freie bearbeitungen, iiiby franz liszt; lászló martos; imre sulyok;freie bearbeitungen, vby franz...

Freie Bearbeitungen, III by Franz Liszt; László Martos; Imre Sulyok; Freie Bearbeitungen, V byFranz Liszt; Adrienne Kaczmarczyk; Imre Mező; Freie Bearbeitungen, VIII by Franz Liszt;Adrienne Kaczmarczyk; Imre Sulyok; Transkriptionen, VIII by Franz Liszt; AdrienneKaczmarczyk; Imre Sulyok; Transkriptionen, IX by Franz Liszt; Adrienne Kaczmarczyk; ImreSulyok; Beethoven: Symphonies Nos. 1-5. Transcribed for Solo Piano by F ...Review by: Jay RosenblattNotes, Second Series, Vol. 58, No. 2 (Dec., 2001), pp. 425-430Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/900722 .

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Music Reviews

Franz Liszt. Freie Bearbeitungen, III. Herausgegeben von Laszl6 Martos and Imre Sulyok. (Neue Ausgabe samtlicher Werke, Ser. II: Freie Bear- beitungen und Transkriptionen fur Klavier zu zwei Handen, Bd. 3.) Budapest: Editio Musica Budapest, c1999. [Gen. pref. in Ger., Eng., p. vii-x; pref., p. xi-xv; facsim., p. xvi; score, 156 p.; crit. notes in Eng., p. 157-62. Cloth. ISMN M-080-30021-3; Z. A 12 392; DM 132. Paper, 156 p. (without crit. notes). ISMN M-080-12392-8; Z. B 12 392; DM 53.] Contains: Hexameron; Soirees musicales de Rossini; Der Gondelfahrer (Schubert); Schuberts ungarische Melodien.

Franz Liszt. Freie Bearbeitungen, V. Herausgegeben von Adrienne Kaczmarczyk and Imre Mezo. (Neue Ausgabe samtlicher Werke, Ser. II: Freie Bearbeitungen und Transkriptionen ffr Klavier zu zwei Handen, Bd. 5.) Budapest: Editio Musica Budapest, c2000. [Gen. pref. in Ger., Eng., p. vii-x; pref., p. xi-xxxii; facsims., p. xxxiii-xxxvi; score, 227 p.; crit. notes in Eng., p. 229-42. Cloth. ISMN M-080-30023-7; Z. A 12 394. DM 132. Paper, 227 p. (without crit. notes). ISMN M-080-12394-2; Z. B 12 394. DM 53.] Contains: Mendelssohns Lieder; R6miniscences de Lucrezia Borgia; Hussitenlied; Cavatine aus der Oper La muette de Portici; Klavierstiick fiber ein fremdes Thema; Reminiscences de Don Juan de Mozart; Reminiscences de Norma de Bellini; I puritani: Introduction et Polonaise; Reminiscences de Robert le diable; God Save the Queen; Le moine (Meyerbeer).

Franz Liszt. Freie Bearbeitungen, VIII. Herausgegeben von Adrienne Kaczmarczyk and Imre Sulyok. (Neue Ausgabe samtlicher Werke, Ser. II: Freie Bearbeitungen und Transkriptionen fuir Klavier zu zwei Handen, Bd. 8.) Budapest: Editio Musica Budapest, c1999. [Gen. pref. in Ger., Eng., p. vii-x; pref., p. xi-xx; facsims., p. xxi-xxiv; score, 190 p.; crit. notes in Eng., p. 191-200. Cloth. ISMN M-080-30026-8; Z. A 12 397. DM 115. Paper, 190 p. (without crit. notes). ISMN M-080-12397-3; Z. B 12 397. DM 53.] Contains: Tarentelle di bravura d'apres la tarentelle de La muette de Portici d'Auber; Dessauers Lieder; Spanisches Standchen (L. Festetics); Leier und Schwert (C. M. von Weber); Spirto gentil (Doni- zetti); Zigeuner-Polka d'August Conradi; Grande paraphrase de la marche de Giuseppe Donizetti composee pour Sa Majeste le Sultan Abdul-Medjid Khan; Schwanengesang und Marsch aus Erkels Hunyadi Laszl6; Glanes de Woronince; 6 Polnische Lieder (Chopin); Carl Maria von Webers Schlummerlied mit Arabesken; Carl Maria von Webers Polonaise brillante, op. 72; Einsam bin ich, nicht alleine (C. M. von Weber); Grand paraphrase de la march de G. Donizetti (version facilitee). Franz Liszt. Transkriptionen, VIII. Herausgegeben von Adrienne Kaczmarczyk and Imre Sulyok. (Neue Ausgabe samtlicher Werke, Ser. II: Freie Bearbeitungen und Transkriptionen fuir Klavier zu zwei Handen, Bd. 23.) Budapest: Editio Musica Budapest, c1996. [Gen. pref. in Ger., Eng., p. vi-ix; pref., p. x-xvi; facsims., p. xvii-xx; score, 171 p.; crit. notes in Eng., p. 173-82. Cloth. Z. A 13 360; DM 115. Paper (without crit.

