Sonata per archi by Hans Werner HenzeReview by: Robert Hall LewisNotes, Second Series, Vol. 17, No. 1 (Dec., 1959), pp. 149-150Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/893899 .

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Leo Weiner: Divertimento No. 2, Op. 24. Hungarian Folk Melodies for String Orchestra. (Pocket Scores, 54.) Budapest: Editio Musica; U. S. A.: Boosey & Hawkes, New York, 1958. [Min. score, 31 p., $1.75]

Although most of the critical points made above would apply here as well, these four movements show in general a slightly more imaginative handling of the Hungarian melodic material. The Czardas-like first movement is followed by a scherzando second movement of ternary design, in which changing meters add some variety to the otherwise un- deviating rhythmic regularity. A short mixolydian-flavored Andante in Db pre- cedes the Allegro finale, which places considerable emphasis on melodic tritones and minor thirds.

Perhaps it should be pointed out that, although these pocket scores are new, the works themselves are not. They date respectively from 1933 and 1939. Thus there can be no question here of politi- cally inspired conservatism. Indeed, since they are hardly new and untried works, their present re-publication would seem to indicate a certain amount of accept- ance-at least, in Hungary. Nevertheless, considered as a whole, their rather un- inspired academicism suit them for per- formance only by student organizations or at summer "pops" concerts. Frank Martin: Etudes pour orches- tre a cordes. (UE, 12694.) Wien, Zurich, & London: Universal Edi- tion; U. S. A.; Associated Music Publishers, New York, 1957. [Min. score, 51 p.; $2.50]

This striking twenty-minute work of Martin's consists of a sharply profiled overture followed by four etudes, each of ;which treats an important aspect of string performance. The first stresses the connecting of short motives distributed among violins, violas, and cellos. A lively pizzicato tour de force constitutes the second etude, while the third, an Adagio for divided violas and cellos, places emphasis on the sosteniLto espressivo. At- tention is given to fugal style in the final etude, which puts two contrasting subjects to work singly and in combina-

Leo Weiner: Divertimento No. 2, Op. 24. Hungarian Folk Melodies for String Orchestra. (Pocket Scores, 54.) Budapest: Editio Musica; U. S. A.: Boosey & Hawkes, New York, 1958. [Min. score, 31 p., $1.75]

Although most of the critical points made above would apply here as well, these four movements show in general a slightly more imaginative handling of the Hungarian melodic material. The Czardas-like first movement is followed by a scherzando second movement of ternary design, in which changing meters add some variety to the otherwise un- deviating rhythmic regularity. A short mixolydian-flavored Andante in Db pre- cedes the Allegro finale, which places considerable emphasis on melodic tritones and minor thirds.

Perhaps it should be pointed out that, although these pocket scores are new, the works themselves are not. They date respectively from 1933 and 1939. Thus there can be no question here of politi- cally inspired conservatism. Indeed, since they are hardly new and untried works, their present re-publication would seem to indicate a certain amount of accept- ance-at least, in Hungary. Nevertheless, considered as a whole, their rather un- inspired academicism suit them for per- formance only by student organizations or at summer "pops" concerts. Frank Martin: Etudes pour orches- tre a cordes. (UE, 12694.) Wien, Zurich, & London: Universal Edi- tion; U. S. A.; Associated Music Publishers, New York, 1957. [Min. score, 51 p.; $2.50]

This striking twenty-minute work of Martin's consists of a sharply profiled overture followed by four etudes, each of ;which treats an important aspect of string performance. The first stresses the connecting of short motives distributed among violins, violas, and cellos. A lively pizzicato tour de force constitutes the second etude, while the third, an Adagio for divided violas and cellos, places emphasis on the sosteniLto espressivo. At- tention is given to fugal style in the final etude, which puts two contrasting subjects to work singly and in combina-

Leo Weiner: Divertimento No. 2, Op. 24. Hungarian Folk Melodies for String Orchestra. (Pocket Scores, 54.) Budapest: Editio Musica; U. S. A.: Boosey & Hawkes, New York, 1958. [Min. score, 31 p., $1.75]

Although most of the critical points made above would apply here as well, these four movements show in general a slightly more imaginative handling of the Hungarian melodic material. The Czardas-like first movement is followed by a scherzando second movement of ternary design, in which changing meters add some variety to the otherwise un- deviating rhythmic regularity. A short mixolydian-flavored Andante in Db pre- cedes the Allegro finale, which places considerable emphasis on melodic tritones and minor thirds.

