3. sonatine, für klavier (1959)by harald genzmer;lake of van sonata, op. 175by alan...

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3. Sonatine, für Klavier (1959) by Harald Genzmer; Lake of Van Sonata, Op. 175 by Alan Hovhaness; Madras Sonata, Op. 176 by Alan Hovhaness; Sonata No. 2, Op. 37 by Vytautas Bacevičius; Sonate, Op. 47 by Wilhelm Kempff; Sonata, 1959 by George Adams; Sonate pour piano by Jean Françaix; Sonata No. 2. Sonata patética, Op. 27 by Klaus Egge; Sonata for Piano, Op. 17 by Alun Hoddinott; Sonata per pianoforte, 1959 by Hans Werner ... Review by: William S. Newman Notes, Second Series, Vol. 19, No. 1 (Dec., 1961), pp. 158-161 Published by: Music Library Association Stable URL: http://www.jstor.org/stable/894131 . Accessed: 15/06/2014 23:54 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes. http://www.jstor.org This content downloaded from 62.122.72.104 on Sun, 15 Jun 2014 23:54:22 PM All use subject to JSTOR Terms and Conditions

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3. Sonatine, für Klavier (1959) by Harald Genzmer; Lake of Van Sonata, Op. 175 by AlanHovhaness; Madras Sonata, Op. 176 by Alan Hovhaness; Sonata No. 2, Op. 37 by VytautasBacevičius; Sonate, Op. 47 by Wilhelm Kempff; Sonata, 1959 by George Adams; Sonate pourpiano by Jean Françaix; Sonata No. 2. Sonata patética, Op. 27 by Klaus Egge; Sonata for Piano,Op. 17 by Alun Hoddinott; Sonata per pianoforte, 1959 by Hans Werner ...Review by: William S. NewmanNotes, Second Series, Vol. 19, No. 1 (Dec., 1961), pp. 158-161Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/894131 .

Accessed: 15/06/2014 23:54

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.

http://www.jstor.org

This content downloaded from 62.122.72.104 on Sun, 15 Jun 2014 23:54:22 PMAll use subject to JSTOR Terms and Conditions

hausen's methods of composition. It is divided into eight sections which the performer is instructed to play in a self- chosen order. At designated intervals he is directed to interrupt his progress and improvise on specific tones. The per- former who takes the time to decipher the rhythm and realize the improvisa- tions will be well-rewarded.

Alan Hovhaness: Shalimar, Op. 177. Suite for piano. (Ed. Peters, 6214.) New York: C. F. Peters, 1961. [15 p., $2.00] Wen-Chung Chou: The Willows Are New (after Wang Wei's Yang Kuan). (Ed. Peters, 6169.) New York: Peters, 1960. [7 p., $1.25]

The composer's unending quest for new ideas and fresh sources of inspira- tion has caused many to wander far afield, and some to penetrate the myster- ies of the Orient. On Hovhaness, Kash- mir has exercised an unusually powerful attraction. His Shalimar suite, descrip- tive of the Mogul gardens and the Hima- layan Mountains, possesses a hypnotic quality. Its exotic effect is achieved by the almost constant repetition of single notes and small melodic figures. The piano seems inadequate to convey the total range of color and sonority that is desired. One wonders why it was ever scored for that instrument, and why a translation of such an indigenous ex- pression is considered meaningful. There is no blending of cultures; the whole ef- fect is entirely contrived.

A more convincing synthesis of the Occident and the Orient is found in Wen-Chung Chou's work, "The Willows are New." The composer, born in China, is now a member of the faculty of the University of Illinois. Despite a pre- occupation with the half-step, both as a melodic cell and a harmonic unit, the composer has produced a most affecting work-one of extraordinary refinement and sensitivity. Based on an orchestral work of the T'ang Dynasty that was orig- inally a setting of a seventh century poem by Wang Wei, it has a broad range of color and delicacy of nuance that are indeed evocative of the Oriental spirit. Its thin-textured lines remind one of the

hausen's methods of composition. It is divided into eight sections which the performer is instructed to play in a self- chosen order. At designated intervals he is directed to interrupt his progress and improvise on specific tones. The per- former who takes the time to decipher the rhythm and realize the improvisa- tions will be well-rewarded.

