Dialoghi by Gian Francesco MalipieroReview by: Kenneth GaburoNotes, Second Series, Vol. 15, No. 2 (Mar., 1958), pp. 252-253Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/893106 .

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duce exactly those seen in the sources; the decision to reproduce passages in triple meter in unreduced note values will doubtless militate somewhat against the

duce exactly those seen in the sources; the decision to reproduce passages in triple meter in unreduced note values will doubtless militate somewhat against the

usefulness of the edition. Discreet for the most part, the realization of the continuo shows initiative where required and is entirely appropriate. EDWIN HANLEY

usefulness of the edition. Discreet for the most part, the realization of the continuo shows initiative where required and is entirely appropriate. EDWIN HANLEY

Gian Francesco Malipiero: Dialoghi. N. 1: Con Manuel de Falla, in memoria, per piccola orchestra. [1.1.1.2-2.0.0.0.-Perc.-Piano-Str.] [Min. score, 21 p., $1.50]; N. 2: Fra 2 pianoforti. [Min. score, 29 p., $1.50]; N. 3: Con Jacopone da Todi, per canto e 2 pianoforti. [Min. score, 15 p., $1.50]; N. 4: Per 5 strumenti a perdifiato. [Flute, oboe, clarinet, bassoon, & horn.]; N. 5: Per viola e orchestra. [1.1.1.2.-2.O.0.0. -Piano-Solo viola-Str.] [Min. score, 26 p., $2.00]; N. 6: Per clav- icembalo e orchestra. [2.1.1..-2.0.0.0.-Clavicembalo-Str.] [Min. score, 27 p., $2.00]; N. 7: Per pianoforti e orchestra, concerto. [2.2.2.2.- 4.1.0.0.- Perc.-Xylophone, 2 pianos-Str.] [Min. score, 56 p., $2.25] Milano & New York: G. Ricordi, 1957.

Gian Francesco Malipiero: Dialoghi. N. 1: Con Manuel de Falla, in memoria, per piccola orchestra. [1.1.1.2-2.0.0.0.-Perc.-Piano-Str.] [Min. score, 21 p., $1.50]; N. 2: Fra 2 pianoforti. [Min. score, 29 p., $1.50]; N. 3: Con Jacopone da Todi, per canto e 2 pianoforti. [Min. score, 15 p., $1.50]; N. 4: Per 5 strumenti a perdifiato. [Flute, oboe, clarinet, bassoon, & horn.]; N. 5: Per viola e orchestra. [1.1.1.2.-2.O.0.0. -Piano-Solo viola-Str.] [Min. score, 26 p., $2.00]; N. 6: Per clav- icembalo e orchestra. [2.1.1..-2.0.0.0.-Clavicembalo-Str.] [Min. score, 27 p., $2.00]; N. 7: Per pianoforti e orchestra, concerto. [2.2.2.2.- 4.1.0.0.- Perc.-Xylophone, 2 pianos-Str.] [Min. score, 56 p., $2.25] Milano & New York: G. Ricordi, 1957.

The Dialoghi do not represent the usual grouping, such as a suite, as one might infer from the common title for all seven works, since they were, obviously, not in- tended to be performed as a single group. The common factor which allows for the application of the title to each (and there- by forms a group) lies in the relative nature of each of the works. That is, they are conversation pieces, having the same stylistic mood, unpretentious and undeveloped in the sense of more ex- tended works. Undoubtedly, some of the other factors behind the common title are that they were written within a short span of time, have thematic transforma- tions between pieces, contain a great sense of contrast, and produce a kind of building up of sound and intensity from the first to the last.

Each work is complete and short enough in itself so that it could be suc- cessfully programmed singly, or in any combination. They are all stylistically consistent miniatures in the Malipiero neo-classic tradition, more adventurous than many previous works, musical, colorful, and should be attractive to audience and performer alike. One also cannot overlook the instrumentation in numbers III, V, & VI which are valuable contributions to scarce contemporary literature in these areas. With the ex- ception of III and VII, which are difficult, the Dialoghi are within the range of any competent soloist or group.

The Dialoghi do not represent the usual grouping, such as a suite, as one might infer from the common title for all seven works, since they were, obviously, not in- tended to be performed as a single group. The common factor which allows for the application of the title to each (and there- by forms a group) lies in the relative nature of each of the works. That is, they are conversation pieces, having the same stylistic mood, unpretentious and undeveloped in the sense of more ex- tended works. Undoubtedly, some of the other factors behind the common title are that they were written within a short span of time, have thematic transforma- tions between pieces, contain a great sense of contrast, and produce a kind of building up of sound and intensity from the first to the last.

Each work is complete and short enough in itself so that it could be suc- cessfully programmed singly, or in any combination. They are all stylistically consistent miniatures in the Malipiero neo-classic tradition, more adventurous than many previous works, musical, colorful, and should be attractive to audience and performer alike. One also cannot overlook the instrumentation in numbers III, V, & VI which are valuable contributions to scarce contemporary literature in these areas. With the ex- ception of III and VII, which are difficult, the Dialoghi are within the range of any competent soloist or group.

