstanding of the nature of socialist music. Alexandre Mossolow’s Iron Foundry popular in the West; seldom heard in the Soviet Union. Mossolow’s symphony and cello concerto display a simpler manner of composition. Soviet realism and the search for simplicity; musical influences of the Soviet republics. Khachaturjan’s Symphony no. 1. Tichon Khrennikov, Symphony. Miaskovsky misunderstood in the West; overview of Symphonies 13 through 15]. S. 19–25
Four Russian composers representing various ages, races and tendencies in Soviet music today. S. [23]
[Abbildung] Nikolai Miascowsky [Photograph].
[Abbildung] Tichon Khrennikov [Photograph].
[Abbildung] Alexandre Mossolow [Photograph].
[Abbildung] Aram Khachaturjan [Photograph].
Eva Goldbeck: On books about music [Publishing books about music in the United States considered a fashionable fad; American composers writing about music in self-defence against the American critic; lack of monographs on music in American culture]. S. 25–28
Adelaide F. Hooker: Japanese riddle — East by West [Mystery of traditional Japanese music. The New Symphony Orchestra in a concert performance of Beethoven’s Fidelio. Music an integral part of the Noh theatre and Kabuki Theatre. Proficiency of Japanese students’ performances of Western concert music. German influence at the Tokyo Academy of Music. Hacsoh-ha concert in Tokyo]. S. 29–33
[Anonymus]: Hacsoh-Ha Composers’ Society [Concert program]. S. 32
Forecast and review. S. 34–47
Marc Blitzstein: New York medley, Winter, 1835 [Shostakovitch, Bolt (ballet suite); Piano Concerto. Composer Goddard Lieberson. Virgil Thomson’s concert. Composers Eisler and Weill. Robert McBride, Prelude to a Tragedy. Still, Afro-American Symphony. Hans Lange’s programs. Mahler, Symphony no, 2: Klemperer. Town Hall: „music in crisis“ open meeting. New Gulliver Soviet film]. S. 34–40
Lazare Saminsky: The work of Roger Sessions [Symphony, Violin Concerto in performance at the New School]. S. 40–41
David Diamond: Première in Rochester — Rogers’ Frescos [Kelley, New England Symphony. Still, Kaintuck for piano and orchestra. Rogers, Two American Frescoes]. S. 42–43
Lehman Engel: Dancers, European and American [Yvonne Georgi, Trudi Schoop, Martha Graham, Rudolf von Laban]. S. 43–45
Aaron Copland: Active market in new music records [Richard Strauss, Thus Spake Zarathustra; Boston Symphony. Mahler, Symphony no, 2; Minneapolis Symphony, Ormandy. New Music Quarterly Recordings. Honneger, Concertino. Lambert, Rio Grande. Harris, A Song for Occupations. Otto Luening, Four Songs. Donovan, Two Songs]. S. 45–47
The League of Composers. Executive Board. Advisory Board. S. [2]
H. H. Stuckenschmidt: Vocal style in the 20th century [Individualism of Wagner in Tristan und Isolde and Debussy in Pelléas et Melisande led to absurdity; reluctance of singers to undertake modern music vocal styles. Schönberg’s vocal technique sprechtstimme; rhythmic restriction of the bar line avoided; new methods of choral singing. Berg’s vocal phrase. Bartók and Stravinsky. Opposition of new styles of vocal declamation]. S. 3–14
Edwin Denby: A good libretto [Mozart and Da Ponte’s Così fan tutte. Modern librettos for Puccini’s Gianni Schicchi and Schönberg’s Die glückliche Hand. Gertrude Stein and Antheil’s Transatlantic]. S. 14–21
Howard Hanson: American procession at Rochester [American Composers’ Concerts: query on the results in terms of significant musical characteristics. Overview of musical styles of J. K. Paine, H. F. Gilbert, C. T. Griffes, D. G. Mason, J. A. Carpenter, L. Sowerby. Problem of using American Indian and Negro melodies as folk music sources]. S. 22–28
Moses Smith: Alban Berg — Finale, a Requiem [American critics’ resistance to compositions based on twelve-tone system. Critical opinion on Berg’s Wozzeck. Lulu, the Lyric Suite and the Violin Concerto]. S. 29–34
[Abbildung] Alban Berg, his last portrait made in 1935 by B. F. Dolbin. S. [31]
Carlos Chavez: Revolt in Mexico [History of music education in Mexico; problem of importation of European ideas and techniques. Chavez’s new program of studies in Mexican music for the Conservatory of Mexico; research in Indian music; creation of the Mexican orchestra; results]. S. 35–40
Forecast and review. S. 41–59
Colin McPhee: New York — January, February, 1936. S. 41–46
[New York Philharmonic; Thomas Beecham (conductor). Vaughan Williams, London Symphony; Symphony in F minor (motives)]. S. 41–42
[Chavez conducting his own compositions: Indian Symphony]. S. 42–43
[Piston, Concerto for orchestra. Jacobi, Violoncello Concerto. Stravinsky, Three Shadows. Bernard Rogers, Five Fairy Tales. Composers’ Forum-Laboratory: compositions of David Diamond]. S. 43–45
[League of Composers: Berg, Der Wein. Hindemith, Viola Concerto]. S. 45
[New School: International Exchange Concerts. Compositions Czechoslovakia, France and England]. S. 45–46
[Copland, Hear Ye! Hear Ye! (ballet)]. S. 46
Guido Gatti: The noblest Roman of them all [Malipiero, La Passione. Genoa, Teatro Carlo Felice: Malipiero, Giulio Cesare]. S. 46–49
Frederick Jacobi: Rubin Goldmark: a tribute [Death of the American composer]. S. 49–50
Lehman Engel: New laboratories and Gebrauchsmusik [Features of concerts by the Composers’ Forum-laboratory. Lazare Saminsky and Isadore Freed, Composers of Our Day (educational pieces for the piano)]. S. 50–53
Arthur W. Berger: Rosenfeld’s experience and criticism [Discoveries of a Music Critic; comments on the critical methodology]. S. 53–55
Arthur W. Locke: Festival at Hartford [Festival of the arts: Sessions’s songs; Jacobi, Violoncello Concerto; Werner Josten, Piano Concerto no. 2. Films from the film library of the Museum of Modern Art. Stravinsky, Les Noces. Satie, Socrate. Chamber music Concert]. S. 55–58
L. E.: New winter dances [Jooss Ballet. Martha Graham]. S. 58–59
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Les Noces. Décors by Natalia Gontcharova. Designed for the original „Black and White“ version of Stravinsky’s ballet, introduced to Paris by Diaghilev in 1923, and revived with choreography by Bronislawa Nijinska this spring by the Monte Carlo Ballet. S. [2]
Aaron Copland: Our younger generation — Ten years later [Review of Copland’s article „America’s young men of promise“ published in 1926]. S. 3–10
Virgil Thomson: Swing music [Definition of dance-jazz; influence of negro rhythm from Latin America; Hugues Panassié, Le Jazz Hot, a useful information source]. S. 12–17
[Dance rhythms in notation]. S. 13–14
Otto Luening: Musical finds in the Southwest [Songs of native folk song singers; cowboy songs. Mixture of Roman Catholic, Mexican and Indian melodies. Mormon hoedowns. Tuscon, University of Arizona music studies for young composers of the Southwest]. S. 18–22
Marc Blitzstein: Coming! — the mass audience [Interaction between composer and public; crisis of modern music. Activities of the Workers’ Music League, International Workers’ Order, Associated Workers’ Club, Downtown Music School, American League Against War and Fascism in developing interest in performances and education. Review of composers influential in the progress of modern music: Musorgsky, Debussy, Satie. Gebrauchsmusik resultant of Russian Communism and American jazz]. S. 23–29
Carleton Sprague Smith: The ISCM meets at Barcelona [Berg, Violin Concerto, Wozzeck (selections). Ibert, Concerto da camera for saxophone. Overview of composers and compositions]. S. 30–34
Forecast and review. S. 35–58
André Schaeffner: Stravinsky’s two-piano Concerto and other Parisian novelties [Poulenc, Concerto for harpsichord; Wanda Landowska. Martinu, Concerto for harpsichord. Florent Schmitt, Sonatina for flute, clarinet and harpsichord]. S. 35–39
Colin McPhee: New York’s spring season, 1936 [Blitzstein, Piano Concerto. Bowles, Venus and Adonis (ballet-film). Josten, Joseph and his Bretheren (ballet-pantomime). League of Composers: string quartets by Milhaud, Berg and Cowell. Martinu, Concerto for string quartet and orchestra. Philadelphia Orchestra with Chavez conducting. Harris, Farewell to Pioneers. Chavez, Antigona]. S. 39–42
Israel Citkowitz: Biblical texts set to music [League of Composers commissions: Randall Thompson, The Peaceable Kingdom; Harvard Glee Club. Colin McPhee, From the Revelations of St. the Divine; Princeton Glee Club]. S. 42–43
Edwin Denby: Revival of Diaghilev’s Les Noces [Stravinsky’s ballet performed by the Ballet Russe de Monte Carlo; Nijinska’s choreography]. S. 44–46
E. D.: Thomson scores for a new film [The Plow that Broke the Plains]. S. 46–47
Herbert Elwell: Premières in Cleveland [Cleveland Orchestra: Saminsky, Ausonia; Rodzinski (conductor). Normand Lockwood, Erie. Shostakovitch, The Age of Gold. Piston, Prelude and Fugue. Vaughan Williams, Symphony in F]. S. 48–49
Goddard Lieberson: Rochester’s sixth festival [Vittorio Giannini, Memorial Symphony. Hanson, Drum Taps. Rogers, Japanese Dances. String quartets by Piston, Quincy Porter, Sowerby. McBride, Fugato on a well-known Theme. Diamond, Divertimento for piano and small orchestra. Naginski, Suite]. S. 49–52
Cecil Michener Smith: Modern works in Chicago [Chicago City Opera Company: Respighi, La Fiamma. University of Chicago: Weinberger, Schwanda. Chicago Symphony modern repertory]. S. 52–53
George Antheil: Good Russian advice about movie music [Visit to the United States by Schumiatski, Russian film authority; content of films criticized; technical aspects praised. Leonid Sabaneyeff, Music for the Films]. S. 53–56
E. D.: „Compiling“ the dance [Lincoln Kirstein’s Dance a short history of theatrical classical dancing]. S. 56–57
Virgil Thomson: The official Stravinsky [The composer’s reminiscences as told in Chroniques de ma vie considered brief and smug]. S. 57–58
[Anonymus]: Contributors to this issue. S. 59
Tables of contents. Volume XIII — Numbers 1, 2, 3. S. 60
The League of Composers. Executive Board. Advisory Board. S. [2]
Alfred Einstein: National and universal music [Acute nationalism in the time of war]. S. 3–11
Davidson Taylor: To order, for radio [Commissions: BBC and Walton’s Symphony, CBS and Chavez’s Sinfonia India. CBS commission of six works by American composers Copland, Gruenberg, Hanson, Harris, Piston and Still. Weill, Lindberg’s Flight commissioned by the Philadelphia Orchestra. Philip James, Station WGZBX, a NBC commission. Instrumentation for radio broadcasting]. S. 12–14
Roy D. Welch: The college, the composer and music [Rejoinder to criticism of modern music curriculum in American universities and colleges]. S. 18–23
Felix Roderic Labunski: A new generation in Poland [Formation of the Association of Young Polish Musicians in Paris (1937). Muzyska Polska concerts „Ormuz.“ Influence of the French modernists on Polish composers: Gradstein, Kassern, Kondracki, Perkowski, Sikorski, Szeligowski, Woytowicz, Fitelberg]. S. 24–27
Forecast and review. S. 28–54
Colin McPhee: New York, Autumn of 1936 [Chavez, Antigona. Philadelphia Orchestra: Walton, Symphony; Ormandy. New York Philharmonic: Bax, The Tale the Pine Trees Knew; John Barbirolli (conductor). Stokowski’s orchestral arrangement of selections from Moussorgsky’s Boris Gudunov. Toch, Bunte Suite. Rachmaninov, Symphony no. 3]. S. 28–31
David Diamond: Paradise Lost [Markevich, Le Paradis perdu (oratorio) performed by the Orchestre de la Société Philharmonique de Paris]. S. 31–33
[Paris. La Maison de la Culture: Romain Rolland, La Quatorze Juillet; incidental music by Ibert, Milhaud, Koechlin, Roussel, Honneger]. S. 33–34
Isadore Freed: Forum portraits: Saminsky, Josten, Finney [Composers’ Forum of the WPA. Saminsky, Overture, op. 1; Distant Airs, op. 2; Dirge and Ritual Dance; Sonnet of Michelangelo. Josten, Endymion; Joseph and His Bretheren (ballet); Concerto sacro. Finney, Piano sonata; String Quartet]. S. 35–36
Robert Sabin: Recording premières ar Rochester [Symposium of new American orchestral music. George F. McKay, Sinfonietta. Leidzen, Fugue with Chorale. Diamond, Psalm for orchestra. Robert McBride, Rhapsody on Mexican Themes]. S. 36–37
Marion Bauer: More pessimism by Cecil Gray [Predicaments or Music and the Future (Oxford University Press)]. S. 37–38
M. B.: Composite Stravinsky [Merle Armitage’s collection of opinions concerning the composer]. S. 38
Aaron Copland: Scores and records. S. 39–42
[R. D. Darrell, Gramophone Shop Encyclopedia of Recorded Music. Bartók, String Quartet no, 2; Hungarian String Quartet. Milhaud, Les Choéphores. Sibelius, Night Ride and Sunrise; The Oceanides (RCA Victor). Stravinsky, Pulcinella (Columbia). Tansman, Divertissement. Enesco, Violin Sonata no. 3]. S. 39–41
New scores [Stravinsky, Concerto for Two Pianos (Schott Sons). Florent Schmitt, Three Dances, op. 86 (Durand)]. S. 41–42
[Anonymus]: Contributors to this issue. S. [55]
Table of contents. Volume XIII, Nos. 1, 2, 3, 4. S. [56]
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Paul Hindemith. A new portrait by Richard Heinisch. S. [58]
Roger Sessions: The new musical horizon [Comments on the musical ideals of the present generation of composers. Radical divide between the generation of Debussy and Strauss and that of Schönberg, Stravinsky and Bartók. Passing of the legendary prestige of virtuoso performers. Change from program music to instrumental compositions in the accepted forms]. S. 59–66
H. H. Stuckenschmidt: Hindemith today [Physical appearance; mastery of the viola; characteristic cheerfulness; dedication to teaching and his pupils; important figure in the Ars Nova movement in Germany]. S. 67–75
His place [High position in world opinion could not be reconciled with National Socialism]. Der Schwandendreher [Viola concerto]. Smaller works [Violin Sonata, op. 11. Trauermusik for viola, violoncello or violin and string orchestra]. The piano sonatas First Sonata [Motto from Hölderlin’s poem Der Main]. Tonal tendencies. Present outlook. S. 68–75
Irma Goebel Labastille: Americanismo musical [Decline of Spanish influences in contemporary Latin American music; influence of aboriginal music and African music; overview of composers active in Mexico, Brazil, Uruguay and Argentina]. S. 76–81
George Antheil: Breaking into the movies [Training of composers by technicians; rewriting scenes; securing an agent]. S. 82–86
Forecast and review. S. 87–114
Colin McPhee: Winter season, New York, 1936 [Deems Taylor, Portrait of a Lady. Robert McBride, Workout. Vaughan Williams. Job. Victor Young, Arizona Sketches (tone poem); Stokowski. Bernard Rogers, Two American Frescoes for large orchestra. Messiaen, Les Offrandes oubliées]. S. 87–89
Elliott Carter: The New York season, 1937 (Continued) [Philip James’ Brete Harte. Schubert dances arranged by Webern. Anis Fuleihan, Symphony; Barbirolli. Casella’s orchestration of Clementi’s Symphony. Arthur Foote, Suite in E major for string orchestra. MacDowell, Piano Concerto no, 2. Symphonies by Milhaud. Honneger, Pastorale d’été]. S. 90–92
Goddard Lieberson: More one-man shows [Composers’ Forum-Laboratory: works by Marion Bauer and Bernard Wagenaar]. S. 92–93
Gerald Strang: Moderns on the Pacific coast [Toch, Music for orchestra and baritone; Los Angeles Philharmonic, Otto Klemperer. Joseph Achron, Violin Concerto no. 2; Concerto for string quartet. Schönberg, String Quartet no. 4; Kalisch String Quartet]. S. 93–95
Richard Sabin: Works by Jacobi, Diamond, McBride [Rochester, Eastman Theatre: works by American composers. MacDowell, Suite, op, 42. Jacobi, Piano Concerto. Spelman, Symphony. Diamond, Psalm for orchestra. McBride, Mexican Rhapsody. Howard Hanson’s explanatory remarks]. S. 95–96
Cecil Michener Smith: Chicago novelties [Chicago City Opera Company: Gruenberg, Jack and the Beanstalk. Modern repertory of the Chicago Symphony under Frederick Stock. Illinois Symphony Orchestra, unit of the Federal Music Project (WPA): Gustikoff and Macham, American Concerto]. S. 96–97
Aaron Copland: Scores and records [New works for piano by Hindemith, Chavez, Emil Hlobil, Paul Nordoff, Hans Barth. G. Schirmer’s miniature scores and study scores. Anis Fuleihan, Mediterranean for orchestra. Schönberg, Suite for string orchestra; Cello Concerto. Barber, Scene from Shelley]. S. 98–101
Virgil Thomson: In the theatre [Erika Mann, Pepper-Mill (literary cabaret). Weill, The Eternal Road. Paul Bowles, Dr. Faustus]. S. 101–05
George Antheil: The Hollywood front [Paramount Studios: Werner Janssen’s film score for The General Dies at Dawn. Engagement of Schönberg and Stravinsky for film scores. Honneger’s film score for Joan of Arc. Kurt London, Film Music (Faber and Faber). William Walton’s film score for As You Like It]. S. 105–08
Edwin Denby: With the dancers [Martha Graham’s group Chronicle. Uday Shan-Kar (East Indian dancer). Miss Enters and the American New England tradition]. S. 108–12
Cecil Michener Smith: Over the air [League of Composers NBC broadcast: Bloch, Violin Sonata; songs by Saminsky and Pisk; Kodaly, Duo for violin and violoncello. CBS Saturday Night programs. NBC Music Guild awards. CBS composers’ commission]. S. 113–14
[Anonymus]: Contributors to this issue. S. [115]
Table of contents. Volume XIII, nos. 1, 2, 3,4. Volume XIV, no. 1. S. [116]
The League of Composers. Executive Board. Advisory Board. S. [118]
Alfred Einstein: Will modern music endure? [Query on the prospects of immortality or a state of classicism; reluctance of publishers to issue new modern music compositions; history of publication as a business from Petrucci to the nineteenth century]. S. 119–23
David Diamond: American composers, XIII. Frederick Jacobi [Biographical sketch]. S. 124–31
Works by Frederick Jacobi. S. 131
[Abbildung] Frederick Jacobi. A sketch by Dorothea Greenbaum. S. [125]
Willi Reich: Swiss panorama [Honneger. Othmar Schoeck’s works. Younger composers: Martin, Beck, Burkhard. Musical life of Winterthur]. S. 132–35
Hans Nathan: The Viennese lied, 1910–1937 [Mahler, Zemlinsky, Schönberg. Stephan George the poet of choice. Webern, Berg, Krenek]. S. 136–42
Lincoln Kirstein: Working with Stravinsky [Ballet Le Jeu de cartes commissioned for the American Ballet; Balanchine as choreographer; rehearsals; Irene Sharaff (designer)]. S. 143–46
Forecast and review. S. 147–78
Elliott Carter: Late winter, New York, 1937 [Chavez, Terra Mojada. Chavez and Stravinsky as composer-conductors. Enesco, Symphony in E flat; Suite for orchestra, no. 2. Chavez, Sinfonia India; H. P.. Berg, Violin Concerto; Lopuis Krasner. Schola Cantorum: Malipiero, Julius Caesar. Wagenaar, Symphony no. 3. Schönberg, String Quartet no. 4.; Kolisch Quartet. Hindemith, Violin Sonata in E: Szigeti. Nordoff, Prelude and Three Small Fugues. Quincy Porter, Ukrainian Suite; Goddard Lieberson, Homage to Handel]. S. 147–54
Goddard Lieberson: Concerts free and paid for [Composers’ Forum Laboratory. Roy Harris, Piano Quintet; Roth String Quartet. Evening of Aaron Copland’s works. Composer Berezowsky’s concert. Quincy Porter’s concert. Seth Bingham, Tame Animal Tunes for chamber orchestra. Eva Gauthier’s vocal recitals]. S. 154–57
Arthur V. Berger: Boston hears a new Russian work [Boston Symphony Orchestra; Yury Shaporin, Symphony in C minor; Richard Burgin (conductor)]. S. 157–58
Ray Brown: Saminsky’s Pueblo and other news from Washington [Coolidge Quartet festival concerts at the Library of Congress: chamber music of Hindemith, Frank Martinu, Quincy Porter, Berezowski, Erno von Dohnányi and Malipiero. National Symphony Orchestra: Saminsky, Pueblo: A Moon Epic; Hans Kindler (conductor). Everett Stevens, Piano Concerto]. S. 159–61
Cecil Michener Smith: New music in Boston [Chavez, Sinfonia Antigona. Prokofieff, Suite no. 1 from the ballet Romeo and Juliet. Still, Afro-American Symphony. New works by composers at Northwestern University. Illinois Symphony Orchestra repertory]. S. 161–62
Jerzy Fidelberg: Parisian novelties [International Exposition of 1937. Berg, Violin Concerto. Bartók, String Quartet no. 5. Françaix, Piano Concerto. Tibor Harsanyi, Hungarian Suite for orchestra; Pierre Monteux. Opéra: Réti, David (ballet). French radio broadcasts]. S. 162–64
Alfred N. Goldsmith: Chavez on music and electricity [Chavez, Toward a New Music]. S. 164–66
[Abbildung] New sketches for Stravinsky ballets, old and new. Stravinsky gala by the American Ballet. On April 27th and 28th in the Metropolitan Opera House the American Ballet will present the première of Jeu de Cartes specially commissioned for that occasion. To the right are sketches by Irene Sharaff. The program includes a revival of Le Baiser de la fée, sketches by Alice Halicka, below, and of Apollon Musagète, décors by Stewart Cheney, lower right. S. [148–49]
Aaron Copland: Scores and records. S. 167–70
Brunswick-Polydor [Berg, Lyric Suite; Galimir String Quartet. Roussel, Symphony no. 3; Lamoureux Orchestra. Recordings of Milhaud’s works. Charles Martin Loeffler, Partita for violin and piano. Avshalomoff, Piano Concerto; Shanghai Municipal Orchestra, Max Kowalski, songs from Pierrot Lunaire]. S. 167–69
New scores [Conrad Beck, Serenade, String Quartet. Felix Petyrek, Six Concert Etudes]. S. 169–70
Virgil Thomson: In the theatre [Julliard School of Musical Arts opera productions]. S. 170–73
With the dancers. S. 173–77
Edwin Denby: [Classic Ballet by Balanchine and William Dollar]. S. 173–75
Elliott Carter: The Sleeping Beauty [Tschaikovsky’s ballet produced by Catherine Littlefield; American première]. S. 176–77
Goddard Lieberson: Over the air [Programs by Bing Crosby and Mark Warnow. Station WOR. Wallenstein’s conducting repertory. National Broadcasting Company’s Blue Network]. S. 177–78
[Anonymus]: Contributors to this issue. S. [179]
Table of contents. Volume XIII, nos. 1, 2, 3,4. Volume XIV, no. 1, 2. S. [180]
The League of Composers. Executive Board. Advisory Board. S. [182]
Kurt Weill: The future of opera in America [Phenomenon of European opera as musical theatre; decline of librettos; overemphasis of harmony to the detriment of melody. Operatic renaissance in postwar conditions: Verdi revival. Use of spoken dialogue in Busoni’s Arlecchino and Stravinsky’s L’Histoire du soldat. Theatrical productions in contemporary Russia and America]. S. 183–88
Edwin Gerschefski: To the brass band [Edwin Gerschefski’s Streamline for symphonic band. Numerous bands in American schools a captive audience for new compositions; capacities of bands for ensemble playing]. S. 189–92
Mark Brunswick: Suicide in Vienna [Permeation of politics into Austrian cultural life; destruction of Viennese culture by the Nazis; anti-semitism; Vienna State Opera and the Austrian Radio Corporation ignore Jewish artists. Verein für Neue Musik promotes modern music]. S. 193–97
Frederick Jacobi: Homage to Arthur Foote [Koussevitzky’s revival of Foote’s Suite in E major]. S. 198–99
Ernst Krenek: The new music and today’s theatre [Employment of the twelve-tone technic in theatrical situations requires a fragmentary rather than a formal approach to form; music interrupted by the spoken word. Ideology of the music drama treated in Milhaud’s Christophe Colomb and Krenek’s Karl V]. S. 200–03
Nikolai Lopatnikoff: England’s young composers [London the musical metropolis of Europe. William Walton, Constant Lambert, Alan Bush, Benjamin Britten, Lennox Berkeley, Elizabeth Maconchy, Christian Darnton, Alan Rawsthorne]. S. 205–07
Forecast and review. S. 208–42
Cecil Michener Smith: Hindemith and the Coolidge Festival [Library of Congress: Sessions, String Quartet. Fitelberg, String Quartet. Berezowsky, Introduction and Allegro. Chavez, Concerto for four horns. Hindemith’s American public debut. Sonata for flute and piano. Sonata for unaccompanied viola. Piano Sonata no. 3. Four part-songs. Der Schwandendreher]. S. 208–15
Elliott Carter: Season’s end in New York [New York Philharmonic: Hindemith, Der Schwandendreher. Hindemith, Five Pieces for string orchestra. Remarks on the reception of Stravinsky’s music. Copland, Symphony. Honneger, King David. Strauss, Elektra (final scene). Szymanowski, Jarnasie]. S. 215–17
Goddard Lieberson: Spring fancies, 1937 [Saminsky’s Three Choir Festival; Saminsky’s address on American choral music. Chamber Music Society of America. League of Composers: Prokofieff, Overture on Jewish Themes. Bloch, Piano Quintet. Quincy Porter, String Quartet no. 3. Humphrey-Weidman dance group. Harvard Glee Club: Elliott Carter, Tarantella. Composers’ Forum-Laboratory. Hanson, Lament for Beowulf. Diamond, Psalm. Robert McBride’s concert]. S. 217–20
Frederick Yeiser: Whithorne’s Symphony; Nathaniel Dett’s Moses [Cincinnati Symphony Orchestra: Whithorne, Symphony no. 2; Eugene Goossens. Dett, The Ordering of Moses (Biblical folk-scene)]. S. 221–23
Gerald Strang: Schönberg, Mahler and others in Los Angeles [Schönberg, String Quartet no. 4: Kolisch Quartet. Federal Music Project Symphony Orchestra: Schönberg, Pelleas und Melisande. Oscar Levant, Nocturne. Los Angeles Philharmonic: Mahler, Das Lied von der Erde]. S. 223–24
Cecil Michener Smith: What Chicago needs [A conductor with the drive and personality of Koussevitzky. Hindemith’s concert. Martinu, Quintet; Mischakoff Quartet, Rudolph Ganz]. S. 224–25
Robert Sabin: American festival at Rochester, 1937 [Expansion of offerings under the direction of Howard Hanson. Two trends, one Wagner, Strauss, Debussy, the other Stravinsky and Bartók. Loeffler, La Bonne Chanson. Woltmann, Symphony. Irene Gedney’s piano recital of contemporary American compositions. Finney, String Quartet. Rudin, Quartet in One Movement. Bernard Rogers, The Supper at Emmaus (tone poem). Ballet evening]. S. 225–28
Composers visiting America as seen by Freuth. S. [212–13]
[Abbildung] Hindemith [Sketch]. S. [212]
[Abbildung] Enesco [Sketch]. S. [213]
[Abbildung] Chavez [Sketch].
[Abbildung] Scenic sketches for The Cradle Will Rock. Opera by Marc Blitzstein, to be presented in June by the WPA Federal Theatre. Stages by Orson Welles, décors by Edward Schruers. S. [229]
Aaron Copland: Scores and records. S. 230–33
[RCA Victor. Walton Portsmouth Point. Columbia. Delius Society recordings. Ravel, L’Heure espagnole. Hindemith, Sonata for viola alone]. S. 230–31
New scores [Walton, Symphony. Vaughan Williams, Piano Concerto (Oxford University Press). Nino Rota, Quintet (Ricordi). Piston, Prelude and Fugue (Cos Cob Press). Ives, Symphony of Holidays (New Music Orchestra Series)]. S. 231–33
Virgil Thomson: In the theatre. High brows wow local public [Gian Carlo Menotti, Amelia al ballo. Milhaud, Le Pauvre Matelot. Chamber operas at the WPA Theatre of Music: Toch, The Princess and the Pea. Copland, The Second Hurricane. American Ballet: Stravinsky, The Card Party, Apollon Musagète, Le Baiser de la fée. Marc Blitzstein, The Cradle Will Rock]. S. 233–37
Elliott Carter: With the dancers. More about Balanchine [American Ballet: Stravinsky, The Card Party, Apollon Musagète, Le Baiser de la fée]. S. 237–39
Virgil Thomson: Films seen in New York. A couple of nice movies [Mexican film The Wave. Jean Wiener, Knock, ou la triomphe de la médecine]. S. 239–40
Goddard Lieberson: Over the air [CBS: Musical Americana on Tuesday evenings. General Motors Company Sunday Evening Series. NBC: Respighi memorial concert. Overview]. S. 241–42
[Anonymus]: Contributors to this issue. S. [243]
Table of contents. Volume XIII, nos. 1, 2, 3, 4. Volume XIV, no. 1, 2, 3. S. [244]
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] George Gershwin as seen by Alfred Freuth. In 1924. In 1935 [Two sketches. Reproduced from earlier issues of Modern Music]. S. [2]
Frederick Jacobi: The future of Gershwin [Inadequate critical appraisal; Gershwin’s problems with long phrase structures; criticism of the Preludes for Piano; excellence of Gershwin’s songs]. S. 3–7
Kurt List: Lulu, after the première [Zurich production of the two completed acts; shortcomings of Weedkind’s libretto; Berg’s compositional methods contrasted to those of Schöenberg; use of different forms to characterize different characters]. S. 8–12
Goddard Lieberson: Britannia rules the air [BBC: government controlled radio free from all advertising drivel; national and regional branches; BBC Symphony Orchestra; high standard of programming; European contemporary music featured; American music neglected for want of sources]. S. 13–16
Alfred N. Goldsmith: Electricity becomes music: introducing „The Emino“ [Acronym for electric musical instruments; definition of electrical music; three classes of instruments employing electricity; quest to discover the capabilities of electric instruments]. S. 17–23
Raymond Petit: Roussel — Ave, vale [Death of French composer; reminiscences]. S. 24–26
Forecast and review. S. 27–48
Lazare Saminsky: Europe takes fresh readings [Zurich unhampered by political bigotry: Robert Denzler (conductor), Marko Rothmüller (baritone); Mary Tibaldi Chiesa, author of a Bloch biography. London: Covent Garden Theatre: Eugene Goossens, Don Juan de Mañara; Lawrence Tibbett. Paris, Théâtre des Champs-Elysées: Arthur Bliss, Checkmate. Le Jeune France concert: Messiaen, Action de Graces; Daniel-Lesur, Passacaille for piano and orchestra; André Jolivet, a tonal anarchist; Migot, Sermon on the Mount (oratorio); Henri Tomasi, founder of the Triton Musical Society]. S. 27–32
Mark Brunswick: Paris, 1937 — The ISCM [Fifteenth anniversary festival. Honneger, String Quartet no. 2; Bush, Morceau de concert; Szymanowski, Symphony no. 4; Starkadmowsky, Concerto for orchestra (Soviet Union); Mitchiko Toyama, vocal work; Van Hannenheim, Fantasia for string orchestra; Fitelberg, Violin Concerto; Rosenberg, Symphony concertante (Sweden); Milhaud, String Quartet no. 9; Haba, The New World Overture; Françaix, Piano Concerto; miscellaneous composers]. S. 32–36
Elliott Carter: Opening notes, New York [New York Philharmonic: Bartók, Music for strings, percussion and celesta. Gardner Read, Symphony in A minor]. S. 36–37
Alma Goudy: Coolidge fiesta in Mexico [Festival of Pan-American chamber music: Mexico City, Palacio de Bellas Artes. Chavez (director); prize winners, Jacobo Ficher and Francisco Casabona. Edward Burlingame Hill, Sextet for piano and woodwinds]. S. 37–40
Alfred Einstein: Internationalism à la Venice and Florence [Maggio musicale fiorentino: operas and concerts. Casella, Il Deserto tentato (opera). Vemive: Fifth International Festival of Contemporary Music. Stravinsky, L’Histoire du soldat and Jeu de cartes. Milhaud, Suite provençale. Markevich, Flight of Ucarus. Schönberg, Suite for seven instruments]. S. 40–44
Aaron Copland: Scores and records. S. 45–48
[Mahler, Das Lied von der Erde; Walter (Columbia). Sibelius, Symphony no. 6; Voces Intimae (String Quartet) (Victor). Malipiero, Rispetti e Strombotti; Kreisner Quartet. Réti, Quartet in F major; Pro Arte Quartet. Honneger, Judith. Poulenc, Le Bestiaire (songs)]. S. 45–46
Scores [Stravinsky, Jeu de cartes. Kodaly, Te Deum. Castelnuovo-Tedesco, Concertos for violin and cello. Paul White, Sinfonietta for string orchestra. Still, Dismal Swamp. Otto Cesano, Second American Symphony]. S. 46–48
George Antheil: On the Hollywood front [Problems in the production of film scores; need for interest and critical appraisal from important music critics]. S. 48–50
Elliott Carter: In the theatre [Roster and repertory of the Salzburg Opera Guild currently touring the United States; Ibert, Angelique. Incidental music: Marc Blitzstein, Julius Caesar; Virgil Thomson, Injunction Granted, Hamlet, The River; Samuel Barlow, Amphitryon 38]. S. 51–53
Goddard Lieberson: Over the air [Listener reaction to music broadcasting by the Columbia Broadcasting Company. Columbia Broadcasting Commission: Still, Lenox Avenue; Copland, A Saga of the Prairie; Piston, Concertino for piano and orchestra; Hanson, Symphony no. 3; Gruenberg, Green Mansions (non-visual opera). Columbia Workshop Hour: Blitzstein, I Have a Tune]. S. 53–55
Elliott Carter: With the dancers [Littlefield ballet troupe: Tchaikovsky, The Sleeping Beauty. Ballet Russe: Handel, The Gods Go A-Begging. Francesca da Rimini; Lichine (choreographer). L’Coq d’or; Fokine (choreographer)]. S. 55–56
Recent books. S. 57–67
Roger Sessions: [Hindemith, Unterweisung im Tonsatz (B. Schott’s Söhne, Mainz)]. S. 57–63
Marion Bauer: Hitler and Yon in the 20th century [David Ewen, Twentieth-Century Composers (Thomas Y. Crowell Company, New York)]. S. 63–65
H. H. Stuckenschmidt: Memorial to Berg [Remarks on biography in fiction (Werfel. Verdi); biography as analysis of artistic phenomena (Schenker’s analysis of Beethoven’s Symphony no. 5). Willi Reich, Alban Berg with contributions by Wiesengrund-Adorno, Krenek. Role of Schönberg in Berg’s life]. S. 65–67
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Nadia Boulanger. Pen and ink sketch by Clarence A. Brodeur. S. [70]
Carlos Chavez: The functions of the concert. S. 71–75
Herbert Ewell: Nadia Boulanger: A tribute [Biographical sketch; principles of teaching]. S. 76–80
Marc Blitzstein: On writing music for the theatre [Relation of music to words and to action, setting, costumes]. S. 81–85
Davidson Taylor: Why not try the air? [Apathy of the American public toward contemporary music; emphasis on the rediscovery of music of earlier periods; role of radio broadcasting; record of first performances of works by American composers given on CBS and NBC; opinions about broadcasting contemporary music from prominent American cities; remarks on the radio audience]. S. 86–91
[Anonymus]: The composers organize. A proclamation [Formation of the American Composers’ Alliance for the purpose of a regularized collection of copyright fees. Parallel activities of the American Society for Composers, Authors and Publishers (ASCAP) and the American Guild of Musical Artists (AGMA). Methods employed for the collection of royalties. Temporary executive board and membership list]. S. 92–95
Forecast and review. S. 96–108
Elliott Carter: Homage to Ravel [Tribute to the deceased composer]. S. 96
E. C.: Vacation novelties, New York [New York Philharmonic premières. Gilbert, Dance in the Place Congo; Comedy Overture on Negro Themes. Mason, Abraham Lincoln Symphony. Stokowski’s concerts: Still, Symphony in G minor; McBride, Showpiece (ballet). Lehman Engel Singers: Virgil Thomson, Scenes from the Holy Infancy. Query on programming of inferior compositions by European composers while neglecting works of American composers. Poulenc, Concerto for two pianos; Bartlett and Robinson; Sept Chansons. Operatic revivals]. S. 96–99, 102–03
Leonard Bernstein: Season premières in Boston [Boston Symphony Orchestra: Prokofieff, Violin Concerto no. 2; Russian Overture (adapted from the film score Lieutenant Kijé). Starkadmowsky, Concerto. Marcel Poot, Symphony. Sibelius, The Origin of Fire and The Captive Queen. WPA State Symphony Orchestra. Composers’ Forum Laboratory: Piston String Quartet no. 2. Stravinsky Concerto for two Piano Soli]. S. 103–06
[Anonymus]: New works for the mid-west [Chicago Ravinia Park concerts: Kodaly, Dances from Galanta; Ansermet (conductor). Quincy Porter, Dance in Three-Time. Repertories of Stock and Hans Lange. WPA activities with the Illinois Symphony Orchestra. David Van Vactor, Overture to a Comedy. Harrington Shortall, Recitarnelli]. S. 106–08
Filling Station. A new ballet by Virgil Thomson. With designs by Paul Cadmus. This work was given its première by the Ballet Caravan on January 6th at the Avery Memorial at Hartford. Lev Christensen is the choreographer. S. [100–01]
[Abbildung] State trooper [Sketch]. S. [100]
[Abbildung] Rich girl [Sketch].