Alan Hovhaness: Shalimar, Op. 177. Suite for piano. (Ed. Peters, 6214.) New York: C. F. Peters, 1961. [15 p., $2.00] Wen-Chung Chou: The Willows Are New (after Wang Wei's Yang Kuan). (Ed. Peters, 6169.) New York: Peters, 1960. [7 p., $1.25]

The composer's unending quest for new ideas and fresh sources of inspira- tion has caused many to wander far afield, and some to penetrate the myster- ies of the Orient. On Hovhaness, Kash- mir has exercised an unusually powerful attraction. His Shalimar suite, descrip- tive of the Mogul gardens and the Hima- layan Mountains, possesses a hypnotic quality. Its exotic effect is achieved by the almost constant repetition of single notes and small melodic figures. The piano seems inadequate to convey the total range of color and sonority that is desired. One wonders why it was ever scored for that instrument, and why a translation of such an indigenous ex- pression is considered meaningful. There is no blending of cultures; the whole ef- fect is entirely contrived.

A more convincing synthesis of the Occident and the Orient is found in Wen-Chung Chou's work, "The Willows are New." The composer, born in China, is now a member of the faculty of the University of Illinois. Despite a pre- occupation with the half-step, both as a melodic cell and a harmonic unit, the composer has produced a most affecting work-one of extraordinary refinement and sensitivity. Based on an orchestral work of the T'ang Dynasty that was orig- inally a setting of a seventh century poem by Wang Wei, it has a broad range of color and delicacy of nuance that are indeed evocative of the Oriental spirit. Its thin-textured lines remind one of the

hausen's methods of composition. It is divided into eight sections which the performer is instructed to play in a self- chosen order. At designated intervals he is directed to interrupt his progress and improvise on specific tones. The per- former who takes the time to decipher the rhythm and realize the improvisa- tions will be well-rewarded.

Alan Hovhaness: Shalimar, Op. 177. Suite for piano. (Ed. Peters, 6214.) New York: C. F. Peters, 1961. [15 p., $2.00] Wen-Chung Chou: The Willows Are New (after Wang Wei's Yang Kuan). (Ed. Peters, 6169.) New York: Peters, 1960. [7 p., $1.25]

The composer's unending quest for new ideas and fresh sources of inspira- tion has caused many to wander far afield, and some to penetrate the myster- ies of the Orient. On Hovhaness, Kash- mir has exercised an unusually powerful attraction. His Shalimar suite, descrip- tive of the Mogul gardens and the Hima- layan Mountains, possesses a hypnotic quality. Its exotic effect is achieved by the almost constant repetition of single notes and small melodic figures. The piano seems inadequate to convey the total range of color and sonority that is desired. One wonders why it was ever scored for that instrument, and why a translation of such an indigenous ex- pression is considered meaningful. There is no blending of cultures; the whole ef- fect is entirely contrived.

A more convincing synthesis of the Occident and the Orient is found in Wen-Chung Chou's work, "The Willows are New." The composer, born in China, is now a member of the faculty of the University of Illinois. Despite a pre- occupation with the half-step, both as a melodic cell and a harmonic unit, the composer has produced a most affecting work-one of extraordinary refinement and sensitivity. Based on an orchestral work of the T'ang Dynasty that was orig- inally a setting of a seventh century poem by Wang Wei, it has a broad range of color and delicacy of nuance that are indeed evocative of the Oriental spirit. Its thin-textured lines remind one of the

hausen's methods of composition. It is divided into eight sections which the performer is instructed to play in a self- chosen order. At designated intervals he is directed to interrupt his progress and improvise on specific tones. The per- former who takes the time to decipher the rhythm and realize the improvisa- tions will be well-rewarded.

Alan Hovhaness: Shalimar, Op. 177. Suite for piano. (Ed. Peters, 6214.) New York: C. F. Peters, 1961. [15 p., $2.00] Wen-Chung Chou: The Willows Are New (after Wang Wei's Yang Kuan). (Ed. Peters, 6169.) New York: Peters, 1960. [7 p., $1.25]

The composer's unending quest for new ideas and fresh sources of inspira- tion has caused many to wander far afield, and some to penetrate the myster- ies of the Orient. On Hovhaness, Kash- mir has exercised an unusually powerful attraction. His Shalimar suite, descrip- tive of the Mogul gardens and the Hima- layan Mountains, possesses a hypnotic quality. Its exotic effect is achieved by the almost constant repetition of single notes and small melodic figures. The piano seems inadequate to convey the total range of color and sonority that is desired. One wonders why it was ever scored for that instrument, and why a translation of such an indigenous ex- pression is considered meaningful. There is no blending of cultures; the whole ef- fect is entirely contrived.

