Drei Sonaten und drei Partiten für Violine allein, BWV 1001-1006 by Johann Sebastian Bach;Max RostalReview by: Elias DannNotes, Second Series, Vol. 40, No. 4 (Jun., 1984), pp. 882-883Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/940721 .

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MLA Notes, June 1984 MLA Notes, June 1984

dents and attractive to amateurs. We may hope that the current flurry of

research on women composers will un- cover more works by Helene Liebmann, whose sonata, first published in 1806, re- veals a composer of skill and talent. This chamber work is stylistically close to Mo- zart; indeed, the third movement is a set of variations on an aria from Don Giovanni. However, unlike Mozart's sonatas for pi- anoforte and violin, in which the violin plays a subordinate role, Liebmann gives the two instruments equal importance. Since there is a notable scarcity of classical sonatas composed for piano and cello, this new publication makes a welcome addition to the repertory. The cello part requires con- siderably more technical dexterity than the other works reviewed above, but the range does not go above bb.

PETER FARRELL University of California, San Diego

Johann Sebastian Bach. Drei Sonaten und drei Partiten fur Violine allein, BWV 1001-1006. Nach dem Auto- graph hrsg., eingerichtet und erlautert von Max Rostal. Leipzig: Peters, c1982. [113 p.; Sonata 1, arr. for string quar- tet (1st movement), 3 p.; Nachwort in Ger., Eng., Revisionsbericht, 28 p.; $15.00]

Peters's publication of Max Rostal's edi- tion of the Bach Sonatas and Partitas for solo violin is the latest of forty or more edi- tions of these unique works published since 1800. In many ways, this edition resembles that of Carl Flesch published by Peters in 1930. Rostal was an outstanding pupil of Flesch, and was for some years his assis- tant. The format is the same as it was fifty years ago: on two staves throughout, the Urtext below, the editor's practical edition above. Rostal's Urtext corrects many errors to be found in the Flesch edition, as well as in the famous Joachim-Moser edition of 1908 (the first to use the two-staff format). The present editor, of course, had the ad- vantage of the 1950 publication by Barenreiter of the facsimile of the Bach autograph, as well as the carefully en- graved copy in the Neue Bach-Ausgabe thereafter. However, as in the earlier edi-

dents and attractive to amateurs. We may hope that the current flurry of

research on women composers will un- cover more works by Helene Liebmann, whose sonata, first published in 1806, re- veals a composer of skill and talent. This chamber work is stylistically close to Mo- zart; indeed, the third movement is a set of variations on an aria from Don Giovanni. However, unlike Mozart's sonatas for pi- anoforte and violin, in which the violin plays a subordinate role, Liebmann gives the two instruments equal importance. Since there is a notable scarcity of classical sonatas composed for piano and cello, this new publication makes a welcome addition to the repertory. The cello part requires con- siderably more technical dexterity than the other works reviewed above, but the range does not go above bb.

PETER FARRELL University of California, San Diego

Johann Sebastian Bach. Drei Sonaten und drei Partiten fur Violine allein, BWV 1001-1006. Nach dem Auto- graph hrsg., eingerichtet und erlautert von Max Rostal. Leipzig: Peters, c1982. [113 p.; Sonata 1, arr. for string quar- tet (1st movement), 3 p.; Nachwort in Ger., Eng., Revisionsbericht, 28 p.; $15.00]