[Abbildung] Mac [Sketch]. S. [100–01]
[Abbildung] Truckman [Sketch]. S. [101]
[Abbildung] Child [Sketch].
Aaron Copland: Scores and records. S. 109–11
Swing [Recordings. Symposium of Swing (Victor). Instrumental compositions of Raymond Scott and Joe Usifer. Duke Ellington]. S. 109–10
[Bloch, Violin Sonata (Gamut Records). Miscellaneous works by American composers: Henry Brant, Edwin Gerschefski and Gerald Strang (New Music Quarterly Recordings)]. S. 110–11
Scores [Arthur Shepherd, Song of the Pilgrims (cantata) (C. C. Birchard). Frederick Converse, American Sketches (orchestral suite) (E. F. Kalmus). Ross Lee Finney, Piano Sonata in D minor (New Music). Albert Steossel, Garrick (opera) (J. Fischer & Brother). Laurence Gellert’s collection Negro Songs of Protest (Carl Fischer)]. S. 111
Virgil Thomson: In the theatre [Examination of Alfred Einstein’s query on the relevance of modern music. Notes on Marc Blitzstein’s The Cradle Will Rock. Harold J. Rome’s revue Pins and Needles. Three „publics“ in contemporary America]. S. 112–14
Goddard Lieberson: Over the air [NBC and Toscannini’s concerts; radio commentary by Milton Cross. NBC concerts from Radio City Music Hall and Carnegie Hall. General Motors Concerts; Erno Rapee (conductor). CBS: Ford Sunday Night Hour: Victor Colar (conductor). WOR’s „Symphonic Strings“ concerts led by Alfred Wallenstein. WQXR’s concerts of recorded music]. S. 115–17
George Antheil: On the Hollywood front [Weill’s score for Kurt Lang’s You and Me. Hollywood activities of Krenek, Ernst Toch, Gruenberg. Stokowski and the Walt Disney Studios’ project. Marius-François Gailland’s film score for Club des femmes. Antheil’s film score for Cecil B. DeMille’s The Buccaneer]. S. 117–18
Elliott Carter: With the dancers [Dance International and the progress of dance in America; Developments in ballet and tap and the commercial theatre. Littlefield’s troupe: Barn Dance. José Limon’s production of El Amor brujo. Ballet Caravan: McBride, Showpiece. Modern dance evening with works by Martha Graham, Ruth St. Denis, Charles Weidman, Tamiris, Hanya Holm, Doris Humphrey. Themes of the ballets. Virgil Thomson, Filling Station. Paul Bowles, Yankee Clipper]. S. 118–22
Recent books. S. 123–31
Roger Sessions: Exposition by Krenek [Über neue Musik (Vienna, Verlag der Ringbuchhandlung) Historical origin, esthetic, moral and social implications of the twelve-tone system]. S. 123–28
William Schuman: A novel one-volume encyclopedia [Nicolas Slonimsky, Music Since 1900 (W. W. Norton & Co., 1937)]. S. 128–30
Herbert Weinstock: Neither fish, flesh nor fowl [Herbert Fleischer, La Musica contemporanea (Ulrico Hoepli, Milan)]. S. 130–31
The League of Composers. Executive Board. Advisory Board. S. [134]
Alfred Einstein: Cycle of three centuries [Dilemma of twentieth-century modern music resembles similar controversy in the seventeenth century; radicalism of Schönberg’s twelve-tone theory; rejection of nineteenth-century tonal compositions; return to procedures and forms of Bach. Stravinsky’s many compositional manners symtomatic of the chaos of modern music]. S. 135–39
Charles C. Cushing: Maurice Ravel: 1875–1937 [Appreciation of a complex musical personality; artistic descendant of Couperin; exotic and Spanish influences]. S. 140–44
Roger Sessions: To revitalize opera [Close connection of theatre music with its own time and place. Contemporary operatic crisis; problems inherent in vocal music. The peculiarities of the American „star system.“ American opera and operatic convention]. S. 145–52
Paul Rosenfeld: The newest American composers [Recollections of the 1920s: Roger Sessions, Aaron Copland, Carlos Chavez, Roy Harris, Hunter Johnson, Theodore Chanler, David Diamond, Elliot Carter, Paul Bowles, Marc Blitzstein, Robert McBride]. S. 153–59
Virgil Thomson: Swing again [Definition of „swing“: a form of two-step in which the rhythm is expressed quantitatively by instruments of no fixed intonation; melodic, harmonic and percussive elements free to form A polyphonic texture; explanation]. S. 160–66
Forecast and review. S. 167–78
Elliott Carter: Orchestras and audiences, Winter 1938 [Subjective and objective ways of listening to music. Boston Symphony Orchestra: Ravel memorial concerts. Hindemith, Kammermusik no. 5. and Concert Music for Strings and Brass. Philadelphia Orchestra: Stravinsky, Jeu de cartes; Ormandy. New York Philharmonic: MacDowell, Lancelot and Elaine; Piston, Suite. Germaine Tailleferre, Violin Concerto. League of Composers: evening concerts devoted to Prokofieff and Krenek. Schola Cantorum concerts: Dukelsky, The End of St. Petersburg. Dukelsky’s High-Low Concerts. New Masses benefit concert]. S. 167–71
Lazare Saminsky: Electric marvels in Pittsburgh [National Association of Music Teachers convention. American Musicological Society seance „Music in the changing world.“ Benjamin Miessner’s demonstration of electronic instruments]. S. 171–74
Grigori Schneerson: Shostakovitch rehabilitated [Fifth Symphony given its Moscow première in January 1938. Pravda criticism and explanation of Soviet avant-garde music]. S. 174–76
Cecil Michener Smith: Composers of and in Chicago [Philharmonic-Symphony prizes shared by Robert L. Sanders (chicago) and Charles Haubiel (New York). Sanders, Little Symphony. Gardner Read, Symphony in A minor. David Van Victor, Five Bagatelles for string orchestra; Concerto for three flutes, harp and orchestra; Passacaglia and Fugue. Prokofieff performing his pieces for children and selections from Romeo and Juliet. Hindemith and the Chicago Symphony Orchestra. Golestan, Concerto Maldave; Raya Garbousova (violoncellist). Neglect of Sibelius’ compositions]. S. 176–78
Aaron Copland: Scores and records. S. 179–82
[Constant Lambert, Summer’s Last Will and Testament, choral symphony for orchestra, chorus and baritone solo. Vaughan Williams, Symphony in F minor (Oxford University Press). Blitzstein, The Cradle Will Rock (eleven numbers) (Chappell). Conlon Nancarrow’s short pieces. Henry Cowell, United Quartet (New Music). Luening, Two Symphonic Interludes (Affiliated Music Corporation)]. S. 179–81
New records [Milhaud, Opéras-minutes (Columbia). Ferroud, Sonata for cello and piano (Columbia). Busoni, Indianisches Tagebuch; Egon Petri (pianist) (Columbia). Paul Creston, Suite for saxophone and piano (New Music Quarterly Recordings). NMQR recording of music by McBride and Harrison Kerr]. S. 181–82
Virgil Thomson: In the theatre. Another negroid opera [Composers’ Forum: Bowles, Denmark Vesey, libretto by Charles-Henri Ford]. S. 183–84
Edwin Denby: With the dancers. Balanchine again; debut of the Caravan [Metropolitan Opera House: Stravinsky, Apollon Musagète; Balanchine (choreographer). Ballet Caravan: American ballet evening. Mcbride, Showpiece. Bowles, Yankee Clipper. Thomson, Filling Station. Marie Eve at the Ruban Bleu nightclub]. S. 184–87
George Antheil: On the Hollywood front [Weill’s film score for You and Me (Paramount). Remarks on Hollywood film producers and modern music. Radio broadcasting in Hollywood]. S. 187–89
Goddard Lieberson: Over the air [Remarks on radio commentary for broadcasts of serious music. League of Composers radio broadcasts]. S. 189–91
Recent books. S. 192–99
Roger Sessions: Escape by theory [Schenker, Der freie Satz. Discussion of Schenker’s theory of the Ursatz]. S. 193–97
Edward Burlingame Hill: Composers in America: Biographical Sketches of Living Composers with a Record of Their Works by Clare Reis (The MacMillan Company, 1939). S. 197–98
Elliott Carter: Musical reactions — Bold and otherwise [Deems Taylor, Of Men and Music (Simon and Schuster)]. S. 199
The League of Composers. Executive Board. Advisory Board. S. [1p]
Mathis der Maler. Opera by Paul Hindemith. This much heralded German work is at last to achieve a world première in Zurich’s Stadttheater on May 28th, under the baton of Robert Denzler. Décors by Roman Clemens. S. [202]
[Abbildung] Book-burning in the City of Mainz.
[Abbildung] Chapter-house of the Cathedral.
Roger Sessions: Vienna — Vale, ave. To the Editor (May 1, 1938) [Reflections on world events after witnessing a performance of Mozart’s Die Zauberflöte. The tragedy of Vienna as it becomes embroiled in „Germanness“; the menace of fascism; the future of music removes to the United States]. S. 203–08
Raymond Hall: The Macbeth of Bloch [Naples, Teatro San Carlo. Ostracisim of the opera since its Parisian première in 1911. Italian translation of the French libretto by Mary Tibaldi Chiesa; tightening of the drama; musical structure. Bloch’s relationship to Moussorgsky. Radio broadcast in the United States vetoed owing to Bloch’s Jewish heritage; Bloch not permitted to conduct owing to Hitler’s visit to Naples]. S. 209–15
Ernst Bloch’s opera Macbeth. The scenes designed by C. M. Christini for the Teatro San Carlo production in Naples, March 1938. S. [211]
[Abbildung] The Sleepwalking Scene [Bloch, Macbeth].
[Abbildung] The banquet [Bloch, Macbeth].
John A. Gutman: Casting the film composer [Composers and European film production; Milhaud’s anecdote about a contract with a London film company; problems of composing for films in Germany and Central Europe; freedom for film composers in France; Honneger an ideal film composer; Milhaud’s difficulties with the filmscore for Madame Bovary; talent of producer Sacha Guitry; overview of conditions for film composers in England]. S. 216–21
William Schuman: Unconventional case history [Lack of music education at the root of the present public’s indifference to music; curriculum of arts studies at the Sarah Lawrence College; musical training necessary for composers; an experiment in teaching methods]. S. 222–27
Forecast and review. S. 228–43
Elliott Carter: Season’s end, New York, Spring, 1938 [Economics of composing music. New York Philharmonic: Malipiero, Symphony no. 2. Quincy Porter, Symphony no. 1. Abram Chasins, Piano Concerto no. 2. Boston Symphony: Prokofieff, Romeo and Juliet, Lieutenant Kije. Philadelphia Orchestra: Wagenaar, Triple Concerto. Harl Macdonald, Symphony no. 4. Saminsky’s Three Choir Festival. League of Composers’ commission: Diamond, Quintet for flute, piano and string trio. Society for Professional Musicians: Dante Fiorillo, Concerto for piano, oboe and horn. Henry Hadley Memorial Society]. S. 228–33
Kurt List: Political art — Notes on Krenek’s Karl V [Use of twelve-tone technique and subject matter dealing with the reformation and counter reformation infers yeilding to political pressure in art; changes in Krenek’s compositional method; problems of staging Karl V]. S. 233–35
Arthur Cohn: How news comes to Philadelphia [Lack of contemporary music representation in the programs of Philadelphia’s leading musical institutions. Critical appraisal of compositions by Ransman, Harl Macdonald and Wagenaar. Chamber music concerts directed by Paul Nordoff. Philadelphia Music Center repertory. Philadelphia WPA music project]. S. 235–38
Pauline Konstantin: Third Service for the Temple [Isadore Freed’s Liturgy of the Reformed Synagogue performed at the Three Choir Festival]. S. 238–39
Leonard Bernstein: Boston carries on [Prokofieff conducting the Boston Symphony Orchestra: Piano Concerto no. 1; Peter and the Wolf; Romeo and Juliet, Suite no. 2. Piston, Symphony no. 1. Ravel, Shéhérazade; Olga Averino. Theodore de Hartmann (violoncellist)]. S. 239–41
Elliott Carter: Recent festival at Rochester [Eastman School Festival of American Music, Hanson (director). Diamond, Elegy in Memory of Maurice Ravel. Vladimir Ussachevsky, Cantata for speaker, chorus and orchestra. Charles Vardell, Symphony no. 1. Copland, Saga of the Prairie. Burrill Phillips, Play Ball! (ballet)]. S. 241–43
Aaron Copland: Scores and records. S. 244–48
[Scores. Sessions, Violin Concerto (Affiliated Music Corporation). Walton, In Honor of the City of London (Oxford University Press). Poulenc, Mass for unaccompanied voices (Elkan-Vogel). Schuman, „Pioneers“ (J. W. Chester). Diamond, Psalm for orchestra (Julliard Publications). Nicholas Nabokoff, Contrasts and Developments for piano (Edition Russe de Musique). Rubbra, Sonata for violin and piano (Oxford University Press)]. S. 244–46
Records [RCA Victor: Hindu music by Uday Shan-Kar’s musicians and dancers; Vaughan Williams, Symphony in F minor. Lord Berners, The Triumph of Neptune (Columbia). Harris, Symphony for Voices (RCA Victor). Varese, Octandre (New Music Quarterly Recordings). McBride, Fugato on a Well-known Theme]. S. 246–48
Edwin Denby: Theatre and dance [Remarks on the site and buildings of the New York World’s Fair; folk art and gas station style; Paul Draper (dancer)]. S. 248–51
George Antheil: On the Hollywood front [Mood, synchronized action and locale in films. Remarks on Hollywood and European scoring for films; conclusions about motion picture music. Film scores by Copland and Blitzstein for Spanish Earth, and by Shostakovitch for Alone. Negative remarks about the cultural level of Hollywood]. S. 251–54
Goddard Lieberson: On the air [Radio broadcasting without compensation for composers. League of Composers broadcast: Diamond, String Trio. Shostakovitch, Symphony no. 5; Rodzinski (conductor), Frederic Jacobi (radio commentator). Remarks on Schneerson’s discussion of Shostakovitch’s Symphony no. 5. Criticism of compositions by Sowerby and Ussachevsky performed at the Rochester American Music Festival. Orchestral repertory]. S. 255–56
Recent books. S. 257–63
Roger Sessions: The function of theory [Practical nature of theory texts for musicians; comparison of the merits of three German-language texts: Hindemith, Unterweisung im Tonsatz; Krenek, Ueber die neue Musik; Schenker, Der freie Satz. Critical appraisal]. S. 257–62
Ernest Lubin: Tovey’s analysis [Essays in Musical Analysis (Oxford University Press) Interest in contemporary music of Sibelius, Strauss and Hindemith]. S. 262–63
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Danton’s Tod. This is the now famous set designed by Jan Tichacek for Orson Welles’ Mercury Theatre production of Büchner’s drama. The cyclorama, studded with ten thousand heads, has opened to show the guillotine as the timbril swiftly rises. Music was by Marc Blitzstein. S. [2]
Mark Brunswick: After Munich [Consequences to music ascertained after the Peace of Munich; fall of democratic Czecho-Slovakia, the heartland of European music; query on the death of music within a culture; decline in quality of twentieth-century music; high level of music distribution. Responsibility of musical life in the United States; lack of a deep-rooted musical instinct in the period of Anglo-Saxon colinization]. S. 3–9
George Henry Lovett Smith: American composers, XIV. Edward Burlingame Hill [Discovery by Koussevitzky; biographical sketch; overview of principal compositions]. S. [10]-16
Works by Edward Burlingame Hill. S. 16
[Abbildung] Edward Burlingame Hill. Portrait by Kathryn Nason. S. [10]
Virgil Thomson: French landscape with figures [Singing and dancing by the French on vacation; review of major French musicians. The Peace of Munich. Communist publishers Editions Sociales Internationales]. S. 17–22
Ernst Krenek: The transplanted composer [Impressions of a European composer arriving in the United States; characteristics of American musical life]. S. 23–27
Karl V, opera by Ernst Krenek. Décors for the première given in Prague in June 1938. By Frank Schulte. S. [25]
Hans Heinsheimer: Challenge of the new audience [Musical progress in the United States measured by the number of orchestras, radio broadcasts, choral and educational institutions. Problems confronting American composers: lack of an actual economic, cultural basis; statistical study of the growth of symphony orchestras; remarks on music education]. S. 28–32
Forecast and review. S. 33–49
Elliott Carter: Coolidge crusade; WPA; New York season [New York Public Library concerts featuring compositions and performers from Mrs. Sprague Coolidge’s Pittsfield festival; list of commissions. Toch, Quintet. Gruenberg, String Quartet. Webern, String Quartet. Hindemith’s Marienleben and Mathis der Maler Symphony. Metropolitan Opera House: Hindemith, St. Francis (ballet). Out-of-Doors Concerts: directed by Koussevitzky and Smallens. Westminster Choir School Festival. Schuman, Pioneers, Diamond, String Trio, Symphony no. 2. WPA Composers’ Forum Laboratory’s brochure. Building an audience for contemporary music]. S. 33–38
Arno Huth: Forbidden opus — Protestant [Troubled genesis and production history of Hindemith’s Mathis der Maler. First performance at the Zurich Stadttheater. Hindemith’s libretto on the life of painter Matthias Grünewald; summary of the stage action and music]. S. 38–41
H. H. Stuckenschmidt: Forbidden opus — Catholic [Krenek’s development as a composer; Karl V; summary of the stage action and music]. S. 41–44
Pitts Sanborn: Strauss in Munich — Blum in Paris [Munich, National Theater: Strauss, Friedenstag, Daphne. Resurgence of the Paris Opéra as a focal point in French musical life: Honneger and Ibert, L’Aiglan]. S. 44–49
Aaron Copland: Scores and records. S. 50–54
[Scores. Hindemith, Mathis der Maler, Nobilissima Visione, Symphonic Dances (miniature scores by Schott). Blitzstein, I’ve Got the Tune (Chappell & Co.). Benjamin Britten, Variations on a Theme by Frank Bridge (Hawkes & Son). Marcel Delannoy, Sérénade concertante for violin and orchestra (Max Eschig)]. S. 50–52
Records [Program of piano music by Prokofieff (RCA Victor). Prokofieff, Lieutenant Kije Suite. Sibelius, Symphony no. 5; Pohjola’s Daughter; Boston Symphony Orchestra. Arthur Bliss, Music for Strings. Françaix, Piano Concerto. Songs by Malipiero and Ravel]. S. 52–54
John Gutman: In the theatre [Weill, Knickerbocker Holiday; synopsis of Maxwell Anderson’s libretto. Maurice Evans’ staging of Shakespeare’s Hamlet with incidental music by Lehman Engel. Friedman and Rome, Sing Out the News]. S. 54–58
Edwin Denby: With the dancers [Ballet Russe de Monte Carlo; Massine’s company; Alexandra Danilova]. S. 58–61
George Antheil: On the Hollywood front [Film music fitted to the images after the editing process. Expert film composers Alfred Newman and Max Steiner. Outstanding film scores: Richard Hagemann, If I Were King (Paramount). Weill’s score for You and Me. Stokowski and the Walt Disney studios. Films dealing with the imminent war]. S. 62–65
Goddard Lieberson: Over the air [NBC Symphony Orchestra: Barber, Adagio for strings; Essay for orchestra; Toscannini. Columbia Broadcasting System’s Everybody’s Music series: Paul Creston, Partita; Schuman, Symphony in one movement. Gerschefski, Save the Saugatuck; Charles Jones, Suite. Commissions for the Everybody’s Music series. Porter, Dance in 4-Time and Dance in 5-Time. Jazz influences in Robert Russell Bennett’s Eight Études for orchestra. Jerome Moross, Tall Story. Sowerby, Theme in Yellow. Dett, American Sampler. Overview]. S. 65–69
Marion Bauer: Recent books. The last hundred years [Gerald Abraham, A Hundred Years of Music]. S. 70–71
The League of Composers. Executive Board. Advisory Board. S. [74]
Adolfo Salazar: America, North and South [Totalitarian movements in Europe stifle artistic development resulting in a more focused view of music in the United States. Americanism a curious „third dimension.“ New directions for Anglo-Saxon and Spanish culture in North and Central America. Comparison of musical attitudes in the United States and Spanish America; influence of negro music, commercialism]. S. 75–81
Henry Pleasants: First-time fever [Public and critical rejection of contemporary music: compositions by Tikhon Krennikov, Tibor Serly, Roger Sessions, Samuel Barber, Anis Fuleihan, Bartók]. S. 82–85
Denoe Leedy: American composers XV. Arthur Shepherd [Biographical sketch]. S. [86–93]
The music of Arthur Shepherd. S. [93]
[Abbildung] Arthur Shepherd. Portrait by Mahonri Young. S. [86]
Davidson Taylor: Long range policy for radio [Columbia Broadcasting System’s commissions for American composers: Vittorio Giannini, The Beauty and the Beast (opera) broadcast. Organized indifference of the press towards broadcasts of American music. CBS, NBC and MBS flooded with new scores by American composers. Rise of popular music composers: Raymond Scott’s microphone improvisations]. S. 94–98
Forecast and review. S. 99–121
Elliott Carter: Once again swing; also „American music“ [Public opinion on the nature and cultural position of „swing.“ Carnegie Hall: historical concert tracing the history of swing; swing slang. Query on the „reactionary“ and „modern“ aspects of American music; public opinion in the press; indifference of the critics. Concert by the Musical Art Quartet: Mason, Intermezzo; Porter, String Quartet no. 6; Rudolph Forst, String Quartet (NBC award winner); Mark Wessel, String Quartet. Copland, El Salon Mexico; Outdoor Overture]. S. 99–103
Virgil Thomson: More from Paris [Modern music society „Sérénade“: chamber music concert. Controversy about Markevich’s Le Nouvel Age and German conductors. Hermann Scherchen’s concerts supported by intellectuals. Excellence of high-powered German conducting. Negative opinion on twentieth-century German music]. S. 104–05, 108–09
Paul Rosenfeld: Ives’ Concord Sonata [Pianist John Kirkpatrick’s performance at Old House, Cos Cob. Personal reaction with historical references to the composition as it was performed]. S. 109–12
Arno Huth: Triumph of reaction, Belgium, 1938 [Brussels and Antwerp meeting of the Conseil Permanent pour la Coopération Internationale des Compositeurs. Overview of compositions]. S. 112–14
George Henry Lovett Smith: Boston news [Hindemith, Symphonic Dances. Krenek, Piano Concerto no. 2. Goossens, Nature Poems. Koussevitzky’s American composers concerts: Hill, Violin Concerto; Berezowsky, Toccata, Variations and Finale; Dukelsky, Dédicaces. Piston, The Incredible Flautist]. S. 114–16
Arthur Cohn: Americans in the Fleisher collection [of orchestral music; copying of manuscript scores; overview of the collection]. S. 116–19
Joan Pack: Youth movement [Intercollegiate Music Guild organized at Sarah Lawrence College]. S. 119–21
Q——N: Czech twilight (Prague, December 17, 1938) [National anarchy reflected in concert programs]. S. 121
[Abbildung] La Chartreuse de Parme. Opera on Stendhal’s celebrated novel by Henri Sauget. Décors by Jacques Dupont for the production planned in Paris in the Spring. S. [106–07]
Aaron Copland: Scores and records. S. 122–25
[Records. Roussel, String Quartet in D major, op. 45 (Columbia). Lucien Cailliet’s orchestral transcription of Moussorgsky’s Pictures at an Exhibition; Philadelphia Orchestra (Victor). Bloch, Violin Sonata; Jose Gingold and Beryl Rubinstein (RCA Victor). Holst, St. Paul’s Suite (Columbia). Bowles, Huspagnos and Cafe sin Nombre (New Music Quarterly Recordings). Ives, selected Songs; Mordecai Bauman (NMQR). Johanna Beyer, Suite for oboe and bassoon. Cowell, Two Chorales and Ostinato (NMQR)]. S. 122–24
Scores [Harold Morris, Symphony based on Browning’s Prospice (Affiliated Music Corporation). Karol Rathaus, String Quartet, no, 3 (Oxford University Press). Elie Siegmeister, John Henry (chorus). McBride, Hot Stuff (We Hope) (Carl Fischer). Janacek, Amarus (cantata); Intimate Pages (string quartet) (Hudebni Matice). List of contemporary piano compositions]. S. 124–25
John Gutman: In the theatre [Milhaud, Christophe Colomb. Quatre Saisons (ballet troupe): Milhaud, Le Bal de voleurs. Federal Music Theatre: Toch, Die Prinzessin auf der Erbse (opera). Samuel and Bella Spewack’s production of Cole Porter’s Leave it to Me]. S. 125–28
Edwin Denby: With the dancers [Argentinita (Spanish dancer). Balanchine’s choreography for The Boys from Syracuse. Dance in Broadway shows: Sing Out the News and Hellzapoppin. Martha Graham, American Document]. S. 128–30
George Antheil: On the Hollywood front [Boris Moross’ departure from Paramount Studios as music director. Disney Studios production with Stokowski. Adolphe Borchard’s film score for The Story of a Cheat]. S. 130–33
Goddard Lieberson: Over the air [Remarks on the desultory state of American radio; dim prospects for 1939. Milton Katims and Milton Kaye’s series of viola and piano concerts on MBS]. S. 133–34
Recent books. S. 135–39
William Schuman: [Copland, What to Listen For In Music (Whittlesly House)]. S. 135–37
Roger Sessions: A lesson from Mozart [W. J. Turner, Mozart, the Man and His World (Alfred Knopf, 1938)]. S. 137–39
The League of Composers. Executive Board. Advisory Board. S. [141]
[Abbildung] The Devil and Daniel Webster. Mr. Scratch summons the jury from Hell. This new folk opera by Douglas Moore and Stephen Vincent Benet will be presented on May 18th as the opening production of The American Lyric Theatre, in cooperation with the League of Composers. S. [142]
Charles Louis Seeger: Grass roots for American composers [Search for elements of folk song in contemporary American society; opinion of Olin Downes; jazz and immigrant songs]. S. 143–49
Alfred Einstein: Universality and music today [Early periods expected universality without reference to personal beliefs. Bach and Mozart’s universality. Disappearance of vocal art and symphonic art in modern society. Universality of Schönberg, Hindemith and Stravinsky]. S. 150–55
Stefan Wolpe: Music, old and new, in Palestine [Musical culture of the Palestinian Arabs. Immigration of the Jews; activity centered in Tel-Aviv. Bronislaw Huberman, founder of the Palestine Symphony Orchestra; Jewish radio broadcasting directed by Carl Salomon. Working people’s preference for popular music. Music in the communal farms; amateur composers; acceptance of the country’s musical mannerisms; World Center of Jewish Music]. S. 156–59
Colin McPhee: The decline of the East [Traditional Balinese music replaced by a new form, the „Kebiar“; overview of the history of Bali and Dutch influence; ritualistic dancing and music]. S. 160–67
Ceicao de Barros-Baretta: Brazil mirrors its own nature [African, Indian and European mixture of musical elements. Brazilian composers: Carlos Gomes, Alberto Nepomunceno, Francisco Braga, Hector Villa-Lobos, Luciano Gallet. Folk song]. S. 168–71
Forecast and review. S. 172–84
Elliott Carter: The case of Mr. Ives [Recollections of the composer and the composition of the Concord Sonata]. S. 172–76
Further notes on the winter season [Bartók, Rhapsody for clarinet and violin. Stravinsky, Concerto for two pianos. Julliard alumni concert: Copland. Boston Symphony: Hindemith, Symphonic Dances; Dukelsky, Dédicaces. Composers’ Forum Laboratory: Henry Brant, Viola Sonata. League of Composers’ concert]. S. 176–78
[Hendrick Willem Van Loon, Deliberate Reflections; critical remarks on the state of music making in the United States]. S. 178–79
Paul Rosenfeld: Lukas Foss — A new talent [Biographical sketch; Set og Three Pieces for two pianos]. S. 180–82
Leonard Bernstein: The latest from Boston [Boston Symphony: Carpenter, Violin Concerto; Zlatko Belokovic. Schuman, Symphony no. 2; Harris, Symphony no. 3. Everett Helm, Songs]. S. 182–84
Aaron Copland: New records [Deems Taylor, Through the Looking Glass Suite (Columbia). Harris, Chorale for string sextet. Old Harp Singers from Nashville (Musicraft Records). Negro folk art on Blue Note Records. Songs from Peru, Tahiti, the Belgian Congo. Hindemith, String Quartet no. 3 (RCA Victor). Russian modern music: Shostakovitch, Mossolov, Meytuss]. S. 185–88
John Gutman: In the theatre [Federal Theatre: swing version of The Mikado. Noel Coward, Set to Music (revue). Richard Rodgers. Rupert Graves’ incidental music for Maurice Evans’ staging of Shakespeare’s Henry IV]. S. 188–90
Edwin Denby: With the dancers [Agnes De Mille, Anna Sokolow, Hanya Holm. Gilbert and Sullivan. Lifar’s book Le Danse. Modern dancer Kerutzberg]. S. 190–94
George Antheil: On the Hollywood front [Cost of making films in the United States and Europe; European film scores. Film scores: Adolph Borchard’s for The Story of a Cheat; Karol Rathaus’ for Let Us Live. Soviet films: L. Shvarts film score for The Childhood of Maxim Gorki. Jaubert’s film score for Un carnet du bal]. S. 194–96
George Herzog: Recent books. Music cyclopedias — New style [Percy A. Scholes, The Oxford Companion to Music. Oscar Thompson, The International Cyclopedia of Music and Musicians]. S. 197–99
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Railroads on Parade with music by Kurt Weill. Décors of locomotives and characters in the show at the Railroad Building at the New York World’s Fair. Costumes and sets are by Henry Horner, staging by Charles Allen, conceived & directed by Edward Hungerford. S. [202]
Fugitivus: Inside Germany [Recollections of a well-known German pianist; success without politics led to „schwarzarbeit“ (illegal labor); list of musicians forced to leave Germany]. Herr Goebbels and the Reichkulturkammer [System of kulturpolitik; board of the Reichkulturkammer]. Local control — The city musikkommissar [Qualifications]. The fate of composers [Richard Monhaupt]. Music „criticism“ — How it works [Freedom of expression and opinion not permitted]. „Verboten“ and „Ünterwünscht“ [Jews, non-Aryan musicians and followers of Schönberg]. The repertory [Restrictions; Julius Streicher, anti-Semite and leader of a Jewish witchhunt]. Public reaction. S. 203–13
Paul Rosenfeld: Variation on the grass roots theme [Charles Louis Seeger’s article in Modern Music: American style not accepted by the American public; a „gebrauchsmusik“ recommended. Rosenfeld’s contradiction to this notion and remedy]. S. 214–19
Humphrey Searle: Growing pains in England [Composers under the influence of Debussy and „Les Six“; students of Nadia Boulanger; influence of Schönberg and his disciples, Mahler and Busoni. Studies in the universities; role of the BBC. Benjamin Britten, John Ireland, Alan Bush]. S. 220–24
Minna Lederman: Fan mail for Mr. Whalen [Criticism of the the director of the World’s Fair Music Hall for the absence of American music on the programs]. S. 225–28
Virgil Thomson: More and more from Paris [Sauget, Chartreuse de Parme. Milhaud, L’Homme et son désir. Bartók, Concerto for percussion and two-pianos. Messiaen, La Nativité du Seigneur. Henri Cliquet-Pleyel, Espagne; Transbaikal (Serbian melody). Spanish music]. Post-scripta [French government relieves unemployment by granting commissions to composers]. S. 229–37
Forecast and review. S. 238–63
Elliott Carter: O fair world of music! [New York World’s Fair: loudspeaker broadcasts of popular classics. Railroad Building: Weill, Railroads on Parade. General Electric and Westinghouse exhibits with electrical soundtracks. Ford Building: Ferde Grofé at the Hammond novachord. A. T. and T. Pavillion featuring a keyboard of audible consonants. Commissions from American business concerns for Eisler, Giannini, Still, Copland. Russell Robert Bennett, Broadway arranger’s music for the Lagoon of Nations. WPA open-air auditorium]. At the Hall of Music [Polish, Rumanian, Brazilian, Swiss concerts]. S. 238–43
Emilia Elsner: Troubled Warsaw is the host to nations [International Society for Contemporary Music. Cancellations by musicians owing to the threatening political situation. Josef Valls (Spain), Symphonie. Christian Darnton (England), Five Orchestral Pieces. Marcell Poot (Belgium), Légende epique. Slavko Osterk (Jugoslavia), Passacaglia and Choral. Jean Rivier (France), Symphonie. Conrad Beck (Switzerland), Kammerkantate. Knudage Rissager (Denmark), Concertino for trumpet and strings. Robert de Roos (Holland), Five Etudes for piano and orchestra. Souris (Belgium), Rengaines. Dallapiccola (Italy), Tre Laudi. Webern, String Quartet, op. 28. Henk Badings (Holland), Boleslaw Woytowicz (Poland), Twenty Variations in the Form of a Symphony. Marcel Mihalovici (Rumania), Praeludium and Invention]. S. 243, 246–49
E. C.: Season of Hindemith and Americans [The composer conducting the Philadelphia Orchestra, at the Julliard Alumni concerts, at the New School for Social Research and at Town Hall. Boston Symphony Orchestra: Harris, Symphony no. 3. Concert of works by Guggenheim Fellows: Copland, Piston, Nordoff, Schuman, Diamond, McBride. Soviet Pavilion at the New York World’s Fair: Shostakovitch, Symphony no. 5; Stokowski. New School concerts: Sessions, String Quartet; Schönberg, Das Buch der hängenden Gärten. Julliard Alumni concerts: Jacobi, Ave Rota. League of Composers’s concert: Bowles, Pieces for a Farce; Robert Palmer, String Quartet. New Masses concert: Mordecai Baumann’s concert of leftist songs]. S. 249–54
C. McPhee: Further seasonal note [Lazare Saminsky’s Choir Festival at Temple Emanu-El]. S. 254
John L. Burk: Bloch revisits Boston [Boston Symphony Orchestra: Bloch, Macbeth Interludes; Three Jewish Poems; Schelomo; Helvetia; America]. S. 254–56
Cecil Michener Smith: Chicago moves forward [Chicago Symphony Orchestra: Bartók, Piano Concerto no. 2. Krenek, Der Triumph der Empfindsamkeit. Martinu, Concerto for string quartet and orchestra. Poot, Ballade for string quartet and orchestra. Sowerby, Organ Concerto. WPA Illinois Symphony: Roussel and Shostakovitch. Kolisch String Quartet at the University of Chicago. Saidenberg Symphonietta and Lange Chamber Orchestra concerts]. S. 256–59
René Devries: Jacobi’s concerto [for violin; Albert Spalding]. S. 259
Henry Pleasants: New music for Philadelphia [Symphonies and orchestral pieces by Barber, Hindemith, Enesco, Françaix. Stokowski conducting Shostakovitch’s Symphony no. 5 and Gretchaninoff’s Symphony no. 5. Berezowsky, Toccata, Variations and Finale]. S. 259–61
Moses Smith: Bowdoin College series [Copland, McBride, Piston]. S. 261–63
[Abbildung] Three sketches by Karl Free for Elliott Carter’s ballet Pocahontas. S. [243–44]
The Ballet Caravan will present American works with American subjects, music, choreography and décors in its first New York public appearance in the spring festival of the American Lyric Theatre at the Martin Beck Theatre. S. [244–45]
[Abbildung] Costume designs by Jared French for Aaron Copland’s ballet Billy the Kid. S. [244]
Colin McPhee: Scores and records. S. 264–67
[Founding of the Arrow Press for the publication of compositions by American composers. Piston, Trio. Norman Cazden, Music for Study (piano pieces). Diamond, Three Madrigals (Kalmus). New Music publication of works by George Tremblay and Jacobo Ficher. Grupo Renovacion (Argentina): Juan Mario Castro, Sonata. Hindemith chamber music (Schott)]. S. 264–66
The Stravinsky mystery [Dumbarton Oaks Concerto (Schott Söhne)]. S. 266–67
New records [Hindemith, Sonata for viola and piano (Victor). Poulenc, Mass in G Major (Columbia). Delius Album; Beecham (Columbia). Loeffler, Music for Stringed-Instruments (Victor)]. S. 267–68
Edwin Denby: With the dancers [Mexicana with Jose Fernandez. Remarks on the New York World’s Fair: the WPA Adelante. Ballet Russe de Monte Carlo: Adam, Giselle; Alicia Markova]. S. 268–71
David Diamond: Over the air [NBC: Gian Carlo Menotti, The Old Maid and the Thief. Mutual Broadcasting System: League of Composers’ broadcast. Porter, incidental music to Antony and Cleopatra. Rodgers, Elegie from the Symphony no. 3. Indianapolis Symphony broadcasts under Fabien Sevitzky. Julliard Alumni. WQXR and WEVD broadcasts. NBC’s broadcasts of the Eastman School Symphony; Howard Hanson]. S. 271–75
John Gutman: In the theatre [Julliard School: Purcell, Dido and Aeneas. Ravel, Le Heure espagnole. Swing Mikado; Red Mikado]. S. 276–78
George Antheil: On the Hollywood front [European film scores: Honneger, Pygmalion. Sergei Eisenstein’s Alexander Nevsky with Prokofieff’s film score. Stokowski at the Disney Studios]. S. 278–80
Recent books. S. 281–87
Paul Bowles: Anatomy of jazz [Winthrop Sargeant, Jazz, Hot and Hybrid (Arrow Editions, 1938)]. S. 281–95
Kurt List: The social approach [Development of art based on the economic foundation of society. Writings of Mehring, Lunatscharsky and Trotsky. Elie Siegmeister’s pamphlet Music and Society]. S. 285–87
The League of Composers. Executive Board. Advisory Board. S. [2]
Albert Einstein: War, nationalism, tolerance. S. 3–9
Nationalism. San Marino. Prejudices. War’s aftermath. Tolerance.
