rhapsody (on folk songs harmonized by béla bartók) for viola and orchestra. viola and piano...
TRANSCRIPT
Rhapsody (On Folk Songs harmonized by Béla Bartók) for Viola and Orchestra. Viola and PianoReduction by Tibor SerlyReview by: Abram LoftNotes, Second Series, Vol. 8, No. 4 (Sep., 1951), pp. 754-755Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/891281 .
Accessed: 16/06/2014 14:32
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp
.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].
.
Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.
http://www.jstor.org
This content downloaded from 185.44.77.82 on Mon, 16 Jun 2014 14:32:41 PMAll use subject to JSTOR Terms and Conditions
5) the second movement of Sonata VI from the Nine Sonatas or Trios for Two Violins, Flutes, or Hautboys. Though the selections are, of course, torn from their contexts and are transposed to obtain closer key-relationship between the various movements, the "concerto" will provide welcome rehearings of typically appeal- ing and virile Handelian products, as well as ammunition for the violist's arsenal.
Some details of the transcription may be questioned. 1st mvt., viola part, mea- sure 16, first three notes: the change to a third below the original version seems to dull the melodic climax of the phrase. 3rd mvt., viola part, measures 6 and 14: the leap of an octave in register here lends echo-enforcement that the composer apparently did not feel necessary. Same, last two measures: the register chosen here weakens the suspension of the viola- part against the accompanying voices. 4th mvt., beginning and passim: what were originally oboi soli have been thickened into the color of an orchestral tutti. Same, measures 24 and 23 from the end: it is difficult to suggest an alternative to the double-stop thirds assigned the viola part here, but one wonders about the effectiveness (in actual sound) of the solution used by Barbirolli- Primrose. Same, last measure: why the appendage in the viola part? A simple concluding down-beat apparently sufficed for Handel. 5th mvt., measures 27-28: the octave-up transposition of the upper voice in the piano reduction dulls the antiphonal texture which Barbirolli is so successful in establishing in the ensuing measures. Same, measures 46-56, 66-69: inconsistent choice of register in the viola- part. In the first passage, the com- poser's original level is put down an octave, possibly to avoid a thin tessitura for the rapid passage-work. In the later measures, however, what was originally a bass-line is thrown two octaves up, precisely to the area that had been avoided in the first passage. Same, 4th and 3rd measures from the end: a dubious concession to virtuosity is made in the octave-doubling of the viola part. This thickening of sonority is not essen- tial to the texture of the passage. The double-stop sixths and fifth of the con-
5) the second movement of Sonata VI from the Nine Sonatas or Trios for Two Violins, Flutes, or Hautboys. Though the selections are, of course, torn from their contexts and are transposed to obtain closer key-relationship between the various movements, the "concerto" will provide welcome rehearings of typically appeal- ing and virile Handelian products, as well as ammunition for the violist's arsenal.
Some details of the transcription may be questioned. 1st mvt., viola part, mea- sure 16, first three notes: the change to a third below the original version seems to dull the melodic climax of the phrase. 3rd mvt., viola part, measures 6 and 14: the leap of an octave in register here lends echo-enforcement that the composer apparently did not feel necessary. Same, last two measures: the register chosen here weakens the suspension of the viola- part against the accompanying voices. 4th mvt., beginning and passim: what were originally oboi soli have been thickened into the color of an orchestral tutti. Same, measures 24 and 23 from the end: it is difficult to suggest an alternative to the double-stop thirds assigned the viola part here, but one wonders about the effectiveness (in actual sound) of the solution used by Barbirolli- Primrose. Same, last measure: why the appendage in the viola part? A simple concluding down-beat apparently sufficed for Handel. 5th mvt., measures 27-28: the octave-up transposition of the upper voice in the piano reduction dulls the antiphonal texture which Barbirolli is so successful in establishing in the ensuing measures. Same, measures 46-56, 66-69: inconsistent choice of register in the viola- part. In the first passage, the com- poser's original level is put down an octave, possibly to avoid a thin tessitura for the rapid passage-work. In the later measures, however, what was originally a bass-line is thrown two octaves up, precisely to the area that had been avoided in the first passage. Same, 4th and 3rd measures from the end: a dubious concession to virtuosity is made in the octave-doubling of the viola part. This thickening of sonority is not essen- tial to the texture of the passage. The double-stop sixths and fifth of the con-
5) the second movement of Sonata VI from the Nine Sonatas or Trios for Two Violins, Flutes, or Hautboys. Though the selections are, of course, torn from their contexts and are transposed to obtain closer key-relationship between the various movements, the "concerto" will provide welcome rehearings of typically appeal- ing and virile Handelian products, as well as ammunition for the violist's arsenal.