Perhaps it should be pointed out that, although these pocket scores are new, the works themselves are not. They date respectively from 1933 and 1939. Thus there can be no question here of politi- cally inspired conservatism. Indeed, since they are hardly new and untried works, their present re-publication would seem to indicate a certain amount of accept- ance-at least, in Hungary. Nevertheless, considered as a whole, their rather un- inspired academicism suit them for per- formance only by student organizations or at summer "pops" concerts. Frank Martin: Etudes pour orches- tre a cordes. (UE, 12694.) Wien, Zurich, & London: Universal Edi- tion; U. S. A.; Associated Music Publishers, New York, 1957. [Min. score, 51 p.; $2.50]

This striking twenty-minute work of Martin's consists of a sharply profiled overture followed by four etudes, each of ;which treats an important aspect of string performance. The first stresses the connecting of short motives distributed among violins, violas, and cellos. A lively pizzicato tour de force constitutes the second etude, while the third, an Adagio for divided violas and cellos, places emphasis on the sosteniLto espressivo. At- tention is given to fugal style in the final etude, which puts two contrasting subjects to work singly and in combina-

Leo Weiner: Divertimento No. 2, Op. 24. Hungarian Folk Melodies for String Orchestra. (Pocket Scores, 54.) Budapest: Editio Musica; U. S. A.: Boosey & Hawkes, New York, 1958. [Min. score, 31 p., $1.75]

Although most of the critical points made above would apply here as well, these four movements show in general a slightly more imaginative handling of the Hungarian melodic material. The Czardas-like first movement is followed by a scherzando second movement of ternary design, in which changing meters add some variety to the otherwise un- deviating rhythmic regularity. A short mixolydian-flavored Andante in Db pre- cedes the Allegro finale, which places considerable emphasis on melodic tritones and minor thirds.

Perhaps it should be pointed out that, although these pocket scores are new, the works themselves are not. They date respectively from 1933 and 1939. Thus there can be no question here of politi- cally inspired conservatism. Indeed, since they are hardly new and untried works, their present re-publication would seem to indicate a certain amount of accept- ance-at least, in Hungary. Nevertheless, considered as a whole, their rather un- inspired academicism suit them for per- formance only by student organizations or at summer "pops" concerts. Frank Martin: Etudes pour orches- tre a cordes. (UE, 12694.) Wien, Zurich, & London: Universal Edi- tion; U. S. A.; Associated Music Publishers, New York, 1957. [Min. score, 51 p.; $2.50]

This striking twenty-minute work of Martin's consists of a sharply profiled overture followed by four etudes, each of ;which treats an important aspect of string performance. The first stresses the connecting of short motives distributed among violins, violas, and cellos. A lively pizzicato tour de force constitutes the second etude, while the third, an Adagio for divided violas and cellos, places emphasis on the sosteniLto espressivo. At- tention is given to fugal style in the final etude, which puts two contrasting subjects to work singly and in combina-

Leo Weiner: Divertimento No. 2, Op. 24. Hungarian Folk Melodies for String Orchestra. (Pocket Scores, 54.) Budapest: Editio Musica; U. S. A.: Boosey & Hawkes, New York, 1958. [Min. score, 31 p., $1.75]

Although most of the critical points made above would apply here as well, these four movements show in general a slightly more imaginative handling of the Hungarian melodic material. The Czardas-like first movement is followed by a scherzando second movement of ternary design, in which changing meters add some variety to the otherwise un- deviating rhythmic regularity. A short mixolydian-flavored Andante in Db pre- cedes the Allegro finale, which places considerable emphasis on melodic tritones and minor thirds.