Burle Marx: Brazilian portrait — Villa-Lobos [Recollections of a compatriot; biographical sketch]. S. 10–18
[Abbildung] Villa-Lobos drawn by Alcu Penna. S. [11]
Paul Rosenfeld: Folksong and culture politics [White Top Mountain folksong festival in Virginia. Supression of folksong in the United States by intellectuals, urban dwellers and the Protestant churches. Revival of interest: American Musicological Society session in New York]. S. 18–23
Arthur Mendel: The Quintet of Roy Harris [String Quintet]. S. 24–28
Isadore Freed: The teacher needs the composer [Music: and art whose past is exploited to the almost complete exclusion of the living present. Teacher of instrumental music an important factor in the development of taste; need for greater knowledge of contemporary compositional techniques; decline in the composition of educational piano music]. S. 29–33
Forecast and review. S. 34–51
Elliott Carter: The New York season opens [Sibelius’ incidental music, dances and symphonies reach the serious-minded public at all levels. ASCAP Festival of American Music at Carnegie Hall featuring „light music“: Jacobi, Violin Concerto; Hadley, In Bohemia; MacDowell, Indian Suite. Activities of the Federal Music Project and the Composers’ Forum Laboratory. Castelnuovo-Tedesco, Piano Concerto no. 2]. S. 34–38
Humphrey Searle: News from Britain (London, November 1st) [All classes of musicians severely hit by the war; cancellation of the Russian ballet season and the promenade concerts; BBC orchestras removed to the country. Bush’s concerts with the London String Orchestra. Publishers Boosey and Hawkes assume publishing rights for the works of Webern and Bartók. Wartime activities of British musicians]. S. 38–40
Arno Huth: Letter from France (Paris, October 23rd) [Drastic contraction of musical life. National Swiss Exposition: Honneger, Nikolas von der Flüe cancelled. Antwerp, Royal Flemish Operahouse: Milhaud, Medée. Refugee musicians in France]. S. 40–41
Switzerland carries on (Geneva, November 1st) [Tally of orchestras and choruses active for the forthcoming season; overview of performers and repertory]. S. 41–43
George Henry Lovett Smith: American Festival in Boston [Boston Symphony Orchestra: works by Carpenter, Hadley, Taylor, Schuman. Gershwin, Piano Concerto in F. Harris, Symphony no. 2]. S. 43–45
Paul Bowles: Negro and non-negro music [ASCAP Festival of American Music program devoted to „compositions by our Negro composers“: Louis Armstrong, Lionel Hampton, Fletcher Henderson]. S. 45–46
Frederick Jacobi, Jn.: Harvard soirée [Harvard University: Charles Eliot Norton chair of Poetics filled by Stravinsky. Opening lecture: an explanation of music; resume of forthcoming lectures]. S. 47–48
Henry Pleasants: Philadelphia greets Thompson [Philadelphia Orchestra, Randall Thompson, Symphony no. 2]. S. 48–49
George Herzog: Musicology steps out [New York congress of the American Musicological Society; overview of the papers]. S. 49–51
Colin McPhee: Scores and records. S. 52–54
[Chavez, Indian Symphony and Antigona (Victor). Rochester Symphony Album of American Music (Victor). MacDowell, Indian Symphony (Columbia). Griffes, Two Sketches for string quartet (Victor). Griffes, The White Peacock (Columbia). Macdonald, Concerto for two pianos (Victor). Ives, Sixty-seventh Psalm; Madrigal Singers (Columbia). Ravel, Gaspard de la nuit; Walter Gieseking (Columbia). Ravel, Alborada del Grazioso; San Roma (Victor). Prokofieff, Peter and the Wolf]. S. 52–53
[Bloch, Violin Concerto (Boosey and Hawkes). Britten, Piano Concerto. Britten, Ballad for Heroes. Harris, Symphony for Voices (Schirmer). Piano pieces by Lukas Foss, Harris, Krenek. Sowerby, Florida Suite (Oxford University Press). Messiaen, Chants de terre et ciel (Durand). South American music featured in the periodical New Music]. S. 53–54
Conlon Nancarrow: Over the air [Radio performances of American music eclipsed by more traditional compositions. CBS American School of the Air. Southwestern cowboy songs by Alan Lomax; Harris’ arrangement. Eddy Brown (WQXR music director): project to involve school orchestras performing American music. CBS campaign to promote American music: Giannini, Blennerhasset (opera)]. S. 55
Edwin Denby: With the dancers [Ballet Russe de Monte Carlo: Devil’s Holiday. Choreographer and dancer Frederick Ashton. Capriccio espagnol; Massine, André Eglevsky. Shostakovitch, Rouge et noir. Rogers, Ghost Town. Bali Ballet]. Note to composers [Viewing the Ballet Russe de Monte Carlo instructive]. S. 56–60
Paul Bowles: On the film front [Imperceptibility the current criterion for film music. Honneger’s film score for Giono’s Harvest. Copland’s film score for The City. Satie’s film score Entr’acte]. S. 60–62
New books. S. 63–66
Aaron Copland: Thomson’s musical state [The State of Music]. S. 63–65
Ray Brown: Saminsky revises Music of Our Day (Thomas Y. Crowell, 1939). S. 65–66
[Anonymus]: An invitation to readers [Request for correspondence]. S. [67]
The League of Composers. Executive Board. Advisory Board. S. [70]
Roger Sessions: On the American future. To the Editor [Life in the United States altered by the advance of totalitarian regimes. Current world trends toward nationalism and cultural isolationism]. S. 71–75
Nicolas Slonimsky: Caturla of Cuba [Educated in Europe, the Spanish – Cuban composer embraces the modes of the Cuban „Son“ and Afro-Cuban folklore; various rhythmic and melodic forms of Cuban music]. S. 76–80
Frederick Jacobi: Bloch’s Violin Concerto [Overview]. S. 81–83
Henry Pleasants: New note on a familiar theme [Query on the ability of symphony orchestras to remain as museums of music; public’s fear of contemporary music]. S. 84–86
Carlos Chavez: Music for the radio [Research into the technical means to broadcast live music performances from the concert hall; compositions for electric transmission]. S. 89–92
Forecast and review. S. 93–109
Elliott Carter: American music in the New York scene [Evaluation of American music. Boston Symphony: Harris, Symphony no. 3. Composers’ Forum Laboratory: concert of compositions by Sessions. Piston, Concertino for piano and orchestra. Carpenter, Skyscrapers. Schuman, American Festival Overture. Hanson, Symphony no. 3. Hill, Violin Concerto. Thompson, Symphony no. 2. Diamond, Cello Sonata; Quintet; Elegy in Memory of Maurice Ravel. Saminsky’s concert. Ralph Kirkpatrick’s concert of twentieth-century compositions for harpsichord]. S. 93–97, 100–01
Guido M. Gatti: A strenuous Italian season (Turin, December 30th) [Rome: Ludovico Rocca, Monte Ivnor (opera). Genoa, Teatro Carlo Felice: Guido Pannain, L’Intrusa (opera). New operas in various cities. Petrassi, Piano Concerto; Walter Gieseking]. S. 101–03
Paul Bowles: From spirituals to swing [Second annual festival held in New York: Benny Goodman’s Sextet]. S. 103–04
Herbert Elwell: Cleveland’s first times [Cleveland Orchestra: Walton, Violin Concerto; Jascha Heifitz. Repertory]. S. 104–05
George Henry Lovett Smith: Boston looks West [Berkshire Music Festival at Tanglewood; repertory. Stravinsky at Harvard University and with the Boston Symphony. Lopatnikoff, Symphony no. 2. Bloch, Violin Concerto]. S. 106–08
Humphrey Searle: British pick-up (London, January 5) [National Gallery Concerts inaugurated by pianist Myra Hess. Beecham’s concerts. Contemporary Music Centre: Britten, Lennox Berkeley, Howells, Arthur Benjamin. Oxford: Charles Brill Orchestra for broadcasting]. S. 108–09
The Great American Good. Ballet-play by William Saroyan and Henry Brandt. Presented in January by the Ballet Theatre. Original designs for set and figures by Boris Aronson. S. [98–99]
[Abbildung] Sex. S. [98]
[Abbildung] Drunk.
[Abbildung] Worker.
[Abbildung] Dummy.
[Abbildung] Boy. S. [99]
[Abbildung] Organ Grinder.
[Abbildung] Policeman.
[Abbildung] Design for the set.
Colin McPhee: Scores and records. S. 110–13
[Records. Piston and Cowell, String Quartets (Columbia). Early American Ballads (Victor). E. Power Biggs performing on the Harvard University organ (Victor). Hindemith, Kleine Kammermusik (Columbia) and Funeral Music (Victor). Shostakovitch, Symphony no. 5; (Victor). Bax Album from the English Music Society (Columbia). Lekeu, Violin Sonata (Victor). Bruckner, Symphony no. 9 and Mass (Victor)]. S. 110–12
Scores [Paul Bowles Two Haupangos (Mexican Dances) (Axelrod). Theodore Chanler, Eight Epigraphs for voice and piano (Arrow Press). Cowell, Amerind Suite. Carter, „Heart not so heavy as mine“ (song). Diamond, Cello Sonata (New Music). Harris, Three Variations on a Theme (Arrow). Cowell, Symphonic Set (Arrow Press). Piston, The Incredible Flautist (ballet)]. S. 112–13
Paul Bowles: On the film front [Walter Leigh’s film score for the Song of Ceylon. Alex North and Earl Robinson’s film score for People of the Cumberland. Revueltas’ film score for Redes (The Wave). Toch’s film score for The Cat and the Canary. Dmitriy Kabalevsky’s film score for Shoes]. S. 113–15
Conlon Nancarrow: Over the air [Ballet Russe de Monte Carlo: Rodgers, Ghost Town. Station WQXR’s composer series: Julius Hijman, Sigurd Rascher, Castelnuovo-Tedesco, Dana Suesse. Erno Rapee’s Music Hall of the Air. Station WEVD’s contemporary music programs. Lomax’s American School of the Air (CBS)]. S. 115–16
David Diamond: With the dancers [Martha Graham, Every Soul is a Circus with music by Paul Nordoff. Ray Green’s ballet score for American Document. Ballet Caravan: Copland, Billy the Kid. City Portrait. Korean dancer Sai Shoki. Carmalita Maracci, Uruguayan dancer. Hollywood Theater: Argentinita]. S. 116–20
Décors for Martha Graham’s new dances. Designed by Philip Stapp. S. [117]
David Diamond: [Abbildung] Columbiad — A detail.
[Abbildung] Sketch for Every Soul is a Circus.
New books. S. 121–25
Marion Bauer: Krenek on Music Here and Now, new translation of Über neue Musik, translated by Barthold Fles (W. W. Norton and Co.). S. 121–23
Paul Rosenfeld: An idea for biography [Wallace Brockway and Herbert Weinstock’s Men of Music (Simon and Schuster). Marion Bauer and Ethel Peyser, How Music Grew (G. P. Putnam Sons)]. S. 123–25
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Décors for a contemporary opera. Volo di notte by Luigi Dallapiccola. Designed by Baccio M. Bacci. The composer has taken the libretto from the well-known novel Night Flight by Antoine de Saint-Exupéry. Production is scheduled for May in Florence. S. [131]
Henry Pleasants, Tibor Serly: Bartók’s historic contribution [Despite the great influence of his work, Bartók’s compositions are not generally understood and have found no place in the repertory. Overview of Bartók’s growth as a composer: influence of folksong, Wagner, Strauss, Debussy; discussion of principal compositions. Violin Sonata no. 2 and the use of unresolved passing notes; classical foundation; harmony. String Quartets nos. 4 and 5]. S. 131–40
[Abbildung] From Mikrokosmos by Bela Bartók [Four extracts with an explanation of the study collection]. S. 138–39
Aaron Copland: Second thoughts on Hollywood [Copyists, instrumentalists, conductors find opportunity for work; composers take a subordinate position under the artistic control of the producer; purpose of a film score; Hollywood’s preference for film scores written in nineteenth-century musical idioms; techniques of scoring the film action; Hollywood composers]. S. 141–47
Ernst Krenek: Teaching composition [Aim of instruction is to permit the student self expression. Methods of teaching composition; comparison of teaching methods in European conservatories and American universities]. S. 148–54
Paul Bowles: Calypso — Music of the Antilles [Negro music of Trinidad; Mardi Gras singing and dancing; Calypso orchestra; dance rhythms, the Calypso ballad]. S. 154–59
Excerpts from Calypso lyrics. S. 159
Paul Nettl: Czechs at home and far away [History of political and religious strife; emigration of musicians; European character of Czech musical life; current musical life under the Nazi Gestapo]. S. 160–63
Forecast and review. S. 164–78
Elliott Carter: Stravinsky and other moderns in 1940 [Town Hall benefit concert for Allied relief: Stravinsky, L’Histoire du soldat, Dumbarton Oaks Concerto and the Octour; remarks on Stravinsky’s musical style and his vocabulary of musical idioms. Ballet Theatre: Milhaud, La Création du monde; Weill, Dreigroschenoper. Henry Brant’s incidental music to William Saroyan’s play Great American Goof. Contemporary Concerts: Webern, Brunswick, Bloch, Berg, Bartók. Martinu, Piano Concerto no. 2. Prokofieff, Violin Concerto no. 2. League of Composers: Piston, Violin Sonata. Porter, String Quartet no. 3. Composers’ Forum Laboratory: Douglas Moore, Ballad of William Sycamore. New Music Group: Paul Creston, Violin Sonata; Saxophone Sonata. Schuman’s String Quartet no. 3 commissioned by the League of Composers. Ives, Violin Sonata Children’s Day at the Camp Meeting. League of Composers’ concert honoring European composers resident in the United States: Lopatnikoff, Zemlinsky, Rathaus, Dessau, Wolpe]. S. 164–70
Cecil Michener Smith: Contemporary music, Chicago style [Chicago Symphony Orchestra commissions for new compositions by European composers. Vano Muradeli, Symphony. Illinois Symphony Orchestra, Izler Solomon (conductor): Sessions, Violin Concerto; Britten, Piano Concerto; repertory]. S. 171–73
Ray Brown: Villa-Lobos in Washington [National Symphony Orchestra: Villa-Lobos, Piano Concerto Momo Precoce; Guiomar Novaes. La Salle Spier, Symphonic Visions]. S. 173–74
Henry Pleasants: Philadelphia première of Bartók work [Bartók, Deux Images. Hill, Sinfonietta for string orchestra]. S. 174–75
Humphrey Searle: More about music in Britain (London, February 27) [London Contemporary Music Centre: Britten, Les Illuminations; Sophie Weiss, Boyd Neel Orchestra. Reactionary tendencies of the CMC: Vaughan Williams’ Symphony in F minor and Herbert Murrill’s Quartet scheduled for performance at the ISCM in New York. BBC programming of contemporary music]. S. 175–76
Arno Huth: Swiss war-season [Basle section of the ISCM: Stravinsky, Rawsthorne, Robert Blum, Marescotti. Zurich Pro Musica: Frey, Honneger, Martin. Orchestre de la Suisse Romande, Ansermet (conductor): Roger Vuataz, Suite; Robert Obussier, Symphony; Martin, Ballade for flute and orchestra. Orchestra du Conservatoire de Paris; Charles Munch (conductor). Ansermet’s radio broadcasts from Geneva. Stravinsky, Le Rossignol. Igor Markevich’s lectures]. S. 176–78
Colin McPhee: Records and scores. S. 179–81
[African music recorded by Laura Boulton (Victor). English folk dances (Columbia). Carpenter, String Quartet in A minor (Schirmer). Bloch, String Quartet (Columbia). Berezowsky, String Quartet (Victor). Hindemith, Sonate (four hands) (Victor). McBride, Swing Stuff and Jingle Jangle; Boston Pops Orchestra. Walton and Luening].
Scores [Harris, Folk-Song Symphony. Schuman, Prelude for Women’s Voices (Schirmer). Chavez, Ten Preludes for Piano]. S. 181
Marc Blitzstein: Theatre music [Richard Rodgers in the field of musical comedy: Too Many Girls. Harold Rome, Pins and Needles. Eisler’s incidental music to Clifford Odets’ Night Music. Weill’s arrangements for Elmer Rice’s Two on an Island. Reunion in New York]. S. 181–84
Paul Bowles: On the film front [Gruenberg’s film score for The Fight for Life. Sauveplane and Kozma’s film score for Jean Renoir’s La Marseillaise. Film version of Charpentier’s opera Louise. Fred Stewart’s film score for Men and Dust. Alfred Newman’s film score for The Grapes of Wrath. Copland’s film score for Of Mice and Men]. S. 184–87
Peter Lindamood: With the dancers [Ballet Theatre: Anthony Tudor (choreographer). Andree Howard’s Lady into Fox with a score from Honneger’s piano pieces. Dancer Anton Dolin]. S. 187–91
Conlon Nancarrow: Over the air [WNYC’s American music festival: Norman Dello Joio, Cello Sonata; Riegger, String Quartet; Morton Gould, Sinfonietta no. 2; repertory. Town Meeting of the Air: „Is there a revolution in the arts?“ Musical Americana with Deems Taylor as host. CBS regional broadcasts from Philadelphia]. S. 191–93
Recent books. S. 194–99
Minna Lederman: [Margaret Grant and Herman S. Hettinger, American Symphony Orchestras (W. W. Norton and Company)]. S. 194–96
Marc Blitzstein: Pierrot Lunaire in Lindy’s [Oscar Levant, A Smattering of Ignorance (Doubleday Doran, 1940)]. S. 196–97
William Schuman: Taylor-made topics [Deems Taylor, The Well-tempered Listener (Simon & Schuster)]. S. 197–99
Ed.: Correction [Krenek’s Music Here and Now an original work written for publication by the W. W. Norton and Company]. S. 199
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Carlos Chavez by Miguel Covarrubias. Sketched for Modern Music during rehearsals of the Mexican program of New York’s Modern Museum of Art. S. [202]
Virgil: Paris, April 1940. Dear M. L. (April 18) [Concert life suspended. BBC radio. Orchestral concerts and opera]. S. 203–09
Ross Lee Finney: Piston’s Violin Sonata [Overview]. S. 210–13
Howard Duff: Flamenco [History and description]. S. 214–20
Frederick Jacobi: In defense of modernism [Sessions and Sibelius]. S. 221–25
Paul Rosenfeld: „Americanism“ in American music [Expressing the national experience and attaining an American style; a history of the discovery and advancement of music in America]. S. 226–32
Marion Bauer: Stepan Wolpe [Biographical sketch of the European composer with Russian and Hungarian antecedents]. S. 233–36
Forecast and review. S. 237–59
Elliott Carter: The changing scene, New York 1940 [Turn of musical attention to American compositions. Piston, Violin Concerto. Sessions, Piano Sonata; Copland, Variations; Sonatas of Hunter Johnson and Robert Palmer; John Kirkpatrick (pianist). John Charles Thomas singing songs of Ives and Thomson. League of Composers: South American music concert, and Young Composers’ Concert (Bernhard Heiden, Donald Fuller, Harold Shapero). New York Philharmonic: Britten, Violin Concerto. Bernard Hermann, Moby Dick (cantata)]. S. 237–41
Harrison Kerr: More on the spring season [Saminsky’s Three Choir Festival. Young Composers’ Concert: Burrill Phillips, String Quartet; Richard Arnell, String Quartet no. 4; David Van Vactor, Suite for two flutes; Nancarrow, Septet. League of Composers concert in honor of Bela Bartók: String Quartet no. 1; selections from Mikrokosmos; Rhapsody no. 1 for violin and piano. Contemporary Concerts: Harris, Quintet. Schönberg, Suite for piano, string quartet and wind instruments, op. 29. Orchestrette Classique]. S. 241–45
Colin McPhee: South America once more [Schola Cantorum concert at Carnegie Hall. Castro, Sinfonia Biblica. Burle Marx, Pater noster. Francisco Mignone, Maracatu di Chico Rei. Villa-Lobos, Chôros no. 10]. S. 245–46
Arno Huth: Dance of Death in Basle (April 150) [Honneger, La Danse des morts for chorus; synopsis of Claudel’s poem. Willy Burkhard, Hymnus for orchestra. Geneva: Debussy, La Damoiselle élue, Rhapsody for clarinet and orchestra; La Boite à joujou; Orchestre de la Suisse Romande, Ansermet. Radio broadcasts of Stravinsky’s Le Rossignol and L’Histoire du soldat. Martinu, Tre Ricercari for orchestra]. S. 246–50
New works at the Coolidge Festival [Washington, Library of Congress. Malipiero, Quattri Vecchi canzoni. Pizzetti, Epithalamium. Fitelberg, Sonata for two violins and two pianos. Harris, Viola Quintet. Berezowsky, Sextet for strings]. S. 250–54
George Henry Lovett Smith: Boston premières [Hindemith, Violin Concerto. Prokofieff, Cello Concerto and Sinfonietta, op. 5. Szymanowsky, Symphonie concertante]. S. 254–55
Arthur Cohn: Americans at Rochester [Eastman School of Music: tenth annual Festival of American Music. Diamond, Variations on an Original Theme. Trent Kennan, Promenade, Nocturne and Il Campo di fiori. Jacobi, Ave Rota. Evening of songs. Harris, Folksong Symphony. Repertory]. S. 255–58
Humphrey Searle: Music, dance and theatre in England (London, April 20) [Vic-Wells Ballet, Liszt’s Dante Sonata. Glyndbourne Opera: Gay, The Beggar’s Opera. Sadler’s Wells Opera: Mozart, Don Giovanni. Prokofieff, Nuits d’Egypte. Britten, Les Illuminations. BBC concerts]. S. 258–59
Colin McPhee: Records and scores. S. 260–63
[Records. Harris, Symphony no. 3; Hanson, Romantic Symphony (Victor). Sowerby, Come Autumn Time. Delmar Molarsky, Quintet for string quartet and voice (Timely Records). Ravel, Piano Concerto for the left hand (Victor). Hindemith, Der Schwandendreher for viola and small orchestra (Victor). Volume 6 of the Sibelius Society’s recordings (Victor). Piano Music of the Twentieth Century; Sanroma (Victor). Weinberger, Chestnut Trees]. S. 260–62
Scores [Bartók, Mikrokosmos. Hindemith’s series of sonatas for instruments and piano]. S. 262–63
Conlon Nancarrow: Over the air, Swing, jazz and boogie-woogie [Collective improvisation in jazz; „hot jazz“; jazz on the radio]. Back to the „Long-Hairs.“ [Radio broadcasts on WQXR: Stravinsky and Bartók. League of Composers]. S. 263–65
Paul Bowles: On the film front [Franz Waxman’s film score for Alfred Hitchcock’s Rebecca. Werner Janssen’s film score for Lights Out in Europe. Milhaud’s film score for The Mayor’s Dilemma. Kosma’s film score for The Human Beast. Vincent Scotto’s film score for The Baker’s Wife. Improvisation on the Novachord employed in television broadcasting]. S. 265–67
Peter Lindamood: With the dancers [Negro dancer Katherine Dunham. Repertory of the Ballet Russe de Monte Carlo. Margaret Severn’s dance recital. Lotte Goslar, dance-mime. Ted Shawn’s retirement]. S. 267–70
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Darius Milhaud. Self-portrait, 1940. Made shortly after arriving in America. S. [2]
Douglas Moore: Our lyric theatre [Difficulty of establishing modern music in America; hypothetical description of a theatre with a limited and traditional repertory and a four-month season (Metropolitan Opera). Conjecture concerning the establishment of American opera; film scores]. S. 3–7
Roy Harris: Folksong — American big business [Pendleton, Oregon: Cowboy Reunion; musicians Idaho Bill; genesis and history of folksongs; commercial exploitation of popular music]. S. 8–11
Paul Bowles: Sylvestre Revueltas [Mexican composer’s use of Indian and popular music elements]. S. 12–14
[Abbildung] Sylvestre Revueltas. Drawing by Fernando Gomboa. S. [13]
Virgil Thomson: Chaplin scores [Film actor and director’s method of preparing a plan for film scores with Meredith Wilson as music director; sound effects; City Lights and The Great Dictator]. S. 15–17
Aaron Copland: The composers get wise [Sources of musicians’ income: commissions, royalty payments, fees collectible on performance rights protected by copyright law. Formation of ASCAP in 1914; Song Writers’ Protective Association]. S. 18–21
Alfred Einstein: Affinities of the ages [Musicians fleeing from National Socialism in Europe welcomed in the United States. Relationship of creative musicians to musicology and musicologists to creative music. Historical development of European music]. S. 22–26
Paul Rosenfeld: Griffes on Grand Street [Recollections of Charles T. Griffes’ employment as a pianist in a legitimate New York theatre; retrospect on old European and American theatres]. S. 27–30
Lazare Saminsky: In the Argentine [Twelve-tone composer Juan Carlos Paz. Nationalist composers Alberto Ginastera, Luis Gianneo. The Grupo Renovacion: Juan José Castro. José Mario Castro, Sonata de Primavera. Jacobo Ficher, Variations on a Hebraic Theme. Honorio Siccardi and the influence of Latin vocal tradition]. S. 31–36
Music in the Argentine. S. 34–35
[Abbildung] Sketches for Offenbachiana. Ballet by Juan José Castro. World première at the Colón Opera House, Buenos Aires, July 1940. Décor by Hector Basaldua. S. 34
Three leaders of the Grupo Revolucion. S. 35
[Abbildung] Honorio Siccardi. Sketch by Muñoz Azpiri.
[Abbildung] José Mario Castro. Sketch by David Willment.
[Abbildung] Jacobo Ficher. From a painting by E. Lucas.
Forecast and review. S. 37–54
Donald Fuller: New York, 1940 — The season opens [New Friends of Music: Bartók, Sonata for Two Pianos and Percussion Instruments. Diamond, Concerto for chamber orchestra. New York Philharmonic: Ravel, La Valse. Toch, Pinocchio, a Merry Overture. Schönberg, Verklärte Nacht. Ives, Songs. Max Brunswick, Sonata for viola solo. Bloch, Piano Quintet. Harriet Eels vocal recital. Carnegie Hall: Heifitz performing Gershwin’s Preludes in an arrangement for violin. Michael Rosenker (violinist)]. S. 37–41
Colin McPhee: Jungles of Brazil [Museum of Modern Art: Festival of Brazilian music. Villa-Lobos, Rudepôema (Savage Poem)]. S. 41–43
Remi Gassmann: Milhaud, Carpenter, Harris in Chicago [Milhaud, Symphony. Carpenter, Symphony. Harris, The American Creed]. S. 43–44
Darius Milhaud: Paris Opéra just before occupation [Renaissance at the Opéra-Comique and the Opéra. Milhaud, Medée]. S. 45–46
Henry Cowell: Drums along the Pacific [Percussion orchestras formed in Seattle, Oakland, San Francisco and Los Angeles]. S. 46–49
Arthur Cohn: New works at Yadoo [Excellence of the Galimir String Quartet. Naginski, Sinfonietta. Donovan, Serenade. Diamond, Concerto for chamber orchestra. Riegger, String Quartet. Porter, Quintet for flute and strings. Songs by Bowles and Chanler. Harris, String Quartet no. 3. Laidlaw, String Trio. Finney, Bleheris for voice and orchestra. Normand Lockwood, Piano Quintet]. S. 49–52
John Kirkpatrick: Bennington’s festival of the arts [Porter, String Quartet no. 3. Songs by Ives, Chanler and Bowles. Barber, Dover Beach. Luening, Three Inventions for piano. Ralph Kirkpatrick. Martha Graham, Letter to the World and El Penitente]. S. 52–54
Colin McPhee: Records and scores. S. 55–58
[Records. Chavez, Program of Mexican Music and Copland, Two Pieces for string quartet (Columbia). Berlioz, Symphonie fantastique (Victor). Liszt, Orpheus (Columbia). Constant Lambert conducting French overtures (Victor). Bloch, Schelomo for cello and orchestra (Victor). Copland, Two Pieces for string quartet (Columbia). Stravinsky, Capriccio and (Victor) Le Sacre du printemps (Columbia). Bach, Little Organ Book; E. Power Biggs]. S. 55–56
Scores [Boosey and Hawkes New York branch: Britten, Violin Concerto; Copland, Music for Radio; Schuman, „This is our Time.“ Arrow Press: Ives, Charlie Rutledge; Copland, Two Pieces for string orchestra. New Music: Norman Cazden, Sonatina; Cowell, Maestoso; Harrison Kerr, Trio for clarinet, violoncello and piano. Schirmer: McPhee’s arrangements of Balinese pieces]. S. 56–58
Paul Bowles: On the film front [Herbert Windt’s film score for the Nazi production Feldzug in Polen. Richard Hageman’s film score for Blow the Man Down. Espino and Tarin’s film score for Eisenstein’s Time in the Sun. Marc Blitzstein’s film score for the withdrawn production Valley Town. Douglas Moore’s film score for Power and the Land. Ernst Toch’s film score for The Ghost Breakers. Fred Stewart’s film score for the documentary Children Must Learn. Aaron Copland’s film score for Our Town]. S. 58–61
Edwin Denby: With the dancers [Ballet Russe de Monte Carlo: Stravinsky / Balanchine, Poker Game. Tchaikovsky / Petipa, Nutcracker. Ruth St. Denis. Dance routines in movie musicals]. S. 62–64
Charles Mills: Over the air [WJZ broadcasts of portions of the Brazilian festival at the Museum of Modern Art. WNYC broadcasts of American symphonic works: Hanson, Romantic Symphony; Deems Taylor, Circus Day; Still, Symphony in G minor; Morton Gould, American Symphonietta. New Friends of Music on WJZ: Brunswick, Sonata for viola solo. Bloch, Piano Quintet. WGN broadcast of Constant Lambert’s Rio Grande Cantata]. S. 64–65
Recent books. S. 66–67
Music in History [Howard D. McKinney and W. R. Anderson]. S. 66
Edwin Denby: A dancer who thinks [Serge Lifar, Serge Diaghilev (G. P. Putnam’s Sons)]. S. 66–67
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Project for Marc Blitzstein’s opera No For An Answer by Howard Bay. S. [70]
Benjamin Britten: England and the folk-art problem [Elgar the professional composer, Parry the amateur composer. Search for a folksong basis for contemporary composition doomed to be a failure; static condition of folk-art for three centuries; failure of nationalism; multicultural influences of Delius’ On Hearing the First Cuckoo in Spring]. S. 71–75
Frederick Jacobi: America’s popular music [Rebuttal to French criticism of jazz. History of American popular songs. The roles of Jerome Kern, Gershwin, Richard Rodgers, Victor Herbert, Cole Porter]. S. 76–80
Samuel L. M. Barlow: Blitzstein’s answer [Operatic content of Blitzstein’s Broadway comedy No For An Answer; hit songs; political content]. S. 81–85
Martha Aller: American composers, XVI. Howard Hanson [Achievement as a promoter of American music; the Festival of American Music. Biographical sketch of Hanson; compositional style]. S. 84-[87]
The music of Howard Hanson [List of compositions]. S. [87]
[Abbildung] Howard Hanson. Sketch by B. F. Dolbin. S. [85]
[Anonymus]: Making a hit. By Columbia University’s Office of Radio Research [Definition and statistics of a „hit song“; summary of the effect of radio on popular music]. S. 90–97
A song is born. Publisher’s audition. The plugger. The „sheet.“ Leader’s choice. Drive week. The build-up.