Peters's publication of Max Rostal's edi- tion of the Bach Sonatas and Partitas for solo violin is the latest of forty or more edi- tions of these unique works published since 1800. In many ways, this edition resembles that of Carl Flesch published by Peters in 1930. Rostal was an outstanding pupil of Flesch, and was for some years his assis- tant. The format is the same as it was fifty years ago: on two staves throughout, the Urtext below, the editor's practical edition above. Rostal's Urtext corrects many errors to be found in the Flesch edition, as well as in the famous Joachim-Moser edition of 1908 (the first to use the two-staff format). The present editor, of course, had the ad- vantage of the 1950 publication by Barenreiter of the facsimile of the Bach autograph, as well as the carefully en- graved copy in the Neue Bach-Ausgabe thereafter. However, as in the earlier edi-

tions, the Urtext line of the present edition is spoiled, both visually and polyphonically, by the use of single long stems for multi- ple-stops. In the autograph each note has its own stem, and many times Bach sup- plies rests in the non-continuous parts to help the eye follow the horizontal lines. These procedures were followed in the Neue Bach-Ausgabe and, it might be suggested, should be followed in any future editions. This edition does provide a separate stem for each note in the edited part, but almost to no purpose since the part is so over- loaded with editorial markings and changes.

Since the theory of the "Bach bow" has been thoroughly discredited, the editor's main problem remains what it has always been: how does a violinist bring out the po- lyphony implicit in a score made up of sin- gle notes and multiple-stops, when no more than two notes, and those two on adjacent strings, can be comfortably sustained? Over the years, many answers have been similar to some extent; the differences have been those of understanding, personality, and style. Rostal's edition is probably the most meticulous of all. Notes that cannot be sus- tained have their printed values shortened; chords are rolled, most from the bottom up, some from the top down; brackets are used to indicate the breaking rather than rolling of a chord; and various combinations of lines and dots indicate anything from very short to quite long. There are special signs to show how much of the bow and what parts of it should be used. The fingerings are excellent and practical, obviously those of a Flesch disciple. At the same time, Ros- tal avoids the higher positions often fa- vored by the more romantic editors, keep- ing the left hand more nearly where it would have been in Bach's time.

The shortening of notes that cannot be sustained, the additional rests required by this practice (more than in the autograph), the breaking up of the beams (to help with the rhythms), the great numbers of bowing indications, and the liberal number of ed- itorial dynamics all make for an extremely fussy-looking score. It is, however, a score that conveys how Max Rostal would play these works, and that should be extremely useful.

In the concluding remarks and editor's notes, Rostal discusses general principles of interpretation and performance of these works, as well as many specific problems and

tions, the Urtext line of the present edition is spoiled, both visually and polyphonically, by the use of single long stems for multi- ple-stops. In the autograph each note has its own stem, and many times Bach sup- plies rests in the non-continuous parts to help the eye follow the horizontal lines. These procedures were followed in the Neue Bach-Ausgabe and, it might be suggested, should be followed in any future editions. This edition does provide a separate stem for each note in the edited part, but almost to no purpose since the part is so over- loaded with editorial markings and changes.

Since the theory of the "Bach bow" has been thoroughly discredited, the editor's main problem remains what it has always been: how does a violinist bring out the po- lyphony implicit in a score made up of sin- gle notes and multiple-stops, when no more than two notes, and those two on adjacent strings, can be comfortably sustained? Over the years, many answers have been similar to some extent; the differences have been those of understanding, personality, and style. Rostal's edition is probably the most meticulous of all. Notes that cannot be sus- tained have their printed values shortened; chords are rolled, most from the bottom up, some from the top down; brackets are used to indicate the breaking rather than rolling of a chord; and various combinations of lines and dots indicate anything from very short to quite long. There are special signs to show how much of the bow and what parts of it should be used. The fingerings are excellent and practical, obviously those of a Flesch disciple. At the same time, Ros- tal avoids the higher positions often fa- vored by the more romantic editors, keep- ing the left hand more nearly where it would have been in Bach's time.

The shortening of notes that cannot be sustained, the additional rests required by this practice (more than in the autograph), the breaking up of the beams (to help with the rhythms), the great numbers of bowing indications, and the liberal number of ed- itorial dynamics all make for an extremely fussy-looking score. It is, however, a score that conveys how Max Rostal would play these works, and that should be extremely useful.