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notes), 171 p. Z. B 13360. DM 56.] Contains: Carl Maria von Webers Ouvertfiren; Deux transcriptions d'apres Rossini; Johann Nepomuk Hummels GroBes Septett in d-Moll, op. 74; Ouverture zu Tannhauser; Beethovens Lieder.

Franz Liszt. Transkriptionen, IX. Herausgegeben von Adrienne Kaczmarczyk and Imre Sulyok. (Neue Ausgabe samtlicher Werke, Ser. II: Freie Bearbeitungen und Transkriptionen ffir Klavier zu zwei Handen, Bd. 24.) Budapest: Editio Musica Budapest, c1998. [Gen. pref. in Ger., Eng., p. vii-x; pref., p. xi-xvii; facsims., p. xviii-xx; score, 172 p.; crit. notes in Eng., p. 173-79. Cloth. Z. A 13 361. DM 115. Paper (without crit. notes), 172 p. Z. B 13 361. DM 55.] Contains: An die ferne Geliebte; Bunte Reihe (F. David); Fantasie und Fuge in g-Moll (J. S. Bach); Confutatis maledictis und Lacrymosa aus Mozarts Requiem; Isoldens Liebestod; Lieder von Robert und Clara Schumann; Symphonisches Zwischenspiel (Intermezzo) zu Calderons fantastischem Schauspiel "Uber allen Zauber Liebe" (E. Lassen). Franz Liszt. Beethoven: Symphonies Nos. 1-5. Transcribed for solo piano. Introduction by Alan Walker. Mineola, N.Y.: Dover Publications, c1998. [Liszt's pref., facsim. and Eng. trans., p. vi-vii; essay: "Liszt and the Beethoven Symphonies" (A. Walker), p. ix-x; glossary, p. xi; score, 210 p. ISBN 0-486-40114-6. $11.95.]

The second series of the Franz Liszt Neue Ausgabe sdmtlicher Werke (Neue Liszt-Ausgabe) continues at the pace of about two issues per year and is now within a few volumes of completion. Series 1 began in 1970 and is devoted to Werke fur Klavier zu zwei Handen (Works for Piano Solo)-or, more precisely, original compositions. It was completed in 1985, running to eighteen volumes. The second series covers Freie Bearbeitungen (free arrangements) in volumes 1-15 and Transkriptionen in volumes 16-24, although clarification is necessary here, since series 1 also includes arrangements and transcriptions, but of Liszt's own compositions (in vols. 15-17). Thus, series 2 covers Liszt's piano solo versions of other composers' works. Another differ- ence is that series 1 proceeds by genre (etudes, Hungarian rhapsodies, L'annees de pelerinage, etc.), while series 2 is roughly chronological-"roughly" because years or even decades might pass between the first manuscript version of a work and its revi- sion and publication. In addition, Editio Musica Budapest is not issuing the volumes in numerical order (the first to appear, vol. 7 in 1988, was followed by vols. 1 and 14 in

1990). And with the decision to publish one series of the Neue Liszt-Ausgabe at a time, the progress of the entire complete edition is among the slowest of the collected editions of composers' works. That said, these volumes continue to be valuable not only for their scholarly basis but for making available many works long out of print as well as a number of first editions.