Henry Cowell: Roldan and Caturla of Cuba [Deaths of Cuban composers Amadeo Roldan and Alejandro García Caturla]. S. 98–99
Paul Nettl: Alexandrian America [Process of absorbing the musical heritage of Europe; comparison with the process in Hellenic Alexandria; overview of the development of European music. Americanization of Hindemith, Krenek, Stravinsky, Milhaud, Bartók considered unlikely]. S. 100–06
Composers of Europe now living in America. From the sketch-book of the well-known artist B. F. Dolbin. S. [104–05]
[Abbildung] Wolpe [Sketch]. S. [104]
[Abbildung] Krenek [Sketch].
[Abbildung] Hindemith [Sketch].
[Abbildung] Stravinsky [Sketch].
[Abbildung] Bartók [Sketch]. S. [105]
[Abbildung] Milhaud [Sketch].
[Abbildung] Britten [Sketch].
[Abbildung] Weill [Sketch].
[Abbildung] Schönberg [Sketch].
Forecast and review. S. 107–23
Donald Fuller: Mid-season, New York, 1940–41. S. 107–13
[Schönberg’s atonal and twelve-tone compositions viewed negatively. Triumph of Pierrot Lunaire and the Kammersymphonie no. 2 at the New Friends of Music concert. New York Philharmonic Symphony: Alexander Zemlinsky, Sinfonietta for orchestra. Town Hall: Hindemith, Sonata for violin and piano. League of Composers: Milhaud, Album de Mme Barry (piano); Christophe Colomb (excerpts); La Cantate de l’enfant et de la Mére. Shostakovitch, Symphony no. 5 (Boston Symphony); Symphony no. 6 (Philadelphia Orchestra). Shostakovitch, String Quartet; Musical Art Quartet; Prokofieff, Le Fils prodigue. Nicolas Nabokoff, Piano Sonata no. 2; Sinfonia Biblica. Bartók, Music for Strings, Percussion and Celesta]. S. 107–10
[Chicago Symphony: Harris, American Creed. Carpenter, Symphony. Copland, Outdoor Overture. Schuman, Prologue and This Is Our Time. Goossens, Concertino for double string orchestra. New Friends of Music: Ibert, Concerto for cello and ten wind instruments. Harrison Potter’s piano recital. Victor Babin, Konzertstück for violin and piano. American artists interpreting émigré music at Friendship House]. S. 110–13
Herbert Elwell: Harris’ Folksong Symphony [Cleveland, convention of the American National Music Teachers’ Association. Synopsis of Harris’ folksong sources; compositional textures. Orchestral laboratory session: compositions by ten American composers]. S. 113–14
Remi Gassmann: The new Stravinsky [Symphonie des Psaumes performed by the Chicago Symphony; synopsis of musical elements. Eric De Lamarter, Fable of the Hapless Folk-tune. Miaskowsky, Symphonie-Fantaisie]. S. 115–16
Arno Huth: Paris — By grace of Goering [German periodical Dissonances announces resurgence of Paris musical life; excerpts from the Nazi report. French composers]. S. 116–18
Grosvenor Cooper: Three Milhauds [Boston Symphony Orchestra: Milhaud, Le Cortège funebre; La Fantaisie pastorale; La Suite provençale]. S. 118–20
Henry Pleasants: Schönberg, Shostakovitch, Stokowski [Philadelphia Orchestra: Schönberg, Violin Concerto. Shostakovitch, Symphony no. 6]. S. 120–21
Arno Huth: Swiss première — Honneger’s Nicolas de Flue (Geneva, December 25) [Dramatic legend; synopsis of Denis de Rougemont’s poem inspired by the political crisis of 1938. Swiss radio broadcasts. Ernest Ansermet’s radio version of Stravinsky’s Petrouchka]. S. 121–23
Colin McPhee: Scores and records. S. 124–25
[Scores. H. W. Gray Co. series of compositions by American composers. Cowell, Sinister Resonance (Associated Publishers)]. S. 124
Records [Bach, Little Organ Book; E. Power Biggs (Victor). Sibelius, Romance for violin and orchestra (Victor). Fabini, The Country and The Isle of Ceibos (orchestral pieces)]. S. 124–25
Samuel L. M. Barlow: In the theatre [Virgil Thomson’s critical reviews published in the dailies. Paul Bowles, incidental music to Shakespeare’s Twelfth Night. Studio Theatre of the New School, Shakespeare, King Lear; incidental music by Henry Cowell. Columbia University, Brander Matthews Hall: use of a phonograph recording to accompany Shakespeare’s Antony and Cleopatra and Julius Caesar. Vernon Duke’s score for Cabin in the Sky]. S. 125–27
Edwin Denby: With the dancers [Ballet Russe: Graduation Ball; Lichine (choreographer). Prokofieff, The Prodigal Son. Fokine’s ballet Paganini. Repertory of the Ballet Russes. YMHA Theatre: Carmelita Maracci (Spanish dancer)]. S. 128–31
Charles Mills: Over the air [Station WOR: „Russell Bennett’s Notebooks,“ a series devoted to American works. Oscar Levant, Caprice for orchestra. Honneger, Concertino for piano and orchestra. Walter Helfner, Prelude to „A Midsummer Night’s Dream“. CBS Radio: Benjamin Britten’s incidental music to Thomas Hardy’s Dynasts; Virgil Thomson’s incidental music to Euripides’ The Trojan Women. NBC Symphony broadcasts: Adolph Busch, Three Études for orchestra; Copland, Billy the Kid. WJZ broadcasts of New Friends of Music concerts. Station WNYC: Wagenaar, Divertimento for orchestra; Cowell, Four Irish Tales]. S. 131–33
Paul Bowles: On the film front [Music in Walt Disney’s Fantasia. Antheil’s film score for Angels Over Broadway. Roy Harris’ film score for One Tenth of a Nation. Anonymous studio score for Escape]. S. 133–34
Recent books. S. 135–39
Minna Lederman: Radio blueprint [Statistics on the presence of radio in American life by the Office of Radio Research at Columbia University. Paul Lazarfeld, Radio and the Printed Page (Duell, Sloane and Pearce, 1940)]. S. 135–37
Alan Lomax: Songs of the American folk [Olin Downes and Elie Siegmeister, A Treasury of American Song (Howell, Soskin and Company, 1940)]. S. 137–39
The League of Composers. Executive Board. Advisory Board. S. [1p]
Four engravings by the great Mexican artist Jose Guadalupe Posada used recently as costume designs for the Mexico City production of La Coronela ballet by Silvestre Revueltas. S. [142]
Ernst Krenek: The survival of tradition [Query on the future of the European music tradition; problem of distinctions between European and American music; Mahler’s definition of tradition]. S. 143–46
Paul Rosenfeld: Language and modern music [Relationship of text and melody; textual declamation of Satie, Berg, Hindemith; sprechtstimme; Stravinsky’s negation of the importance of the word]. S. 147–54
Nicolas Slonimsky: Composers of Peru [Peruvian folksong and rhythm; André Sas, Theodoro Valcárel, Raoul de Verneuil]. S. 155–58
Composers of Peru [Sketches]. S. [157]
[Abbildung] Theodoro Valcárel [Sketch].
[Abbildung] André Sas [Sketch].
Raoul de Verneuil [Sketch].
Edward T. Cone: Roger Sessions’ string quartet [Synopsis]. S. 159–63
[Abbildung] Roger Sessions, drawing by B. F. Dolbin. S. [160]
Karol Rathaus: To study with a master [Comparison of European and American music education; author a pupil of Schreker; list of the principal musician professors teaching in American institutions of higher learning]. S. 164–67
Forecast and review. S. 168–87
Daniel Fuller: Season’s height, New York, 1941 [Julliard School: Wagenaar, Violin Concerto. Philadelphia Orchestra: Barber, Violin Concerto; Albert Spalding. New York Philharmonic: Miaskovsky, Violin Concerto; Piastro. Boston Symphony: Hindemith, Violin Concerto and Cello Concerto. Jon Verrall, Concert piece for strings and horn. Arnell Overture The New Age. Dello Joio, Concertino for flute and string orchestra. Bartók, String Quartet no. 6. Artur Schnabel, String Quartet no. 5. Roussel, Symphony no. 3. Prokofieff, Romeo and Juliet Suite. Whithorne, The Dream Peddlar. Harris, Four Preludes and Fugues for string quartet. Lopatnikoff, Sonata for violin, piano and snare drum. Frank Bridge, String Quartet no. 1. Martinu, Duo for violin and cello. Chanler, Five Rhymes for Peacock Pie]. S. 168–73
Robert Ward: More seasonal notes [Copland, Quiet City. Roussel, Sinfonietta. Bloch, Concerto grosso. Paul Creston, Symphony. Henry Brant, Violin Concerto. Harris, Railroad Man’s Ballad. Gould, Latin-American Symphonette. Bloch, Evocations. Walton, Violin Concerto. League of Composers: Alvin Etler, Five Speeds for flute, oboe, viola and bassoon. Ben Gossick, String Quartet no. 1. Koehler, Piano Sonata. Donald Fuller, Sonatina for oboe, clarinet and piano]. S. 173–75
Humphrey Searle: Music in Britain, come what may [National Gallery Concerts, Old Vic Opera; ballet]. S. 175–76
Henry Cowell: The League’s evening on films [Museum of Modern Art: Paul Bowles, film score for Roots of the Soil. Roy Harris’ film score for One Tenth of a Nation. Douglas Moore’s film score for Power and the Land. Marc Blitzstein’s film score for Valley Town. Virgil Thomson’s song „Mississippi“ from the film River. Copland’s film score for The City]. S. 176–78
Paul Bowles: Dance memorial to Revueltas [Homage a García Lorca; El Renacuajo; Canciones para niñas]. S. 179
Henry Pleasants: Opera and orchestra in Philadelphia [Philadelphia Orchestra: Bartók, Divertimento for strings. Franz Schmidt, Symphony in E flat. Barber, Violin Concerto. Academy of Vocal Arts: Paul Nordoff, The Masterpiece (opera). Menotti, The Old Maid and the Thief]. S. 179–81
Remi Gassmann: Chicago still in the jubilee [Carl Eppert, Two Symphonic Impressions. Kodaly, Concerto for orchestra; Psalmus hungaricus. Albert Noelte, Prelude to a Romanitc Drama. Rudolph Ganz, Piano Concerto. Roy Harris, Cimaroon for symphonic band]. S. 181–83
Josephine Metcalf: Quickening the dead [Library of Congress’ collection of American folk music available in recordings sponsored by a Carnegie grant; Joshua White, Charles Seeger]. S. 183–85
Alfred Frankenstein: San Francisco rejuvinated [Cowell’s New Music Society. San Francisco Symphony: Harris, Ode to Truth; Schuman, American Festival Overture; Harris, Symphony no. 3. Composers’ Forum“ chamber music of Milhaud and Robert Delaney. Copland, The Second Hurricane; Nicholas Goldschmidt (conductor). Chamber music ensembles]. S. 185–87
Colin McPhee: Records and scores. S. 188–89
[Records. Laura Boulton and John H. Green’s recordings of American Indian music (Victor and General Records Company). Wana Singh’s Echoes of India (Musicraft). Mahler, Symphony no. 9; Vienna Philharmonic, Bruno Walter (Victor). Richard Strauss, Don Quixote; Emanuel Feueremann (cellist). Bizet, Symphony in C. Carl Engel, Triptych (Schirmer)].
Scores [Edward Burlingame Hill, Sinfonietta for strings; Werner Josten, Trio; Wallingford Riegger, New Dance for two pianos (Arrow Press). Richard Franko Goldman, Nine Bagatelles for piano (Axelrod)]. S. 189
Samuel L. M. Barlow: In the theatre [Philip Barry, Liberty Jones; incidental music by Paul Bowles. Rodgers and Hart, Pal Joey, Meet the People. Julliard Institute Opera Players: Arthur Benjamin, The Devil Take Her. Giannini, Blennerhasset (opera). Weill, The Lady in the Dark. Ballet Theatre: ballet music selected from the classics]. S. 189–93
Paul Bowles: On the film front [Gruenberg’s film score for So Ends Our Night. Miklos Rosza’s film score for The Thief of Bagdad. Soviet musician Lev Schwartz’s film score for University of Life. Vincent Scotto’s film score for Pepe le Moko employing Algerian composer Sidi Mohammed Yguerbuchen’s music]. S. 193–95
Edwin Denby: With the dancers [Martha Graham, El Penitente and Letter to the World. Ballet Russe: Stravinsky / Balanchine, Balustrade. Choreographers of the Ballet Theatre. Anna Sokolow]. S. 195–99
Clarence Mills: Over the air [Paucity of modern music radio broadcasts. American Music Festival on WNYC: Philip James, Station WGZBX (satirical overture); Gershwin Piano Concerto in F; Siegmeister, Abraham Lincoln Walks at Midnight. Morton Gould, Spiritual; Deems Taylor, The Highwayman. Festival repertory. Film Scores: Copland’s Our Town; Douglas Moore, Youth Gets a Break. Leonard Bernstein, Sonata for violin and piano. Norman Cazden’s sonatas for instruments. Radio interviews with American composers. Bartók, String Quartet no. 5. Station WOR: Milhaud, Fourth Little Symphony for Strings. WQXR’s interview of Copland. Ignatz Waghalter, Anasueras and Esther (opera). Station WJZ: Menotti, The Old Maid and the Thief. Station WABC: Erich Zeisl, November Suite for orchestra. Berezowsky, Violin Concerto. Villa-Lobos, Lenda do Caboclo]. S. 199–202
Recent books. S. 203–07
Paul Henry Lang: The middle and modern ages [Gustave Reese, Music in the Middle Ages (W. W. Norton & Co., 1940); meaning and use for the modern composer]. S. 203–05
Colin McPhee: Tools of musical culture [Curt Sachs, The History of Musical Instruments (W. W. Norton & Co., 1940)]. S. 205–06
Herbert Weinstock: Charting the course of western music [Adolfo Salazar, A Rosa de los Vientos en la Musica Europea published by the Orquéstra Sinfonica de México]. S. 206–07
The League of Composers. Executive Board. Advisory Board. S. [210]
Roger Sessions: American music and the crisis. To the editor [Absence of relationship between national defense and music; economic, intellectual and moral disorder of twentieth-century society; American musical life considered a vast and complex profit-making structure; query on the meaning of American music and the relationship of the public to the composer and his music]. S. 211–17
Aaron Copland: Five post-romantics [Strauss, Mahler, Scriabine, Fauré and Sibelius (From Our New Music)]. S. 218–24
Paul Bowles: On Mexico’s popular music [Dances and dance rhythms: Huapagno, Verracruzano, Son, Cancion ranchera, Corrido, Jarabe]. S. 225–30
[Abbildung] Martha Graham. A drawing by Charlotte Trowbridge. S. [231]
Theodore Chanler: Poetry and music [H. C. Colles premise that Bach used the same melodic phrases for different musical situations]. S. 232–34
Charles Edward Smith, William Russell: New Orleans style [Roots of the American negro’s blues music in African culture; history of the blues and itinnerant negro piano-players; New Orleans Storyville sector; Scott Joplin and Tom Turpin’ Creole Negro musicians; instrumental style; the first jazz bands]. S. 235–41
Samuel L. M. Barlow: American composers, XVII. Virgil Thomson [Biographical sketch]. S. 235-[249]
The music of Virgil Thomson [Chronological list]. S. [249]
[Abbildung] Virgil Thomson. A sketch by B. F. Dolbin. S. [244]
Hans Eisler: Film music — Work in progress [Problems of relating traditional compositional technic to the process of film making; experiments at the New School for Social Research]. S. 250–54
Forecast and review. S. 255–66
Donald Eller: Season’s close — New York, Spring, 1941 [Monopoly of the German modern music composers at concerts of the New Friends of Music; comparison with the diversity of repertory at the ISCM festival. New York Philharmonic: Wagenaar, Symphony no. 3; Britten, Sinfonia da Requiem; Harris, Three Pieces for orchestra; Mahler, Symphony no. 9; Goossens, Symphony. Carnegie Hall: Nadia Boulanger’s concert. League of Composers: Eudice Shapiro and Irene Jacobi’s recital of music for violin and piano. Saminsky’s Three Choir Festival: Saminsky, Prelude to Man; Douglas Moore, Prayer for England. American Russian Institute: Shostakovitch, Piano Quintet. Songs in memory of James Joyce. Coolidge Quartet concert]. S. 255–59
Arthur Cohn: Rochester’s eleventh USA Festival [Charles Naginski, Sinfonietta for string orchestra. Bernard Rogers, The Razing of Lazarus. Symphonic compositions of Edmund Haines and William Bergsma. William Denny, Sinfonietta for string orchestra]. S. 259–61
Jerome Moross: Hollywood music without movies [Overview of Los Angeles musical life. Hollywood Theatre Alliance concerts: Shostakovitch, Two Pieces for string octet; Sol Kaplan, Suite for string quartet; Villa-Lobos, Bachiana Brasileira]. S. 261–63
Minna Lederman: Museum pieces [Coffee Concerts at the Museum of Modern Art: „Salon Swing“ concerts]. S. 264–66
Colin McPhee: Records and scores. S. 267–69
Records [Modern music neglected by recording companies. Blitzstein, No For an Answer (Keynote Recordings). Album of American piano music (Victor). Album of Brazilian chamber music featuring Villa-Lobos]. S. 267–68
Scores [Songs of Griffes and Naginski; Bloch, Visions et Prophéties for piano. Copland, Quiet City (Boosey and Hawkes); Music for the Theatre (Arrow Press)]. S. 268–69
Edwin Denby: With the dancers [Hanya Holm’s surrealist ballet. Solo dance recitals of Eric Hawkins and Barton Mumaw. Miss Mayo’s Repertory Dance Theatre. Chyenne Mountain Dancers. Orson Welles’ Native Son dance sequence]. S. 269–70
Charles Mills: Over the air [NBC series: New American Music; Frank Black (conductor); Samuel Chotzinoff (commentator). Boris Koutzen, Concerto for five solo instruments and string orchestra. Diamond, Aria and Hymn for orchestra. Gardner Read, Prelude and Toccata for orchestra. Alan Shulman, Variations on an Original Theme for viola and orchestra. Herbert Haufreucht, Three Fantastic Marches for orchestra. Walter Mourant, Overture for orchestra. Carleton Cooley, Caponsacchi for orchestra. Bernard Hermann, Currier and Ives Suite. Edmund Haines, Three Dances for orchestra. Gail Kubik, Variations on a Thirteenth Century Troubadour’s Song for orchestra. Joseph Wood, Overture to „Twelfth Night“. Edding Shure, Flax Spinners. Meredith Wilson, Symphony no 2 (The Missions of California). Station WJZ: Erich Zeidel, Little Symphony. William Parts Grant, Concerto for horn and orchestra. Station WEAF: Curtis Institute concert. Jean Berhend, Songs. Carlos Salzedo, Concerto for harp. CBS Columbia Workshop Hour: W. H. Auden’s Rocking Horse Winner with Benjamin Britten’s incidental music. New York Philharmonic broadcasts: music by Anthony Donato, Hindemith. Russell Bennett’s Notebook broadcasts: preparation of a tune for a musical comedy. Francis Buebendorf, Passacaglia for orchestra. Bennett, Suite for clarinet and orchestra]. S. 271–74
Recent books. S. 275–78
Alfred Einstein: Grove salutes new music [Supplement to Grove’s Dictionary of Music and Musicians, edited by H. C. Colles (The Macmillan Company, New York, 1940)]. S. 275–77
Alex North: Music for dancing [Verna Arvey, Choreographic Music (E. P. Dutton, 1941)]. S. 277–78
[Anonymus]: Contributors to this issue. S. [279]
Table of Contents of back issues. Vol. V, no. 2 through vol XVI, no. 4. S. [4 pp] [279/1]
The League of Composers. Executive Board. Advisory Board. S. [1p]
Composers of Soviet Russia. Three sketches by R. Dolbin. S. [2]
[Abbildung] Dimitri Shostakovitch [Sketch].
[Abbildung] Serge Prokofieff [Sketch].
Nicolai Miaskovsky [Sketch].
Arthur Lourié: Notes on the „new order“ [Occupation of Europe by the German Nazis; efforts to reveal the so-called „new order“ of society; total eclipse of the concept of humanism; crisis in France. Philosophical attitudes of Baudelaire, T. S. Elliot, Hermann Hesse, Paul Claudel, Jacques Chardonne, André Gide. Concepts of „academism“ and „collaboration.“ Music and musicians uninvolved]. S. 3–9
Paul Rosenfeld: A plea for improvisation. S. 10–15
X-1941: The Nazis craft music for total war. [Selection of foreign compositions according to three considerations. Concert life in the Third Reich]. S. 16–20
Lazare Saminsky: Canadian youth [Anglo-Celtic and Franco-Canadian population. Toronto musicians: Godfrey Ridout, Boris Brott, Louis Applebaum, John J. Weinzweig; training at the Toronto Conservatory. Montreal musicians: André Mathieu, Maurice Blackburn, Hector Gratton, Alexander Brott. Barbara Pentland of Winnipeg. Robert Fleming]. S. 21–25
[Abbildung] Young men of Toronto. A drawing by L. Orr. Godfrey Ridout. John J. Weinzweig. Louis Applebaum. S. [23]
Carleton Sprague Smith: The composers of Chile [Enrique Soro and Melo Cruz and the Sociedad de Compositores Chilenos. Humberto Allende. Domingo Santa Cruz. Overview of principal compositions].
Composers of Chile by Santelices [Sketches]. S. [29]
Carleton Sprague Smith: [Abbildung] Domingo Santa Cruz [Sketch] .
[Abbildung] Humberto Allende [Sketch].
[Abbildung] Samuel Negrete [Sketch].
[Abbildung] Alfonso Leng [Sketch].
Forecast and review. S. 32–46
Donald Fuller: Fall openings, 1941 —- ISCM dated model. S. 32–36
[New York Philharmonic-Symphony centennial inclusion of American music at every concert. Still, Plain-Chant for America. Cowell, Tales of Our Countryside. Anis Fuleihan, Epithalamium. All Soviet Music Festival: Prokofieff, Piano Sonata no. 6. Bloch, Piano Sonata]. Music at the Monte Carlo [Weinberger, Saratoga. Stravinsky, Baiser de la fée]. S. 32–34
ISCM — Dated model [New York concerts, Spring 1941. Radio broadcasts. Use of the twelve-tone method by composers of different nationalities. Argentina: Juan Carlos Paz, String Trio. France: René Leibowitz, Piano Sonata no. 2. Independent representatives: Viktor Ullmann, Piano Sonata; Webern, String Quartet; Matthias Sieber; Artur Schnabel; Paul Dessau. Compositions by Paul Kadosa, William Alwyn, Jerzy Fitelberg. Martinu, Tre Ricercari. Britten, Les Illuminations. Wagenaar, Triple Concerto. Copland, Music for Radio. Naginski, Sinfonietta. Blas Galindo’s Mexican pieces]. S. 34–36
Paul Bowles: Letter from Mexico (Mexico City, November 1) [Lack of a royalty-collecting agency; serious musicians teach or perform with the Orquéstra Sinfonica. Formation of the SACEM (Sindicato de Autores, Compositores y Editores de Musica), a local ASCAP. Technical and aesthetic poverty of Mexican radio. Film scores for documentaries by Revueltas and Raul Lavista. Symphony concerts: Stravinsky, Symphony; Copland, Short Symphony. Virgil Thomson, Stabat mater; Irma Gonzalez (soprano), Lerner Quartet. Revueltas, Janitzio. Orquéstra de Camera de la Section Cultural por Radio]. S. 36–39
Ralph Hawkes: Publishing music in a time of world war [Boosey and Hawkes with branches in Toronto, New York, Capetown, Sydney and Paris; destruction of the London headquarters by the Luftwaffe; affects of the blitz. Bands of the RAF and Royal Navy. Increase in orchestral concerts; role of the BBC. Publishing concerns continue in New York; loss of a string quartet by Goossens]. S. 39–42
Henry Cowell: Summer festivals in the USA [Spartanburg, South Carolina: John Gay, The Beggar’s Opera. Program of compositions by American composers: Gerschefski, Irving Hyatt, Ernst Bacon, William Grant Still. State College, Pennsylvania: band pieces by Richard Franko Goldman and Morton Gould. Bennington College, Vermont: Robert McBride, Punch and Judy (ballet by Martha Graham). Instrumental music by Lou Harrison, Goldman, Herbert Elwell, Gerschefski, Piston]. S. 42–44
Arno Huth: Swiss news (Geneva, October 24) [Foreign virtuosi active in Switzerland. Paul Sacher’s chamber orchestra. Giovanni Salviuci, Sinfonia italiana. Premières announced by the Orchestre de la Suisse Romande; Basle Kammerorkester, Berne Quatour. Activities of the Swiss branch of the ISCM]. S. 44–46
Colin McPhee: Scores and records. S. 47–49
[Scores. Album of Stravinsky Masterpieces (Edward Marks Music Corporation). Roy Harris, Symphony no. 3; Schuman, American Festival Overture; Barber, Essay for orchestra; Cowell Celtic Set (G. Schirmer). Randall Thompson, Suite for oboe, clarinet and viola; Copland, „The Lark“ (chorus) (E. C. Schirmer). Copland, Billy the Kid; Bartók, Violin Concerto. Isador Freed and Lazare Saminsky’s series of piano pieces for beginners (Carl Fischer). Richard Donovan, Serenade for oboe and strings. Roy Harris, Cimaroon (Mills Music)]. S. 47–48
Records [Berg, Violin Concerto. Schönberg, Pierrot Lunaire (Columbia). Album of Brazilian Songs (Victor). Jacobi, Hagiographa: Three Biblical Narratives. Album of American Works for solo wind instruments and string orchestra (Victor). New Music Recordings: works by Jacobi, Diamond]. S. 48–49
Douglas Moore: At the opera [Forty-fourth Street Theatre, the New Opera Company: Verdi, Macbeth with Robert Silva (baritone); Tchaikovsky, Pique Dame with Glenn Darwin (tenor); Offenbach, La Vie parisienne. Remarks on the English-language translations; query on the absence of an American opera, the use of Glyndbourne productions]. S. 50–53
Edwin Denby: With the dancers. S. 53–58
Modern dancing [Jooss Ballet: Agnes De Mille, Drums Sounding in Hackensack; Jooss, The Green Table]. S. 53–56
Ballet Russe [Dali / Massine, Labrinth with Schubert’s Symphony in C major. Massine / Weinberger, Saratoga. The Magic Swan (Tchaikovsky / Petipa); Tamara Toumanova, André Eglevsky. Repertory]. S. 56–58
John Latouche: On the film front [Bernard Hermann’s film score for All That Money Can Buy]. S. 58–59
Charles Mills: Over the air [CBS: Columbia American Music Festival. Diamond, Elegy in Memory of Maurice Ravel; Columbia Concert Orchestra, Howard Barlow. Bernard Hermann, Symphony no. 1. Charles Jones, Suite for small orchestra. Harris, Folk Dance for strings and percussion and Freedom’s Land (choral). Music Box Operas by Robert Russell Bennett: My Old Kentucky Home, Impressions of Coney Island. Station WOR: Alfred Wallenstein’s orchestra; Julian Herbage, The Humors of Bach; Adam Carse, Winton Suite. Fred Black’s New American Music Services. NBC: Naginski, Sinfonietta for chamber orchestra. WQXR: „Meet American Composers“ broadcast]. S. 59–62
Recent books. S. 63–71
Walter Piston: Music in the setting of world history [Paul Henry Lang, Music in Western Civilization (W. W. Norton & Co.)]. S. 63–65
Theodore Chanler: The new romanticism [Aaron Copland, Our New Music (Whittlesly House, 1941)]. S. 65–67
Conlon Nancarrow: Mexican music — A developing nationalism [Otto Mayer-Serra, Panorama de la Musica Mexicana (El Collegio de México, 1941)]. S. 67–69
Ross Lee Finney: Piston’s manual of harmonic practice [Piston, Harmony (W. W. Norton & Co., 1941)]. S. 69–70
Elliott Carter: Composers by the alphabet [Great Modern Composers, edited by Oscar Thompson (Dodd, Mead and Company)]. S. 70–71
The League of Composers. Executive Board. Advisory Board. S. [74]
Aaron Copland: The composers of South America [Local identity of the different countries apparent in compositions of different composers; generalizations about composers of South America]. S. 75–82
Argentina [Grupo Renovación and La Nueva Música concerts in Buenos Aires; Jose Maria Castro, Juan Carlos Paz, Alberto Ginastera]. S. 77–78
Brazil [Hector Villa-Lobos and Brazilian folk music; Francisco Mignone; Camargo Guarnieri]. S. 78–80
Chile [Advanced state of music organization; Humberto Allende, Carlos Isamitt, René Amengual, Alfonso Letelier]. S. 80–81
Other countries [Uruguay: Hector Cosar. Peru: André Sas. Columbia: Uribe Holguin. Cuba]. S. 81–82
Henry Cowell: In time of bitter war [USSR: relationship of the Soviet state and its musicians; background on pre-war conditions. Ivan Dzerzhinsky, And Quiet Flows the Don (opera). Prokofieff, Alexander Nevsky. Red Army choral pieces. New York publications of Am-Rus Corporation: set of ten songs written during the war; remarks on the sameness of compositions written by Soviet composers]. S. 83–87
Ernst Krenek: Busoni — Then and now [Recollections of round table gatherings at Busoni’s home in the 1920s; Busoni’s doctrine of neo-classicism; compositions and prose papers]. S. 88–91
[Abbildung] Ferruccio Busoni from the drawing in the Albertina, Vienna, by Maximilian Mopp. S. [89]
Paul Henry Lang: Musicology for music [Polemic on the hierarchy of musicians and music philosophers]. S. 92–95
Leonard Bernstein: Young American — William Schuman [Overview of the composer’s accomplishments]. S. [96]-99
[Abbildung] William Schuman, a drawing by B. Dolbin. S. [96]
Benjamin Britten: Au revoir to the United States [Impressions of two years’ residence]. S. 100–01
Bernhard Heiden: Hindemith’s „system“ — A new approach [Problems in explanations of the music of contemporary and historical periods. Hindemith, The Craft of Musical Composition (Associated Music Publishers). Hindemith’s reasoning based on the twelve semitones of the chromatic scale; decreasing order of relationship; importance of the interval; combination tones; degree-progression; harmonic cells; harmonic fields; the tritone]. S. 102–07
[Abbildung] David Diamond, a portrait by Marian Greenwood. S. [108]
Forecast and review. S. 109–23
David Fuller: Americans to the fore — New York, 1941–42 [Diamond, Concert Piece; Symphony no. 1. Schuman, Symphony no. 3; This is our Time (cantata). Virgil Thomson, Symphony no. 2; Filling Station (ballet). Carlos Chavez, Piano Concerto; Eugene List. Compositions by American composers: Wagenaar, Morris Mamorsky, Chadwick, Hadley, Wetzler, Vactor, Wayne Barlow. New York Philharmonic-Symphony: Milhaud, Suite Provençale. Hindemith, Symphony. Busoni, Violin Concerto; Gerharnischte Suite; Indian Fantasy. Shostakovitch, Cello Sonata; Symphony no. 6. Britten, Les Illuminations. League of Composers concert of music by Juan José Castro. Jooss Ballet: John Colman, Ballade. Two-piano music]. S. 109–15
Charles Ives: Children’s Day at the Camp Meeting [Description of Ives’ Sonata for violin and piano]. S. 115–17
Ernest Chapman: Britain calls music to the colors [Alan Rawsthorne, Edmund Rubbra, Alan Bush, Howard Ferguson, Lennox Berkeley, William Walton, all Members of the armed forces. Vaughan Williams, Six Choral Songs to be Sung in the Time of War. London production of Moussorgsky’s Fair at Sorotchintzi. Walton, Violin Concerto; Scapino Overture. Bush, Meditation on a German Song. Bowman, Variations and Finale on an Original Theme. Wigmore Hall chamber music concerts: Rubbra, Five Spenser Sonnets; Ireland Sarnia — An Island Sequence. Arthur Bliss, Music to Seven American Poems. Bournemouth Symphony Orchestra. BBC concerts]. S. 117–20
Ross Lee Finney: Artists find a way — Minneapolis MTNA [Music Teachers’ National Association December convention. John Kirkpatrick’s piano recital of compositions by American composers: Hunter Johnson, Robert Palmer, Ross Lee Finney, Carl Ruggles, Sessions, Arthur Farwell. Minneapolis Symphony Orchestra: Hanson, Symphony no. 3. Minnesota WPA and Minnesota University Orchestra program: Robert Ward, Symphony no. 1; William Bergsma, Happy Dance. Herbert Elwell, Violin Sonata. Lectures by Kirkpatrick, Ferguson and Upton on American music topics]. S. 120–22
David Van Vactor: New works in Chicago [Chicago Symphony Orchestra: Benjamin, Overture to an Italian Comedy. Rachmaninov, Three Symphonic Dances. Milhaud, Symphony. Illinois Symphony Orchestra (WPA): compositions by Britten, Villa-Lobos, Khrennikov. Philharmonic String Quartet. Women’s Symphony Orchestra]. S. 122–23
Colin McPhee: Records and scores. S. 124–26
[Records. Mahler, Symphony no. 1; Reger, Variations and Fugue on a Mozart Theme; Shostakovitch, Symphony no. 1; Fauré, Requiem (Victor). Bartók, First Rhapsody; Deems Taylor, Suite from Peter Ibbetson]. S. 124–25
Scores [Stravinsky’s arrangement of the Star Spangled Banner for chorus and orchestra (Mercury Music Corporation). Chavez, Piano Concerto (two-piano score by Schirmer). Compositions by Carlos Estrada, Manuel Ponce, Carlos Suffern published by the Editorial Cooperativa Inter-americana de Compositores. New Music publications of American music]. S. 125
A must for record collectors [Irving Kolodin’s Guide to Recorded Music (Doubleday Doran)]. S. 125–26
Samuel L. M. Barlow: In the theatre [Cole Porter, Let’s Face It. Lehman Engel’s incidental music to Macbeth performed on the Hammond organ. Coffee Concerts at the Modern Museum of Art organized by Louise Crane]. S. 126–29
Edwin Denby: With the dancers [Ballet Theatre: Dolin / Tchaikovsky, Princess Aurora. Milhaud / Nijinska, Beloved. Offenbach / Fokine, Bluebird. Alicia Markova. Irina Baronova. Martha Graham, Punch and Judy; Letter to the World. Ruth St. Denis. Dancing at Louise Crane’s Coffee Concerts]. S. 129–32
Léon Kochnitzsky: On the film front [Adolph Deutsch’s film score for The Maltese Falcon. Hanns Eisler’s film score for Steinbeck’s Forgotten Village]. S. 132–34
Charles Mills: Over the air [CBS American Music Festival. Dai-Keong Lee, Introduction and Allegro; Columbia Concert Orchestra; Barlow. Alvin Etler, Music for chamber orchestra. Porter, incidental music for Antony and Cleopatra. Paul Creston, A Rumor. Alan Schulman, Piece for string orchestra. Koutzen, Concerto for five solo instruments and orchestra. Smeller, Two Indian Scenes. Deems Taylor, Music from „Job“. CBS Milestones in American Music: David Stanley Smith, String Quartet; E. B. Hill, Sextet; Ives, Set of Pieces for chamber orchestra; Schelling, Victory Ball. CBS broadcasts of the New York Philharmonic-Symphony. Cincinnati Conservatory broadcasts. Station WOR broadcasts of modern music. Wagenaar, Sinfonietta. Mabel Daniels, Pastoral Ode for flute and strings. Russell Bennett, Violin Concerto. NBC: Castro, Symphony of the Fields. Broadcasts by Toscannini and Stokowski. Hindemith, Sonata for English horn and piano]. S. 134–38