Particularly noteworthy are: No. 1, a piece (in memory of Manuel de Falla) for small orchestra in one movement (11 min.: Lento-Meno Lento-Allegro-Lento), delicate and lightly scored. The three melodic ideas are first treated separately in fragmentary manner, later inter-mixed, and eventually expanded into longer flow- ing lines. Considerable thematic integra- tion between larger sections. Piano used throughout in ostinato patterns. No. 3, a one-movement work (15 min.: Lento non troppo) for voice and two pianos on a text by Jacopone da Todi, the 13th- century monk-poet. The pianos function independently of vocal line. Complex chromatic passages are balanced by more diatonic ones. Voice entrances are not always prepared. Old Italian pronuncia- tion might cause difficulty. The range is purposefully limited to allow for per- formance by most vocal types (middle C to A above treble staff). No. 5, a chamber- like (15 min.) quasi concerto for viola and orchestra, scored very carefully. Form: Introduction (Non mosso ritenuto -un poco piu mosso) & Allegro-Piut- tosto Lento. The viola (which part is not too taxing) has a very effective duo- cadenza with solo cello in the first move- ment. No. 6, a quasi concerto for harpsi- chord and orchestra in three movements (15 min.: Allegro-Lento-Allegro). Harpsi- chord begins work against solo oboe line. There is cyclical thematic treatment and more rhythmic interest than in other

Particularly noteworthy are: No. 1, a piece (in memory of Manuel de Falla) for small orchestra in one movement (11 min.: Lento-Meno Lento-Allegro-Lento), delicate and lightly scored. The three melodic ideas are first treated separately in fragmentary manner, later inter-mixed, and eventually expanded into longer flow- ing lines. Considerable thematic integra- tion between larger sections. Piano used throughout in ostinato patterns. No. 3, a one-movement work (15 min.: Lento non troppo) for voice and two pianos on a text by Jacopone da Todi, the 13th- century monk-poet. The pianos function independently of vocal line. Complex chromatic passages are balanced by more diatonic ones. Voice entrances are not always prepared. Old Italian pronuncia- tion might cause difficulty. The range is purposefully limited to allow for per- formance by most vocal types (middle C to A above treble staff). No. 5, a chamber- like (15 min.) quasi concerto for viola and orchestra, scored very carefully. Form: Introduction (Non mosso ritenuto -un poco piu mosso) & Allegro-Piut- tosto Lento. The viola (which part is not too taxing) has a very effective duo- cadenza with solo cello in the first move- ment. No. 6, a quasi concerto for harpsi- chord and orchestra in three movements (15 min.: Allegro-Lento-Allegro). Harpsi- chord begins work against solo oboe line. There is cyclical thematic treatment and more rhythmic interest than in other

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Dialoghi. In third movement there is an This reviewer has found numerous effective approach to a cadenza by grad- errata in the printed scores, and the per- ual reduction of orchestral sound, and former should examine the music with away from cadenza by a gradual buildup. caution. KENNETH GABURO

Egon Wellesz: Suite for Flute Solo, Op. 57. New York: Rongwen Music; distr.: Broude Brothers, 1957. [4 p., $1.75] Egon Wellesz: Suite for Clarinet Solo, Op. 74. New York: Rogwen Music, distr.: Broude Brothers, 1957. [5 p., $1.75] Egon Wellesz: Suite, Op. 73, fur Flote, Oboe, Klarinette, Horn und Fagott. Hamburg: Musikverlag Hans Sikorski, 1956 [Score, 22 p.] Ernst Krenek: Suite for Flute and String Orchestra. (Contemporary Composers, Study Score Ser., No. 4.) New York: Rongwen Music; distr.: Broude Brother, 1957. [Score, 12., $1.75] Ernst Krenek: Suite for Clarinet and String Orchestra. (Contemporary Composers, Study Score Ser., No. 8.) New York: Rongwen Music; distr.: Broude Brothers, 1957. [Score, 15 p., $1.75]

Dialoghi. In third movement there is an This reviewer has found numerous effective approach to a cadenza by grad- errata in the printed scores, and the per- ual reduction of orchestral sound, and former should examine the music with away from cadenza by a gradual buildup. caution. KENNETH GABURO