A problem of definition immediately sur- faces in the distinction made by the editors (Adrienne Kaczmarczyk, Laszl6 Martos, Imre Mezo, and Imre Sulyok) between "free arrangement" and "transcription." These labels have long caused Liszt cata- logers difficulty, given Liszt's free treatment of other composers' works. In a footnote at the end of the general preface, Sulyok and Mez6 justify their decisions by stating that "the classification by series was determined on the basis of the relationship of the ma- jority [Zugehorigkeit der Mehrzahl] of the works contained in the series" (my trans.). The English "translation" provided in the parallel column is even more opaque: "When deciding which place the series should be assigned to, the genre of the ma- jority of the works contained therein was

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Music Reviews

conducive." (English readers will need to consult the German often to understand the sense of the English translation.) By this the editors apparently mean that when elements of arrangement outweighed those of transcription, the work was placed in the "free arrangement" volumes. For some works, the deciding feature could be the addition of a short introduction or coda to what is otherwise a straightforward transcription; for others, it is the relative free- dom of the pianistic texture. There is, of course, no question of type in the case of an operatic paraphrase; but surely the line between the transcription of the songs by Felix Mendelssohn (among the free arrangements in vol. 5) and those by Ludwig van Beethoven (in vols. 23 and 24 of the transcriptions) is thin, further under- scored by Liszt's own thematic catalog, where he listed both the Mendelssohn and Beethoven songs as "transcriptions." Such ambiguity ultimately tells us more about the flexibility with which Liszt approached his task than the distinctions (if any) in his own mind, and explains why the designa- tions of the editors sometimes disagree with the organization of various worklists.

Several aspects stand out when surveying the chronological arrangement of these volumes of the Neue Liszt-Ausgabe. First, there is a great concentration of works between the years 1839 and 1847, Liszt's so-called Glanzperiode, or "period of bril- liance," in which he executed his trans- European tours. Not surprisingly, he sought to please his public by placing his virtuosity on display in familiar music (such as operatic paraphrases), but at the same time he also wished to promote composers he thought neglected, such as Franz Schu- bert and Carl Maria von Weber. Then there is the unusual number of works at the end of this period that were never published. Again the explanation is not surprising- following eight years of "transcendental ex- ecution," Liszt took up his post as Kapell- meister in Weimar, a task done with great dedication both as a composer and a con- ductor of new music. Residue of his per- forming career, the transcriptions evidently fell through the cracks and became lost among Liszt's manuscripts as he turned his attention toward composing original works for both piano and for orchestra. In the years that followed, free arrangements and

transcriptions became more selective. A work was now transcribed for its inherent musical value, not its virtuoso potential, and composers as diverse as Richard Wagner, Camille Saint-Saens, and Josef Dessauer were among those whom Liszt wished to benefit by attaching his name to theirs on the title page.

The third volume of free arrangements includes various works believed to have been written between 1836 and 1839 and published shortly thereafter. Much of the selection is given over to Schubert, although not to his songs (the flood of these transcriptions began in 1838 and can be found in vols. 20-21). Here we find arrangements of a lesser-known work for men's quartet (Der Gondelfahrer) and one for piano four-hands (Divertissement a l'hongroise). Also included is Gioachino Rossini's Soirees musicales, with all twelve numbers in virtuosic renditions. Perhaps the best known composition is the Hexameron- Morceau de concert. This work is a set of variations on Vincenzo Bellini's "Suoni la tromba" (March of the Puritans) from I puritani, with each variation composed by a celebrated pianist of the day, including Frederic Chopin and Sigismund Thalberg. Liszt's contribution includes not only a variation, but connecting passages between the variations and an extensive finale. Curiously, while the critical notes include the variants for "Piano a 6 Octaves," the editors make no reference to passages to be played "avec accompagnement d'Orchestre," which do appear in the Tobias Haslinger edition (Vienna, 1839), cited as the princi- pal source. In the finale, this decision leads to the omission of twenty-eight measures (following m. 363). Surely the edition should have printed these missing measures in a footnote or, at the very least, mentioned them in the critical notes.