Recent books. S. 139–43
Marc Blitzstein: Singing country [Vol. II of American Ballads and Folk Songs. Collected and compiled by John A. Lomax and Alan Lomax. Music editor Ruth Crawford Seeger (The Macmillan Company)]. S. 139–40
Frederick Jacobi: The approach to greatness [Alfred Einstein, Greatness in Music (Oxford Press, 1941)]. S. 140–42
Robert Ward: Quick-sketch Spain [Gilbert Chase, The Music of Spain (W. W. Norton & Co.)]. S. 142–43
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Table of contents]. S. [145]
Lehman Engel: Songs of the American wars [Pre-revolutionary and revolutionary songs. Billings „Chester“; „Bunker-Hill“; „The Liberty Song“ (“In freedom we’re born“); „The American Star.“ Civil War songs; Spanish-American War songs; World War I songs; sentimental songs]. S. 147–52
Béla Bartók: Race purity in music [Wealth of melody in Eastern Europe: Hungary, Slovakia, the Ukraine, Rumania; melodies change as they are subjected to different languages and peoples; racial impurity beneficial as melodies are transformed]. S. 153–55
Roger Sessions: No more business-as-usual [Adjustment of American life to the forces of war. Shortcomings of American musical life: ascendancy of music theory and musicology; ill effects of propaganda and its fetish-worsip; economics of musical life]. S. 156–62
Colin McPhee: The green earth scorched [Cultural doom of the island of Bali owing to colonization and commerce; elimination of traditional culture]. S. 163–66
Robert Ward: I’m in the army now (Fort Riley, Kansas, March 21st) [Musical activities in the army; military band; glee club; amateur singers of popular music]. S. 167–68
Richard Franko Goldman: Bands in war-time [Functions and problems of band music. High school bands; army bands; composition of band music]. S. 169–72
Forecast and review. S. 173–89
Donald Fuller: Winter to Spring, New York, 1942 [Copland, Statements for Orchestra. Robert Russell Bennett, Eight Études for orchestra. Weinberger, Lincoln Symphony. Martinu, Concerto grosso for orchestra. Poulenc, Concerto for two pianos. Jacobi, Rhapsody for harp and string orchestra. Douglas Moore, A Symphony for Autumn. Berezowsky, Concerto for viola and orchestra. Kent Kennan, Andante for oboe and orchestra. Museum of Modern Art: Musical Art Quartet. Virgil Thomson, Violin Sonata, Ravel, Violin Sonata. Ives, Children’s Day at the Camp Meeting. Vaughan Williams, Flos campi. John Kirkpatrick’s piano recital: Sessions, Piano Sonata; Ruggles, Evocations; Ross Lee Finney, Fantasy. Chanler, Toccata and Aftermath. League of Composers’ Canadian composers concert: Pentland, Ridout and Applebaum. Weinzweig, String Quartet no. 2; Henri Gratton, Canadian Dance. League of Composers’ American Composers’ concert; Ulysses Kay, Piano Sonata; Middleton, Sonatina for clarinet and piano; Cazden, Sonata for flute and piano; Shapero, Piano Sonata for four-hands; Arthur Berger, Quartet for woodwinds. Concert repertory]. S. 173–78
Alfred Frankenstein: Stravinsky on Beverly Hills [Stravinsky’s „monkey business“ opinion of film music. Stravinsky, Danses concertantes. Sol Babitz, Stravinsky’s official apologist]. S. 178–81
Arno Huth: Collaboration in France — Swiss news (Geneva, January 30) [Musical life in Paris: Orchestra symphonique de jazz; 150th anniversary of the death of Mozart. National tenors’ competition; retardation of musical life in the „free zone“]. Music in Switzerland [Orchestre de la Suisse Romande; Pablo Casals (violoncellist), Jacques Thibaud (violinist), Wanda Landowska (harpsichordist). Compositions by Templeton Strong, Gustave Doret, Frank Martin. Radio-Genève: Pierre Wismer, incidental music to Naiades, film score L’Oasis dans la teoumente. Arbenz, Jugend im Schnee. Basle Kammerorchester and Paul Sacher]. S. 181–85
John Cage: Chavez and the Chicago Drouth [Chicago Symphony Orchestra: Chavez, Concerto for four horns. Berezowsky, Viola Concerto. WPA Illinois Symphony Orchestra: Cadman, Pennsylvania Symphony; Radie Britain, Drouth]. S. 185–86
Arthur Cohn: The Philadelphia story [Philadelphia Orchestra: Britten, Diversions for the left-hand. Robert Russell Bennett, Études for orchestra. Cowell, Melting Pot Set. WPA orchestra: Nordoff, Masterpiece Overture. Twentieth Century Music Group: Piston, Violin Sonata. Freed, Postscripts]. S. 187–89
Taylor’s third [Philadelphia Opera Company: Taylor, Ramuntscho]. S. 189
Colin McPhee: Scores and records. S. 190–92
[Scores. Britten, Sinfonia da Requiem (Boosey and Hawkes). Sowerby, Concert Overture for orchestra; Porter, Music for strings (Music Press). Band Music: Schuman, News Reel; Cowell, Shipshape Overture (Schirmer). Gould, Cowboy Rhapsody (Mills Music). Robert Casadesus, Études. Normand Lockwood, America! O Democratic Nation]. S. 190–91
Records [Latin American Songs and Dances compiled by Gistavo Durano (Pan American Union). Albums of Brazilian music recorded under the supervision of Stokowski. Shostakovitch, Symphony no. 6; Glière, Symphony no. 3 (Victor). Hindemith, Mathis der Maler. Walton, Violin Concerto]. S. 191–92
Léon Kochnitzsky: On the film front [Documentary films for the war-effort: Aluminium, Bombers and Tanks (Office of Emergency Management film unit). Morton Gould’s film score for Ring of Steel; Gail Kubik’s film score for Men and Ships. Copland’s presentation on film music for the League of Composers. Antheil’s film score for Once in a Blue Moon; Korngold’s film score for the All the King’s Men]. S. 192–94
Samuel L. M. Barlow: In the theatre [Remarks on American opera. Gershwin, Porgy and Bess. DuBois, Litany at Atlanta. Menotti, The Island God]. S. 194–97
Edwin Denby: With the dancers [Carmen Amaya, Ay que tu. Maria Theresa’s dance recital. Dance photographs at the Modern Museum of Art by Gjon Mili. Martha Graham, Punch and Judy]. S. 197–201
Charles Mills: Over the air [Schuman, Symphony no. 4; Cleveland Orchestra, Rodzinski. CBS: Weinberger, Lincoln Symphony. Boris Koutzen, Valley Forge. CBS British-American Festival: Taylor, Portrait of a Lady; Stanley Bate, Concertino for piano and orchestra; Wayne Barlow, The Winter Passed; Richard Arnell, Divertimento; Bliss, Checkmate. CBS series „Stars of the Orchestra“: Prokofieff, Overture on Hebrew Themes. CBS series „Milestones in American Music.“ MBS: Shostakovitch, Piano Quintet. WOR, Taylor, ballet music from Ramuntscho. WOR: „Russell Bennett’s Notebook“ series. NBC Symphony, Paul Creston, Pastoral and Tarantella; Walton, Façade. WNYC American Music Festival: works by Piston, Thomson, Cazden, Creston]. S. 201–05
Recent books. S. 206–11
Minna Lederman: American way [Robert Landry, Who, What and Why is Radio?]. S. 206–08
Roy Welch: Further initiation rites [Douglas Moore, From Madrigal to Modern Music (W. W, Norton & Co.)]. S. 208–10
Leonard Feather: Nostalgic guide to jazz [Winthrop Sargeant, Jazz, Hot and Hybrid. Charles Edward Smith, Jazz Record Book]. S. 210–11
The League of Composers. Executive Board. Advisory Board. S. [214]
Paul Rosenfeld: One of the parents [Biographical sketch of Horatio Parker; disappearance of Parker’s compositions from the concert hall. Isabel Semler’s biography of Parker (Putnam, 1942). Overview of Parker’s principal works]. S. 215–21
Pedro Sanjuan: Cuba’s popular music [Spanish, Siboney, Creole and Negro influences on dances and songs: zapateo, giajira, habañera, criolla. Negro character of popular music: conga, tango congo, rumba]. S. 222–27
Theodore Chanler: Arctic Arcadian [Thematic originality and development of theme cells by Sibelius; negative examination of Sibelius’ compositional technique]. S. 228–52
Minna Lederman: A letter from Paris [Wartime edition of La Revue musicale published as L’Information musicale in the non-occupied free zone; remarks on Henri Prunières, founder and editor; list of contributors]. S. 233–35
Quincy Porter: American composers. XVIII. Randall Thompson [Biographical sketch; remarks on Americana; Solomon and Balkis (opera); Symphony no. 2; String Quartet; Suite for clarinet, oboe and viola]. S. 236–42
The music of Randall Thompson [List]. S. [242]
[Abbildung] Randall Thompson. A drawing by John Canaday. S. [236]
John Cage: For more new sounds [American compositions for percussion ensembles; electronic generation of sound; sounds created by experiment in film studios]. S. 243–45
John Kirkpatrick: Aaron Copland’s Piano Sonata [Description]. S. 246–48, 250
[Abbildung] Pillar of Fire. Design by Jo Mielzner for Anthony Tudor’s ballet set to Arnold Schönberg’s Verklärte Nacht. A spring production by the Ballet Theatre. S. [249]
Edwin Hughes: Blackout for the music industries [Factories for pianos, organs converted into war-time industries. Erradication of taxes on musical instruments; discontinuance of the manufacture of musical instruments. Concern for the decline in American music standards]. S. 251–53
Forecast and review. S. 254–70
Donald Fuller: New York, Spring ‚42; music of the Americas [Philadelphia Orchestra: Schuman, Symphony no. 4. New York Philharmonic Symphony: Barber, Essay for orchestra no. 2. Goossens, Phantasy for strings. Pedro Sanjuan, Cuban Dance Suite. Bernard Rogers, Dance of Salomé. Castelnuovo-Tedesco, Overture to King John. Gretchaninow, Symphony no. 4. Dubensky, Variations and Finale on Stephen Foster Themes. Barber, Violin Concerto. Britten, Sinfonia da Requiem. Paul Creston, Three Chorales from Tagore. Concert repertory]. S. 254–56
[League of Composers’ South American composers concert: Camargo Guarniéri, José Maria Castro, José Ardévol. Amadeo Roldan, Motivos de Son. Kurt Schindler memorial concert. League of Composers: Edward T. Cone, Clarinet Quintet. ISCM reception for Béla Bartók: Contrasts, Rhapsody no. 2. Musical Art Quartet: Tansman, Tryptique; Villa-Lobos, String Quartet no. 3. Jacobi, Ballade for violin. Toch. Violin Sonata. Three Choir Festival: Elliot Carter, The Defense of Corinth. Concert repertory]. S. 256–60
New ballet scores [Dello Joio, Prairie. Wolpé. The Man from Midian. Brant, City Portrait]. S. 260
John Cage: South winds in Chicago [Sanjuan, Liturgia negra; Amadeo Roldan, La Rebamharamba; Villa-Lobos, Concerto for violoncello and orchestra. Hekel Tavares, Concerto in Brazilian Forms for piano and orchestra. Concert repertory. Toch, Pinocchio, a Merry Overture Chicago Symphony Orchestra: Hindemith, Violoncello Concerto; Piatagorsky. New Music Group, George Perle (director): compositions by Perle, Ben Weber, Krenek. Harry Patch’s chromolodian (instrument)]. S. 260–63
Henry Cowell: Improving Pan-American relations [Latin American composers’ compositions heard through radio broadcasts. Editorial project of the Music Division of the Pan-American Union (Charles Seeger, director); selection made by the Music Educators’ National Conference; list of publishers]. S. 263–65
Quincy Porter: Solomon and Balkis in Cambridge [Lowell House Musical Society; Randall Thompson’s one-act opera]. S. 266
Arthur Cohn: Rogers, Diamond and others at Rochester [Twelfth American Music Festival. Bernard Rogers, The Passion. Diamond, Violoncello Concerto. String Quartets performed by the Gordon String Quartet: William Bergsma, Bartók, Bloch, Herbert Inch, Anthony Donato. Burrill Phillips, Selections from McGuffrey’s Readers. Wayne Barlow, Three Moods for Dancing. Charles Vardell, The Shelf Behind the Door (Variations). Chamber Orchestra matinée: James Ming, Larghetto for strings; Homer Keller, Serenade for clarinet and strings; Richard Palmer, Poem for violin and orchestra; Robert Ward, Symphony no. 1, „Hush’d Be the Camps Today“ (chorus); Gardner Read, Songs for a Rainy Night. Ballet music by Alex Wilder, Bergsma, Burrill Phillips]. S. 267–70
Colin McPhee: Scores and records. S. 271–72
[Records. Debussy, Sonata for flute, viola and harp; Schuman, Festival Overture (Victor). Scores. Ives, Violin Sonata no. 4 (Arrow Press). Virgil Thomson, Violin Sonata. Ross Lee Finney, Fantasy. Douglas Moore, Village Suite for orchestra (Music Press). Milhaud, Four Sketches].
Edwin Denby: With the dancers [Ballet Theatre: Prokofieff / Fokine, Russian Soldier (Lieutenant Kije). Tudor / Schönberg, Pillar of Fire. Ballet Russe de Monte Carlo. Loring’s Dance Players: Wolpe, Man from Midian; Dello Joio, Prairie]. S. 272–75
Léon Kochnitzsky: On the film front [Film score for Chaplin’s Gold Rush. Museum of Modern Art: The Land with Richard Arnell’s film score. Miklosz Rosza’s film score for Alexander Korda’s Jungle Book. Marc Blitzstein’s film score for Native Land]. S. 275–78
Charles Mills: Over the air [CBS British-American Festival: Porter, Music for strings; Alexander Semmler, Sinfonietta; Richard Arnell, Sonata for chamber orchestra; Britten, Diversions on a theme for the left-hand. Moore, Village Music. Hill, Sinfonietta. CBS League of Composers’ concerts: Thompson, Solomon and Balkis; Rathaus, Adagio for strings. Ives, Symphony no. 4. Berezowsky, Introduction and Waltz. Carpenter, String Quartet; Budapest String Quartet. MBS: Stravinsky, Violin Concerto; Nathan Milstein. Wallenstein’s Sinfonietta: Rudolph Frost, Violoncello Concerto; Carleton Cooley, Eastbourne Sketches. Russell Bennett, Railroad Cantata. NBC Symphony: Copland, El Salon Mexico; Riegger, New Dance; Revueltas, Janitzio; Francisco Mignone, Symphonic Impressions of Four Brazilian Brazilian Churches. Sowerby, Poem for viola and organ]. S. 279–82
Contents of recent back issues. Volume XVIII, No. 2 — Volume XIX, No. 3. S. [283]
The League of Composers. Executive Board. Advisory Board. S. [2]
Roger Sessions: Artists and this war — Letters to an imaginary colleague [Composer’s emotional reaction to World War II; observations on Fascism, the preservation of culture, social changes wrought by the political climate]. S. 3–7
Richard Franko Goldman: Music for the army [Soldiers’ preferences in music listening (radio and recordings); choral music sung by the Army Air Corps; song bibliographies; Army Specialist Corps’ members: Beryl Rubinstein, Howard C. Bronson]. S. 8–14
Germaine Tailleferre: From the south of France [Burden of the Resistance; illegal listening to American and British radio broadcasts; discharge of Jewish musicians and Paul Paray from the Marseilles Orchestra. Mont Redon: Countess Jean Pastré’s support of helpless musicians. Vichy control of radio broadcasts; decline of orchestras and film studios]. S. 13–16
Theodore Chanler: Stravinsky’s apologia [Poétique musicale published by the Harvard University Press]. S. 17–22
Lazare Saminsky: Composers of the Pacific [Creative musicians in the Los Angeles and Seattle areas. Los Angeles, Evenings on the Roof concerts. New compositions by George Tremblay: Modes of Transportation and Woodwind Quintet. Gerald Strang, Symphony no. 1. Ingolf Dahl and New Music Forum. Northwest composer George McKay]. S. 23–26
Léon Kochnitzsky: Musical portraits [History of program music. Virgil Thomson’s portraits of his friends and acquaintances. André Kostalanetz’s commissions of musical portraits: Copland, Jerome Kern, Thomson]. S. 27–32
Musical portrait painters of 1942. Sketches by R. F. Dolbin. S. [30]
Donald Fuller: New York ‚42: Soviet tribute: Stadium: ballet [Philadelphia Orchestra: Shostakovitch, Symphony no. 5; Khrennikov, Symphony no. 1; Stravinsky, Firebird Suite. New York Philharmonic: Shostakovitch, Symphony no. 7; Khatchaturian, Symphony, Piano Concerto, Violin Concerto. Compositions by Kabalevsky, Vissarion Shebalin. Thomson, Canons (Portraits). Herbert Ewell, Introduction and Allegro. Carpenter, Symphony no. 2. Ballet Theatre: Revueltas (arranged by Antal Dorati), Don Domingo. Ballet Russe de Monte Carlo: Copland, Rodeo]. S. 37–40
Arno Huth: News from Paris and elsewhere in Europe (Geneva, October 3) [Werner Egk, director of the Paris Opéra, Joan de Zarissa (choreography by Serge Lifar). Paul and Lucien Hillemacker, Le Drac. Marcel Delannoy,’ Ginevra. Paris ballet. Creation of the Archives of Contemporary Music by Carol-Bérnard]. S. 40–43
Other European notes [Frank Martin / Rilke, Cornet. Paul Schafer and the Collegium Musicum of Zurich. Miscellaneous news]. S. 43–44
Charles Cushing: The ISCM in California [Berkeley. Bartók, Divertimento for string orchestra; Stanley Bate, Sinfonietta; Britten, Sinfonia da Requiem. Ellis Kohs, Concerto for orchestra. Hindemith, Symphony in E flat. Alexander Tansman, String Quartet no. 5. String Quartets by Normand Lockwood, Frederic Balaces, Norman Suckling. Berezowsky, Viola Concerto. Repertory]. S. 43–46
Carl Buchman: Composers dedicate works to the band [Concerts of the Goldman Band: compositions by Sanjuan, Gould, Copland, Schuman, Riegger, Percy Grainger, Hershy Kay]. S. 46–48
James Sykes: Native notes in Colorado [Colorado Springs Fine Arts Center: Ives, Violin Sonata no. 4; Harris Piano Quintet, Viola Quintet; Martinu, Piano Quartet; Diamond, String Quartet in E minor. Roy Harris’ student composers: Verrall, Vance Fitzer. Harris, Variations on an Irish Theme. Hanya Holm ballet: Harris, What so Proudly we Hail]. S. 49–50
Colin McPhee: Scores and records. S. 51–52
[Scores. Chavez, Piano Concerto (Schirmer). Thomson, The Plow that Broke the Plains. Schuman, Symphony no. 3. Latin American Art Music for the Piano (Schirmer). Bartók, Contrasts (Boosey and Hawkes). Copland, Las Agachadas. Fourteen Traditional Spanish Songs from Texas (Pan American Union)].
Records [Ernest Bacon, A Tree on the Plains (New Music Recordings)]. S. 52
Edwin Denby: With the dancers [Ballet Russe de Monte Carlo: Copland, Rodeo. Nijinska, Chopin Concerto. Snowmaiden. Bellini / Dolin, Romantic Age. Ballet Theatre: Massine, Aleko. Roster of dancers]. S. 53–57
Décors for Aaron Copland’s ballet Rodeo by Oliver Smith. Presented with choreography by Agnes De Mille at the Metropolitan Opera House in October. S. [55]
[Abbildung] The Corral [Décor].
[Abbildung] The Ranch-House [Décor].
Paul Bowles: Films and theatre. S. 57–61
[Sound-effects in the World at War, Battle at Midway. Herbert Stothart’s film score for Mrs. Miniver. Lenfilm Studios: This is the Enemy (film score); Pushkov’s film score for Soviet Border. Miklos Rosza’s film score for Jacare. Sol Kaplan’s film score for Tales of Manhattan. Ballet on film]. S. 57–59
In the theatre [New Opera Company: Strauss, Rosalinda; Virginia McWatters (soprano). Ballet Theatre: Revueltas, Don Domingo]. S. 59–61
Charles Mills: Over the air [NBC Symphony: Shostakovitch, Symphony no. 7 (Symphony of our Times); Toscannini. Frank Black, The Murder of Lidice. CBS Russian American Festival: Michael Gniessin, Orchestra at the Inspector-General’s Country Ball; Piston, Sinfonietta; Repertory. Kostelanetz Orchestra, Copland, Lincoln Portrait. Bartók, Three Roumanian Dances. NBC Symphony broadcasts: Copland, Villa-Lobos, Gershwin]. S. 62–63
Recent books. S. 64–67
Arthur Berger: On modern music, but for whom? [John Tasker Howard, This Modern Music (Crowell). The Book of Modern Composers, edited by David Ewen (Knopf)]. S. 64–66
Minna Lederman: Round the world with radio [Arno Huth, Radio Today, survey of radio broadcasting (Graduate Institute of International Studies, Geneva)]. S. 66–67
The League of Composers. Executive Board. Advisory Board. S. [70]
Eugene Goossens: The public — Has it changed? [Reactions of the public toward modern music over a span of twenty-five years; recollections]. S. 71–77
Aaron Copland: From the 20s to the 40s and beyond [Economics of composers; performance rights; government in music; overview of modern music American composers; failure of exploitation of fine compositions created in the period 1920–40]. S. 78–82
Paul Rosenfeld: When New York became central [Examination of musical life and music institutions in New York City prior to World War I]. S. 83–89
Paul Nettl: The West faces East [Interchange between the Orient and Occident. New keyboard instruments of Alois Haba and Carl Luyton]. S. 90–94
Howard Hanson: Twenty years’ growth in America [Query on the meaning of the term „modern music.“ Overview of important American composers; attempt to define trends in composition]. S. 95–101
Ernst Krenek: Opera between the wars [Reaction against Wagner. Schönberg, Thomson, Milhaud, Stravinsky, Krenek, Hindemith]. S. 102–11
Scenes from contemporary opera [Photographs and sketches]. S. [105–08]
[Abbildung] L’Histoire du Soldat by Igor Stravinsky. Libretto by C. F. Ramuz, décor by Donald Oenslager, production by the League of Composers in New York, March 1928 (Première in Laussane, 1919). S. [105]
[Abbildung] Wozzeck. By Alban Berg. Drama by Georg Büchner, décor by Panos Aravantinos, produced in Berlin, 1924. (This work was introduced to America under Stokowski, in New York and Philadelphia, Fall 1931).
[Abbildung] Jonny spielt auf. By Ernst Krenek. Libretto by the composer, décor by Josef Urban, produced in New York, 1929 (Première in Leipzig, 1927). S. [106]
[Abbildung] Lady Macbeth of Mzensk. By Dmitri Shostakovitch. Libretto made by the composer from the novel by Nicolai Leskov, décor by Richardi Rychtarik, produced by the Cleveland Orchestra under the auspices of the League of Composers in Cleveland and New York, February 1935 (Première Moscow, Spring 1934).
[Abbildung] Mahagonny. By Kurt Weill. Libretto by Bert. Brecht, décor by Ludwig Sievert, produced in Frankfort, 1930 (Première in Baden-Baden, 1927).
[Abbildung] Four Saints in Three Acts. By Virgil Thomson. Text by Gertrude Stein, décor by Florine Stettheimer, presented by the Friends and Enemies of Modern Music in Hartford, February 1934, later in New York. S. [107]
[Abbildung] The Cradle Will Rock. By Marc Blitzstein. Libretto by the composer, design made under the direction of Orson Welles for the WPA production which was cancelled and then mounted without scenery by the Mercury Theatre, New York, January 1937.
[Abbildung] Oedipus Rex. By Igor Stravinsky. Libretto by Jean Cocteau after Sophocles, décor by Robert Edmond Jones, produced by the League of Composers in New York City, April 1931 (Première stage performance Berlin 1928).
[Abbildung] Christophe Colomb. By Darius Milhaud. Libretto by Paul Claudel. Décor by Panos Aravantinos, produced in Berlin, May 1935. S. [108]
[Abbildung] Mathis der Maler. By Paul Hindemith. Libretto by the composer, décor by Roman Clemens. Produced in Zurich, May 1938. Scene from „Burning of the Books“.
Forecast and review. S. 112–25
Donald Fuller: New York, mid-season, 1942–43 [Boston Symphony: Martinu, Symphony no. 1. Harris, Folksong Symphony. New York Philharmonic: Hermann, Symphony no. 1. Gould, Spirituals for String Choir. Deems Taylor, Variations on „Marco Takes a Walk“. José Iturbí, Fantasy for piano and orchestra. Miaskovsky, Symphony no. 21. Krenek, Variations on a North Carolina Folksong. Philadelphia, Szymanowski, Symphonie concertante. Doris Doe’s vocal recital. Repertory. Two-piano recital by Dougherty and Ruzicka]. S. 112–15
Israel Citkowitz: Birthday pieces [Town Hall Endowment Series: a Salute to the League of Composers, compositions by Piston, Milhaud, Copland, Jacobi, Martinu, Gruenberg. League of Composers 20th anniversary concert: Shepherd, Praeludium salutatorium; Wagenaar, Concertino; Saminsky, Rye Septet with Voice; Moore, Woodwind Quintet; Thomson, Six Portraits for Harpsichord]. S. 115–17
Marc Blitzstein: London: fourth winter of the blackout [Composers not drafted by the armed forces. Orpheum, Golders Green: Boosey and Hawkes Sunday Concerts: Mahler, Das Lied von der Erde; Peter Pears, Astra Desmond (contralto), Adrian Boult. Albert Hall: Shostakovitch, Symphony no. 7; Henry Wood. Sadler’s Wells Theatre Ballet with Robert Helpman, Constant Lambert. Films: Noel Coward’s In Which We Serve; Costal Command; Richard Addinsell’s film score for Dangerous Moonlight. Radio. Theatre. Swing]. S. 117–20
Inter-American reviews. S. 121–25
Leopoldo Hurtado: Below the equator [New music in Argentina: Castro, Ginastera. Grupo Renóvacion. Recordings of compositions by Argentine composers. Sociedad Argentina de Música. Performances of compositions by American composers]. S. 121–23
Leah Brenner: Below the Rio Grande [Mexico City Symphony Orchestra with composer conductors Chavez, Blas Galindo, Jesus Reyes. Spanish refugees in Mexico: Rodolfo Halffter, Adolfo Salazar]. S. 124–25
Colin McPhee: Scores and records. S. 126–29
1923–1943 [American music and the Cos Cob Press and New Music publishers. Aims of established publishers: Boosey & Hawkes, G. Schirmer. Arrow Press, Music Press. Recordings of interest. Duke Ellington]. S. 126–27
Winter of 1942–43 [Choral compositions by Milhaud (Schirmer). Chavez, Songs: „Notturna rosa,“ „Segador.“ Goossens, „British Children’s Prayer“ (Boosey & Hawkes). Villa-Lobos, Melodia de Montanha, New York Sky-Line. Creston, Prelude and Dance (Mercury). Dai-Keong Lee, Three Preludes; Thomson, Filling Station (Arrow Press). Hindemith, Sonata for two-pianos (Associated Music). Britten, String Quartet (Boosey & Hawkes)]. S. 127–29
Paul Bowles: Films and theatre. S. 129–32
[Film. Noel Coward’s In Which We Serve. Soviet film Spring Song, film score by Kabalevsky. Gail Kubik’s film score for Paratroops]. S. 129–30
[Theatre. Herbert Kingsley’s incidental music for The Pirate. New Opera Company: Tchaikovsky, Pique Dame. Verdi, Macbeth: Regina Resnick. Julliard School: Joseph Wood, The Mother. Thompson, Salomon and Balkis. High School of Music: Copland, The Second Hurricane]. S. 130–32
Edwin Denby: With the dancers [American Ballet: Tchaikovsky / Balanchine, Ballet Imperial. Carmen Amaya. Mimist Agna Enters. Doris Humphrey’s studio company]. S. 132–37
Charles Mills: Over the air. S. 137–39
[MBS: This is Our Enemy film score. Philadelphia Orchestra: Shostakovitch, Symphony no. 7. Harold Morris, Suite for orchestra]. S. 137
[CBS: Bernard Van Dienen, Sonnet Amoretti performed by Bernard Hermann’s CBS orchestra. Cleveland Orchestra: Loeffler, Pagan Poem. Hanson, Symphony no. 2. Korngold, Little Love Letter]. S. 137–38
[NBC: Howard Triggs, Bright Land. Compositions by Alan Hovhannes, Paul Lavalle, Gershwin, Creston, Gould]. S. 138
[WNYC: Andor Foldès’ piano recital]. S. 139
Paul Bowles: Recent books. Once again, le jazz hot [Hugues Panassié, The Real Jazz]. S. 140–42
[Anonymus]: Contributors to this issue. S. [143]
Leading figures hail the League. S. [144]
Serge Koussevitzky: Boston Symphony Orchestra.
Leopold Stokowski: Philadelphia Orchestra.
Artur Rodzinski: Cleveland Orchestra.
Fritz Reiner: Pittsburgh Symphony Orchestra.
Darius Milhaud: Mills College.
Olin Downes: The New York Times.
Charles Seeger: Music Division, Pan American Union.
The League of Composers. Executive Board. Advisory Board. S. [146]
Israel Citkowitz: Abstract method and the human voice. S. 147–51
John Peatman: „Non-millitant, sentimental ...“ [Music selected by men in the military; survey of Station KFEL of Denver; Paul Spitalny’s Sunday broadcasts; survey by the Special Services Division of the army (Broadcasting Magazine); statistics of the Hit Parade; psychology of popular songs of wartime]. S. 152–56
Chronology of war songs on „Your Hit Parade“. January 1, 1941 to September 1, 1942. S. 154
Willard Rhodes: On the warpath, 1942 [Effects of war on the folk music of the Oglala band of the Tenton Sioux, Pine Ridge Indian Reservation, South Dakota. Texts of songs inspired by the war]. S. 157–60
Robert Horan: American composers, XIX. Samuel Barber [Emphasis on architectural aspects of music; logic of design. Barber, Adagio for Strings, Symphony, Essay for orchestra no. 2, Violin Concerto. Barber’s songs]. S. 161–69
The music of Samuel Barber. S. 169
[Abbildung] Samuel Barber. A sketch by Milena. S. [163]
Robert Ward: Letter from the army (Fort Ord, Calif. February 24, 1943) [Musicians’ life in the army; band rehearsals and band concerts; enthusiastic reception of „classical music“ and „popular music.“ All-Soldier-Shows]. S. 170–74
Forecast and review. S. 175–203
Arthur Berger: Once again, the one-man show, 1943 [Evenings devoted to Sessions, Copland and Schuman at Princeton University and New York Town Hall. Copland, Piano Sonata. Schuman film music for Our Town and As it fell upon a day. Sessions, Violin Concerto]. S. 175–78
Mid-Winter, January-February [Bartlett and Robinson duo-piano recitals: Chanler, The Second Joyful Mystery; Diamond, Concerto for two solo pianos. National Orchestral Association: R. R. Bennett, Hollywood; Binder, Concertante for string orchestra. Concert repertory. Saminsky’s concert at the National Conference of Christians and Jews; Weinberg’s concert at the Festival of Jewish Arts. Szymanowski, Violin Concerto no. 2]. S. 178–82
David Fuller: More on the New York season [Philadelphia Orchestra: Thomson, Suite from The Plow that broke the Plains (film); Brooklyn Symphony Orchestra: Thomson, Suite from The River (film). Museum of Modern Art: concert of percussion music organized by John Cage. League of Composers, compositions of composers in the Armed Forces: Kohler, String Quartet no. 2; Ulysses Kay, Sonatina for violin and piano; Richard Goldman Franko, Sonatina. Orchestral arrangement of Bartók’s Sonata for two-pianos and percussion. New York Philharmonic: Stravinsky, Le Chant du rossignol; Prokofieff, Piano Concerto no. 3; Dimitri Mitropoulos (soloist and conductor). Repertory]. S. 182–85
News from Russia. By cable to Modern Music from Moscow. S. 185–89
S. Schlifstein: On War and Peace [Prokofieff. Overview of the plot and musical treatment]. S. 185–87
Igor Boelza: Shebalin’s Overture, Glière’s Concerto [Shebalin, Flight from the Embassy (musical comedy); String Quartet no. 5; Russian Overture. Glière, Concerto for coloratura soprano and orchestra]. S. 187–89
Howard Hess: Fanfares by Americans [Fanfares for performance after the singing of the national anthem and symphony concerts; project of Eugene Goossens; Taylor, Harris, Still, Cowell among others; list of composers and outlines of their contributions]. S. 189–91
Ingolf Dahl: „Tough concerts“ in Los Angeles [Evenings on the Roof: Schönberg, Klavierstücke, op. 25. Gerald Strang, Mirrororrium. Copland, Piano Sonata. Tremblay, String Quartet. David Raskin’s film score, Storm Warning. Hollywood rehearsal orchestras. Society of Native American Composers]. S. 191–93
Alfred Frankenstein: San Francisco, orchestral moderns [Tansman, Symphony no. 5. Monteux’s Pan-American program: Domingo Santa Cruz, Five Short Pieces for string orchestra; Schuman, Symphony no. 3; Villa-Lobos, Discovery of Brazil. Copland, Billy the Kid. Repertory]. S. 193–95
George Henry Lovett Smith: Bartók’s latest; American repertory [Bartók, Violin Concerto (synopsis). Cleveland Orchestra repertory]. S. 195–97
Inter-American reviews. S. 197–203
Carlos Raygada: The curse of virtuoso routine (Lima) [Repertories of nineteenth-century virtuosic compositions by touring-artists Mischa Elman, Alexander Brailowsky, Horowitz; contemporary „warhorses“ by Bartók, Falla, Prokofieff. Indifferent reception of new works by Stravinsky, Copland and Thomson]. S. 197–99
R. U. A.: Politics and international influence (Montevideo) [Public performances in Uruguay controlled by SODRE (Official Service of Radio Broadcasting). Juan José and José Maria Castro, composers and conductors. Roster and repertory of principal concerts. Complaint against the repetitious repertory of visiting international musicians. Radio broadcasting]. S. 199–202
Myron Schaefer: At the world’s crossroads (Panama) [Panamanian popular music. National Symphony of Panama. Matlowsky (pianist and composer)]. S. 202–03
Settings for three new American chamber operas. S. [180–81]
[Abbildung] A Tree on the Plains. Music by Ernst Bacon. Book and décor by Paul Horgan. To be presented May 5–8 by the Columbia Theatre Associates at the Brander Matthews Theatre. S. [180]
[Abbildung] Solomon and Balkis. Music by Randall Thompson. Décor by Frederic Kiesler. Libretto from the story by Rudyard Kipling. Presented February 9–11 at the Julliard Institute.
[Abbildung] The Wind Remains. Music by Paul Bowles. Text by Federico García Lorca. Décor by Oliver Smith. Presented March 30th in the Serenade Series at the Museum of Modern Art. S. [181]
Colin McPhee: Scores and records. S. 204–05
[Scores. Diamond, Quintet (Schirmer).Thomson, Seven Choruses from the „Medea“ of Euripides (Weaner-Levant). Robert Ward, Symphony no. 1 (Julliard Edition). String Quartets by Goossens (Boosey & Hawkes) and Harrison Kerr (Arrow Press). Juan Carlos Paz, 3a Composicion en les 12 Tones (New Music)].