In the concluding remarks and editor's notes, Rostal discusses general principles of interpretation and performance of these works, as well as many specific problems and

882 882

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Music Reviews Music Reviews Music Reviews

points of interest. There is also a list of all the previous publications of these works, beginning with the one brought out by Simrock in 1802. This is an edition that should be added to the little collection that every serious violinist already owns.

Bohmische Violinsonaten I. Nach den altesten Quellen hrsg. von Sonja Ger- lach und Zdenka Pilkova; Generalbas- saussetzung von Sonja Gerlach. Mu- nich: Henle, 1982. [Foreword in Ger., Eng., Fr., 9 p.; score, 45 p., and parts; $12.75]

The volume under consideration is the first of a two-volume set of "Bohemian" vi- olin sonatas. All five sonatas in this volume are scored for violin and thoroughbass. This practical edition supplies the score (with continuo elaboration in smaller notes) along with separate violin and bass parts. The vi- olin part is expertly edited by Karl R6hrig; the continuo elaboration by Sonja Gerlach raises a few questions but, on the whole, it can be useful.

The sonatas are Bohemian in the sense that all of the composers were born in Bohemia. Sadly, like so many Czech com- posers of the eighteenth century, each of these violinist-composers served (and even- tually died) in a foreign court or capital: Wenzeslaus Wodiczka in Munich, Franz Benda in Potsdam, Johann Baptist Neruda in Dresden, Johann Wenzel Stamitz in Mannheim, and Anton Kammel in Lon- don. The eldest of these were contempo- raries of Wilhelm Friedemann Bach, the youngest was almost an exact contempo- rary of Joseph Haydn. The authenticity of this "Urtext edition" depends upon the sources, and those, as indicated in the pre- face, were few, and had their share of im- perfections.

Wodiczka's little sonata, idiomatically written for the violin, is in three move- ments: a binary-form Adagio, a movement that alternates between Grave and Allegro, and a final minuet. Published in Paris in 1739, it may be the oldest sonata of the col- lection. The Sonata in C by Franz Benda, published now for the first time, has a lovely cantabile style, both in the opening Largo and in the following "singing Allegro." The

points of interest. There is also a list of all the previous publications of these works, beginning with the one brought out by Simrock in 1802. This is an edition that should be added to the little collection that every serious violinist already owns.

Bohmische Violinsonaten I. Nach den altesten Quellen hrsg. von Sonja Ger- lach und Zdenka Pilkova; Generalbas- saussetzung von Sonja Gerlach. Mu- nich: Henle, 1982. [Foreword in Ger., Eng., Fr., 9 p.; score, 45 p., and parts; $12.75]

The volume under consideration is the first of a two-volume set of "Bohemian" vi- olin sonatas. All five sonatas in this volume are scored for violin and thoroughbass. This practical edition supplies the score (with continuo elaboration in smaller notes) along with separate violin and bass parts. The vi- olin part is expertly edited by Karl R6hrig; the continuo elaboration by Sonja Gerlach raises a few questions but, on the whole, it can be useful.

The sonatas are Bohemian in the sense that all of the composers were born in Bohemia. Sadly, like so many Czech com- posers of the eighteenth century, each of these violinist-composers served (and even- tually died) in a foreign court or capital: Wenzeslaus Wodiczka in Munich, Franz Benda in Potsdam, Johann Baptist Neruda in Dresden, Johann Wenzel Stamitz in Mannheim, and Anton Kammel in Lon- don. The eldest of these were contempo- raries of Wilhelm Friedemann Bach, the youngest was almost an exact contempo- rary of Joseph Haydn. The authenticity of this "Urtext edition" depends upon the sources, and those, as indicated in the pre- face, were few, and had their share of im- perfections.