A more convincing synthesis of the Occident and the Orient is found in Wen-Chung Chou's work, "The Willows are New." The composer, born in China, is now a member of the faculty of the University of Illinois. Despite a pre- occupation with the half-step, both as a melodic cell and a harmonic unit, the composer has produced a most affecting work-one of extraordinary refinement and sensitivity. Based on an orchestral work of the T'ang Dynasty that was orig- inally a setting of a seventh century poem by Wang Wei, it has a broad range of color and delicacy of nuance that are indeed evocative of the Oriental spirit. Its thin-textured lines remind one of the

fine brush-like movements in Chinese painting.

Henry Cowell: Piano Music by Henry Cowell. New York: Asso- ciated, 1960. [32 p., $2.00] Serge Prokofieff: Visions fugitives, Op. 22. [31 p., $1.50]; Sarcasms, Op. 17. [20 p., $1.25]; Episodes, Op. 12. [47 p., $2.00] Edited with special annotations by Irwin Freund- lich. New York: Leeds Music Cor- poration, 1960.

There is always a place for new edi- tions of standard works that are as com- petently edited and selected as these vol- umes of Cowell and Prokofiev. The nine compositions by Henry Cowell cover a span of over forty years. Beginning with "The Tides of Manaunaun" (1912) and extending to the Two-Part Invention of 1950 and the revision of "Advertisement" in 1959, there is a sampling of Cowell's whole creative output. Oliver Daniel's Note on the composer relates the piano works to those in other media, and ex- plains his role as a progressive composer during the first quarters of the century. The numerous symbols used by the com- poser are fully explained on the back cover.

Irwin Freundlich's editions of the Sar- casms, Episodes, and the Visions fugitives provide some very musical solutions to problems of fingering and pedaling. His fingerings are aptly chosen, and the in- troductions to each volume are well-writ- ten. Although both the Visions fugitives and the Sarcasms had been published previously, the complete Episodes. Op. 12, has not appeared before.

GWENDOLYN HAMILTON

Harald Genzmer: 3. Sonatine, fur Klavier (1959). (Ed. Schott, 5067.) Mainz: B. Schotts Sohne; U. S. A.: Associated, 1960. [11 p., $1.50] Alan Hovhaness: Lake of Van So- nata, Op. 175. (Ed. Peters, 6209.) New York: C. F. Peters, 1961. [15 p., $2.00] Alan Hovhaness: Madras Sonata, Op. 176. (Ed. Peters, 6210.) New York: C. F. Peters, 1961. [14 p., $2.00]

fine brush-like movements in Chinese painting.

Henry Cowell: Piano Music by Henry Cowell. New York: Asso- ciated, 1960. [32 p., $2.00] Serge Prokofieff: Visions fugitives, Op. 22. [31 p., $1.50]; Sarcasms, Op. 17. [20 p., $1.25]; Episodes, Op. 12. [47 p., $2.00] Edited with special annotations by Irwin Freund- lich. New York: Leeds Music Cor- poration, 1960.

There is always a place for new edi- tions of standard works that are as com- petently edited and selected as these vol- umes of Cowell and Prokofiev. The nine compositions by Henry Cowell cover a span of over forty years. Beginning with "The Tides of Manaunaun" (1912) and extending to the Two-Part Invention of 1950 and the revision of "Advertisement" in 1959, there is a sampling of Cowell's whole creative output. Oliver Daniel's Note on the composer relates the piano works to those in other media, and ex- plains his role as a progressive composer during the first quarters of the century. The numerous symbols used by the com- poser are fully explained on the back cover.

Irwin Freundlich's editions of the Sar- casms, Episodes, and the Visions fugitives provide some very musical solutions to problems of fingering and pedaling. His fingerings are aptly chosen, and the in- troductions to each volume are well-writ- ten. Although both the Visions fugitives and the Sarcasms had been published previously, the complete Episodes. Op. 12, has not appeared before.

GWENDOLYN HAMILTON

Harald Genzmer: 3. Sonatine, fur Klavier (1959). (Ed. Schott, 5067.) Mainz: B. Schotts Sohne; U. S. A.: Associated, 1960. [11 p., $1.50] Alan Hovhaness: Lake of Van So- nata, Op. 175. (Ed. Peters, 6209.) New York: C. F. Peters, 1961. [15 p., $2.00] Alan Hovhaness: Madras Sonata, Op. 176. (Ed. Peters, 6210.) New York: C. F. Peters, 1961. [14 p., $2.00]

fine brush-like movements in Chinese painting.