Perhaps it should be pointed out that, although these pocket scores are new, the works themselves are not. They date respectively from 1933 and 1939. Thus there can be no question here of politi- cally inspired conservatism. Indeed, since they are hardly new and untried works, their present re-publication would seem to indicate a certain amount of accept- ance-at least, in Hungary. Nevertheless, considered as a whole, their rather un- inspired academicism suit them for per- formance only by student organizations or at summer "pops" concerts. Frank Martin: Etudes pour orches- tre a cordes. (UE, 12694.) Wien, Zurich, & London: Universal Edi- tion; U. S. A.; Associated Music Publishers, New York, 1957. [Min. score, 51 p.; $2.50]

This striking twenty-minute work of Martin's consists of a sharply profiled overture followed by four etudes, each of ;which treats an important aspect of string performance. The first stresses the connecting of short motives distributed among violins, violas, and cellos. A lively pizzicato tour de force constitutes the second etude, while the third, an Adagio for divided violas and cellos, places emphasis on the sosteniLto espressivo. At- tention is given to fugal style in the final etude, which puts two contrasting subjects to work singly and in combina-

tion. Characterized by free chromaticism within a tonal framework, the composi- tion should provide interest and variety for any group choosing to perform it. Elliott Carter: Elegy for String Orchestra. New York: Peer Inter- national Corp.; distr.: Southern Music Publishing Co., 1967. [Score, 6 p., $1.00; pts., $1.50; extra pts., $.30 ea.]

Arranged for String Orchestra in 1952 from a work for viola and piano of 1943, this middle-period Elegy shows little or no relation to Carter's present style. The short movement is decidedly romantic in character and is constructed along the most conventional lines, combining simple harmonic and contrapuntal material with strong tonal feeling. After some forty- five bars of slow-moving sostenuto, a climax is reached, followed by a closing section based on the rising and falling seconds with which the movement began. Matyis Seiber: Fantasia concertante fur Violine und Streichorchester. Klavierauszug. Mainz: Ars Viva Verlag; U. S. A.: Associated Music Publishers, New York, 1958. [Score, 25 p., & pt., 8 p., $3.00; orchestra pts. available]

Seiber's impressive twelve-tone Fantasia should prove gratifying to the forward- looking violinist seeking new material. Employing the row rather freely, the work is cast in three principal divisions which combine warm lyricism with sec- tions of vigorous rhythmic character. The solo violin part begins in declama- tory style and makes use of much double- stopping, glissando, and sixteenth-note passage work, enhanced by a cleverly conceived string accompaniment. A long cadenza leads into the coda where an effective climax is achieved by grouping the twelve tones of the row into a single chord. Hans Werner Henze: Sonata per archi. (Ed. Schott 4591.) Mainz: B. Schott; U. S. A.: Associated Music Publishers, New York, 1958. [Min. score, 34 p., $2.25]

Easily the most interesting work of this group, Henze's two-movement Sonata begins in a robust, somewhat Stravinsky-like manner, with changing

tion. Characterized by free chromaticism within a tonal framework, the composi- tion should provide interest and variety for any group choosing to perform it. Elliott Carter: Elegy for String Orchestra. New York: Peer Inter- national Corp.; distr.: Southern Music Publishing Co., 1967. [Score, 6 p., $1.00; pts., $1.50; extra pts., $.30 ea.]

Arranged for String Orchestra in 1952 from a work for viola and piano of 1943, this middle-period Elegy shows little or no relation to Carter's present style. The short movement is decidedly romantic in character and is constructed along the most conventional lines, combining simple harmonic and contrapuntal material with strong tonal feeling. After some forty- five bars of slow-moving sostenuto, a climax is reached, followed by a closing section based on the rising and falling seconds with which the movement began. Matyis Seiber: Fantasia concertante fur Violine und Streichorchester. Klavierauszug. Mainz: Ars Viva Verlag; U. S. A.: Associated Music Publishers, New York, 1958. [Score, 25 p., & pt., 8 p., $3.00; orchestra pts. available]

Seiber's impressive twelve-tone Fantasia should prove gratifying to the forward- looking violinist seeking new material. Employing the row rather freely, the work is cast in three principal divisions which combine warm lyricism with sec- tions of vigorous rhythmic character. The solo violin part begins in declama- tory style and makes use of much double- stopping, glissando, and sixteenth-note passage work, enhanced by a cleverly conceived string accompaniment. A long cadenza leads into the coda where an effective climax is achieved by grouping the twelve tones of the row into a single chord. Hans Werner Henze: Sonata per archi. (Ed. Schott 4591.) Mainz: B. Schott; U. S. A.: Associated Music Publishers, New York, 1958. [Min. score, 34 p., $2.25]

Easily the most interesting work of this group, Henze's two-movement Sonata begins in a robust, somewhat Stravinsky-like manner, with changing

tion. Characterized by free chromaticism within a tonal framework, the composi- tion should provide interest and variety for any group choosing to perform it. Elliott Carter: Elegy for String Orchestra. New York: Peer Inter- national Corp.; distr.: Southern Music Publishing Co., 1967. [Score, 6 p., $1.00; pts., $1.50; extra pts., $.30 ea.]

