This is a long overdue book, a companion to Boosey and Hawkes’ piano collection, although whether its publication deliberately coincides with the revamp of the Associated Board’s singing syllabus is a matter of conjecture since many of the pieces are on the new lists. The collection at first might appear to be an unusual pot-pourri of styles and nationalities, but on closer inspection it proves to be a bold and sometimes unconventional selection. Although some composers are well known, others are not as familiar: five songs receive their first publication – two by Carol Barratt, who is more renowned for her immense contribution to the field of piano pedagogy, two by Ian Higginson and one by Christopher Field.

The innovative idea of representing familiar composers in an unfamiliar guise works well here. Bernstein’s Peter Pan provides two songs and Britten’s often-overlooked Folksong Arrangements from the British Isles are showcased in O Waly, Waly and Early One Morning, simple, charming arrangements. Other renowned composers such as Vaughan Williams and Quilter provide more unfamiliar pieces, with most songs being a fascinating snapshot and insight into hitherto unfamiliar areas; these include an arrangement by Doreen Rao (one of Kabalevsky’s pupils) of a song that the composer taught her as a child. There are also works by lesser-known composers, such as Humphrey Proctor-Gregg, the first professor of music at Manchester University, who, on the strength of this song, deserves greater recognition.

There are some uncomplicated but very evocative settings of texts by Higginson and Barratt, which stand up well to scrutiny, and receive a very welcome publication. Hopefully, this will lead to a self-contained publication, rather than being piggy-backed onto pieces composed perhaps 60 – 70 years previously.

The book draws on Boosey and Hawkes’ extensive archives and I am sure that volumes will soon follow ad infinitum, since there is certainly a demand for an expansion of the vocal repertoire to include all ages and abilities. That said, there are pieces that would tax many advanced singers; Quilter’s haunting Weep you no more, sad fountains, one of my favourites, for example, requires a degree of emotion which can be difficult to muster at an early age or level, one instance where the intentions of the book are slightly flawed.

‘Early grades’ is perhaps somewhat misleading, since teachers would happily work with an advanced pupil on many of these pieces, nor be afraid to include them in a concert programme: their appeal is to all ages and abilities. Many songs, however, are relatively taxing, requiring a level of musicality and emotional expression that is rarely found in beginner singers.

Many anthologies contain the same or similar elements and are little other than boring re-hashes of the same old favourites, categorised according to vocal range. The 20th-Century Easy Song Collection is different, since its intended audience is wider: pieces have a comparatively small compass – not too high or low – making the collection broadly suitable for all voices, from trebles and sopranos to basses.

I hope that this book will become a firm favourite for many people, whether they are pupils or teachers, as it has some rare qualities. It is a singing book that is full of variety, but not an uncomfortable mishmash, containing a balance in terms of ability and challenge, that will hopefully bring these unforgivably overlooked pieces to a fresh audience. More please!

Victoria Larley