Henry Cowell: Piano Music by Henry Cowell. New York: Asso- ciated, 1960. [32 p., $2.00] Serge Prokofieff: Visions fugitives, Op. 22. [31 p., $1.50]; Sarcasms, Op. 17. [20 p., $1.25]; Episodes, Op. 12. [47 p., $2.00] Edited with special annotations by Irwin Freund- lich. New York: Leeds Music Cor- poration, 1960.

There is always a place for new edi- tions of standard works that are as com- petently edited and selected as these vol- umes of Cowell and Prokofiev. The nine compositions by Henry Cowell cover a span of over forty years. Beginning with "The Tides of Manaunaun" (1912) and extending to the Two-Part Invention of 1950 and the revision of "Advertisement" in 1959, there is a sampling of Cowell's whole creative output. Oliver Daniel's Note on the composer relates the piano works to those in other media, and ex- plains his role as a progressive composer during the first quarters of the century. The numerous symbols used by the com- poser are fully explained on the back cover.

Irwin Freundlich's editions of the Sar- casms, Episodes, and the Visions fugitives provide some very musical solutions to problems of fingering and pedaling. His fingerings are aptly chosen, and the in- troductions to each volume are well-writ- ten. Although both the Visions fugitives and the Sarcasms had been published previously, the complete Episodes. Op. 12, has not appeared before.

GWENDOLYN HAMILTON

Harald Genzmer: 3. Sonatine, fur Klavier (1959). (Ed. Schott, 5067.) Mainz: B. Schotts Sohne; U. S. A.: Associated, 1960. [11 p., $1.50] Alan Hovhaness: Lake of Van So- nata, Op. 175. (Ed. Peters, 6209.) New York: C. F. Peters, 1961. [15 p., $2.00] Alan Hovhaness: Madras Sonata, Op. 176. (Ed. Peters, 6210.) New York: C. F. Peters, 1961. [14 p., $2.00]

fine brush-like movements in Chinese painting.

Henry Cowell: Piano Music by Henry Cowell. New York: Asso- ciated, 1960. [32 p., $2.00] Serge Prokofieff: Visions fugitives, Op. 22. [31 p., $1.50]; Sarcasms, Op. 17. [20 p., $1.25]; Episodes, Op. 12. [47 p., $2.00] Edited with special annotations by Irwin Freund- lich. New York: Leeds Music Cor- poration, 1960.

There is always a place for new edi- tions of standard works that are as com- petently edited and selected as these vol- umes of Cowell and Prokofiev. The nine compositions by Henry Cowell cover a span of over forty years. Beginning with "The Tides of Manaunaun" (1912) and extending to the Two-Part Invention of 1950 and the revision of "Advertisement" in 1959, there is a sampling of Cowell's whole creative output. Oliver Daniel's Note on the composer relates the piano works to those in other media, and ex- plains his role as a progressive composer during the first quarters of the century. The numerous symbols used by the com- poser are fully explained on the back cover.

Irwin Freundlich's editions of the Sar- casms, Episodes, and the Visions fugitives provide some very musical solutions to problems of fingering and pedaling. His fingerings are aptly chosen, and the in- troductions to each volume are well-writ- ten. Although both the Visions fugitives and the Sarcasms had been published previously, the complete Episodes. Op. 12, has not appeared before.

GWENDOLYN HAMILTON

Harald Genzmer: 3. Sonatine, fur Klavier (1959). (Ed. Schott, 5067.) Mainz: B. Schotts Sohne; U. S. A.: Associated, 1960. [11 p., $1.50] Alan Hovhaness: Lake of Van So- nata, Op. 175. (Ed. Peters, 6209.) New York: C. F. Peters, 1961. [15 p., $2.00] Alan Hovhaness: Madras Sonata, Op. 176. (Ed. Peters, 6210.) New York: C. F. Peters, 1961. [14 p., $2.00]

158 158 158 158

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Vytautas Bacevicius: Sonata No. 2, Op. 37. New York: Mercury Music Corporation; distr.: Theodore Pres- ser, Bryn Mawr, Pa., 1960. [22 p., $3.00] Wilhelm Kempff: Sonate, Op. 47. Paris: Editions Salabert; U. S. A.: Ricordi, New York, 1959. [16 p., $3.00] George Adams: Sonata, 1959. (Ed. Peters, 6232.) New York: C. F. Peters, 1960. [19 p., $1.50] Jean Francaix: Sonate pour piano. (Ed. Schott, 5082.) Mainz: B. Shotts Sohne; U. S. A.: Associated, New York, 1960. [16 p., $2.00] Klaus Egge: Sonata No. 2. Sonata patetica, Op. 27. (Ed. Lyche, 380.) Drammen, Norway: Lyche; U. S. A.: C. F. Peters, New York, 1959. [27 p., $3.00]' Alun Hoddinott: Sonata for Piano, Op. 17. New York & London: Oxford University Press, 1960. [44 p., $3.25] Hans Werner Henze: Sonata per pianoforte, 1959. Spieleinrichtung und Fingersitze von Klaus Billing. (Ed. Schott, 5084.) Mainz: B. Schotts Sohne, 1960. [24 p., $3.00]