Egon Wellesz: Suite for Flute Solo, Op. 57. New York: Rongwen Music; distr.: Broude Brothers, 1957. [4 p., $1.75] Egon Wellesz: Suite for Clarinet Solo, Op. 74. New York: Rogwen Music, distr.: Broude Brothers, 1957. [5 p., $1.75] Egon Wellesz: Suite, Op. 73, fur Flote, Oboe, Klarinette, Horn und Fagott. Hamburg: Musikverlag Hans Sikorski, 1956 [Score, 22 p.] Ernst Krenek: Suite for Flute and String Orchestra. (Contemporary Composers, Study Score Ser., No. 4.) New York: Rongwen Music; distr.: Broude Brother, 1957. [Score, 12., $1.75] Ernst Krenek: Suite for Clarinet and String Orchestra. (Contemporary Composers, Study Score Ser., No. 8.) New York: Rongwen Music; distr.: Broude Brothers, 1957. [Score, 15 p., $1.75]

If the names Wellesz and Krenek seem slightly forbidding to the casual musician because of their association with Schoen- berg and the 12-tone "school," these works will be the occasion for consider- able surprise, for most of them are tonal, slight, charming, deftly-made minor works. There is something of Gebrauchs- musik about all of them: short (the longest is Wellesz's Woodwind Quartet), idiomatic to a fault, "practical" pieces.

The tunefulness of Wellesz' three-move- ment Suite for Flute Solo is its chief asset, suggesting folk song derivation by the simplicity of its formal layout, re- peated motifs and sequential extensions. The Suite for Clarinet Solo in four move- ments is more freely chromatic though still inclined toward a tonal frame of reference. Only in the first section, "Rhapsody," is there present what could be called a "row" but its appearance is so brief that one can draw no conclusions as to its formal function other than its presence as a contrasting statement. The mobility of the clarinet is used to the full and calls forth the observation that of all woodwind instruments, it is the clarinet which lends itself best to the wide-interval-register-shifting indigenous to most atonal or serial writing. The Woodwind Quintet is a compact three- movement piece of which the Adagio is the most personal. The end movements

If the names Wellesz and Krenek seem slightly forbidding to the casual musician because of their association with Schoen- berg and the 12-tone "school," these works will be the occasion for consider- able surprise, for most of them are tonal, slight, charming, deftly-made minor works. There is something of Gebrauchs- musik about all of them: short (the longest is Wellesz's Woodwind Quartet), idiomatic to a fault, "practical" pieces.

The tunefulness of Wellesz' three-move- ment Suite for Flute Solo is its chief asset, suggesting folk song derivation by the simplicity of its formal layout, re- peated motifs and sequential extensions. The Suite for Clarinet Solo in four move- ments is more freely chromatic though still inclined toward a tonal frame of reference. Only in the first section, "Rhapsody," is there present what could be called a "row" but its appearance is so brief that one can draw no conclusions as to its formal function other than its presence as a contrasting statement. The mobility of the clarinet is used to the full and calls forth the observation that of all woodwind instruments, it is the clarinet which lends itself best to the wide-interval-register-shifting indigenous to most atonal or serial writing. The Woodwind Quintet is a compact three- movement piece of which the Adagio is the most personal. The end movements

are energetic but the thematic ideas are all too obviously vehicles for conveying physical energy; they have little intrinsic musical interest. Fortunately, Wellesz' color sense, feel for the ensemble, and general ease in formal matters make up for this weakness of thematic interest. More than the pieces for solo flute and clarinet, which seem to be written not for the professional but for the gifted amateur or student, this work requires skilled performers. The horn, for example, lying for the most part in a comfortable range, must play high F (actual sound).

The two Krenek suites are apparently modelled on the baroque instrumental suite; surely the musical speech echoes baroque procedures. Each first move- ment could be (but is not) labelled "overture"; each second movement is dance-like; each third, slow; and each last movement a vivace "send-off." Tonal centers prevail arbitrarily albeit cleverly. Everything is skillful as befits a man of Krenek's experience, but except for the arresting "overture," the music is charm- ingly slight. Skilled soloists are called for and considering the amount of chamber ensemble performance going on, either suite would nicely grace a pro- gram so long as performers and audience are willing to accept them as unpreten- tious music-making.

GEORGE ROCHBERG

are energetic but the thematic ideas are all too obviously vehicles for conveying physical energy; they have little intrinsic musical interest. Fortunately, Wellesz' color sense, feel for the ensemble, and general ease in formal matters make up for this weakness of thematic interest. More than the pieces for solo flute and clarinet, which seem to be written not for the professional but for the gifted amateur or student, this work requires skilled performers. The horn, for example, lying for the most part in a comfortable range, must play high F (actual sound).

The two Krenek suites are apparently modelled on the baroque instrumental suite; surely the musical speech echoes baroque procedures. Each first move- ment could be (but is not) labelled "overture"; each second movement is dance-like; each third, slow; and each last movement a vivace "send-off." Tonal centers prevail arbitrarily albeit cleverly. Everything is skillful as befits a man of Krenek's experience, but except for the arresting "overture," the music is charm- ingly slight. Skilled soloists are called for and considering the amount of chamber ensemble performance going on, either suite would nicely grace a pro- gram so long as performers and audience are willing to accept them as unpreten- tious music-making.

GEORGE ROCHBERG

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