Some details of the transcription may be questioned. 1st mvt., viola part, mea- sure 16, first three notes: the change to a third below the original version seems to dull the melodic climax of the phrase. 3rd mvt., viola part, measures 6 and 14: the leap of an octave in register here lends echo-enforcement that the composer apparently did not feel necessary. Same, last two measures: the register chosen here weakens the suspension of the viola- part against the accompanying voices. 4th mvt., beginning and passim: what were originally oboi soli have been thickened into the color of an orchestral tutti. Same, measures 24 and 23 from the end: it is difficult to suggest an alternative to the double-stop thirds assigned the viola part here, but one wonders about the effectiveness (in actual sound) of the solution used by Barbirolli- Primrose. Same, last measure: why the appendage in the viola part? A simple concluding down-beat apparently sufficed for Handel. 5th mvt., measures 27-28: the octave-up transposition of the upper voice in the piano reduction dulls the antiphonal texture which Barbirolli is so successful in establishing in the ensuing measures. Same, measures 46-56, 66-69: inconsistent choice of register in the viola- part. In the first passage, the com- poser's original level is put down an octave, possibly to avoid a thin tessitura for the rapid passage-work. In the later measures, however, what was originally a bass-line is thrown two octaves up, precisely to the area that had been avoided in the first passage. Same, 4th and 3rd measures from the end: a dubious concession to virtuosity is made in the octave-doubling of the viola part. This thickening of sonority is not essen- tial to the texture of the passage. The double-stop sixths and fifth of the con-
clusion of this phrase could easily have been avoided by assigning some of the notes to the accompanying voices. And the upward shift of register for the viola's last four notes in this passage is sheer tinsel.
Finally, it would seem that the bowings of the viola part should be indicated in the orchestral score with the same com- pleteness as in the piano score. Per- formance time: 15 minutes. Gardner Read: Fantasy for Viola and Orchestra, Op. 38. Viola and piano [score]. New York: Associated Music Publishers, 1950. [Score, 14 p., and part, 4 p., $1.50]
In view of the relative scarcity of compositions specifically written for the viola, one is inclined to welcome all additions to that repertoire. Mr. Read has dealt discerningly with the instru- ment, exploiting the full extent of its range and a number of its color possibil- ities. The lyric intensity that was ap- parently the composer's goal in this Fantasy, however, is dissipated somewhat by an almost hypnotic attachment to rhythmic sequence. Although fragment is piled on fragment, the long melodic arch that results from this process lacks breadth and coherence. The choppy effect is emphasized, on a larger scale, by the presence of a number of long, upward sweeps which culminate only in the reentry of still further sweeps. One is perhaps justified in regarding the Fantasy as a mood-piece, a vignette that would be performed most comfortably as part of a concert-group, rather than as an isolated "number" for viola. Inci- dentally, since the work is so obviously in D minor, there would seem little rea- son for the omission of a key-signature in the score. Performance time: about 8 minutes. Tibor Serly: Rhapsody (on Folk Songs harmonized by Bela Bart6k) for Viola and Orchestra. Viola and piano reduc- tion. New York: Southern Music Pub- lishing Company, 1950. [Piano score, 19 p., and part, 9 p., $1.50; orchestral material for rent]
Mr. Serly has concocted a pleasant and unpretentious medley of tunes for the
clusion of this phrase could easily have been avoided by assigning some of the notes to the accompanying voices. And the upward shift of register for the viola's last four notes in this passage is sheer tinsel.