The 10 works in question bring to about 45 the total number of new piano sonatas reviewed here and over the past eleven years, in eight separate batches (see NOTES, Vol XVII, p. 662). Thus there would certainly appear to be no lessening of interest on the part of com- posers, publishers, or, presumably, con- sumers toward this instrumental genre already distinguished by more than two centuries of masterpieces. With only one exception (Hovhaness) the composers of the sonatas to be noted now have all retained, at least externally, the tradi- tional plans of the over-all cycle and the separate movements. With only one ex- ception (Bacevicius) they all reveal pro- fessional craftsmanship. And with only one exception (Henze) they have all written their sonatas in idioms more or less comprehensible to performers with reasonable experience in present-day music.

Progressing from the most to the least comprehensible, we may take note first

of the 3. Sonatine by the German com- poser Genzmer (b. 1909), who is best known for his symphonies, concertos, and chamber music. Composed in 1959, this is a short, telling, facile work in the usual three movements, fast-slow-very fast. It depends for its interest, unity, and continuity on persistent motives, and rhythmic patterns, ostinato accompani- ments, thin linear counterpoint, and a clear orientation to C major.

The Armenian-American composer, Hovhaness (b. 1911), is always Hovha- ness, which in the instance of his two new sonatas is generally to the good. A laudatory, informative appraisal of his style, worth cross-referencing by librar- ians in whatever special files they main- tain for such purposes, is appended to the edition of his Lake of Van Sonata. Among other quotations in this appraisal are Virgil Thomson's remarks of 1947 about the "hypnotic" effect and the "mo- tionless quality" of "a long roll of hand- made wall paper." These remarks still apply in the Lake of Van Sonata, the two movements of which consist entirely of free, quasi-Oriental monophony embel- lished by octave leaps and repeated or neighboring tones, or of short rhythmic patterns that, in primitivistic fashion, undergo countless minute alterations dur- ing countless repetitions. Far from being inaccessible, this music perches precari- ously on the thin dividing line between obvious banality and subtle originality. Hovhaness's Madras Sonata differs to the extent of falling into more distinct chant- like sections in its first movement, of in- troducing childlike contrapuntal interest in the A sections of its A-B-A second movement, and of achieving more sophis- ticated contrapuntal interest in its "Prel- ude and Fugue" finale. Yet this finale, even with its climaxes, still manages not to abandon the characteristic monotonal, timeless quality of Hovhaness's writing.

The sonatas of Bacevi6ius and Kempff (b. 1895) stay closest to traditional har- mony and tonality. That of Bacevi6ius opens with a movement of frequently changing tempos, followed by an Andante tristamente and an Allegro vivace. This is a thick-textured work that is often clumsy to play, that seems inept in its

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attempts to make tradition sound mod- ern, and that does not perch so success- fully beyond the limits of obvious banal- ity. Kempff's work is more successful in spite of becoming increasingly traditional in idiom during its Praeambulum, Scherzo, and Introduzione e toccata. One is still aware of modernization tech- niques, but they are not objectionable. Naturally, the keyboard writing by so fine a pianist is skillful and imaginative. Furthermore, the musical ideas have sub- stance and the resulting forms are broad, logical, and convincing.

Jean Francaix (b. 1912) and George Adams live more naturally in the present; the indebtedness of Frangaix to Ravel and Boulanger, and George Adams' dedi- cation to Hanson help to place them- although both still think in terms of keys and key relationships. Each writes in clean, effective textures for keyboard, with Adams showing the greater interest in full sonorities (in his middle, Quasi recitativo movement). Both composers use harmonic and melodic chromaticisms to slip mercurially in and out of keys. Francaix writes in deliberately square phrases, indulges in frequent dancelike rhythms, and gives the impression of a suite in his thoroughly delightful four movements-Prelude, Elegie, Scherzo, and Toccata. Adams treats the sonata more dynamically and dramatically. One only feels that there is a slight sterility in the main ideas themselves and, per- haps for that reason, a slight sense that the ideas are overworked in the forms.