Arranged for String Orchestra in 1952 from a work for viola and piano of 1943, this middle-period Elegy shows little or no relation to Carter's present style. The short movement is decidedly romantic in character and is constructed along the most conventional lines, combining simple harmonic and contrapuntal material with strong tonal feeling. After some forty- five bars of slow-moving sostenuto, a climax is reached, followed by a closing section based on the rising and falling seconds with which the movement began. Matyis Seiber: Fantasia concertante fur Violine und Streichorchester. Klavierauszug. Mainz: Ars Viva Verlag; U. S. A.: Associated Music Publishers, New York, 1958. [Score, 25 p., & pt., 8 p., $3.00; orchestra pts. available]

Seiber's impressive twelve-tone Fantasia should prove gratifying to the forward- looking violinist seeking new material. Employing the row rather freely, the work is cast in three principal divisions which combine warm lyricism with sec- tions of vigorous rhythmic character. The solo violin part begins in declama- tory style and makes use of much double- stopping, glissando, and sixteenth-note passage work, enhanced by a cleverly conceived string accompaniment. A long cadenza leads into the coda where an effective climax is achieved by grouping the twelve tones of the row into a single chord. Hans Werner Henze: Sonata per archi. (Ed. Schott 4591.) Mainz: B. Schott; U. S. A.: Associated Music Publishers, New York, 1958. [Min. score, 34 p., $2.25]

Easily the most interesting work of this group, Henze's two-movement Sonata begins in a robust, somewhat Stravinsky-like manner, with changing

tion. Characterized by free chromaticism within a tonal framework, the composi- tion should provide interest and variety for any group choosing to perform it. Elliott Carter: Elegy for String Orchestra. New York: Peer Inter- national Corp.; distr.: Southern Music Publishing Co., 1967. [Score, 6 p., $1.00; pts., $1.50; extra pts., $.30 ea.]

Arranged for String Orchestra in 1952 from a work for viola and piano of 1943, this middle-period Elegy shows little or no relation to Carter's present style. The short movement is decidedly romantic in character and is constructed along the most conventional lines, combining simple harmonic and contrapuntal material with strong tonal feeling. After some forty- five bars of slow-moving sostenuto, a climax is reached, followed by a closing section based on the rising and falling seconds with which the movement began. Matyis Seiber: Fantasia concertante fur Violine und Streichorchester. Klavierauszug. Mainz: Ars Viva Verlag; U. S. A.: Associated Music Publishers, New York, 1958. [Score, 25 p., & pt., 8 p., $3.00; orchestra pts. available]

Seiber's impressive twelve-tone Fantasia should prove gratifying to the forward- looking violinist seeking new material. Employing the row rather freely, the work is cast in three principal divisions which combine warm lyricism with sec- tions of vigorous rhythmic character. The solo violin part begins in declama- tory style and makes use of much double- stopping, glissando, and sixteenth-note passage work, enhanced by a cleverly conceived string accompaniment. A long cadenza leads into the coda where an effective climax is achieved by grouping the twelve tones of the row into a single chord. Hans Werner Henze: Sonata per archi. (Ed. Schott 4591.) Mainz: B. Schott; U. S. A.: Associated Music Publishers, New York, 1958. [Min. score, 34 p., $2.25]

Easily the most interesting work of this group, Henze's two-movement Sonata begins in a robust, somewhat Stravinsky-like manner, with changing

tion. Characterized by free chromaticism within a tonal framework, the composi- tion should provide interest and variety for any group choosing to perform it. Elliott Carter: Elegy for String Orchestra. New York: Peer Inter- national Corp.; distr.: Southern Music Publishing Co., 1967. [Score, 6 p., $1.00; pts., $1.50; extra pts., $.30 ea.]