Records [Shostakovitch, String Quartet, op. 49 (Columbia). Sibelius, Symphony no. 1; Barbirolli (Columbia). Debussy, La Mer; Rodzinski (Columbia)]. S. 205
Elliott Carter: Films and theatre [Soviet film: The Siege of Leningrad and Moscow Strikes Back. The life of George M. Cohan. Gruenberg’s film score for Commandos Strike at Dawn. René Clair’s I Married a Witch]. S. 205–06
Theatre [Sidney Bate’s incidental music for The Patriots. Thornton Wilder, The Skin of Our Teeth]. S. 206
Edwin Denby: With the dancers [La Meri and her Natya Dancers. Dancer Dafora. Russian film A Nation Dances]. S. 207–09
Charles Mills: Over the air. S. 209–13
[NBC. Boston Symphony Orchestra: Harris, Symphony no. 5. NBC. Stravinsky, Symphony in C. Boston Symphony Orchestra: Shostakovitch, Symphony no. 6]. S. 209–10
[WNYC American Music Festival: Dello Joio, Concerto for two-pianos; Copland, Piano Sonata; Harold Morris, Piano Sonata; Kubik, Sonatine for piano; compositions by Porter, Cowell, Harris, Goldman. Berezowsky, Duo for viola and clarinet. Dello Joio, Sonatine for violoncello and piano. Jacobi, Fantasy. Schuman’s choral works]. S. 210–12
[CBS. Indianapolis Symphony Orchestra: Van Vactor, Credo. Cleveland Orchestra: Goossens, Concerto for oboe. Columbia Symphony Orchestra: Milhaud, Piano Concerto no. 2. Seemler, Piano Sonata no. 2. Hindemith, Quintet for woodwinds. Wallenstein’s Symphonic Strings: Tansman, Triptych; Turina, Escena Andaluza; Barber, Serenade for strings]. S. 212–13
[WQXR. Martinu, Madrigal Sonata for flute, violin and piano. Harris, Violin Sonata. Series „The Composer and his Music“: Piston and Douglas Moore]. S. 213
Gilbert Chase: Recent books. Americanismo musical [Boletin Latino Americano de Música by musicologist Francisco Curt Lange]. S. 214–15
The League of Composers. Executive Board. Advisory Board. S. [1p]
Elliott Carter: American figure, with landscape [Biographical sketch of American modern music pioneer Henry Franklin Belknap Gilbert]. S. 218–25
[Abbildung] Henry Franklin Belknap Gilbert. Portrait by Frank Waldo Murray. S. [218]
Theodore Chanler: Words and musical form [Contest between vocal music and instrumental music; coherence a necessary condition for successful compositions]. S. 226–28
Edwin Denby: About words for singing [Clarity of separate words; repetition of text]. S. 229–34
Colin McPhee: Eight to the bar [Origin of jazz rhythm; polyrhythm; division of eight beats; examples of Balinese rhythm; quantitative accent]. S. 235–42
Henry Cowell, Sidney Robertson Cowell: Our country music [Library of Congress recordings of American folk music] . S. 243–47
Otto Luening: American composers, XX. Douglas Moore [Biographical sketch with emphasis on compositions]. S. 248–53
The music of Douglas Moore. S. 253
[Abbildung] Douglas Moore, drawing by B. F. Dolbin. S. [249]
Forecast and review. S. 254–76
Arthur Berger: Spring season, 1943 [Boston Symphony Orchestra: Harris, Symphony no. 5; Schuman, A Free Song. Query on Paul Creston’s progress as a composer. Kabalevsky, Symphony no. 2. Miaskovsky, Symphony no. 21. Oscar Levant, Caprice. Ballet Theatre: Stravinsky, Apollon Musagète. Janet Fairbank recital of American songs. Kubik, Sonatina. Martinu, Suite concertante. Repertory by Eda Rappaport, Robert Casadesus, Dello Joio]. S. 254–57
Society notes in New York [Museum of Modern Art: Stravinsky, Danses concertantes. De Falla, Harpsichord Concerto. Poulenc, Aubade. Thomson, Medea Choruses. Martinu, Piano Quartet. League of Composers: Elliott Carter, Pastoral for viola and piano. Leonard Bernstein, Sonata for clarinet and piano. Guarnieri, Sonatina for piano]. S. 257–60
Withrop P. Tryon: First in Boston [Koussevitzky and his assistant conductor Richard Burgin. Jacobi, Ode for orchestra. Dukelsky, Violin Concerto in G minor. Robert Russell Bennett, Sights and Sounds, an orchestral entertainment. Lopatnikoff, Sinfonietta. Hindemith, Nobilissima Visione. Guarnieri, Abertura concertante]. S. 260–62
George Frederick McKay: War boom in the Northwest [Seattle Symphony, Sir Thomas Beecham conducting. Benjamin, Prelude to a Holiday. Progress of the University of Oregon and music education in schools throughout the Northwest. Music department, University of Washington, Earl Paige Wood (director)]. S. 262–64
George Rosenfeld: Robert Palmer and George Mills [Rising, talented composers; recent concerts]. S. 264–66
Stewart B. Sabin: Thirteen at Rochester [13th annual Festival of American Music. Sowerby, Violin Concerto. Bergsma, Symphony for chamber orchestra. Burrill Phillips, Piano Concerto. Roy Harris, Ode to Truth. Cowell, Tales of our Countryside. Hanson, Drum Taps. Kent Kennan, Dance Divertimento]. S. 267–68
G. Michailov: As they see us in Russia [Patriotic songs; American „war music“: „Don’t give up the ship“; „Wings Over the Navy.“ Songs from Irving Berlin’s This is the Army]. S. 268–70
Inter-American reviews. S. 270–76
Samuel L. M. Barlow: Chilean travels [Celebration for the 400th anniversary of the founding of Santiago de Chile. Letelier, Sonnets to Death. Allende, Three Chilean Airs; Violin Concerto. Cotapos, Voces de Gesta for soprano and orchestra. Santa Cruz, Cantata de los rios de Chile. Compositions by Urrutia, Negrete, Bisquett]. S. 270–73
Luis Sandi: Struggle in Mexico [Problems with the curriculum and organization of music education]. S. 273–76
Colin McPhee: Scores and records. S. 277–78
[Scores. Copland, A Lincoln Portrait (Boosey & Hawkes). Hindemith, Six Chansons for unaccompanied mixed choir. Stravinsky, Circus Polka; Tansman, Ballades for piano (Associated Music). Cowell, „How old is song?“ (Ernest Williams School of Music)].
Records [Columbia’s reissues: Mahler, Das Lied von der Erde; Prokofieff, Violin Concerto no. 2. Shostakovitch, Piano Concerto no. 2; Eileen Joyce]. S. 278
Edwin Denby: With the dancers [Tudor / Delius, Romeo and Juliet; Alicia Markova, Hugh Laing; décor of Eugene Berman. Stravinsky, Apollo. Humphrey-Weidman studio. Dancer Valerie Bettis]. S. 279–82
Elliott Carter: Theatre and films. S. 282–84
[Theatre. Bacon, A Tree on the Plains. Paul Bowles, The Wind Remains]. S. 282–83
Films [Roy Webb’s film score for The Human Comedy. Max Steiner’s film score for Mission to Moscow. Desert Victory film score the creation of arrangers]. S. 283–84
Charles Mills: Over the air. S. 284–86
[CBS. Ives, Prelude and Fugue from Symphony no. 4; Columbia Symphony Orchestra, Hermann. Ives, String Quartet in G major]. S. 284
[NBC. Prokofieff, Alexander Nevsky; Hindemith, Symphony in E flat major; NBC Symphony Orchestra, Stokowski. Schuman, A Free Song (cantata); Boston Symphony Orchestra; Koussevitzky. Dukelsky, Violin Concerto; Boston Symphony Orchestra, Burgin]. S. 284–85
[CBS. William Primrose’s recitals: Benjamin, Sonata for viola and piano]. S. 286
Mercure: The torrid zone [Jazz at Greenwich Village pubs and restaurants. Harlem: Rainbow Music Shop source of negro jazz]. S. 286–87
Recent books. S. 288–91
Minna Lederman: Pamphlets and pamphleteers [Soviet Art in War Time; use of advertising; Eugene Petroff on Shostakovitch’s Symphony no. 7. Twenty Soviet Composers, Key-Note Series, no. 1; remarks on Shostakovitch’s rehabilitation from Soviet criticism. Pan American Union bulletins on Latin America. Annotated index of pictures of Nijinsky in the Dance Index]. S. 288–89
Israel Citkowitz: Interpretative style [Frederick Dorian, The History of Music in Performance]. S. 290–91
The League of Composers. Executive Board. Advisory Board. S. [2]
Theodore Chanler: Poetry, music and time [Observations on setting of poetry to music]. S. 3–5
Alfred Frankenstein: How to make friends by radio [Audience building restricts the broadcasting of modern music; early prejudice against professional musicians in broadcasting; audience preference of nineteenth-century music; paucity of recordings of modern music]. S. 6–9
Sidney Robertson Cowell: White spirituals [Biographical sketch of George Pullen Jackson, founder of the Nashville Symphony Orchestra; research into and collection of American folk melodies; printing of music with square shaped notes for the facilitation of sight-reading. Publications: Spiritual Folksongs in Early America (1933) and Down East Spirituals (1937)]. S. 10–15
„The Babe of Bethlehem.“ 8, 7. Wm. Walker. S. [12]
Vissarion Shebalin: Dean of Soviet composers [Nicolai Miaskovsky; sketch of current activities and compositions]. S. 16–17
[Abbildung] Nicolai Miaskovsky. By Dolbin [Sketch]. S. 16
Keith Thompson: Opera in America today [Sketch of early endeavours. Financial problems of the Metropolitan Opera House in the Depression years. Influence of radio broadcasting. Gatti-Casazza’s interest in American opera. Overview of opera companies in the United States]. S. 18–22
Douglas Moore: Young composers after the war [Increase in opportunities for American composers; war-time prosperity; interruption of lives by compulsory military service]. S. 23–26
Kurt List: Anton von Webern [Current position of the sixty-year-old composer; restrictions imposed by the Nazis; spiritual detachment of the composer; influence of Schönberg. Webern, String Quartet, op. 5. Symphony, op. 21]. S. 27–30
[Abbildung] [Anton von Webern] Sketch by Dolbin. S. 27
Forecast and review. S. 31–47
Colin McPhee: The season opens — 1943 [Bartók, Violin Concerto. Commissions by the League of Composers: Rogers, Invasion performed by the New York Philharmonic. Carnegie Hall, Soviet music concert: Shostakovitch, Piano Sonata no. 2; Vera Brodsky. Claudio Arrau’s recital of South American compositions]. S. 31–32
The League in the Park [Concerts by members of diverse cultural and ethnic groups. Sperry Gyroscope Company Orchestra; Hall Johnson Choir; Chinese People’s Chorus; Effiam Odok’s African Group; Russian Radischev Chorus and Folk Dance Group]. S. 32–34
Lou Harrison: Summer and early Fall, New York [Sanjuan, Cante Yoruba. Cowell, Shoontbree. Riegger, Prelude and Fugue. Schuman, Newsreel. Lev Knipper, Cavalry of the Steppes. Harris, Ode to Truth. Villa-Lobos, Moorish Song. Gershwin concert]. S. 34–36
Recitals of the Fall [Povla Frijsh concert: songs of Poulenc, Bowles. Modern songs of Wagenaar. Stanley Bate, Sonatina for piano; Ray Lev]. S. 36
Lawrence Morton: American conductor and works for L. A. [Alfred Wallenstein appointed conductor of the Los Angeles Philharmonic. Werner Janssen’s Orchestra: Copland, Quiet City. Toch, Poems to Martha (song cycle). Dahl, Toccata and Arioso. Weiss, Concerto for bassoon]. S. 37–39
Arno Huth: Where nations still meet [Switzerland. Support for modern music by university students and institutions. List of premières. Orchestre de la Suisse Romande: Kodaly, Seven Variations on a Popular Hungarian Theme. Halffter, Portuguese Rhapsody. Opéra de Genève: Blanche-Neige adapted from Schubert and Grimm. Swiss radio broadcasts]. S. 39–41
Eleanor Wakefield: Red star over the Southwest (Houston) [Soviet composers’ concert by the Houston Society for Contemporary Music: Khatchaturian, Toccata; Mossolow, Andante from Piano Sonata no. 6; Red Army songs sung by Billy Triggs; Shostakovitch, Piano Quintet]. S. 41–42
Robert Evett: Lively conference in Colorado [Colorado Springs: Fine Arts Conference: Persichetti, Piano Sonata, Sonata for two-pianos. Vance Fitzer, Piano Trio. Harris, Violin Sonata. Orestes and the Furies, choreography by Hanya Holm. Cecil Effinger, Prelude and Fugue for band. Harris, Piano Concerto]. S. 42–44
George Henry Lovett Smith: Martinu’s Second Symphony [Cleveland Orchestra, Erich Leinsdorf (conductor). Barber, Music for a Scene from Shelley. Gould, American Salute]. S. 44–45
Norman Nairn: Informal symposium at Rochester [Eastman School of Music. Diamond, Symphony no. 2. Inch, Answer to a Questionnaire. Vincent, Three Jacks (ballet music). Repertory]. S. 45–47
[Anonymus]: Joshua at Jericho — Soviet style [Polish jazz musician entertaining troops of the Red Army on the battlefront (From Moscow News)]. S. 47
A. Zolin: Syncopators keep in tune at hot front. Warsaw jazz band aids Red Army: Unnerve Fritz.
Colin McPhee: Scores and records. S. 48–50
[Scores. Boosey and Hawkes’ publications of Bartók’s compositions: Piano Suite, op. 14; Piano Sonata; Three Rondos on Folk Tunes. Copland, Danzon Cubano. Britten, Hymn to St. Cecilia; Seven Sonnets of Michelangelo. Moore, The Devil and Daniel Webster. Mercury publications’ Meet Modern Music]. S. 48–49
Records [Bartók plays Bartók (Continental). Cowell, Tales of Our Countryside (Columbia). D’Indy, Symphony no, 2 (Victor). Kurt Weill Songs (Victor)]. S. 49–50
Elliott Carter: Theatre and Films [Weill’s film score for One Touch of Venus. Operetta film scores. Oscar Hammerstein II, Carmen Jones. Copland’s film score for No Village Like Mine. Russian film We Will Come Back using music by Shostakovitch and Scriabin. Tansman’s film score for Flesh and Fantasy. Korngold’s film score for The Constant Nymph]. S. 50–53
S. L. M. Barlow: Dancing on Broadway [Katherine Dunham, Nora Kaye, Harl MacDonald, Balanchine. Ballet Theatre repertory. Lecocq / Massine, Mademoiselle Angot; Moussorgsky / Lichine, Fair at Sorochinsk; Strauss / Tudor, Dim Lustre]. S. 53–57
Over the air. S. 57–60
Charles Mills: [NBC. Propaganda shows: Wings to Victory; Cavalcade of America. Mutual Broadcasting System: This is our Enemy]. S. 57–58
[CBS. Harris, Chorale for organ and brasses. Shostakovitch, Piano Sonata no. 2; Vera Brodsky. Rubbra, Symphony no. 3; Columbia Symphony Orchestra]. S. 58–59
[NBC. Stravinsky, Ode for orchestra; Boston Symphony Orchestra. Russell Rodney Bennett, The Four Freedoms. Leroy Robertson, Piano Quartet; Andor Foldès]. S. 59
Béla Bartók: [Bartók’s protest against introduction of percussion instruments into the Three Roumanian Dances for recording and broadcasting]. S. 59–60
Mercure: The torrid zone [Apollo Theatre: Duke Ellington, Ella Fitzgerald, Lena Horne, Teabone Walker, Billie Holiday, Lil Green. Decca recording of Louis Jordan’s band. Decca reissues old Brunswick recordings for a cross-section of American jazz]. S. 60–61
Arthur Berger: Recent books. Why not write a book? [Elie Siegmeister, The Music Lover’s Handbook (William Morrow and Company)]. S. 62–63
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] A rehearsal at the Ballet Russe in Paris during the ‚twenties. Prokofiev (center), Diaghilev (at right), Larionov (at left). Sketched by M. Larionov. S. [66]
Serge Prokofiev: My Cinderella (Moscow, December 1943) [Prokofiev on his ballet]. S. 67–69
Marcelle de Manziarly: On rhythm, complex and simple [Bach, Beethoven, Stravinsky]. S. 70–75
Jacques de Menasce: Berg and Bartók [Classification of composers as they continue to evolve]. S. 76–81
William Strickland: The army way today [Fort Myer: Army Music School; importance of music for morale]. S. 82–84
[Anonymus]: What makes a good war song? Report from VOKS on the Moscow meeting of composers [Conference of the Soviet Composers Union; Victor Bielyi’s analysis of problems; opinions of the delegates, Zakharov, Tsaritsin, Kabalevsky, Yuri Shaporin, Chemberdji, Shneerson]. S. 85–88
Darius Milhaud: Through my California window [Milhaud’s remarks concerning his residency at Mills College; his colleagues Arthur Berger, Charles Jones and Jean Middleton. Biographical notes on Californian composers: Emanuel Leplin, Howard Brubeck, Leland Smith, Warren Anderson, John Ward. Visiting composers: Donald Fuller, Everett Helm, Russell Harris, Charles Cushing, Ellis Kohs, Edward Cone]. S. 89–95
[Abbildung] Darius Milhaud. Drawn January, 1944 by Marion Claudel. S. [91]
Forecast and review. S. 96–111
Colin McPhee: Winter stars and lesser lights [Stravinsky, Ode for orchestra. Jennie Tourel (mezzo-soprano). Martinu, Symphony no. 2; Concerto for two-pianos. Tansman, Symphony no. 5; Szymanowski, Sinfonie concertante. Series of miniatures commemorative of WW II: Berezowsky, Soldier on the Town; Hermann, For the Fallen]. S. 96–97
Lou Harrison: Composers, singers, chamber music. S. 98–100
[Britten, Seven Sonnets to texts of Michelangelo. Douglas Moore, Three Divine Sonnets of John Doone. Songs of John Edmunds. Britten, Ode to St. Cecilia]. S. 98–99
[New York Philharmonic: Rosza, Variations. Carnegie Chamber Hall: All Soviet concert. Shostakovitch, Cello Sonata. Prokofiev, Overture on Yiddish Themes. Anis Fuleihan, Piano Sonata; Muriel Kerr. Piano compositions of Theodore Chanler]. S. 99–100
Lawrence Morton: American symphonists in Los Angeles [Los Angeles Philharmonic: Bennett, Four Freedoms; Paul Creston, Symphony no. 1. Janssen’s Orchestra: Schuman, Symphony no. 3. Repertory]. S. 100–02
Moses Smith: Boston goes all out for premières [Boston Symphony Orchestra: Khatchaturian, Piano Concerto; Stravinsky, Ode for orchestra; Berezowsky, Symphony no. 4; Schuman, Symphony for strings. Piston, Prelude and Allegro for organ and strings. Barber, Commando March. Hanson, Symphony no. 4. Gardner Read, Symphony no. 2. Lukas Foss, Prairie]. S. 102–04
Vincent Persichetti: Philadelphia takes a flier [Roy Harris’s lecture. Philadelphia Orchestra repertory. Copland, Billy the Kid. Berezowsky, Symphony (1929). Hermann, The Devil and Daniel Webster Suite. Levant, Piano Concerto. Philadelphia Twentieth Century Music Corp. concert: compositions by Ravel, Bloch, Hindemith, Copland. National Association of American Composers and Conductors: Barber, Cello Sonata. Mabel Daniels, Pastoral Ode for flute and strings]. S. 104–06
Cecil Smith: Breaking trails in Chicago [Composers’ Concerts featuring compositions of Milhaud and Stravinsky. Chicago Symphony Orchestra: Hindemith, Cupid and Psyche Overture. Szymanowski, Violin Concerto; Isaac Stern. Conductor Désiré Defauw’s repertory]. S. 107–08
Alfred Frankenstein: Milhaud’s „Midian“ in orchestral debut [San Francisco Symphony: Milhaud, Saint Francis. Ballet Russe de Monte Carlo. Kostalanetz’s orchestral novelties: Creston, Frontiers; Copland, Lincoln Portrait; Miaskovsky, Symphony no. 21; Kabalevsky, Colas Breugnon Overture. Glière, Ilya Mourometz Symphony]. S. 108–10
Frederick Dorian: Music bloom in war-time Pittsburgh [Repertory; Soviet music; series on compositions dealing with American folklore. Pittsburgh Symphony Orchestra and choral groups]. S. 110–11
Colin McPhee: Scores and records [Stravinsky, Danses concertantes (Associated Music). Hindemith, Ludus tonalis (Associated Music). Piston. Passacaglia for piano (Mercury). Lou Harrison, Six Sonatas for cembalo or piano (New Music). Cage, Amores for piano and percussion. Schuman, A Free Song for chorus and orchestra. Thompson, Solomon and Balkis (E. C. Schirmer)]. S. 112–13
S. L. M. Barlow: Dancing on Broadway [American Concert Ballet: Sailor Bar (Honneger, Concertina); Five Books of Life (Dohnanyi, Variations); Ravel, Mother Goose. Carnegie Hall: Argentinita. Martha Graham. Ballet in South American theatres with subventions]. S. 113–16
Lawrence Morton: On the Hollywood front [Alfred Newman, film score for The Song of Bernadette. Toch, film score for First Comes Courage. Herbert Stothart, film score for Madame Curie. Adolph Deutsch, film score for Northern Pursuit]. S. 116–18
Paul Bowles: In the theatre. After the first night [Carmen Jones; Eugene Loring (choreography); Bennett (scoring)]. S. 118–19
Charles Mills: Over the air [Boston Symphony Orchestra: Bach, Prelude and Fugue in B flat; Burgin. Stokowski’s broadcasts with the NBC Symphony Orchestra. NBC: „Music of the New World“ series; Music Hall Symphony of the Air. MBS :Cleveland Orchestra, Martinu, Symphony no. 2]. S. 120–21
Mercure: The torrid zone [Duke Ellington concert at Carnegie Hall. Lionel Hampton’s band at Brooklyn Place. Esquire jazz concert at the Metropolitan Opera House. Benny Goodman Quartet: „The World is Waiting for Sunrise“ (Columbia). Apollo Theatre: Sister Rosetta Thorpe’s singing of spirituals]. S. 121–23
Recent books. S. 124–27
Israel Citkowitz: And now, basic music [Schönberg, Models for Beginners in Composition (G. Schirmer, New York). Hindemith, Traditional Harmony (Associated Music Publishers)]. S. 124–25
Biography, premature and overdone [Dimitri Shostakovitch, the Life and Background of a Soviet Composer, by Victor Ilyich Seroff, in collaboration with Nadejda Galli-Shohat (Alfred A. Knopf, 1943)]. S. [126]
[Edward M. Maisel, Charles T. Griffes. the Life of an American Composer (Alfred A. Knopf, 1943)]. S. [126]-27
The League of Composers. Executive Board. Advisory Board. S. [130]
[Abbildung] Arnold Schönberg, Self-portrait, March 1944. S. 130
Ernst Krenek: The idiom and the technic [Landmark position of Schönberg’s Three Piano Pieces, op. 11 (1910); influence of Bach, Wagner and Brahms; atonality. Twelve-tone technic of the Suite for piano, op. 25]. S. 131–34
[Abbildung] Schönberg in Vienna, 1909 by Maximillian Mopp. S. 134
Lou Harrison: The late works [Schönberg, Piano Concerto, op. 42; form; phrase structure; twelve-tone rows. Comparison of rows in Schönberg’s middle and late periods. Personal note about Schönberg]. S. 135–38
Kurt List: Ode to Napoléon [Schönberg. Byron’s poetry; speaker against a background for strings and piano; twelve-tone and motivic structures; sublimation of the series; structure of the main themes; Napoléon motive; Washington motive; remarks on the tonality of E flat]. S. 139–45
[Abbildung] Schönberg, self-portrait, 1910. S. 145
S. L. M. Barlow: The artist in South America [Political climate of Argentina and Paraguay. Neglect of native performers; self-depreciation. Indians of the Andes; need for historical and ethnological investigation of music. Spanish colonial influences]. S. 146–49
André Breton: Silence is golden [Problems of writing logically about music; opinions of Théophile Gautier, the Goncourt brothers. Antagonism between poetry and music. Surrealist writing and the tonal value of words]. S. 150–54
Paul Nettl: Music as a weapon of war [Psychological warfare conducted through radio music; experiences in Czechoslovakia with the Eduard Benes Radio Station. Terrorism in Sudeten Germany after the Munich pact; opposition to Nazi philosophy; repertory of radio broadcasts]. S. 155–58
Forecast and review. S. 159–82
Lou Harrison: Mid-winter in New York, 1944. S. 159, 162–64
[New York Philharmonic: Hindemith, Symphonic Metamorphosis on Themes by Carl Maria von Weber. William Grant Still, In Memoriam: the Colored Soldiers Who Died for Democracy. Vladimir Dukelsky (Vernon Duke), Violin Concerto in G minor. William Schuman, William Billings’ Overture. Miaskovsky, Sinfonietta for string orchestra, no. 2, op. 32. Richard Strauss, Divertimento (after Couperin). Karol Rathaus, Polonaise symphonique. National Orchestral Association: Wallingford Riegger, Canon and Fugue]. S. 159, 162–63
[Stanley Bate, String Quartet, no. 2. Aaron Copland, Two Pieces for strings; Lerner Quartet. Nikolai Lopatnikoff, Sonata in E; Felix Borovsky]. S. 163–64
[Romolo De Spirito’s song recital: Paul Bowles, Four Spanish Songs on texts by García Lorca. Songs by Theodore Chanler, David Diamond, Virgil Thompson, Rudolph Ganz]. S. 164
Donald Fuller: Style in recent chamber music [Boosey and Hawkes’s concert series of contemporary English and American music. Copland, Sonata for violin and piano. Roy Harris, Sonata for violin and piano. Hindemith, Sonata for violin solo. Vissarion Shebalin, Concerto for violin and piano. Quincy Porter, String Quartet no. 7. Benjamin Britten, String Quartet no, 1; Les Illuminations. Dukelsky, Ballade for piano and strings with timpani obligato. Eugene Goossens, String Quartet no. 2. Richard Donovan, Ricercare for strings and oboe]. S. 164–67
[League of Composers. Shapero, Sonata for violin and piano. Diamond, Concerto for two solo pianos; Theodore Chanler, The Second Joyful Mystery; Virginia Morley and Livingston Gearhart (duo-pianists). Randall Thompson, String Quartet no. 1; Guilet Quartet. Richard Arnell, Violin Concerto. Norman Dello Joio, Sonata for piano. Song recital: works by composers Theodore Chanler, Paul Bowles, Otto Luening, Edward T. Cone, George Tremblay, Burrill Phillips. National Orchestral Association: Anis Fuleihan, Concerto for violin, piano and orchestra]. S. 167–69
Lawrence Morton: The Harris Third and other works in L. A. [Los Angeles Philharmonic. Alfred Wallenstein (conductor). Shostakovitch, Symphony no. 7. Gian-Carlo Menotti, The Old Maid and the Thief. Nicholas Tchemberkji, Dance Suite. Mussorgsky, Pictures at an Exhibition. Evenings on the Roof: Richard Buhlig’s recitals of Beethoven’s Piano Sonatas. Charles Wakefield Cadman, Tone Drama for cello and piano. Shapero, Sonata for violin and piano]. S. 169–71
Moses Smith: Stravinsky meets the Boston censor [Boston Symphony Orchestra: Gretchaninov, Missa Oecumenica. Stravinsky, Symphony in C; Pulcinella Suite, Jeu de cartes. Stravinsky’s arrangement of the Star Spangled Banner. Bernstein, Jeremiah Symphony. Martinu, Violin Concerto no. 2]. S. 171–73
Alfred Frankenstein: Reviving Henry F. Gilbert [San Francisco Symphony. The Dance in the Place Congo. Morton Gould, Spirituals for string choir and orchestra. Chavez, H. P.. Khatchaturian, Piano Concerto; Artur Rubinstein]. S. 173–75
Vincent Persichetti: Revueltas reaches Philadelphia [Musica da feria for string quartet. Alexander Tcherepnine, Sonata for cello and piano. Krenek, Suite for cello solo, op. 84. Dello Joio, Piano Sonata no. 2. William Schuman, String Quartet no. 3. Philadelphia Orchestra: Stravinsky, Symphony of Psalms; Howard Hanson, Symphony no. 4; Samuel Barber, Symphony in one movement. Mario Castel-Nuovo, Overture The Taming of the Shrew; Shostakovitch, Lady Macbeth of Mtsensk (fragments)]. S. 175–77
George H. Lovett Smith: Americana old and new [Cleveland Orchestra 25th anniversary prize composition: Nicolai Lopatnikoff, Opus sinfonicum. David Holden, Rhapsody, Say Paw. Francisco Mignone, Four Churches. Goossens, Symphony no. 1. Robert Russell Bennett, Four Freedoms Symphony]. S. 177–79
Ray Brown: Piston’s new symphony in Washington [National Symphony Orchestra: Piston, Symphony no. 2; Hans Kindler (conductor). John Alden Carpenter, Dance Suite. Robert W. Ward, Symphony no. 1]. S. 179–80
Roberto García Morillo: Argentine season [Ballet and operatic repertory of the Teatro Colón in Buenos Aires. Asociación Wagneriana. Asociación Argentina de Compositores. Grupo Renovación]. S. 180–82
Colin McPhee: Scores and records [Symphonies and miscellaneous compositions by Gustav Mahler, Ernst Toch, Richard Donovan and Virgil Thompson]. Records [Debussy, Gigues et Rondes du printemps. Holst, The Planets. Bernstein, Sonata for clarinet and piano. Delius Society recordings. Victor Young, film music of For Whom the Bell Tolls]. S. 183–84
Lawrence Morton: On the Hollywood front [Film scores: Bernard Hermann, Jane Eyre; Dimitri Tiomkin, The Bridge of San Luis Rey; Hugo Friedhofer, Lifeboat; Robert Stolz, It Happened Tomorrow]. S. 184–86
S. L. M. Barlow: With the dancers [Dancers and choreographers in the United States. Bharata’s thesis on dance]. S. 186–88
Charles Mills: Over the air [Boston Symphony Orchestra conducted by Stravinsky. NBC Symphony: Schönberg, Concerto for piano and orchestra; Edward Steuermann, Stokowski. George Antheil, Symphony no. 4. Repertory. WNYC fifth American Music Festival overview]. S. 188–91
Mercure: The torrid zone [Jazz at Town Hall and the Apollo Theatre]. S. 191–93
Recent books. S. 194–95
Arthur Berger: The rediscovery of consonance [Curt Sachs, The Rise of Music in the Ancient World, East and West].