Among the various shorter works in the fifth volume is Liszt's series of operatic paraphrases composed in 1840 and 1841 and published with the generic title reminiscences. Two of these-on Mozart's Don Gio- vanni and Bellini's Norma-are considered among Liszt's finest. In addition, Liszt reis- sued the polonaise from an earlier fantasy on I puritani, adding an introduction, and also wrote reminiscences on Gaetano Doni- zetti's Lucrezia Borgia and Giacomo Meyer- beer's Robert le diable. Certainly Donizetti

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NOTES, December 2001

and Meyerbeer did not require the promo- tion that Liszt gave to Schubert, as by 1840, these composers' operas were well estab- lished in the repertory. Rather, the purpose of these paraphrases was to display compositional ingenuity (by working with another composer's themes) and virtuosity (which is certainly the case in the paraphrase de concert on "God Save the King"). This volume is also notable for the first publications of a piano piece on an unidentified theme and a transcription of a cavatina from Daniel- Francois-Esprit Auber's La muette de Portici. For the latter, the editors have honored Liszt's intention by omitting the first sec- tion, deleted by a single stoke of the pen, as the facsimile reproduction included in the volume reveals. Nevertheless, performers might have found the inclusion of the pas- sage in the musical text useful as a possible alternative. Another unfortunate omission is noted in the comments on the Remini- scences de Robert le diable, where, concerning an unpublished transcription of a cavatina from act 4 of the same opera, the publishers write that "the closing bars are missing and [Liszt] failed to elaborate the piano piece" (p. xxviii). The "incomplete" closing bars of the cavatina end on a dominant chord, however, and appear designed to segue into the reminiscences (see Rena Mueller, "Liszt's Tasso Sketchbook" [Ph.D. diss., New York University, 1986], 315), as performed by Leslie Howard (Franz Liszt: The Complete Music for Solo Piano, vol. 30, Hyperion CDA 66861/2 [1994]). Thus, Liszt's thoughts on augmenting one of his most popular works remain unavailable to us for study.

Some of the rarest free arrangements can be found in volume eight, many of them dating from 1846 to 1849. In addition to long out-of-print arrangements of songs by Dessauer and various pieces by Weber, there are several first publications, all from manuscripts in the Stiftung Weimarer Klassik in the Goethe- und Schiller-Archiv, Weimar. These include the cavatina "Spiro gentil" from Donizetti's La favorite, the Spanisches Standchen by Liszt's friend Count Le6 Festetics, and "Schwanengesang und Marsch" from Ferenc Erkel's Hunyadi Ldszl6. These last two paraphrases date from 1846 (the final form of the Erkel paraphrase dates from the following year) and reveal Liszt's devotion to composers of

his native Hungary. They are also examples of compositions of which Liszt lost track around the time of his retirement from the concert stage. This is unfortunate, as the paraphrase on themes from Erkel's work is quite fine, even if based on an opera that is unlikely to be heard outside of Budapest. Also included are the Glanes de Woronince, a set of three piano pieces probably written in late 1847 during his time on the Princess Wittgenstein's estate and inspired by her Polish heritage. The position of these pieces in the volume apparently led the editors to include one of Liszt's most popular arrangements, the Six chants polonais based on songs by Chopin. This collection dates from about a decade later and is therefore out of chronological sequence. Finally there is Liszt's arrangement of Weber's Polonaise brillante, op. 72. This work raises the interesting question of whether it is possible to make a piano transcription of a piece originally written for solo piano. In this case, however, Liszt had already arranged Weber's polonaise for piano and orchestra and wanted to preserve its novel features in a solo version.