Wodiczka's little sonata, idiomatically written for the violin, is in three move- ments: a binary-form Adagio, a movement that alternates between Grave and Allegro, and a final minuet. Published in Paris in 1739, it may be the oldest sonata of the col- lection. The Sonata in C by Franz Benda, published now for the first time, has a lovely cantabile style, both in the opening Largo and in the following "singing Allegro." The

points of interest. There is also a list of all the previous publications of these works, beginning with the one brought out by Simrock in 1802. This is an edition that should be added to the little collection that every serious violinist already owns.

Bohmische Violinsonaten I. Nach den altesten Quellen hrsg. von Sonja Ger- lach und Zdenka Pilkova; Generalbas- saussetzung von Sonja Gerlach. Mu- nich: Henle, 1982. [Foreword in Ger., Eng., Fr., 9 p.; score, 45 p., and parts; $12.75]

The volume under consideration is the first of a two-volume set of "Bohemian" vi- olin sonatas. All five sonatas in this volume are scored for violin and thoroughbass. This practical edition supplies the score (with continuo elaboration in smaller notes) along with separate violin and bass parts. The vi- olin part is expertly edited by Karl R6hrig; the continuo elaboration by Sonja Gerlach raises a few questions but, on the whole, it can be useful.

The sonatas are Bohemian in the sense that all of the composers were born in Bohemia. Sadly, like so many Czech com- posers of the eighteenth century, each of these violinist-composers served (and even- tually died) in a foreign court or capital: Wenzeslaus Wodiczka in Munich, Franz Benda in Potsdam, Johann Baptist Neruda in Dresden, Johann Wenzel Stamitz in Mannheim, and Anton Kammel in Lon- don. The eldest of these were contempo- raries of Wilhelm Friedemann Bach, the youngest was almost an exact contempo- rary of Joseph Haydn. The authenticity of this "Urtext edition" depends upon the sources, and those, as indicated in the pre- face, were few, and had their share of im- perfections.

Wodiczka's little sonata, idiomatically written for the violin, is in three move- ments: a binary-form Adagio, a movement that alternates between Grave and Allegro, and a final minuet. Published in Paris in 1739, it may be the oldest sonata of the col- lection. The Sonata in C by Franz Benda, published now for the first time, has a lovely cantabile style, both in the opening Largo and in the following "singing Allegro." The

final Presto is a sprightly movement where the violin often suggests or outlines two parts as it skips nimbly about (shades of the old trio sonata).

The sonatas of Neruda and Stamitz are more stylistically assured in their fresh early- classic sound. While these virtuoso violin- ists write many double-stops, the intervals are straightforward; the result is chordal rather than contrapuntal. In the Neruda sonata, the fast movements begin to show a clear binary sonata form. The slow move- ment has the dominant-tonic harmonies and short phrases of its time and is in double- stops throughout. The two voices of the vi- olin plus the bass evoke the old trio in tex- ture but not in spirit. The Adagio of the Stamitz sonata (Adagio-Allegro-Minuetto) is, like the Neruda slow movement, entirely in double-stops for the violin, but the three parts are even more solidly chordal. Again, both the Adagio and Allegro of this excel- lent sonata are binary movements. Anton Kammel, Haydn's contemporary, spent the last quarter-century of his life in London. His music shows an affinity to Haydn and J. C. Bach, while the violin parts reflect his study with Tartini. This splendid sonata has a wide-ranging, lyrical Adagio, a virtuosic Allegro with signs of Tartini, and a Tempo giusto finale, also indebted to Tartini. Bi- nary form movements prevail throughout. These sonatas are recommended to all vi- olinists for sheer pleasure, but only to those with smooth style and easy virtuosity for public performance.

ELIAS DANN Florida State University

Edward Gregson. Trombone con- certo; arr. for trombone and piano by the composer. Sevenoaks, Kent, En- gland: Novello (Presser), 1981. [Score, 30 p., and part; $7.25]

Most of the concertos written for trom- bone have achieved what they deserved- obscurity. Those written within the last twenty-five years usually receive one or two performances, the lucky ones are re- corded, and then they join their forgotten brethren. The Gregson Concerto deserves a better fate. Beautifully crafted and mu- sically exciting, it will hold an audience and

final Presto is a sprightly movement where the violin often suggests or outlines two parts as it skips nimbly about (shades of the old trio sonata).