Colin McPhee: One more for the record [Robert Goffin, Jazz, from the Congo to the Metropolitan]. S. 195
[Anonymus]: Contributors to this issue. S. [196]
[Anonymus]: The League of Composers [Bernard Wagenaar, Pieces of Eight]. S. [1p] 196/97
The League of Composers. Executive Board. Advisory Board. S. [198]
Elliott Carter: Ives today: his vision and challenge [Problems of musical expression discussed in Ives’ Essay Before a Sonata: dissonance and polyrhythm treatment; overview of Ives’ works]. S. 199–202
Arthur Lourié: The approach to the masses [Folk art, proletarian art and populist art in Russia]. S. 203–07
Theodore Chanler: Rhythm and habit [Freedom of rhythm in Gregorian chant]. S. 208–11
W. H. Mellers: New trends in Britain. A note on Rubbra and Tippett [Texture and shape key elements in determining their unique styles. Influence of Vaughan Williams and Holst]. S. 212–16
Aaron Copland: On the notation of rhythm [In contemporary music; unequal rhythms in conventional notation; accent signs and sforzato indications insufficient in modern music]. S. 217–20
E. Power Biggs: Organ revival: music old and new [Late nineteenth-century organ music of Brahms, Rebuke, Liszt. Radio broadcasts of a German organ at Harvard University. Compositions for organ and orchestra. American organ music of Piston, Harris, Hanson, Sowerby, Porter, Kornsand]. S. 221–24
Donald Fuller: American composers, XXI: Bernard Wagenaar [Wagenaar, Violin Concerto; Three Songs from the Chinese; Divertimento for orchestra]. S. 225–32
The music of Bernard Wagenaar. S. 232
[Abbildung] Bernhard Wagenaar. Portrait by Paul Cadmus. S. [229]
Forecast and review. S. 233–58
Lou Harrison: Season’s end — May, 1944. S. 233–37
[New York Philharmonic: Shostakovitch, Symphony no. 8. Boston Symphony Orchestra: Barber, Symphony no. 2. Schuman, Symphony. Thomson, The Plow That Broke the Plains; Dai-Keong Lee, Pacific Prayer; Milhaud, Cortège funèbre. Bergsma, String Quartet no. 2. Richard Arnell, Symphony. YMHA: Andor Foldès’ piano recital; Copland, Bartók; Jacques de Menasce, Sonatine]. S. 233–35
[League of Composers concert: Harry Patch, composer and original instrument maker. Studio Theatre: John Cage and Merce Cunningham]. S. 235–37
Donald Fuller: Bernstein ballet and chamber music. S. 237–40
[New York Philharmonic: Bernstein, Jeremiah Symphony. Ballet Theatre: Bernstein, Fancy Free. Ballet Russe de Monte Carlo: Glière, The Red Poppy]. S. 237–38
[Guarnieri, Three Brazilian Dances. Walton, Viola Concerto. League of Composers chamber music concert: Bartók, Marion Bauer, Fitelberg, Lourié. International Society for Contemporary Music: Schönberg, Variations for organ; A. W. Imbrie, String Quartet. Charles Jones, Sonatina for violin and piano. Collegiate Chorale: Dello Joio, The Mystic Trumpeter. Temple Emanuel-El Festival]. S. 238–40
Frank Kubik: London letter (London, April 1944) [Michael Tippett’s sudden popularity. London Philharmonic Orchestra: Tippett, A Child of Our Time. BBC radio concerts. Blitzstein, Freedom’s Song]. S. 240–43
Cecil Smith: Composers to Chicago [Copland, Piano Sonata. Gassmann, Sonata for violoncello and piano; Three Love Lyrics from Whitman. Thomson, Sonata da chiesa. World première of Hindemith’s Ludus tonalis. Stravinsky, Concerto for two-pianos. Repertory of the Chicago Symphony Orchestra. Krenek, Piano Sonata no. 3]. S. 243–46
Bernard Rogers: The new works at Rochester [Eastman School of Music: American Music Festival. Bergsma, Symphony no. 2. Burrill Phillips, Declaratives for women’s voices. Moore, In memoriam. Gardner Read, Night Flight. Elliott Carter, Symphony no. 1. Barber, Violin Concerto]. S. 246–48
Vincent Persichetti: Some firsts in Philadelphia [Blitzstein, Freedom Morning. Eugene Zador, Biblical Triptych. Guarnieri, Brazilian Dances. Louis Gesenway, Piano Sonata, Quartet. Mabel Daniels, Three Observations for three woodwinds. National Association of American Composers and Conductors. Repertory]. S. 248–51
Moses Smith: Americans and Shostakovitch in Boston [Boston Symphony Orchestra: Shostakovitch, Symphony no. 8. Harris, Symphony no. 3. Barber, Symphony no. 2. Piston, Symphony no. 2]. S. 251–53
Frederick Dorian: The new and contemporary in Pittsburgh [Pittsburgh Symphony Orchestra, Fritz Reiner (conductor). Bernstein, Jeremiah Symphony. Martinu, Symphony no. 2 Kodaly, Dances of Galanta. Repertory. Khatchaturian, Piano Concerto; Artur Rubinstein]. S. 253–55
Lawrence Morton: Diminuendo in the West [Los Angeles Philharmonic: Copland, Billy the Kid; Schuman, A Free Song (cantata); Martinu, Concerto for two-pianos. Evenings on the Roof]. S. 255–57
Ray C. B. Brown: War brings more music to the capital [Joseph R. Wood, String Quartet no. 2. Camp Lee Symphony Orchestra: Villa-Lobos, Mignone, Fuleihan. National Gallery of Art: Richard Bales, resident composer and conductor. Marine Band]. S. 257–58
Colin McPhee: Scores and records. S. 259–60
[Forthcoming and recent publications. Arrow Press: Piston, Thomson. Schirmer: Barber. Julliard Press: Ewell, Persichetti, Mason. Recently published: Thomson, Dello Joio, Alan Sly. David Van Vactor’s songs (New Music)]. S. 259
Records [Latin American Classics: Lecuona, Mignone, Vianna, Villa-Lobos; Erno Balogh (pianist). Stravinsky, Le Sacre du printemps (Columbia). Arthur Foote, Suite for strings (Victor). Carmen Jones (Decca). Welsh Traditional Songs (Victor)]. S. 259–60
[Abbildung] Deaths and Entrances. Ballet for Martha Graham. Décor by Arch Lauterer. Music by Hunter Johnson. S. 260
S. L. M. Barlow: With the dancers. S. 261–64
[Metropolitan Opera House: Rimsky-Korsakoff / Massine, Capriccio Espagnol; Falla / Argentinita, El Amor Brujo. Gustavo Pittaluga, Cuckold’s Fair]. S. 261
[City Center: Tchaikovsky / Nijinska, Ancient Russia. Agnes De Mille, Tally Ho. Bernstein / Jerome Robbins, Fancy Free]. S. 261–62
[Doris Humphrey, Charles Weidman. Pearl Primus]. S. 263–64
Lawrence Morton: On the Hollywood front [Film scores: Bennett, Lady in the Dark; Jerome Kern, Cover Girl; Gail Kubik, Earthquakers and Memphis Belle. Frank Capra’s The Negro Soldier]. S. 264–66
Paul Bowles: In the theatre [New Opera Company: Offenbach, adapted by Korngold, Helen Goes to Troy; Jarmila Novotna (soprano). City Center: Gershwin, Porgy and Bess. Cole Porter, Mexican Hayride]. S. 266–67
[NBC Symphony: Mignone, Symphonic Impressions of Four Old Brazilian Churches; Toscannini. CBS: Schuman, William Billings Overture]. S. 269–70
Mercure: The torrid zone [Recordings of Negro jazz by Blue Note and Commodore. Edmond Hall Celesta Quartet and Blue Note Jazzmen. George Brunis and his jazz band. Victor album Up Swing. Blues singers. Sister Rosetta Tharpe]. S. 270–71
The League of Composers. Executive Board. Advisory Board. S. [2]
On artists and collaboration. A symposium. S. 3–11
[Anonymus]: [Introduction: query on the identity of collaborators with Nazi Germany]. S. 3
Arnold Schönberg: A dangerous game [Voluntary and compulsory collaboration; politics]. S. 3–5
Darius Milhaud: Music and politics [Forces of fascism and opression against democracy and freedom; Music of collaborators not implicated in the crimes of war; musicians active in the French Resistance]. S. 5–6
Ernst Krenek: The appeal to conscience [Distinguishing between collaboration in and outside the field of art]. S. 6–9
Vittorio Réti: No judgment by proxy [Retribution the responsibility of Europeans not Americans]. S. 9
Bohuslav Martinu: Artists are citizens [Position of artists in political and social life]. S. 10–11
Elliott Carter: Music as a liberal art [Position of music in the curricula of American universities; educational reforms; curriculum at St. John’s College, Annapolis, Maryland; intellectual traditions of music]. S. 12–16
Paul Nettl: Panslavism — A rebirth in music [Unification of all Slavic nations under the leadership of the Russia (USSR); history of the Panslavic movement in the nineteenth century; German influence in Czechoslovakia and resistance of Leos Janacek and Vitezslav Novak; influence of musicologist Zdenck Nejedly; Soviet ideology]. S. 17–20
Theodore Chanler: Form is line [Tonal orientation on a quasi-diatonic linear basis; Schenker; function of scale degrees in Gregorian melody; importance of chromaticism and harmony in the reduction of the linear element]. S. 21–22
Alfred Frankenstein: American composers, XXII. William Schuman [Departure from Sarah Lawrence College; director of publications at G. Schirmer. Choral Music: This Is Our Time; Prelude for chorus; use of shifting tonal plans]. S. 23–29
The music of William Schuman. S. 29
[Abbildung] William Schuman. A drawing by Alice Blake. S. 25
Forecast and review. S. 30–57
Lou Harrison: First-time fashions, New York, 1944 [Saidenberg’s Little Symphony: Cowell, Hymn and Fuguing Tune for strings; Barber, Capricorn Concerto for flute, oboe, trumpet and strings; Miaskovsky, Sinfonietta, op. 32. New York Philharmonic: Carpenter, Sea Drift; Piston, Fugue on a Victory Theme; Villa-Lobos, Bachiana Brasileira; Schuman, Symphony no. 3; Rodzinski. New York City Symphony Orchestra: Franz Bornschein, Moon Over Taos; Shostakovitch, Symphony no. 8; Stokowski. Frederick Marantz’s piano recital at Town Hall: Kurt List, Five Contrapuntal Pieces; Berg, Piano Sonata, op. 1. Dello Joio, Cello Sonata. Suites arranged from ballets by Prokofiev and Shostakovitch. Bernstein, Seven Anniversaries: Gordon Manley (pianist). Johan Franco, Unaccompanied Violin Sonata]. S. 30–35
Donald Fuller: Summer music: The Stadium [Stravinsky, Four Norwegian Moods. Blitzstein, Freedom Morning. Burrill Phillips, Courthouse Square]. S. 35, 38
John Cage: Summer music: The parks [Central Park concerts: Festival of Folk and Contemporary Music. American music night. Julliard Summer Orchestra, Peter Wilhouski (conductor); repertory. Goldman Band: Cowell, Hymn and Fuguing Tune; Pasquale Madrone, Danza campestra, Pastel March]. S. 38–40
S. L. M. Barlow: Mrs. Coolidge’s birthday party [Presentation for the gift of the Coolidge Auditorium to the Library of Congress. Budapest String Quartet, Stradivarius String Quartet, Ralph Kirkpatrick, Alexander Schneider. Réti, Second Avenue Waltzes. Stravinsky, Piano Sonata. E. Power Biggs. Piston, Partita for violin, viola and organ. Martha Graham’s ballet Mirror Before Me, music by Hindemith. Copland, Appalachian Spring]. S. 40–43
Irving Gifford Fine: Boston opens an exciting season [Schuman, Prayer in Time of War. Diamond, Symphony no. 2. Schönberg, Theme and Variations for orchestra, op. 43b. Martinu, Concerto for two-pianos; Luboschutz and Nemenoff]. S. 43–45
Bernard Rogers: Fifteen new works in Rochester debut [Eastman Rochester Orchestra, Hanson. Morris Mamorsky, Piano Concerto. Joseph Wagner, Symphony no. 1. John Verall, Symphony no. 1. Peter Mennin, Symphonic Allegro. Robert Sanders, Violin Concerto. Persichetti, Dance Overture]. S. 45–47
Vincent Persichetti: Modern chamber music in Philadelphia [Piston, Piano Trio. Copland, Violin Sonata. Freed, Triptych for piano quartet. Philadelphia Orchestra: modern music repertory. Philadelphia Conservatory of Music young composers concert]. S. 47–49
Robert Evett: Fine arts in the Rocky Mountains [Colorado Springs conference. Compositions by residents of Colorado: Cecil Effinger, Prelude and Fugue for piano; Simon Sandler, Chorale with Variations. Harris, Lamentation for soprano, viola and piano; Fantasy for two-pianos. Dance program by Hanya Holm. Air Force Headquarters Band: Vaughan Williams, Folk Song Suite]. S. 49–50
Lawrence Morton: Los Angeles to hear resident composers [Problems of the Los Angeles Philharmonic: defection of instrumentalists for work in the film industry; repertory of compositions. Hollywood Bowl: Prokofiev, Piano Concerto no. 3; Mitropoulos. Morton Gould, Cowboy Rhapsody; Lev Knipper, Symphony no. 4; Jerome Moross, Biguine; Bernstein, Fancy Free. Werner Janssen’s Orchestra: Stravinsky, Dumbarton Oaks Concerto; Shostakovitch, Lady Macbeth of Mzensk (three extracts). Festival of Modern Music: Dahl, Music for five brass instruments. Evenings on the Roof]. S. 50–53
Ingolf Dahl: California’s vital music congress [Music in Contemporary Life sponsored by Musicians’ Congress and University of California at Los Angeles: papers by Paul Nettl, Lawrence Morton, Adolph Deutsch, Alfred Frankenstein, Jerome Moross, Earl Robinson, Artie Shaw, Roy Harris, Gail Kubik. Joseph Achron, Concerto for piano alone. Ernst Toch’s „Credo“ on modern music]. S. 53–55
Jacob Avshalomoff: G.I. letter from London (London, October, 1944) [The English people are unmusical; Committee for the Promotion of New Music. Tippett, Boyhood’s End for tenor and piano]. S. 56–57
Designs by Eugene Berman for new ballets by George Balanchine, presented by the Ballet Russe de Monte Carlo at the New York City Center in September. S. [36–37]
[Abbildung] Figures in Le Bourgeois Gentilhomme. Orchestral Suite by Richard Strauss. S. [36]
[Abbildung] Backdrop and costumes for Danses concertantes of Igor Stravinsky. S. [37]
Colin McPhee: Scores and records. S. 58–59
[Scores. Hindemith, String Quartet in E flat; Concert Music for piano, brass and two harps; Eight English Songs. Stravinsky, Danses concertantes (Associated Music Publishers). Copland, Violin Sonata (Boosey and Hawkes). American composers on the Schirmer catalogue: Bacon, Luening, Stanley Bate].
Records [Bowles, Sonata for flute and piano. Barber, Overture to the School for Scandal; Morton Gould, Latin-American Symphonette; Villa-Lobos, Peóle de Bébé; Rubinstein (Victor). Folksongs of South America (Hargail). Burl Ives albums]. S. 59
Minna Lederman: With the dancers [Ballet Russe de Monte Carlo: Balanchine’s ballets with décors by Eugene Berman. Stravinsky, Danses concertantes; Strauss, Le Bourgeois Gentilhomme; Réti, Waltz Academy. Ballet Theatre: Graduation Ball; Three Cornered Hat. Ballets of Anthony Tudor: Pillar of Fire; Lilac Garden. Alexandra Danilova, Tamara Toumanova. International Ballet: Bowles, Colloque sentimentale]. S. 60–63
Lawrence Morton: On the Hollywood front [Demonstration of film music at the University of California at Los Angeles: Leigh Harline, Baggage Busters; Hans Eisler, White Floats. Eisler’s film score for None But the Lonely Heart. Film scores for OWI shorts: Norman Lloyd, Valley of the Tennessee; Kurt Weill, Salute to France; William Schuman, Steeltown]. S. 63–65
Charles Mills: Over the air. S. 65–68
[Blue Network, Boston Symphony Orchestra: Schönberg, Variations for orchestra; Diamond, Symphony no. 2]. S. 65
[NBC. Inter-American University of the Air. Bernstein, Jeremiah Symphony; Dello Joio, Magnificat. „Music of the New World“ series: Gregorian chant of the Franciscan Order broadcast from Mexico City. „Canadian Music in Wartime“: Arnold Walter, Symphony in G minor; Maurice Blackburn, Canadian Forests]. S. 66–67
[Blue Network „Contemporary Composers’ Series“: Stravinsky, Scherzo à la russe; Harris, Piano Concerto in one movement and Rock of Ages Fantasy; Copland, Letter from Home; Ibert, Concertino for saxophone; Domenico Sarvino, Overture to Spring; Victor Young, Stella by Starlight; Peter De Rose, Autumn Serenade; Theodore Weingand, Variations on a Hot Lick]. S. 67
[CBS, Philadelphia Orchestra: Kodaly, Concerto for orchestra; Griffes, The White Peacock]. S. 67–68
Mercure: The torrid zone [Victor records reissue of jazz favorites; remarks on the impasse between Petrillo and the Victor and Columbia recording companies. Chicago jazz artists. King Cole Trio. Cootie Williams’ album Echoes of Harlem. Carnegie Hall: Condon jazz concert. Lips Page at the Onyx Club]. S. 68–69
Recent books. S. 70–71
Donald Fuller: Enthusiasm by no criteria [Milos Safranek, Bohuslav Martinu, The Man and His Music (Alfred A. Knopf, 1944)].
Frani Muser: Encyclopedia, still-born [David Ewen, Music for the Millions (Arco Publishing Co.)]. S. 71
[Anonymus]: An appeal to our readers [Vol. XXI, No. 1 out of print owing to the shortage of paper]. S. [73]
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Hector Villa-Lobos of Brazil, now visiting North America. A sketch made in Los Angeles by Sotomayor. S. [74]
During the occupation and after. S. 75–84
[Anonymus]: [Introduction]. S. 75
Jules Brogniez: Resistance in Belgium [Nationalism emphasized after the Nazi occupation. Music education; major institutions; popular concerts at the Brussels Conservatory; Société philharmonique; Chapelle musicale de la Reine Elisabeth. Reaction at liberation; German censorship]. S. 75–79
Peter Lindamood: Roman journal. The ballet liberated; festival in the palace [Teatro Elisio ballet season. Choreographer and dancer Aurel Milloss (biographical sketch). Autunno musicale, a collaboration between Italian and Allied musicians]. S. 80–84
Lou Harrison: On the Chôros of Villa-Lobos [Influence of Stravinsky, Brazilian folksong; instrumental combinations; form]. S. 85–86
Arthur Berger: Form is feeling [Review of nineteenth-century opinion on emotion in music; effect of neo-classicism]. S. 87–92
Robert Tangemann: Stravinsky’s two-piano works [Overview: Stravinsky, Sonata per due pianoforti soli (1935)]. S. 93–98
Cecil Michener Smith: Music and the humanities [Study of great books and great music a preliminary step in confronting the humanistic study of music]. S. 99–101
Forecast and review. S. 102–28
Donald Fuller: Prokofiev and Milhaud, Winter of 1944 [New York Philharmonic: Prokofiev, arranged by Harold Byrns, Suite diabolique. Philadelphia Orchestra: Prokofiev, Chout Suite. New York City Symphony Orchestra: Prokofiev, Lieutenant Kije. Prokofiev, Violin Sonata no. 2; Piano Sonata no. 7. Milhaud, Suite symphonique no. 2; Catalogue des fleurs. Léners, String Quartet no. 4. Vaughan Williams, Symphony no. 5. Walton Belshazzar’s Feast. Kabalevsky, Piano Concerto. Schuman, Prayer in Time of War. Contemporary Polish music: Lubanski, Fitelberg, Rathaus, Szalowski. Violin recitals by Szigeti and Roman Totenberg. ISCM concert of a capella compositions by Krenek and Bax. Janet Fairbank’s recital of American songs]. S. 103–07
Lou Harrison: Schönberg’s birthday; Thomson’s bugles [Schönberg, Ode to Napoléon; Mack Harrell (reader), Eduard Steuermann (pianist), Rodzinski. New York City Symphony: Schönberg, Chamber Symphony no. 2; Stokowski. ISCM concert: Steuerman performing Schönberg’s Piano Pieces, opp. 11 and 23. Philadelphia Orchestra: Thomson, Suite for orchestra. American Youth Orchestra: Nicolas Rakov, Suite dansante; Richard Monhaupt, Townpiper Music. John Kirkpatrick’s piano recital: Ruggles, Evocations. Lopatnikoff, Violin Concerto in D. Rubbra, Violin Sonata. Soviet songs to Pushkin’s poetry; Rose Dinman and Dukelsky. Boris Koutzen, String Quartet in B flat. ISCM Forum Group concerts]. S. 107–11
Lawrence Morton: Jerome Moross; young man goes native [Symphony no. 1; American music based on the use of native American materials. Werner Janssen’s Orchestra: Villa-Lobos, Symphony no. 2; Chôros 6, Rudepoema. Evenings on the Roof“ Ives and Schönberg]. S. 111–14
Irving Gifford Fine: Bartók’s new Koussevitzky number [Bartók, Concerto for orchestra. Lourié, Symphonic Suite from the opera-ballet The Feast During the Plague. Gould, Spirituals for string choir and orchestra; Krenek, Variations on a North Carolina Folksong. Cambridge, Sanders Theatre: festkonzert in honor of Arnold Schönberg: String Quartet no. 2; Ode to Napoléon; Verklärte Nacht. Prokofiev’s piano sonatas in recital. Bernstein, On the Town. Martinu, Fantasy and Rondo]. S. 115–17
Vincent Persichetti: A concerto re-introduces Gruenberg [Concerto for violin; Jascha Heifitz, Philadelphia Orchestra, Ormandy. Thomson, Suite for orchestra. Harl MacDonald, My Country at War (symphonic suite). Twentieth Century Music Group: composer Jacques de Menasce. Réti, Piano Sonata in A flat major]. S. 117–19
Cecil Michener Smith: Big names in Chicago [Creative process of Stravinsky, Fireworks; Dumbarton Oaks Concerto; Sonata for two-pianos; Duo concertant. Prokofiev, Violin Sonata in D; Piano Concerto no. 3; Scythian Suite. Hindemith, Sonata for two-pianos. Barber, Capricorn Concerto. Françaix, Concertino for piano. Schönberg, String Quartet no. 3; Pro Arte String Quartet]. S. 119–22
G. H. Lovett Smith: Cleveland commissions Poem by Still [based on a poem by Verna Arvey; Cleveland Orchestra; Rudolph Ringwall (conductor). Herbert Ewell, Three Songs for Orchestra. Compositions by Hindemith, Copland, Goossens. Villa-Lobos, Bachiana Brasileira no. 2]. S. 122–23
Gustav Klemm: Baltimore thaws out in war-time [Baltimore Symphony Orchestra, Reginald Stewart (conductor): Stravinsky, Circus Polka. Prokofiev, Piano Concerto no. 3; Reginald Godden. Nicolas Nabokov, Sinfonia Biblica. Weisgall, American Comedy ‚43. Carr’s original version of the „Star-Spangled Banner.“ National Symphony Orchestra: Franz Bornschein, Ode to the Brave. Villa-Lobos, The Little Train of Caipira]. S. 123–25
Frederick Dorian: Premières and novelties for Pittsburgh [Compositions by Copland, Shostakovitch. Lec Knipper, Maku. Bartók, Violin Concerto; Yehudi Menuhin. Repertory]. S. 125–26
Alfred Frankenstein: Delaney’s Western Star [San Francisco Symphony. Gruenberg, Violin Concerto]. S. 126–28
Colin McPhee: Scores and records. S. 129–30
[Records. Conclusion of the Petrillo sanctions against recording. Recording of compositions by American composers]. S. 129
Scores [Piston, Symphony no. 2; Prelude for organ and strings (Arrow Press). Stravinsky, Four Norwegian Sketches; Schönberg, Piano Concerto; Lepatnikoff, Violin Concerto; Berezowsky, Fantasy for two-pianos (Associated Music Publishers)]. S. 129–30
Records again [Shostakovitch, Cello Sonata, op. 40. Folksay (American folk music)]. S. 130
S. L. M. Barlow: Music and dancing on Broadway. S. 130–35
[Grieg, orchestrated and adapted by Arthur Kay, Song of Norway. Hats Off to Ice; Sing out, Sweet Land. Bernstein, On the Town. Harold Arlen, Bloomer Girl. Beatrice Lillie, Lively Art]. S. 130–32
[YMHA: Mia Slavenska. International Ballet: Anton Rubinstein, Prince Goudal’s Festival (From The Demon). Bowles, Colloque sentimentale. Ravel, Bolero. Wagner / Massine, Mad Tristan. Scores based on compositions by Brahms and Chopin. Musorgsky / Boutnikoff, Pictures at an Exhibition; Nijinska (choreographer). Réti, Mute Wife. Menotti, Sebastian]. S. 132–35
Lawrence Morton: On the Hollywood front [Reminiscences about George Antheil’s column on film music. Film scores: Gruenberg, American Romance. Soviet film: The Rainbow, film score by Lev Schwartz; Shors, film score by Kabalevsky. Bernard Hermann’s film score for Hangover Square]. S. 135–37
Charles Mills: Over the air. S. 137–39
[Blue Network, Boston Symphony Orchestra: Bartók, Concerto for Orchestra]. S. 137
[CBS. Lukas Foss, Piano Concerto. New York Philharmonic: Schönberg, Ode to Napoléon; Vaughan Williams, Symphony no. 5. Walton, Belshazzar’s Feast]. S. 138
[Blue Network: Boston Symphony Orchestra: Gould, Spirituals. WNYC: New York City Symphony Orchestra: Barber, Violin Concerto. Indianapolis Symphony, Lionel Barrymore, Praeludium and Fugue. WNYC’s „Behind the Scenes in Music.“ WQXR repertory]. S. 138–39
Mercure: The torrid zone [Town Hall: new jazz concert; Barney Bigard’s band. Jazz at the Apollo Theatre and the Savoy Ballroom. Josh White’s album of folk blues (Asch). New Victor and Columbia recordings]. S. 139–41
Donald Fuller: Recent books. A goodwill offering [Gerald Abraham, Eight Soviet Composers]. S. 141–42
The League of Composers. Executive Board. Advisory Board. S. [1p]
Three west-coast sketches by Sotomayor. S. [146]
[Abbildung] Schönberg.
[Abbildung] Stravinsky.
[Abbildung] Milhaud.
Arno Huth: Europe today. A report from Switzerland (Geneva, February, 1945). S. 147–51
[Introduction. Invasion of German musicians throughout Europe]. S. 147
Deep inside the Reich [Decline of music in Germany; all theatres closed; destruction of the Bologna Teatro Communale; major composers all aged; Gottfried von Einem, Prinzessin Turandot; music journals replaced by Musik in Kriege]. S. 147–49
Liberation — France [Conflict of members of the Vichy and the Resistance. Gradual revival of musical activities. Patriotic manifestations. Roger Désomières (conductor)]. S. 149–50
Neutrality — The case of Switzerland [German musicians. Closure of the Salzburg Festival; Toscannini’s Music Weeks of Lucerne. Swiss journalists denounce invasion of German musicians. Orchestre de la Suisse Romande]. S. 150–51
Manfred Bukofzer: The neo-baroque [Appeal of baroque music to modern composers lies in the element of its construction: Stravinsky, Sonata for piano; Hindemith, Kammermusik. Modern polyphony in compositions by Stravinsky, Bartók, De Falla]. S. 152–56
Georges Auric: Paris — The survival of French music (Paris, March 10, 1945) [Exclusion of composers during the occupation; persecution of the Jews; courage of conductor Charles Munch. Francis Poulenc and Pierre Bernac and the Radio-Paris. Oliver Messiaen; Henri Sauget]. S. 157–60
W. H. Mellers: More light on the British case — Berkeley and Rawsthorne [Acclamation of Britten, Tippett and Rubbra in Britain. Berkeley’s struggle with the Gallic teaching and concepts of Nadia Boulanger; relationship (with Britten) to music of Frank Bridge. Rawsthorne’s study of Hindemith’s scores]. S. 161–64
Theodore Chanler: Gabriel Fauré, a re-appraisal [Nonconfirmity expressed in La Bonne Chanson; harmonic originality; dramatic absurdity of Pénelope]. S. 165–69
Howard Hanson: American composers, XXIII. Bernard Rogers [Musical characteristics: rhythm, orchestration, harmony, polyphony. Choral Music: The Raising of Lazarus; The Exodus; The Passion]. S. 170–75
The music of Bernard Rogers. S. 175
[Abbildung] Bernard Rogers. A drawing by E. M. Clark. S. [171]
Forecast and review. S. 176–98
Donald Fuller: Stravinsky’s visit; music in 1945 [New York Philharmonic: Stravinsky, Piano Concerto; Ode; Symphonies pour instruments à vent; Four Norwegian Sketches; Scènes de ballet; Jeu de cartes. Villa-Lobos, Piano Trio; Bachiana Brasileira. Boston Symphony Orchestra: Bartók, Concerto for Orchestra. Philadelphia Orchestra: Martinu, Symphony no. 2. Lukas Foss, Prairie. League of Composers commission: Burrill Phillips, Scherzo. Cowell, Fanfare for the Forces of Our South American Allies. Fuleihan, Concerto for Theremin]. S. 176–79
[League of Composers chamber music concert: Allen Sapp, Violin Sonata. Arthur Kreuz, Four Poems by Robert Burns. Leo Smit, Piano Suite. National Association of American Composers and Conductors at the Museum of Modern Art: repertory. Society for the Publication of American Music: Douglas Moore, String Quartet. Temple Emanu-El: series „A Hundred Years of American Music,“ compositions by Saminsky, Copland]. S. 179–81
Lou Harrison: The rich and varied New York scene [New York City Symphony: Miaskovsky, Symphony no. 21. National Orchestral Association: Arthur Gold, Piano Concerto; Berezowsky, Violin Concerto. Philadelphia Orchestra: Berezowsky, Harp Concerto. New York Philharmonic Orchestra: Thomson, Symphony on a Hymn Tune; Creston, Symphony no. 2. Prepared piano pieces by John Cage; Gold and Fitzdale. Hindemith, Ludus tonalis. Martinu, Trio in F major. Sidney Foster, Trio. Dello Joio, Trio. Alexei Haieff, Three Pieces for violin. Cowell, Toccanta for flute, cello and piano. Moore, Down East Suite. Songs by Paul Nordoff]. S. 181–85
Vincent Persichetti: Philadelphia’s lively mid-season [Philadelphia Art Alliance: lecture-recital by Stravinsky. Twentieth Century Group: Debussy, Chansons de Charles d’Orleans; Bernstein, Clarinet Sonata; Britten, String Quartet no. 1; Bloch, Violin Sonata. Philadelphia Orchestra: Berezowsky, Harp Concerto; Martinu, Symphony np. 2; Creston, Pastorale and Tarantella]. S. 185–86
Lawrence Morton: Western evenings with Ives [Los Angeles, Evenings on the Roof“ Ives, Third Violin Sonata. Piston, Trio. Los Angeles Philharmonic: Schönberg, Chamber Symphony no. 2; Kabalevsky, Symphony no. 2; Deems Taylor, Elegie for orchestra; Rosza, Concerto for strings; Chavez, H. P.]. S. 186–88
Irving Gifford Fine: Boston hears Villa-Lobos; attends theatre [Boston Symphony Orchestra: Chavez, Bachiana Brasileira no. 7; Chôros no. 12; Rudepoêma. William Grant Still, In Memoriam: the Colored Soldiers Who Died for Democracy. Hindemith, Symphonic Metamorphosis on Themes by Carl Maria von Weber. Lopatnikoff, Concertino fo orchestra. E. B. Hill, Music for English horn and orchestra. Harvard Glee Club and Radcliffe Choral Society. Martha Graham’s Company: Copland, Appalachian Spring. Walter Hendl’s incidental music to The Dark of the Moon]. S. 188–90
Inter-American reviews. S. 191–95
Salvador Moreno: Abundance and conflict in Mexico (Mexico City) [Concerts by Pianist García Mora, Sonia Verbitsky, Salvador Ochoa. Daniel Concert Association concerts. National Opera and Opera de Mexico. Symphony Orchestra of Mexico]. S. 191–92
Juan A. Orrego: A Chilean masterwork [Domingo Santa-Cruz, Cantata de los Rios de Chile; Variations for piano and orchestra]. S. 192–94
Roberto García Morillo: Argentina feels World War II effects [Repertory of the Teatro Colon; Concerts directed by Albert Wolff; Philharmonic Association concerts; Wagnerian Society; Modern music programs; Ginastera’s lecture]. S. 194–95
Davidson Taylor: Paris thaws out to music (Paris, March 15, 1945) [Mady Breton’s vocal recital. Société Privée de Musique de chambre: Gluck, Alceste; Purcell, Dioclesian. Olivier Messiaen]. S. 196–98
Arthur Berger: Scores and records. S. 199–201
[Records. Stravinsky, Four Norwegian Sketches; Ode, Scènes de ballet; Circus Polka (Columbia)]. S. 199
[Scores. Stravinsky, Sonata for two-pianos (Associated). Britten, Serenade for tenor, horn and strings (Boosey and Hawkes). Poulenc, Violin Sonata. Virgil Thomson, Sonata da chiesa (New Music). Foss, Prairie (G. Schirmer). Elliott Carter, Crane’s Voyages (Valley Music Press). Copland, Our Town (Boosey and Hawkes). Songs by Ames, Luening, Diamond and Nordoff]. S. 199–201
Minna Lederman: With the dancers [Ballet Russe de Monte Carlo: Balanchine festival. Strauss, Le Bourgeois Gentilhomme. Stravinsky, Danses concertantes. Mozartiana. Tchaikovsky, Ballet Imperial. Jerome Moross, Frankie and Johnny]. S. 201–04
Lawrence Morton: On the Hollywood front [A Song to Remember. Franz Waxman’s film score for Objective Burma]. S. 205–06
S. L. M. Barlow: On and off broadway [La Meri’s Scheherazade. Moross, Frankie and Johnny. David Diamond’s incidental music to Shakespeare’s The Tempest. Merce Cunningham’s solo dance recital]. S. 206–08
Charles Mills: Over the air. S. 208–10
[Blue Network. Boston Symphony Orchestra: Lourié, The Feast During the Plague]. S. 208
[CBS. Berezowsky, Concerto for harp and orchestra. Martinu, Symphony no. 2. Fuleihan, Piano Concerto]. S. 208–09
[NBC Symphony Orchestra: Barber, Essay for orchestra no. 2; Khrennikov, Symphony no. 1. WQXR: Waxman, Piano Concerto]. S. 209
[WNYC sixth American Music Festival: Persichetti, Sonata for two-pianos; Wagenaar, Sonatina for cello and piano. Bowles, Scènes d’ Anabase. Haieff, Ostinati for piano; Polka, Air and Ritornel for violin and piano. David Fuller, Songs. Leo Smit, Piano Suite. Bergsma, Three Fantasies for piano. WNYC broadcast of the centenary of Congregation Emanu-El]. S. 209–10
Colin McPhee: The torrid zone [Decca and Okeh recordings of jazz and blues; Mead Lux Lewis boogie style. Carlos Montoya (guitarist). Commodore Records: Kansas City Six; Edmond Hill Quintet. Blues singer Memphis Minnie]. S. 210–11
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Appalachian Spring. An impression by Charlotte Trowbridge of Martha Graham’s ballet, commissioned for the Coolidge Festival in Washington, Presented to New York in May. Music by Aaron Copland — Setting by Isamu Noguchi [Sketch]. S. [214]
Bernard Hermann: Four symphonies by Charles Ives [Overview of principal themes, harmony and forms]. S. 215–22
Henry Cowell: Shaping music for total war [Purpose of the Overseas Branch of the OWI to wage psychological warfare against the enemy; Radio Program Bureau; popular music; oriental songs; indigenous music]. S. 223–26
Robert Tangeman: The songs of Theodore Chanler [Overview of songs]. S. 227–33
The songs of Theodore Chanler [List]. S. 233
[Abbildung] Theodore Chanler. A sketch by Gabrielle Chanler. S. [228]
Frani Muser: Music table d’hôte [Comparison of nineteenth- and twentieth-century programs; suggestions for program building]. S. 234–36
Four young Americans represented by major works presented in New York this year. Sketched by B. Dolbin. S. [237]
[Abbildung] Leonard Bernstein.
[Abbildung] Lukas Foss.
[Abbildung] Arthur Kreutz.
[Abbildung] Norman Dello Joio.
Irving Fine: Young America : Bernstein and Foss [Bernstein’s musical fluency; numerous influences and musical styles; diatonic and rhythmic components. Influence of Hindemith in Foss’s compositions; lack of harmonic content; Foss, The Prairie]. S. 238–43
News from overseas. S. 244–53
Sebastian: Austrian underground (Zurich, April 1945) [Nazi period an improvised imitation of native musical activity; closure of major institutions; Entartete Kunst (degenerate art) exhibition]. S. 244–47
Georges Auric: Paris resurgent (Paris, April 1945) [Film scores by Jehan Alain, Jean Vuillermoz, Maurice Jaubert. Société des Concerts du Conservatoire. Théâtre des Champs-Elysées: Sauget, Forains (ballet)]. S. 247–50
Dai-keong Lee: Music down under (Australia, Spring 1945) [Symphony orchestras of the Australian Broadcasting System. Edgar Bainton, The Pearl Tree (opera). Composers Alfred Hill, Roy Agnew, Frank Hutchins (biographical notes)]. S. 251–53
Forecast and review. S. 254–66
Donald Fuller: Russian and American season, 1945 [Prokofiev, Alexander Nevsky (cantata); Scythian Suite; Piano Sonata no. 8. New York Philharmonic: Foss, Ode. Peter Mennin, Symphonic Allegro. National Orchestral Association: Lopatnikoff, Violin Concerto. Boston Symphony Orchestra: Randall Thompson, The Testament of Freedom; Hanson, Symphony no. 3. Julliard Graduate School Orchestra: Moore, Village Life; Jacobi, Night Piece; Wagenaar, Song of Mourning; Richard Bales, National Gallery Suite. Shostakovitch, Piano Trio. Chamber Music Guild’s concert. Times Hall: Janacek, Diary of One Who Vanished; Martinu, Quintet for piano and strings. ISCM Forum Group: Lou Harrison, Suite for piano]. S. 254–58
Lou Harrison: Spring styles in New York [Cuban-American Music Group: Roldan, Motivos de Son; Caturla, Primera Suite Cubana; Ardévol, Sonata a tres; Orbon, Homage a Soler. New York Little Symphony: Thomson, Sonata da chiesa. ISCM: Artur Schnabel, Piano Sonata; Miriam Gideon, The Hound of Heaven. ISCM Forum Group. Collegiate Chorale: Dello Joio, Symphony. New York Philharmonic: Young People’s concert. New York Chamber Orchestra: Shostakovitch, Pantomime and Sarcastic March from the film score to Shakespeare’s Hamlet. Tibor Serly, Transylvanian Rhapsody. Concert repertory]. S. 258–61
Robert Tangeman: Variations for a jubilee [Cincinnati Symphony Orchestra: Jubilee Variations by ten modern music composers. William Grant Still, Festive Overture]. S. 261–62
Bernard Rogers: Rochester twenty years after [Eastman School of Music: Festival of American Music. Copland, Cortège macabre; Porter, Ukrainian Suite. Luening, String Quartet; Sowerby, Violin Sonata. WHAM radio commissions]. S. 262–63
George Henry Lovett Smith: Gould première in Chicago [Concerto for orchestra] . S. 263–64
Alfred Frankenstein: Modern classics reach the coast [San Francisco Symphony: Milhaud, Protée; Chavez, Concerto for four horns; Thomson, The Plough That Broke the Plains; Brubeck, California Suite; Hindemith, Metamorphosis on Themes by Carl Maria von Weber. Songs by John Edmunds]. S. 264–65
Rafael Durian: One-man week in Philadelphia [Philadelphia Orchestra: Persichetti, Cables for narrator and orchestra. Twentieth Century Music Group: Sonata for two-pianos]. S. 265–66
Arthur Berger: Scores and records. S. 267–70
[Scores. Guarnieri, Sonatina no. 3 (Associated Music Publishers). Barber, Excursions for piano (Schirmer). Stanley Bate, Sonatina no. 8 (Associated). Bergsma, Three Fantasies (Hargail). Alexander Tansman, Intermezzi Series IV (Associated Music Publishers); Short Suites (Delkas). Palmer, Three Preludes (Valley Music Press). Burrill Phillips, Declaratives (Elkan-Vogel). Schuman, Te Deum; „Orpheus with his Lute“ (Schirmer). Piano music by Prokofiev, Kabalevsky, Khatchaturian. Dello Joio, Chamber Work]. S. 267–69
Records [Stravinsky, Scènes de ballet (Columbia)]. S. 269–70
Minna Lederman: With the dancers. S. 270–73
[Ballet Theatre: Massine, Salvator Dali, Marc Chagall; Aleko]. S. 270
Season of Anthony Tudor [Schuman, Undertow]. S. 270–72
[Ballet Theatre: Waltz Academy]. S. 272
Dancers and divertissements [Alicia Markova, Tamara Toumanova, André Eglevsky]. S. 272–73
Argentinita and company [Café de Chinitas]. S. 273
[Ballet Theatre: Massine, Moonlight Sonata].