The final two volumes (23-24) under ex- amination, also numerically the last of the second series, fall unequivocally into the category of transcriptions-namely, arrangements for piano that represent measure-for-measure translations from one medium to another. These two volumes are once again chronological, with volume 23 covering publications from 1847 to 1849, and volume 24 from 1850 to 1883. Here we find overtures by Weber, songs by Beetho- ven and both Robert and Clara Schumann, and excerpts from Wagner's operas. Among the forgotten gems are the Bunte Reihe, op. 30, based on Ferdinand David's collection of twenty-four pieces for violin and piano in all the major and minor keys. David is perhaps best remembered as the dedicatee of Mendelssohn's violin con- certo, but he was also concertmaster of the Leipzig Gewandhaus Orchestra and known as a composer. These transcriptions represent Liszt at his least interventionist, allow- ing David's gracious melodic invention to shine through. In addition, many of the pieces are not technically difficult, making them appropriate recital repertory for stu- dent pianists at various levels of accom- plishment.

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After some thirty years of publication, the qualities of the Neue Liszt-Ausgabe are well known: clear, spacious, and accurate engraving that allows for easily read text, and concise scholarly introductions that set each composition in the context of Liszt's output. For the operatic paraphrases and extracts, the first performance of the opera is noted as well as the precise sections (including dramatic significance) used by Liszt. In the case of Don Giovanni, the editors note the two versions of the opera that Liszt would have heard in Paris during the 1830s. The footnotes refer to a wide variety of sources, which allow the reader to trace the editor's conclusions with regard to dates and biographical information. Criti- cal notes (only included in the hardcover issues) describe each source and provide details of the manuscripts, including library, shelf mark, and distinctive aspects of the notation, along with title and pagina- tion. In addition, each volume offers several facsimile reproductions from the sources. The editors are also careful to in- sert the texts of the songs above the melody lines of the arrangement, a practice followed by Liszt himself in the first publications (though he never included the texts in his operatic paraphrases). Another useful aspect is the frequent references to Lina Ramann's Liszt-Pidagogium (Leipzig: Breitkopf & Hartel, 1901) and August Gollerich's Franz Liszts Klavierunterricht von 1884-1886 (Regensburg: Gustav Bosse, 1975), both of which record details of Liszt's masterclasses toward the end of his life. Further, supplemental texts, such as ca- denzas that Liszt wrote out for his students, are included in the edition. Lastly, the chronological organization of series 2 is a great boon to anyone interested in Liszt's compositional development, despite the inherent problems in such an approach sug- gested above.

Criticisms leveled at the Neue Liszt- Ausgabe are well known, especially the edi- torial decision to print only the latest version of a work-certainly problematic in the case of a composer as committed to re- vision as Liszt. Volume 18 of series 1 miti- gated this problem to a certain extent by presenting the earlier versions of a few compositions, a practice continued for iso- lated works of series 2. The appendix of volume 5, for example, contains the first

version of the paraphrase on Lucrezia Borgia, which allows comparison with the later version printed earlier in the volume. Nevertheless, it is an odd decision in volume 3 to place the simplified version ("auf eine neue leichtere Art gesetzt") of Schubert's Divertissement d l'hongroise first as the main text and the original (and more difficult) version in an appendix, simply because the simplified version was published several years later and therefore seemingly constitutes Liszt's "final thoughts"! The pri- macy of the latest version affects the critical notes as well. Earlier readings are com- pletely absent, and the apparatus becomes little more than an inventory of missing ac- cidentals and the occasional inconsistency in articulations and dynamics. Without knowledge of Liszt's other versions, a detailed study of his oeuvre becomes very difficult.