The sonatas of Neruda and Stamitz are more stylistically assured in their fresh early- classic sound. While these virtuoso violin- ists write many double-stops, the intervals are straightforward; the result is chordal rather than contrapuntal. In the Neruda sonata, the fast movements begin to show a clear binary sonata form. The slow move- ment has the dominant-tonic harmonies and short phrases of its time and is in double- stops throughout. The two voices of the vi- olin plus the bass evoke the old trio in tex- ture but not in spirit. The Adagio of the Stamitz sonata (Adagio-Allegro-Minuetto) is, like the Neruda slow movement, entirely in double-stops for the violin, but the three parts are even more solidly chordal. Again, both the Adagio and Allegro of this excel- lent sonata are binary movements. Anton Kammel, Haydn's contemporary, spent the last quarter-century of his life in London. His music shows an affinity to Haydn and J. C. Bach, while the violin parts reflect his study with Tartini. This splendid sonata has a wide-ranging, lyrical Adagio, a virtuosic Allegro with signs of Tartini, and a Tempo giusto finale, also indebted to Tartini. Bi- nary form movements prevail throughout. These sonatas are recommended to all vi- olinists for sheer pleasure, but only to those with smooth style and easy virtuosity for public performance.

ELIAS DANN Florida State University

Edward Gregson. Trombone con- certo; arr. for trombone and piano by the composer. Sevenoaks, Kent, En- gland: Novello (Presser), 1981. [Score, 30 p., and part; $7.25]

Most of the concertos written for trom- bone have achieved what they deserved- obscurity. Those written within the last twenty-five years usually receive one or two performances, the lucky ones are re- corded, and then they join their forgotten brethren. The Gregson Concerto deserves a better fate. Beautifully crafted and mu- sically exciting, it will hold an audience and

final Presto is a sprightly movement where the violin often suggests or outlines two parts as it skips nimbly about (shades of the old trio sonata).

The sonatas of Neruda and Stamitz are more stylistically assured in their fresh early- classic sound. While these virtuoso violin- ists write many double-stops, the intervals are straightforward; the result is chordal rather than contrapuntal. In the Neruda sonata, the fast movements begin to show a clear binary sonata form. The slow move- ment has the dominant-tonic harmonies and short phrases of its time and is in double- stops throughout. The two voices of the vi- olin plus the bass evoke the old trio in tex- ture but not in spirit. The Adagio of the Stamitz sonata (Adagio-Allegro-Minuetto) is, like the Neruda slow movement, entirely in double-stops for the violin, but the three parts are even more solidly chordal. Again, both the Adagio and Allegro of this excel- lent sonata are binary movements. Anton Kammel, Haydn's contemporary, spent the last quarter-century of his life in London. His music shows an affinity to Haydn and J. C. Bach, while the violin parts reflect his study with Tartini. This splendid sonata has a wide-ranging, lyrical Adagio, a virtuosic Allegro with signs of Tartini, and a Tempo giusto finale, also indebted to Tartini. Bi- nary form movements prevail throughout. These sonatas are recommended to all vi- olinists for sheer pleasure, but only to those with smooth style and easy virtuosity for public performance.

ELIAS DANN Florida State University

Edward Gregson. Trombone con- certo; arr. for trombone and piano by the composer. Sevenoaks, Kent, En- gland: Novello (Presser), 1981. [Score, 30 p., and part; $7.25]

Most of the concertos written for trom- bone have achieved what they deserved- obscurity. Those written within the last twenty-five years usually receive one or two performances, the lucky ones are re- corded, and then they join their forgotten brethren. The Gregson Concerto deserves a better fate. Beautifully crafted and mu- sically exciting, it will hold an audience and

883 883 883

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