Arranged for String Orchestra in 1952 from a work for viola and piano of 1943, this middle-period Elegy shows little or no relation to Carter's present style. The short movement is decidedly romantic in character and is constructed along the most conventional lines, combining simple harmonic and contrapuntal material with strong tonal feeling. After some forty- five bars of slow-moving sostenuto, a climax is reached, followed by a closing section based on the rising and falling seconds with which the movement began. Matyis Seiber: Fantasia concertante fur Violine und Streichorchester. Klavierauszug. Mainz: Ars Viva Verlag; U. S. A.: Associated Music Publishers, New York, 1958. [Score, 25 p., & pt., 8 p., $3.00; orchestra pts. available]

Seiber's impressive twelve-tone Fantasia should prove gratifying to the forward- looking violinist seeking new material. Employing the row rather freely, the work is cast in three principal divisions which combine warm lyricism with sec- tions of vigorous rhythmic character. The solo violin part begins in declama- tory style and makes use of much double- stopping, glissando, and sixteenth-note passage work, enhanced by a cleverly conceived string accompaniment. A long cadenza leads into the coda where an effective climax is achieved by grouping the twelve tones of the row into a single chord. Hans Werner Henze: Sonata per archi. (Ed. Schott 4591.) Mainz: B. Schott; U. S. A.: Associated Music Publishers, New York, 1958. [Min. score, 34 p., $2.25]

Easily the most interesting work of this group, Henze's two-movement Sonata begins in a robust, somewhat Stravinsky-like manner, with changing

149 149 149 149 149

This content downloaded from 194.29.185.251 on Sun, 15 Jun 2014 02:25:05 AMAll use subject to JSTOR Terms and Conditions

meters and chords emphasizing conflict- ing major and minor thirds. Of essen- tially rhythmic-motoric character, the- matic fragments are frequently placed in opposition to five- and six-tone disso- nances in the upper strings. The second movement consists of thirty-two varia- tions on an angular theme in 3/4. Canon, octave displacement, and treatment of certain intervals characterize in part the variational procedure, resulting in many fragile Webernian textures, in which harmonics play a prominent role. In short, this is a difficult but outstanding piece ideally written for the string medium. ROBERT HALL LEWIS

William Alwyn: Symphony No. 3. London: A. Lengnick; U. S. A.: Mills Music Corp., New York, 1957. [Min. score, 180 p., $5.00] Ralph Vaughan Williams: Symphony No. 9 in E minor. New York & London: Oxford University Press, 1958. [Min. score, 169 p., $5.50; orchestral materials for rent] Edmund Rubbra: Symphony No. 7 in C, Op. 88. London: A. Lengnick; U. S. A.: Mills Music Corp., New York, 1957. [Score, 130 p., $4.00] William Walton: Partita for Orches- tra. Commissioned by the Cleveland Orchestra. New York: & London: Oxford University Press, 1958. [Min. score, 130 p., $4.75; large size scores & orchestral pts. available for rent]

Arnold Dolmetsch once observed that as dance forms grew older they gener- ally tended to become slower in tempo and graver in mood, until they often lost all vitality and popularity. One might observe a similar aging in the symphony. Another curious fact is that the basic elements of the symphony have not changed: the three- or four-movement pattern, contrasting slow and fast; or the forms employed, sonata, rondo, and so forth. Does it not seem strange that we should continue using the same forms, while in other fields of art, the novel for example, they change so rapidly? And yet successful departures from the standard form and temperament of the symphony are rare (Sch6nberg's Kam- mersymphonie may be one), for where

meters and chords emphasizing conflict- ing major and minor thirds. Of essen- tially rhythmic-motoric character, the- matic fragments are frequently placed in opposition to five- and six-tone disso- nances in the upper strings. The second movement consists of thirty-two varia- tions on an angular theme in 3/4. Canon, octave displacement, and treatment of certain intervals characterize in part the variational procedure, resulting in many fragile Webernian textures, in which harmonics play a prominent role. In short, this is a difficult but outstanding piece ideally written for the string medium. ROBERT HALL LEWIS

William Alwyn: Symphony No. 3. London: A. Lengnick; U. S. A.: Mills Music Corp., New York, 1957. [Min. score, 180 p., $5.00] Ralph Vaughan Williams: Symphony No. 9 in E minor. New York & London: Oxford University Press, 1958. [Min. score, 169 p., $5.50; orchestral materials for rent] Edmund Rubbra: Symphony No. 7 in C, Op. 88. London: A. Lengnick; U. S. A.: Mills Music Corp., New York, 1957. [Score, 130 p., $4.00] William Walton: Partita for Orches- tra. Commissioned by the Cleveland Orchestra. New York: & London: Oxford University Press, 1958. [Min. score, 130 p., $4.75; large size scores & orchestral pts. available for rent]