The important Norwegian composer Klaus Egge (b. 1906) makes his Sonata No. 2 truly a "Sonata patetica." This big, impassioned work, cast in three move- ments, fast-slow-fast with a Grave sten- tato introduction, thrives on dramatic outbursts, spasmodic rhythms, angular and widespread melodic figures, copious ninths and sevenths, and extreme dy- namic contrasts. It refers often and con- sistently enough to tonal centers to maintain tonal orientations in spite of some tendencies to spread out among the twelve tones. In fact, the total effect is only one harmonic cut beyond that of Bloch, whose fine piano sonata of 1935 seems to have been very much in Egge's

mind at least during the introduction and first two movements. Performers who control that much pianism and like to live that dangerously and intensively will certainly want to give serious con- sideration to Egge's sonata for forthcom- ing recitals.

The young Welsh composer Alun Hod- dinott (b. 1929) has produced a big sonata, too, although the fewer markings make the printed page look less explo- sive. The unity of his four movements- moderate, fast, slow, fast-is largely mo- tivic. Tone-rows are employed now, though with great flexibility and not in total defiance of the respective centers of A-flat, A, F, and A-flat established in the four movements. The rhythmic var- iety is extensive and constantly interest- ing. As for performance problems, these are by no means inordinate, for there is no loss of contact with keyboard prac- ticalities in spite of the almost constantly dissonant language of seconds and sevenths. One supposes that the total work would maintain the listener's inter- est very successfully, what with the sharp contrast between the melodic first move- ment, the driving second movement, the sonorous impressionistic third movement, and the gigue-like finale.

Finally, Henze's sonata must be put in the class of such abstruse, avant- garde works as Pierre Boulez's Deuxieme Sonate pour piano of 1950 (see NOTES, Vol. VIII, p. 135). Indeed, there is a distinct similarity of styles between the two works. Henze maintains the same constant rise-and-fall in pitch and dy- namics. He has the same fluid complex of intricate rhythms, with quintuplets against quadruplets, against triplets, and so on. And he, too, uses tone-rows con- stantly though more freely. Although Henze's work is less than half as long (in three rather than four movements) and does have time signatures and regu- lar barring, it is scarcely any less dif- ficult, either for the performer or lis- tener. Like the Boulez sonata it can hardly be fairly judged until a performer comes along who is willing and able to master it. I can only suspect that in spite of many expressive moments, many subtle relationships in the form, and in-

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tensely emotional, detailed markings, the continual units of rise-and-fall and the continual leaps of ninths or more must

tensely emotional, detailed markings, the continual units of rise-and-fall and the continual leaps of ninths or more must

tensely emotional, detailed markings, the continual units of rise-and-fall and the continual leaps of ninths or more must

eventually pall from a surfeit of these very traits.

WILLIAM S. NEWMAN

eventually pall from a surfeit of these very traits.

WILLIAM S. NEWMAN

eventually pall from a surfeit of these very traits.

WILLIAM S. NEWMAN

VOCAL MUSIC VOCAL MUSIC VOCAL MUSIC

Alessandro Scarlatti: Su le sponde del Tebro. Solo Kantate fir 1 Sing- stimme, Trompete (Oboe), Streicher und Continuo. Herausgegeben von Bernhard Paumgartner. Heidelberg: Willy Miiller; U. S. A.: C. F. Peters, 1960. [Score, 23 p., $3.00]

This brilliant work has been taken for a product of the 18th century, but its style, text, copyists, and the company that it keeps in contemporary manuscript volumes (cantatas of Pasquini, Stradella, and Alessandro Melani) reveal that it comes rather from the 1680's or 90's. Paumgartner prepared the edition from a single manuscript copy in Florence, seemingly unaware that this source is in- complete. The edition therefore lacks the second strophes which appear with each aria in the complete copies and which sometimes pursue further an ingenious, surprising, "witty" poetic conceit intro- duced in the first. The character of the verse and its relation to Marinist cur- rents and to certain basic qualities of Baroque are to be appreciated fully only when the complete text is before us. Aside from being incomplete, the ver- sion set down on p. 3 is in prose, its verse form having apparently escaped the editor's notice.

Dynamic markings, trills, lower oc- taves in the continuo, and many ties (pp. 12-14) have been added by the editor. Most of these are appropriate and wel- come, but it would have been easy to dis- tinguish them. The violin parts in the aria "Dite almeno" are an unwelcome addition which obscures an important stylistic aspect and which is at variance with the remark on p. 2 that the "edition carefully follows the original manu- script." Adhering to a very character- istic usage, the accompaniment here is for continuo alone in the aria proper; a thematically related ritornello for two violins and continuo follows each strophe.