The transcriptions of Beethoven's symphonies nos. 1-5, as published by Dover, fall into a different category. Over the years, Dover has reprinted Liszt's compositions from various sources, including the older collected works issued by Breitkopf & Hartel (Musikalische Werke [Leipzig, 1907- 36; reprint, Farnborough, Hants, England: Gregg Press, 1966]), a series from the State Music Publishers in Moscow (Opernye tran- skriptsil dlia fortep'iano, ed. V. S. Belov and K. S. Sorokin, 4 vols. [1958-68]), and original nineteenth-century editions. The Dover transcriptions belong to the last group, being a reprint of a Breitkopf & Hartel edition from 1871. Liszt's interest in the Beethoven symphonies goes back to 1837, and Nos. 5 and 6 were first published in 1839, with the slow movement of No. 3 ap- pearing in 1841 and the complete No. 7 the following year. He did not return to the project until 1863, the catalyst being the re- cent publication of these works in full score by Breitkopf & Hartel as part of their new collected edition of Beethoven's works. For that purpose, Liszt revised his earlier transcriptions and set to work on the other symphonies. He was clearly humbled by the task:

How to impart breath and soul, sound and power, fullness and solemnity, color and accent, to the idle hammers of the piano? At the least, I will attempt to eliminate the serious drawbacks and

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NOTES, December 2001 NOTES, December 2001

to produce for the piano-playing world a feasible, faithful model of Beethoven's genius. (Letter of 26 March 1863, my trans.; German text published in Oskar von Hase, Breitkopf & Hartel: Gedenkschrift und Arbeitsbericht, 5th ed., vol. 2 (1828 bis 1918), pt. 1 [Leipzig: Breitkopf & Hartel, 1919; reprint, Wiesbaden: Breitkopf & Hartel, 1968], 173.)

As part of the faithfulness of his approach, Liszt included indications of the orchestral instruments prominent at any given mo- ment, a practice that goes back to his first such transcription, that of Hector Berlioz's Symphonie fantastique of 1833. In addition, the genre he created for such transcriptions appears prominently on the title page -"partition de piano," literally "piano score."

To reprint an edition that at one point went under the eyes of the transcriber has obvious benefits, especially one as careful as Liszt. As he wrote to the publisher on 5 November 1865: "I have looked them over and played them through with almost ex- cessive care" (my trans.; see Hase, 177).

to produce for the piano-playing world a feasible, faithful model of Beethoven's genius. (Letter of 26 March 1863, my trans.; German text published in Oskar von Hase, Breitkopf & Hartel: Gedenkschrift und Arbeitsbericht, 5th ed., vol. 2 (1828 bis 1918), pt. 1 [Leipzig: Breitkopf & Hartel, 1919; reprint, Wiesbaden: Breitkopf & Hartel, 1968], 173.)

As part of the faithfulness of his approach, Liszt included indications of the orchestral instruments prominent at any given mo- ment, a practice that goes back to his first such transcription, that of Hector Berlioz's Symphonie fantastique of 1833. In addition, the genre he created for such transcriptions appears prominently on the title page -"partition de piano," literally "piano score."

To reprint an edition that at one point went under the eyes of the transcriber has obvious benefits, especially one as careful as Liszt. As he wrote to the publisher on 5 November 1865: "I have looked them over and played them through with almost ex- cessive care" (my trans.; see Hase, 177).

Nevertheless, a few errors escaped Liszt's attention, not least of which is the repeat sign of the exposition in the first movement of the Fourth Symphony. In addition, Dover mistakenly credits its reprint as the first edition of 1865; according to the plate number clearly visible in the facsimile of the title page (p. [ii]), however, it is from 1871. Whatever the source, the edition is a fine example of the engraver's art and will serve anyone who wishes to study these works in Liszt's transcription. Dover also commissioned the Liszt scholar Alan Walker to write a brief essay and includes a translation of Liszt's original preface along with a facsimile of the preface in Liszt's handwriting. Dover adds a glossary to assist in translating the French indications of the orchestral instruments noted in the transcription. I can only assume that in time Dover will issue a reprint of symphonies nos. 6-9 from the same Breitkopf & Hartel edition.

JAY ROSENBLATT

University of Arizona

Nevertheless, a few errors escaped Liszt's attention, not least of which is the repeat sign of the exposition in the first movement of the Fourth Symphony. In addition, Dover mistakenly credits its reprint as the first edition of 1865; according to the plate number clearly visible in the facsimile of the title page (p. [ii]), however, it is from 1871. Whatever the source, the edition is a fine example of the engraver's art and will serve anyone who wishes to study these works in Liszt's transcription. Dover also commissioned the Liszt scholar Alan Walker to write a brief essay and includes a translation of Liszt's original preface along with a facsimile of the preface in Liszt's handwriting. Dover adds a glossary to assist in translating the French indications of the orchestral instruments noted in the transcription. I can only assume that in time Dover will issue a reprint of symphonies nos. 6-9 from the same Breitkopf & Hartel edition.