Lawrence Morton: On the Hollywood front [Combinations of natural sounds and composed music for film scores: Kubik, Memphis Belle; Waxman, Objective Burma. Dimitri Tiomkin, film score for San Pietro. Overview of film scores. Film music as propaganda: Ben Macham’s film score for Power Unlimited]. S. 274–75
S. L. M. Barlow: In the theatre [Orchestrations of The Star-Spangled Banner; Stravinsky. Rodgers and Hammerstein, Carousel. Walter Hendl’s incidental music for The Dark of the Moon, Bowles’ incidental music for The Glass Menagerie. African Academy of Arts and Research Festival]. S. 275–77
Charles Mills: Over the air. S. 278–79
[NBC’s Shostakovitch Festival of Chamber Music: Piano Trio in E minor; String Quartet in A major; Piano Quintet in G minor. Walton, Concerto for viola. Rochester Symphony Orchestra: Porter, Ukrainian Suite. Rogers, Sililoquy for flute]. S. 278
[Blue Network: Robert Sanders, Concerto for violin; Hanson, Songs from Drum Taps; Rogers, Drawings After Hans Christian Anderson]. S. 278–79
[Piston, Prelude and Allegro for organ and strings. General Motors Symphony of the Air]. S. 279
Colin McPhee: The torrid zone [Lionel Hampton’s concert at Carnegie Hall. Victor’s „Hot Jazz“ educational series. Jelly Roll Morton. Decca recordings]. S. 279–81
[Anonymus]: Modern Music [Subscription form]. S. 281
The League of Composers. Executive Board. Advisory Board. S. [2]
Neglected works: A symposium [Rigid standardization of the concert repertory]. S. 3–12
Randall Thompson: Randall Thompson [Bartók, The Palace of Prince Bluebeard; Sessions, Violin Concerto; Ives, Symphony no. 4; Malipiero, The Crucifixion; Thomson, Four Saints in Three Acts]. S. 3–4
Carlos Chavez: Carlos Chavez [Copland, Short Symphony; Stravinsky, Le Sacre du printemps]. S. 5–6
Robert Palmer: Robert Palmer [Ives, Three Places in New England; Bartók, Music for Strings, Percussion and Celesta; Roy Harris, Viola Quartet; Rubbra, Symphony no. 3; Hunter Johnson, Concerto for Small Orchestra]. S. 6–7
Lou Harrison [Works by Ruggles, Ives, Schönberg, Berg and Webern]. S. 7
Aaron Copland: Aaron Copland [Milhaud, Christopher Columbus; Falla, El Retablo de Maese Pedro; Ives, Lincoln, the Great Commoner; Sessions, Violin Concerto; Satie, Socrate; Wolpe, Palestinian Songs; Chavez, Piano Sonata; Palmer, String Quartet no. 1; Blitzstein, Cain]. S. 7–8
Harold Shapero: Harold Shapero [Stravinsky, Symphonies for Wind Instruments; Hindemith, Konzertmusik; Copland, Short Symphony; Piston, Violin Concerto]. S. 8–9
Paul Rosenfeld: Paul Rosenfeld [List of neglected modern music composers]. S. 9–10
Leonard Bernstein: Leonard Bernstein [Remarks on the economic problems involved in introducing unusual repertory; Stravinsky, Perséphone, Les Noces; works by Bartók, Sessions, Satie, Chavez]. S. 10–11
Ingolf Dahl: Ingolf Dahl [Query on the wisdom of incorporating obscure or neglected works into the general repertory]. S. 11–12
Douglas Moore: Homage to Bela Bartók [Not fitted for the American scene; musical language no less important than that of Stravinsky and Schönberg]. S. 13–14
[Abbildung] A sketch by Dolbin [Bartók]. S. 13
Paul Bowles: In the tropics. Pages from a journal. Havana, June 1945 [Impressions of music and musicians in Cuba, San Salvador and Guatemala]. S. 15–19
Herbert Elwell: American composers, XXIV. Quincy Porter [Musical style; melody, rhythm]. S. 20–26
The music of Quincy Porter [List of compositions]. S. 26
[Abbildung] Quincy Porter. Drawing by William Aldrich. S. [21]
William Bergsma: Mechanics of orchestral notation [Transferrence of melodic phrases from instrument to instrument; doubling; forte achieved from mixtures of dynamics; principal and subordinate voices]. S. 27–30
Harold Shapero: The musical mind [Mechanism of tonal memory]. S. 31–35
News from overseas. S. 36–44
Arno Huth: Post-war European revival (Geneva, January 1946) [France, Belgium, Holland, Germany and Austria]. S. 36–39
Henry Pleasants: Internationalism again in Vienna (Vienna, December 1945) [ISCM concert: Hindemith, Prokofiev, Eisler, Falla. Schönberg’s influence. Account of the death of Anton von Webern (Wiener Kurier). Concert repertory. Bartók commemorative concert]. S. 38–40, 42
Jerzy Fitelberg: Poland yesterday and today [Deaths of musicians at the hands of the Nazi Gestapo; supression of musicians during the Occupation; overview of post-war musical life in Poland]. S. 42–44
The Prodigal Son, America 1800. Original prints that suggested the theme and locale of the new opera awarded the David E. Bispham Prize. Music by Frederick Jacobi. S. [40]
[Abbildung] „Reveling with Harlots“ [Print].
[Abbildung] „Receiving his Patrimony“ [Print].
[Abbildung] „In Misery“ [Print].
[Abbildung] „Return to his Father“ [Print].
Forecast and review. S. 45–65
Donald Fuller: Stravinsky full-length portrait [Stravinsky, Symphony in Three Movements. Copland, Appalachian Spring. Piston, Symphony no. 2. Milhaud, Sonata. Julliard School of Music: Hindemith festival: Hérodiade (ballet); The Four Temperaments; Variations for Cello. Anatole Kitain (pianist), Jennie Tourel. Compositions by American composers: Bergsma, Mennin, Berger, Harold Kohon, Richard Arnell, Carpenter. Keyboard music by Thomson, John Lessard, Joseph Achron. Compositions for violin]. S. 45–46, 48–50
Lou Harrison: New music in recitals and symposiums [Siegmeister, American Sonata for piano. Milhaud, La Libertadora for piano. Réti, Rondo variato for violin. Eda Rappaport, American Scenes for violin. Berger, Capriccio for piano. Town Hall: Walter Hendl’s lectures „This Is Our Music“ (American music). Janet Fairbank’s vocal recital: Bacon, Bergsma, Poulenc. Conference on American-Soviet Cooperation: Prokofiev, Scenes from War and Peace. Collegiate Chorale: Barber, A Stop Watch and an Ordanance Map (a capella male voices). Schönberg, Theme and Variations. Kabalevsky, Piano Concerto no. 2. Antheil, Symphony no. 4]. S. 50–53
Elliott Carter: Scores for Graham; Festival at Columbia [Copland, Appalachian Spring; Hindemith, Hérodiade; Chavez, Dark Meadow, Merce Cunningham’s Mysterious Adventure. Festival of American Music at Columbia University: Hanson, Symphony no. 4; Piston, Symphony no. 2; Diamond, Rounds; Henry Brant, Saxophone Concerto; Riegger, String Quartet; Bergsma, String Quartet no. 2]. S. 53–55
Irving Fine: Symphonic works and Fauré anniversary [Boston Symphony Orchestra broadcasts of Copland’s Appalachian Spring; Martinu’s Symphony no. 3; Bartók’s Violin Concerto. Prokofiev, Symphony no. 5. Menotti, Interludes from The Island God; Piano Concerto. Dukelsky, Cello Concerto. Gould, Concerto for orchestra. Ballet Theatre: Foss, The Gift of the Magi; Dello Joio, On Stage. Cambridge, Harvard University: Fauré Penélope (concert version), Requiem, chamber music]. S. 55–57
Vincent Persichetti: Bloch, Milhaud and Martinu [Philadelphia Orchestra: Bloch, Suite symphonique. Milhaud, Suite for violin and orchestra. Renzo Rossellini, Song of the Marshes. Mignone, Four Churches. Martinu, Concerto grosso, Piano Quintet. Art Alliance recital: compositions of Elwell and Palmer]. S. 58–59
Lawrence Morton: Los Angeles interprets Genesis [Nathaniel Shilkret’s musical symposium, commissions from seven composers: Schönberg, Tansman, Castelnuovo-Tedesco, Milhaud, Toch and Stravinsky; compositions completed by Shilkret. Evenings on the Roof: Stravinsky, Elegy for viola solo; Shapero, Sonata for four-hands; George Tremblay, String Quartet. Hindemith, Das Marienleben]. S. 59–61
Cecil Michener Smith: Hindemith’s Chicago birthday party [Hindemith, Violin Sonata, Hérodiade, The Four Temperaments. Harris: Piano Quintet, Lamentation for soprano. Milhaud, Opus Americanum]. S. 61–62
Charles Warren Fox: Rochester’s fall Festival of Americans [Persichetti, Piano Concerto. Beatrice Laufer, Symphony no. 1. George Henry, Symphony no. 1. Don Gillis, A Symphony for Free Men. Compositions by Berger, Fletcher, White, Britain, Grant]. S. 62–63
Alberto Ginastera: Inter-American review [Suspension of musical life in Argentina; founding of the Argentine Music Publishers. Buenos Aires Philharmonic. Morillo, Three Paintings of Paul Klee; Ginastera, Psalm CL. Falla’s Atlantida]. S. 64–65
Designs and drawings for New York stage productions. S. [47]
Alberto Ginastera: [Abbildung] Billion Dollar Baby. A musical play. Original designs by Oliver Smith for the new York production, 1945. Score by Morton Gould. Choreography by Jerome Robbins.
[Abbildung] Peter Grimes. Opera by Benjamin Britten. Stage set by Kenneth Greene for the Sadler’s Wells Opera production, London, 1945.
Arthur Berger: Scores and records. S. 66–69
[Barber, Symphony no. 1; New York Philharmonic; Walter. Barber, Essay for orchestra, Capricorn Concerto. Thomson, Five Portraits (Columbia); String Quartet no. 2 (Arrow Press). Prokofiev, Alexander Nevsky (Columbia). Milhaud, Second Suite (Victor). Copland, incidental music for Our Town. Appalachian Spring (Boosey and Hawkes). Dello Joio, incidental music for On Stage; Prelude: to a Young Musician (Schirmer). Bernstein, Jeremiah Symphony (Victor). Schönberg, Ode to Napoléon Bonaparte (Schirmer). Hindemith, Symphonic Metamorphosis on Themes by Carl Maria von Weber. Chamber music publications].
Minna Lederman: With the dancers [Martha Graham dancers: Chavez, Dark Meadow. Ballet Theatre: Adolphe Blom / Marc Chagall / Stravinsky Firebird. Stravinsky, Apollo. Ballet Russe de Monte Carlo: Bach / Balanchine, Barocco. American choreography: Jerome Robbins, Interplay; Michael Kidd, On Stage. Alexandra Danilova]. S. 69–73
[NBC’s „Story of Music“: Diamond, Rounds. NBC Symphony Orchestra: Creston, Frontiers; Don Gillis, Symphony no. 5. Bowles, Sonatina]. S. 74
Lawrence Morton: On the Hollywood front [Hugo Friedhofer’s film score for Marco Polo. Max Steiner’s film score for San Antonio. Hans Eisler’s film score for The Spanish Main. Werner Janssen’s film score for Captain Kidd]. S. 75–76
Colin McPhee: The torrid zone [Bunk Johnson’s band; New Orleans style. Town Hall jazz concerts: Mary Lou Williams. Jazz recordings from Decca, Capitol and Bluebird]. S. 76–77
John Cage: Recent books. The dreams and dedications of George Antheil [Ezra Pound, Antheil and the Theory of Harmony (biographical sketch)]. S. 78–79
[Anonymus]: Modern Music [Subscription form]. S. 79
The League of Composers. Executive Board. Advisory Board. S. [1p]
[Abbildung] Il Mandarino meraviglioso. Ballet by Menyhirt Lengyel. Choreography by Aurel Milloss. Music by Bela Bartók. Setting by Prampolini. Produced at the Scala Theatre, Milan, 1941. S. [82]
Jacques de Menasce: The classicism of Bela Bartók. A study of the late works [Music for Strings, Percussion and Celesta; Violin Concerto; String Quartet no. 6; Piano Concerto no. 3]. S. 83–88
Léon Kochnitzsky: Questions of style today [Prophets of the twentieth century: Marx, Nietzche, Bergson, Freud. Destruction of the visible object; destruction of syntax; verbal clash of images; Marxism. Surrealism. Neo-classicism and romanticism]. S. 89–94
Alfred Schlee: Vienna since the Anschluss. To the editor (Vienna, Spring, 1946) [Revival of the ISCM. Exile of Mahler, Krenek, Schönberg; Berg. Webern and Hauer unknown in Austria]. S. 95–99
Robert Evett: The harmonic idiom of Roy Harris [Function of mass resonance; inflection and modification of the melodic line; harmony for purposes of architectural definition; Cadence; progressions; polychords]. S. 100–07
[Abbildung] Roy Harris. A sketch by Anna Matyas Lahmer. S. 100
Robert Ward: Composers in uniform [Lehman Engel in charge of Navy films. Dai-Keong Lee’s film scores. Gail Kubik’s film scores. Army bands and bandleaders. Lists of musicians active in the armed services]. S. 108–10
John Cage: The East in the West [Hindu ragas and Schönberg’s tone rows likened; compositions of Alan Hovhannes, a fusion of the oriental and occidental; Varèse’s percussion compositions]. S. 111–15
Forecast and review. S. 116–33
Donald Fuller: Airbourne over New York: Spring, 1946 [Marc Blitzstein’s symphony. New York City Symphony Orchestra: Lukas Foss, Symphony in G. Shapero, Serenade in D; Three Amateur Sonatas for piano. Jerzy Fitelberg, Nocturne. Ibert, Festival Overture. Stravinsky, Ebony Concerto. Ives, Symphony no. 3. Harrison’s monograph on Carl Ruggles. Haieff, Divertimento. Berger, Capriccio. League of Composers chamber music concert: Réti, Partita for flute, oboe, string quartet and harpsichord. Messiaen, Poèmes pour mi; Quatour pour la fin du temps. String quartets of Milhaud and Sauget. Poulenc, Telle Jour, Telle Nuit (song cycle). Concert of Ernst Bacon’s compositions. Sonatas for two-pianos by Bowles and Haieff. Bartók memorial program]. S. 116–23
Lou Harrison: Mostly chamber music [Haieff, Suite for violin and piano. Engel, Cello Sonata. Casella, Cello Sonata. Messiaen, Fantaisie burlesque for piano. Bowles, Tamanar for piano. Thomson, Portraits. Compositions for violin and piano by Bergsma, Barraud, Chanler. ISCM Forum Group: Songs by Paul Schwarz and Ned Rorem; Merton Brown, Cantabile. Three Choir Festival at Temple Emanu-El]. S. 123–25
[Gruenberg, Violin Concerto; Heifitz. Bartók, Portrait no. 1. American Youth Orchestra: Phillipa Duke Schuyler, Rumpelstiltskin]. S. 125
Vincent Persichetti: Philadelphia honors Bartók [Philadelphia Orchestra: Bartók, Piano Concerto no. 3; Violin Concerto. John Haussermann, Concerto for voice and orchestra. Art Alliance awards: Persichetti, Ahrendt, Jane Kolb. Guild for Contemporary Composers]. S. 126, 28
Alfred Frankenstein: Local genius in San Francisco [Halsey Stevens, Symphony no. 1; Charles Jones, Five Melodies for orchestra; Bergsma, Music on a Quiet Theme. Bloch, Suite symphonique. Bartók, Piano Concerto no. 2]. S. 128–29
Gustav Klemm: Baltimore hears world premières [Baltimore Symphony Orchestra: Gustave Strube, Peace Overture; Louise Talma, Toccata. Morton Gould, Symphonette no. 4. National Symphony Orchestra: Kabalevsky, Symphony no. 2; Ponce, Concierto del Sur; Khatchaturian, Gayaneh. Philadelphia Orchestra: Milhaud, Suite. Peabody Conservatory concerts]. S. 129–30
Everett Helm: Inter-American review. The musical temper of Rio [Villa-Lobos, Symphony of War; Fernandez, Violin Concerto; Mignone, Quadros Amazonicas. Brazilian Society of Chamber Music: Villa-Lobos, String Quartet no. 7; Gnatti, Quartetto popular. Series Chamber Music of the Americas. Camargo Guarnieri, String Quartet no. 2. Fernandez, Invençoes Serestrais for wind instruments]. S. 131–33
Music from a painter’s world. Pictures by Marc Chagall. From the current exhibition of his work at the Museum of Modern Art, New York City. S. [118–19]
[Abbildung] Snowing [Chagall]. S. [118]
[Abbildung] Cello Player [Chagall].
[Abbildung] Die Bassgeige [Chagall].
[Abbildung] Choreographic sketch for Aleko [Chagall]. S. [119]
[Abbildung] Acrobat With Violin [Chagall].
[Abbildung] Musician [Chagall].
Arthur Berger: Scores and records. S. 134–37
[Scores. Chanler, The Children (song cycle) (Schirmer). Songs by Revueltas, Bowles, Hindemith, Lieberson. Piston, Symphony no. 1 (Schirmer). Chamber music and two-piano arrangements. Persichetti, Piano Sonata (Elkan-Vogel); Foss. Fantasy Rondo for piano (Schirmer). Palmer, Toccata Ostinato; Dello Joio, Prelude. Compositions employing folk melodies: Burrill Phillips, Tailleferre, Bacon, Britten. Thomson, Ten Etudes for piano (Fischer)]. S. 134–36
Records [Milhaud, Protée; Prokofiev, Scythian Suite; Stravinsky, Song of the Nightingale; Prokofiev, Piano Sonata no. 7 (Victor)]. S. 136–37
Minna Lederman: With the dancers [Stravinsky, Le Baiser de la fée. Réti, The Night Shadow. Ballet Russe de Monte Carlo: Glauzanov, Raymonda; Alexandra Danilova. Ballet Theatre repertory and dancers]. S. 137–40
Lawrence Morton: On the Hollywood front [Use of American folksong in film scores for films about American life; Burl Ives as singer and actor]. S. 141–43
Charles Mills: Over the air [WNYC American Music Festival: Ives, Violin Sonata no. 1; Harold Morris, Piano Trio; Paul Creston, Suites for violin and piano and viola and piano. Marion Bauer, Trio Sonata. Carter, Pastorale for English horn and piano]. S. 143–44
S. L. M. Barlow: In the theatre [Irving Berlin, Annie Get Your Gun. Million Dollar Baby. Raymond Scott, Lute Song. Harold Arlen, St. Louis Woman]. S. 144–46
Frani Muser: The musical press [First post-war issue of La Revue musicale; the journal exonerated from any connection with the Nazi sponsored Information musicale. Mexican journal Nuestra Musica]. S. 146–47
Rodolfo Halfter: Recent books. A South American fishing trip [Nicolas Slonimsky, Music in Latin America (Thomas Y. Crowell)]. S. 148–49
The League of Composers. Executive Board. Advisory Board. S. [1p]
Igor Stravinsky in 1930. Three sketches by Pablo Picasso. First reproduced in America in Modern Music in 1924. S. [158]
Ingolf Dahl: Stravinsky in 1946 [Continuance and development hallmarks of Stravinsky’s compositions. Symphony in Three Movements; evolution of form; absence of thematic development; thematic cells; harmonic and thematic analysis]. S. 159–65
Lou Harrison: On quotation [Borrowing of musical materials not developed by Ives and Mahler; Stravinsky’s neo-classical reworking of borrowed musical materials]. S. 166–69
Henry Brant: American composers, XXV. Marc Blitzstein [Characteristic style and viewpoint reflected in his works. Film scores: Hands (1927); Triple Sec (1928); Parabola and Circula (1929). Cain (ballet, 1930). The Harpies (opera, 1931). The Condemned (oratorio, 1932). The Cradle Will Rock; No For An Answer. Orchestration]. S. 170–76
The music of Marc Blitzstein [List]. S. 176
[Abbildung] Marc Blitzstein. A charcoal sketch by Julian Levi. S. [171]
Frederick Fennell: The modern use of percussion [Instruments of definite and indefinite pitch]. S. 177–83
Harold Clurman: Paul Rosenfeld [Death of the music critic and writer on musical subjects]. S. 184–88
M. L.: [Appreciation of Paul Rosenfeld]. S. 188
Gail Kubik: Composing for government films [Query on the need to employ „highbrow“ modernist composers for film scores; government policy]. S. 189–92
News from overseas. S. 193–99
O. F. Korte: A Prague’s – eye view of Americans [Nazi exclusion of all music except that of German and Czech composers. Festival „Spring 1946 in Prague“: Harris, Symphony no. 3; Bernstein, Jeremiah Symphony; Copland, El Salon Mexico. Britten, Four Sea Interludes from „Peter Grimes“; Ireland, Piano Concerto. Shostakovitch, Symphony no. 5; Khatchaturian, Piano Concerto]. S. 193–95
Humphrey Searle: Modernism revived in England (London, June 1946) [Britten, Peter Grimes, The Rape of Lucretia. Tippett, A Child of Our Time. Vaughan Williams, Symphony no. 5. Compositions by Rawsthorne, Bush, Lambert, Walton, Bliss. BBC series: „Music of Our Time.“ Malakiewicz, Grünwald (symphonic poem)]. S. 195–97
Luigi Dallapiccola: Italy throws off fascism (Florence, May 1946) [Deterioration of music journalism and censorship during the fascist period. Post war compositions of Pizzetti, Malipiero, Casella, Tommasini, Riccardo Nielsen, Adone Zecchi, Petrassi. Adoption of the twelve-tone system]. S. 197–99
Forecast and review. S. 200–12
Donald Fuller: Columbia’s festival; Hindemith’s Lilacs [Columbia University, Festival of American Music: Barber, Serpent Heart. NBC Symphony: Bacon, From These States (Gathered Along Unpaved Roads); Schuman, Piano Concerto; Talma, Toccata; Sessions, The Black Maskers. Ives, Symphony no. 3. High School of Musical Art: Harris, Melody; Dello Joio, „A Jubilant Song.“ ISCM concert: Krenek, Symphonic Piece for Nine Instruments; Stravinsky, L’Histoire du soldat. Hindemith, When Lilacs Last in the Dooryard Bloom’d; Poulenc, Petites Voix, Litanies à la Vierge Noire]. S. 200–03
Lou Harrison: Modernism „sacred and profane“ [National Orchestral Association: Saminsky, Requiem; Richard Arnell, Violin Concerto; Stanley Bate, Sinfonietta no. 2. American Youth Orchestra: David Block, Henry Brant. Kreutz, Concertino for oboe, horn and strings. American Guild of Organists: Sowerby, Concerto for organ and strings. Music for the Jewish service. Maro Ajemian, Mihr; Cage, Four Sonatas for Prepared Piano. Compositions by Bowles, Hazel Griggs. ISCM Forum Group: Ben Weber, Talma, Kurt List, Vivian Fine]. S. 203–05
Cecil M. Smith: Milhaud’s Orphée and The Bells [University of Chicago: Hindemith, Les Malheurs d’Orphée]. S. 205–07
Edmund Haines: Composers’ fellowship meets in Detroit [Fellowship of American Composers. Detroit Symphony Orchestra: Ulysses Kay, New Horizons. Choral concerts. Sam Raphling, Piano Sonata. Band music]. S. 207–09
Irving Fine: English in Boston; Stravinsky’s Symphony [Boston Symphony Orchestra repertory. Vaughan Williams, Job, A Masque for Dancing; Walton, Scapino Overture. Britten, Passacaglia and Four Sea Interludes from „Peter Grimes“. Stravinsky, Symphony in Three Movements. Barber, Cello Concerto. Harvard Memorial Church: music for organ and strings]. S. 209–11
Burrill Phillips: Vigor and freshness at Rochester [Festival of American Music: Paul Nero, Prelude and Allegro. Biracree Ballet repertory. Gordon String Quartet program. Harris, Music for Radio; Palmer, Concerto for Small Orchestra; Weldon Hart, Symphony no. 1; Bernard Rogers, To the Memory of President Roosevelt]. S. 211–12
Arthur Berger: Scores and records. S. 213–15
[Records. Copland, Appalachian Spring (RCA Victor). Randall Thompson, The Testament of Freedom. Milhaud, Cinq Chansons (Hargail)]. S. 213
Scores [Lopatnikoff, Piano Sonata (Associated Music Publishers). Everett Helm, Sonata brevis (Hargail Music Publishers). Ginastera, Twelve American Preludes (Carl Fischer). Burrill Phillips, Toccata (Schirmer). Revueltas, Cuahnahuac. Harris, Ode to Friendship. Compositions by Gould, Milhaud. Schnabel, Symphony no. 1 (Edition Adler). Bacon, Songs from the American Folk; Dukelsky, Cello Concerto. Dello Joio, „A Jubilant Song“]. S. 213–15
Minna Lederman: With the dancers [Ballet war of 1946; remarks on the several ballet companies performing in New York]. S. 215–18
Charles Mills: Over the air. S. 218–20
[Bernstein’s performance of Blitzstein’s The Airbourne Symphony. NBC Orchestra: Bacon, Symphony; Ford Theatre Suite. Kabalevsky, Piano Concerto no. 2. Arnell. The War God. NBC „Concert of Nations“]. S. 218–19
[CBS. Ellis Kohs, Passacaglia for organ. Roy Harris as composer and conductor on ABC]. S. 219–20
Lawrence Morton: On the Hollywood front [Antheil’s film score for Specter of the Rose. Walton’s film score for Shakespeare’s Henry V]. S. 220–22
S. L. M. Barlow: In the theatre [Old Vic repertory; Anthony Hopkins’ incidental music for Oedipus. Harold Rome’s score for Call Me Mister. Menotti’s The Medium]. S. 222–23
Colin McPhee: Spirituals to swing [Camp Meeting Choir, Wings Over Jordan Choir. Recordings of spirituals. Bunk Johnson and His Band]. S. 224–25
Recent books. S. 226–34
Sidney Cowell, Henry Cowell: Charting the musical range [Joseph Schillinger, System of Musical Composition (Carl Fischer Inc.)]. S. 226–28
Elliott Carter: Fallacy of the mechanistic approach [Schillinger’s System of Musical Composition]. S. 228–30
Frani Muser: Musical family album [Letters of Composers, compiled and edited by Gertrude Norman and Miriam Lubell Schrifte (Knopf, 1946)]. S. 230
Frederick Jacobi: Messiaen’s language; birds and butterflies [Messiaen, Technique de mon language musical (Alphonse Leduc, Paris)]. S. 230–32
Minna Lederman: A tale of three cities [Iris Morley, Soviet Ballet (Collins, London, 1945). Cyril W. Beaumont, Sadler’s Wells Ballet. Grace Roberts, Borzoi Book of the Ballet (Knopf, 1946)]. S. 232–33
Donald Fuller: Prokofiev, the prodigal son [Nesteyev, Sergei Prokofiev, His Musical Life (Alfred A. Knopf, 1946)]. S. 234
[Anonymus]: Modern Music ... Special sets of back issues. S. [235]
The League of Composers. Executive Board. Advisory Board. S. [238]
Frani Muser, Managing Editor and Business Manager: Statement of the ownership, management, circulation, etc., required by the Acts of Congress of August 24, 1912 and March 3, 1933.
Manfred Bukofzer: The new nationalism [in music in post-war Europe; opinion of Gerald Abraham; synthetic nationalism created by borrowing of folk melody; American nationalism]. S. 243–47
Arnold Schönberg: On the appreciation of music [From Schönberg’s collection of essays published under the title Style and Form]. S. 248–53
Some sketches of Schönberg. S. [249]
Arnold Schönberg: [Abbildung] Sketch [of Schönberg] by Sotomayor.
[Abbildung] Sketch [of Schönberg] by Freuth.
[Abbildung] Self-portrait [Schönberg] 1944.
[Abbildung] Self-portrait [Schönberg] 1910.
Edwin Gerschefski: American composers XXVI, Henry Cowell [Use of twentieth-century idioms: tone-clusters, dissonance; new systems of notation]. S. [254]-60
The music of Henry Cowell [List]. S. [259–60]
[Abbildung] Henry Cowell, an impression by Charlotte Trowbridge. S. [254]
Richard F. Goldman: A new day for band music [From Goldman’s The Concert Band (Reinhart & Company). Overview of compositions for band by contemporary composers]. S. 261–63
Alberto Ginastera: Eight from the Argentine [Overview of compositions by Juan José and José Maria Castro, Gianneo, Jacobo Ficher, Juan Carlos Paz, Carlos Suffern, Roberto García Morillo, Washington Castro]. S. 266–72
The composers of the Argentine. S. [267]
Alberto Ginastera: [Abbildung] Roberto García Morillo [sketch] by Sergio de Castro.
[Abbildung] Juan José Castro [sketch] by Marta Aguirre.
[Abbildung] Washington Castro [sketch] by N. Fedullo.
[Abbildung] Jacobo Ficher [sketch] by M. Binci.
[Abbildung] José Maria Castro [sketch] by R. Finn.
[Abbildung] Luis Gianneo [sketch] by R. Finn.
Ralph Kirkpatrick: The challenge of the harpsichord. S. 273–78
News from overseas. S. 277–94
Kremenliev: Musical mission to Germany [Broadcasts of American music from Radio Frankfurt, Radio Luxembourg. Nazi collaborators: Richard Strauss, Walter Gieseking. German audience attitudes]. S. 277–80
Erwin Kroll: Under three flags (Berlin, August 1946) [Decentralization of musical life; opera repertory; Berlin Philharmonic, Serge Celibadache (conductor); Boris Blacher]. S. 280–82
Humphrey Searle: ISCM Festival: Britten’s Lucretia. S. 282–85
[Orchestral concerts; chamber music concerts. Compositions by Fitelberg, Lutyens, Monhaupt, Dallapiccola, Stravinsky, Krenek, Schuman, Panufnik, Webern, Rawsthorne]. S. 282–84
[Britten, The Rape of Lucretia]. S. 284
[London Promenade Concerts: Prokofiev, Symphony no. 5]. S. 284–85
Josselyn Hennesy: Ballet olympic in London [Sadler’s Wells Theatre Ballet. Ballets des Champs Elysées. Lifar’s Monte Carlo Ballet. American Ballet Theatre. Pasuka’s African Negro Ballet. International Ballet]. S. 285–87
Paul Collaer: Belgian Radio, a new force for new music [Jean Absil, Piano Concerto; Raymond Chevreuille. National Broadcasting Institute: programs of modern music]. S. 287, 290–91
Louis Saguer: Young France today [Tony Aubin, Symphony no. 2; Henry Barraud, Piano Concerto; Pierre Capdevielle, Le Pédant joué Overture; Pérégrinos (oratorio); Henri Dutilleux, Princesse d’Elide; Manuel Rosenthal, St. Francis of Assisi. Jeune France group of composers: Daniel-Lesur, Yves Boudrier, Oliver Messiaen, André Jolivet, Pierre Boulez. École de Paris group: Mihalovici, Leibowitz, Wishnedgradsky, Alexandre Tcherepnine]. S. 291–94
British season — Summer 1946. S. [288]
[Abbildung] The Rape of Lucretia. Chamber opera produced at Glyndbourne. Music by Benjamin Britten. Setting by John Piper. Libretto by Ronald Duncan after André Obey [Photograph].
[Abbildung] Adam Zero. Ballet produced at Sadler’s Wells. Music by Arthur Bliss. Setting by John Banting. Choreography by Robert Helpman [Photograph].
New York season — Fall 1946. S. [289]
[Abbildung] Facsimile. Ballet produced by Ballet Theatre. Music by Leonard Bernstein. Setting by Oliver Smith. Choreography by Jerome Robbins [Sketch].
[Abbildung] Yara. Ballet produced by the original Ballet Russe. Music by Francisco Mignone. Setting by Candido Portinari. Choreography by Vanya Psota [Sketch].
Forecast and review. S. 295–303
Lou Harrison: Park and Stadium — Summer season [Goldman Band: Percy Grainger, Walking Tune; Schönberg, Variations, op. 43a. Lewisohn Stadium, New York Philharmonic: Creston, Frontiers; Jacobi, Four Dances from The Prodigal Son; Jean Berger, Harmonica Concerto; Richard Strauss, The Woman Without a Shadow (excerpts). Leo Smit, Yerma (ballet)]. S. 295–96
L. H.: Reflections at sea [Yadoo Festival: Miriam Gideon, String Quartet. Reigger, Dichotomy. Compositions by Kreutz, Luening, Carter, Donovan. Ruggles, Evocations. Ives, String Quartet no. 2. Repertory. Saratoga Spa Festival: Jacobi, Concertino for piano and strings; Krenek, Symphonic Elegy on the death fo Anton von Webern]. S. 296–98
Jacob Avshalomoff: Tanglewood in retrospect [Berkshire Music Center: Shostakovitch, Symphony no. 9. Shapero, Piano Sonata. Lourié, Naisance de la beautié (cantata). Ibert, Divertimento for fifteen instruments. Britten, Peter Grimes; Composers’ gatherings under the direction of Copland]. S. 298–300
Alfred Frankenstein: First Middlebury Conference [Modern musician as a functioning unit of modern society. Halsey Stevens, Piano Trio]. S. 300–02
Robert Fuller: Modern music at Chautauqua [Milhaud, Concerto for two-pianos. Dello Joio, Concert Music. Isadore Freed, Appalachian Sketches. Tibor Serly, Elegy]. S. 302–03
Salvador Moreno: Inter-American review. Big three in Mexico [Stravinsky, Milhaud and Hindemith, guest conductors of the Symphony Orchestra of Mexico. University of Mexico Symphony Orchestra. National Conservatory of Music of Mexico]. S. 304–05
Arthur Berger: Scores and records. S. 306–09
[Records. Copland, A Lincoln Portrait (Columbia). Thomson, The Testament of Freedom (Victor). Prokofieff, Violin Sonata in D major. Szymanowski, Four Mazurkas. Stravinsky, Four Norwegian Moods (Columbia)]. S. 306–07
Scores [Stravinsky, Symphony in Three Movements. Diamond, Rounds (Elkan-Vogel). Repertory of new compositions. Robin Orr, Sonatina. Alan Hovhannes, Mihr for two-pianos (New Music)]. S. 307–09
Minna Lederman: With the dancers [Massine, Beethoven’s Archduke Trio; Les Matelots. Ballet Russe De Monte Carlo accidents. Ruth Page / Milhaud, The Bells. Ballet Theatre: Adam, Giselle]. S. 309–13
Lawrence Morton: On the Hollywood front [British film of Shaw’s Caesar and Cleopatra. Auric’s film score for Dead of Night. Hubert Bath’s film score for They Were Sisters. Hans Haug’s film score for Portrait of a Woman]. S. 313–15
Charles Mills: Over the air [CBS: Menasce, Piano Concerto; League of Composers annual concert: Ward, Jubilation, an Overture; Berezowsky, Toccata, Variations and Finale. Copland, Concert Suite from Rodeo. Dello Joio, On Stage. Kodaly, Peacock Variations. Shostakovitch, Symphony no. 9. Harris, Violin Sonata. Schuman, Symphony for Strings. Alan Schulman, Rendevous with Benny for clarinet and string quartet. Arthur Shepherd, Introduction and Toccata. Barber, Excursions]. S. 315–17
Colin McPhee: The torrid zone [Jazz recordings on Commodore, Blue Note and Dial labels. Norman Granz’ Jazz at the Philharmonic. Eddie Condon’s jazz band album Chicago. Billie Holiday, Miff Mole, Ike Quebec]. S. 317–19
Recent books. S. 320–26
Minna Lederman: Little magazines and music criticism [The Little Magazine, Princeton University Press, 1946; Paul Rosenfeld]. S. 320–23
Cecil M. Smith: Music of our time, music of our country [John Tasker Howard, Our American Music, third edition (Thomas Y. Crowell). Adolfo Salazar, Music in Our Time (W. W. Norton)]. S. 323–25
Frani Muser: Pocket-size history [Christian Darnton, You and Music (Penguin Books). British Music of Our Time, edited by A. L. Bacharach (Penguin Books)]. S. 325–26