The editor offers a realization in lieu of the basso continuo line with its nu-

Alessandro Scarlatti: Su le sponde del Tebro. Solo Kantate fir 1 Sing- stimme, Trompete (Oboe), Streicher und Continuo. Herausgegeben von Bernhard Paumgartner. Heidelberg: Willy Miiller; U. S. A.: C. F. Peters, 1960. [Score, 23 p., $3.00]

This brilliant work has been taken for a product of the 18th century, but its style, text, copyists, and the company that it keeps in contemporary manuscript volumes (cantatas of Pasquini, Stradella, and Alessandro Melani) reveal that it comes rather from the 1680's or 90's. Paumgartner prepared the edition from a single manuscript copy in Florence, seemingly unaware that this source is in- complete. The edition therefore lacks the second strophes which appear with each aria in the complete copies and which sometimes pursue further an ingenious, surprising, "witty" poetic conceit intro- duced in the first. The character of the verse and its relation to Marinist cur- rents and to certain basic qualities of Baroque are to be appreciated fully only when the complete text is before us. Aside from being incomplete, the ver- sion set down on p. 3 is in prose, its verse form having apparently escaped the editor's notice.

Dynamic markings, trills, lower oc- taves in the continuo, and many ties (pp. 12-14) have been added by the editor. Most of these are appropriate and wel- come, but it would have been easy to dis- tinguish them. The violin parts in the aria "Dite almeno" are an unwelcome addition which obscures an important stylistic aspect and which is at variance with the remark on p. 2 that the "edition carefully follows the original manu- script." Adhering to a very character- istic usage, the accompaniment here is for continuo alone in the aria proper; a thematically related ritornello for two violins and continuo follows each strophe.

The editor offers a realization in lieu of the basso continuo line with its nu-

Alessandro Scarlatti: Su le sponde del Tebro. Solo Kantate fir 1 Sing- stimme, Trompete (Oboe), Streicher und Continuo. Herausgegeben von Bernhard Paumgartner. Heidelberg: Willy Miiller; U. S. A.: C. F. Peters, 1960. [Score, 23 p., $3.00]

This brilliant work has been taken for a product of the 18th century, but its style, text, copyists, and the company that it keeps in contemporary manuscript volumes (cantatas of Pasquini, Stradella, and Alessandro Melani) reveal that it comes rather from the 1680's or 90's. Paumgartner prepared the edition from a single manuscript copy in Florence, seemingly unaware that this source is in- complete. The edition therefore lacks the second strophes which appear with each aria in the complete copies and which sometimes pursue further an ingenious, surprising, "witty" poetic conceit intro- duced in the first. The character of the verse and its relation to Marinist cur- rents and to certain basic qualities of Baroque are to be appreciated fully only when the complete text is before us. Aside from being incomplete, the ver- sion set down on p. 3 is in prose, its verse form having apparently escaped the editor's notice.

Dynamic markings, trills, lower oc- taves in the continuo, and many ties (pp. 12-14) have been added by the editor. Most of these are appropriate and wel- come, but it would have been easy to dis- tinguish them. The violin parts in the aria "Dite almeno" are an unwelcome addition which obscures an important stylistic aspect and which is at variance with the remark on p. 2 that the "edition carefully follows the original manu- script." Adhering to a very character- istic usage, the accompaniment here is for continuo alone in the aria proper; a thematically related ritornello for two violins and continuo follows each strophe.

The editor offers a realization in lieu of the basso continuo line with its nu-

merals. While the former too is called for, the latter is indispensable. The real- ization is generally acceptable, but in "Dite almeno" it fails to throw the note- worthy rhythmic intricacy into relief, the frequent hemiola, sometimes overlaid with syncopation, the wayward grouping of measures now in twos, now in threes, the independence of phraseology of the vocal line from the modified ostinato of the bass. Scarlatti's impeccable declama- tion has occasionally been distorted by faulty underlay of the text (p. 8, bar 11; p. 10, bar 31-34; p. 11, bars 46, 47). His vocal line has been arbitrarily emended (p. 12, "Infelici"), and one of his typically surprising harmonic progres- sions has been emasculated (p. 13, bar 23). Francesco Antonio Bonporti: Ite molles [&] Mittite dulces. Cantate per il Signore, per soprano, orches- tra d'archi e cembalo. Trascrizione a cura di Guglielmo Barblan. Reduc- tions for voice & piano. Milano: Suvini Zerboni; U. S. A.: Associated, New York, 1960. [18, 15 p., $1.25 ea.]