JAY ROSENBLATT

University of Arizona

Emmanuel Chabrier. Melodies en 2 volumes. Edition par Roger Delage. (Le pupitre, 75-76.) (Musica gallica.) Paris: Heugel (T. Presser), c1995-97. [Vol. 1. Pref. in Fr., Eng., Ger., p. vii-xxviii; 1 plate; score, p. 2-97. HE 33708. $32.25. Vol. 2. Pref. in Fr., Eng., Ger., p. vii-xviii; 3 plates; score, p. 1-108. HE 33709. $32.25.]

The Art of French Song: 19th and 20th Century Repertoire. Selected and edited by Roger Nichols. Complete with translations and guidance on pronunciation. Editions for high and medium/low voice. London: Edition Peters, c1999. [Vol. 1. Pref. in Eng., Ger., p. 3-5; song texts in Eng., Fr., Ger., p. 6-15; score, p. 16-118; crit. commentary, p. 119-20. High: ISMN M-57708-160-1; EP 7519a; med./low: ISMN M-57708-161-8; EP 7519b. $19.95. Vol. 2. Acknowlegments, 1 p.; pref. in Eng., Ger., p. 5-7; song texts in Eng., Fr., Ger., p. 8-16; score, p. 17-114; crit. commentary, p. 115-16. High: ISMN M-57708-162-5; EP 7520a; med./low: ISMN M-57708-163-2; EP 7520b. $19.95.]

Charles Gounod. 10 Melodies. Selection: Jacqueline Bonnardot. Editions for high and medium voice. Paris: Editions Henry Lemoine (T. Presser), c1998. [Pref. in Fr., Eng., 1 p.; summarized trans., 3 p.; score, p. 1-66. High: ISMN M-23096-6733-4; 26 733 H.L; med.: ISMN M-23096-6733-4; 26 733 H.L.; $25.25.]

Emmanuel Chabrier. Melodies en 2 volumes. Edition par Roger Delage. (Le pupitre, 75-76.) (Musica gallica.) Paris: Heugel (T. Presser), c1995-97. [Vol. 1. Pref. in Fr., Eng., Ger., p. vii-xxviii; 1 plate; score, p. 2-97. HE 33708. $32.25. Vol. 2. Pref. in Fr., Eng., Ger., p. vii-xviii; 3 plates; score, p. 1-108. HE 33709. $32.25.]

The Art of French Song: 19th and 20th Century Repertoire. Selected and edited by Roger Nichols. Complete with translations and guidance on pronunciation. Editions for high and medium/low voice. London: Edition Peters, c1999. [Vol. 1. Pref. in Eng., Ger., p. 3-5; song texts in Eng., Fr., Ger., p. 6-15; score, p. 16-118; crit. commentary, p. 119-20. High: ISMN M-57708-160-1; EP 7519a; med./low: ISMN M-57708-161-8; EP 7519b. $19.95. Vol. 2. Acknowlegments, 1 p.; pref. in Eng., Ger., p. 5-7; song texts in Eng., Fr., Ger., p. 8-16; score, p. 17-114; crit. commentary, p. 115-16. High: ISMN M-57708-162-5; EP 7520a; med./low: ISMN M-57708-163-2; EP 7520b. $19.95.]

Charles Gounod. 10 Melodies. Selection: Jacqueline Bonnardot. Editions for high and medium voice. Paris: Editions Henry Lemoine (T. Presser), c1998. [Pref. in Fr., Eng., 1 p.; summarized trans., 3 p.; score, p. 1-66. High: ISMN M-23096-6733-4; 26 733 H.L; med.: ISMN M-23096-6733-4; 26 733 H.L.; $25.25.]

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