Arnold Dolmetsch once observed that as dance forms grew older they gener- ally tended to become slower in tempo and graver in mood, until they often lost all vitality and popularity. One might observe a similar aging in the symphony. Another curious fact is that the basic elements of the symphony have not changed: the three- or four-movement pattern, contrasting slow and fast; or the forms employed, sonata, rondo, and so forth. Does it not seem strange that we should continue using the same forms, while in other fields of art, the novel for example, they change so rapidly? And yet successful departures from the standard form and temperament of the symphony are rare (Sch6nberg's Kam- mersymphonie may be one), for where

they are too conscientiously undertaken the listener generally has the feeling that he is being cheated, and that what he is being offered may be symphonic, but is hardly a symphony.

Three recent symphonies by three con- temporary British composers will neither "cheat" an audience by their audacity, nor will they do much to destroy the conviction that Dolmetsch's obesrvation might be applied equally to the symphony as to the dance. Of these, the least significant is William Alwyn's Symphony No. 3. Noted as a film composer, any "pure" music he writes will automatically invite suspicion. The forms of the work bear traces of being "clocked" and the tonalities, which hang around a minor seventh chord with lots of tritone color, annoy in a way that they would not, were they used to support a film. An at- tempt to give the work rhythmic elan is naive and clumsy, especially when the rhythms are played by the whole orches- tra at the unison. The symphony lacks a single breathtaking moment.

Vaughan Williams's 9th Symphony is a work most libraries will want to acquire, because of his reputation as a symphonist, and because the composition of the 9th shortly before his death pro- longs a certain well-known legend. I find it difficult, however, to discover much more than a numerical value in the work. The scoring is prodigious, in- cluding, in addition to the normal in- struments, affluent percussion, three saxo- phones and Fliigelhorn. In treatment, however, with the one exception of a distinctive Fliigelhorn solo at the open- ing of the second movement, all this extra color seems to be employed simply in thickening the middle-orchestra tex- ture, the one area of the orchestra which does not need extra support. Over- orchestration has always been a threat to Vaughan Williams's work, and in my opinion, many beautiful and original ideas are killed by it. The very opening note of this work-an E pedal-is scored pianissimo for the entire orchestra, re- sulting in a sort of muscle-bound mumble that seems to have more cloud than char- acter. The same might be said of the Scherzo; it suffers from too much man-

they are too conscientiously undertaken the listener generally has the feeling that he is being cheated, and that what he is being offered may be symphonic, but is hardly a symphony.

Three recent symphonies by three con- temporary British composers will neither "cheat" an audience by their audacity, nor will they do much to destroy the conviction that Dolmetsch's obesrvation might be applied equally to the symphony as to the dance. Of these, the least significant is William Alwyn's Symphony No. 3. Noted as a film composer, any "pure" music he writes will automatically invite suspicion. The forms of the work bear traces of being "clocked" and the tonalities, which hang around a minor seventh chord with lots of tritone color, annoy in a way that they would not, were they used to support a film. An at- tempt to give the work rhythmic elan is naive and clumsy, especially when the rhythms are played by the whole orches- tra at the unison. The symphony lacks a single breathtaking moment.

Vaughan Williams's 9th Symphony is a work most libraries will want to acquire, because of his reputation as a symphonist, and because the composition of the 9th shortly before his death pro- longs a certain well-known legend. I find it difficult, however, to discover much more than a numerical value in the work. The scoring is prodigious, in- cluding, in addition to the normal in- struments, affluent percussion, three saxo- phones and Fliigelhorn. In treatment, however, with the one exception of a distinctive Fliigelhorn solo at the open- ing of the second movement, all this extra color seems to be employed simply in thickening the middle-orchestra tex- ture, the one area of the orchestra which does not need extra support. Over- orchestration has always been a threat to Vaughan Williams's work, and in my opinion, many beautiful and original ideas are killed by it. The very opening note of this work-an E pedal-is scored pianissimo for the entire orchestra, re- sulting in a sort of muscle-bound mumble that seems to have more cloud than char- acter. The same might be said of the Scherzo; it suffers from too much man-

150 150

This content downloaded from 194.29.185.251 on Sun, 15 Jun 2014 02:25:05 AMAll use subject to JSTOR Terms and Conditions