These are two of a collection of six motets for soprano, two violins, and or- gan continuo published in 1701. Each proceeds through three arias separated from one another by recitatives to a joy- ous Alleluja. The sensuous imagery of the devotional texts is reflected in the arias, as in the fiery (not "dolce") "Ardet meum cor" and the remarkably sweet pastorale "0 quam dulce." While never perfunctory, the recitatives hardly measure up to the passionate texts en- trusted to them. The editions present the works in reductions for voice and piano, liberally amplified by the editor with in- dications of tempo, dynamics, and ex- pression (con trasporto, con slancio, con abbandono, piu intenso), suggested cuts, and some changed notes. They are de- signed not merely for preparing perform- ances with strings (score and parts can

merals. While the former too is called for, the latter is indispensable. The real- ization is generally acceptable, but in "Dite almeno" it fails to throw the note- worthy rhythmic intricacy into relief, the frequent hemiola, sometimes overlaid with syncopation, the wayward grouping of measures now in twos, now in threes, the independence of phraseology of the vocal line from the modified ostinato of the bass. Scarlatti's impeccable declama- tion has occasionally been distorted by faulty underlay of the text (p. 8, bar 11; p. 10, bar 31-34; p. 11, bars 46, 47). His vocal line has been arbitrarily emended (p. 12, "Infelici"), and one of his typically surprising harmonic progres- sions has been emasculated (p. 13, bar 23). Francesco Antonio Bonporti: Ite molles [&] Mittite dulces. Cantate per il Signore, per soprano, orches- tra d'archi e cembalo. Trascrizione a cura di Guglielmo Barblan. Reduc- tions for voice & piano. Milano: Suvini Zerboni; U. S. A.: Associated, New York, 1960. [18, 15 p., $1.25 ea.]

These are two of a collection of six motets for soprano, two violins, and or- gan continuo published in 1701. Each proceeds through three arias separated from one another by recitatives to a joy- ous Alleluja. The sensuous imagery of the devotional texts is reflected in the arias, as in the fiery (not "dolce") "Ardet meum cor" and the remarkably sweet pastorale "0 quam dulce." While never perfunctory, the recitatives hardly measure up to the passionate texts en- trusted to them. The editions present the works in reductions for voice and piano, liberally amplified by the editor with in- dications of tempo, dynamics, and ex- pression (con trasporto, con slancio, con abbandono, piu intenso), suggested cuts, and some changed notes. They are de- signed not merely for preparing perform- ances with strings (score and parts can

merals. While the former too is called for, the latter is indispensable. The real- ization is generally acceptable, but in "Dite almeno" it fails to throw the note- worthy rhythmic intricacy into relief, the frequent hemiola, sometimes overlaid with syncopation, the wayward grouping of measures now in twos, now in threes, the independence of phraseology of the vocal line from the modified ostinato of the bass. Scarlatti's impeccable declama- tion has occasionally been distorted by faulty underlay of the text (p. 8, bar 11; p. 10, bar 31-34; p. 11, bars 46, 47). His vocal line has been arbitrarily emended (p. 12, "Infelici"), and one of his typically surprising harmonic progres- sions has been emasculated (p. 13, bar 23). Francesco Antonio Bonporti: Ite molles [&] Mittite dulces. Cantate per il Signore, per soprano, orches- tra d'archi e cembalo. Trascrizione a cura di Guglielmo Barblan. Reduc- tions for voice & piano. Milano: Suvini Zerboni; U. S. A.: Associated, New York, 1960. [18, 15 p., $1.25 ea.]

These are two of a collection of six motets for soprano, two violins, and or- gan continuo published in 1701. Each proceeds through three arias separated from one another by recitatives to a joy- ous Alleluja. The sensuous imagery of the devotional texts is reflected in the arias, as in the fiery (not "dolce") "Ardet meum cor" and the remarkably sweet pastorale "0 quam dulce." While never perfunctory, the recitatives hardly measure up to the passionate texts en- trusted to them. The editions present the works in reductions for voice and piano, liberally amplified by the editor with in- dications of tempo, dynamics, and ex- pression (con trasporto, con slancio, con abbandono, piu intenso), suggested cuts, and some changed notes. They are de- signed not merely for preparing perform- ances with strings (score and parts can

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