Finally, it would seem that the bowings of the viola part should be indicated in the orchestral score with the same com- pleteness as in the piano score. Per- formance time: 15 minutes. Gardner Read: Fantasy for Viola and Orchestra, Op. 38. Viola and piano [score]. New York: Associated Music Publishers, 1950. [Score, 14 p., and part, 4 p., $1.50]
In view of the relative scarcity of compositions specifically written for the viola, one is inclined to welcome all additions to that repertoire. Mr. Read has dealt discerningly with the instru- ment, exploiting the full extent of its range and a number of its color possibil- ities. The lyric intensity that was ap- parently the composer's goal in this Fantasy, however, is dissipated somewhat by an almost hypnotic attachment to rhythmic sequence. Although fragment is piled on fragment, the long melodic arch that results from this process lacks breadth and coherence. The choppy effect is emphasized, on a larger scale, by the presence of a number of long, upward sweeps which culminate only in the reentry of still further sweeps. One is perhaps justified in regarding the Fantasy as a mood-piece, a vignette that would be performed most comfortably as part of a concert-group, rather than as an isolated "number" for viola. Inci- dentally, since the work is so obviously in D minor, there would seem little rea- son for the omission of a key-signature in the score. Performance time: about 8 minutes. Tibor Serly: Rhapsody (on Folk Songs harmonized by Bela Bart6k) for Viola and Orchestra. Viola and piano reduc- tion. New York: Southern Music Pub- lishing Company, 1950. [Piano score, 19 p., and part, 9 p., $1.50; orchestral material for rent]
Mr. Serly has concocted a pleasant and unpretentious medley of tunes for the
clusion of this phrase could easily have been avoided by assigning some of the notes to the accompanying voices. And the upward shift of register for the viola's last four notes in this passage is sheer tinsel.
Finally, it would seem that the bowings of the viola part should be indicated in the orchestral score with the same com- pleteness as in the piano score. Per- formance time: 15 minutes. Gardner Read: Fantasy for Viola and Orchestra, Op. 38. Viola and piano [score]. New York: Associated Music Publishers, 1950. [Score, 14 p., and part, 4 p., $1.50]
In view of the relative scarcity of compositions specifically written for the viola, one is inclined to welcome all additions to that repertoire. Mr. Read has dealt discerningly with the instru- ment, exploiting the full extent of its range and a number of its color possibil- ities. The lyric intensity that was ap- parently the composer's goal in this Fantasy, however, is dissipated somewhat by an almost hypnotic attachment to rhythmic sequence. Although fragment is piled on fragment, the long melodic arch that results from this process lacks breadth and coherence. The choppy effect is emphasized, on a larger scale, by the presence of a number of long, upward sweeps which culminate only in the reentry of still further sweeps. One is perhaps justified in regarding the Fantasy as a mood-piece, a vignette that would be performed most comfortably as part of a concert-group, rather than as an isolated "number" for viola. Inci- dentally, since the work is so obviously in D minor, there would seem little rea- son for the omission of a key-signature in the score. Performance time: about 8 minutes. Tibor Serly: Rhapsody (on Folk Songs harmonized by Bela Bart6k) for Viola and Orchestra. Viola and piano reduc- tion. New York: Southern Music Pub- lishing Company, 1950. [Piano score, 19 p., and part, 9 p., $1.50; orchestral material for rent]
Mr. Serly has concocted a pleasant and unpretentious medley of tunes for the
754 754 754
This content downloaded from 185.44.77.82 on Mon, 16 Jun 2014 14:32:41 PMAll use subject to JSTOR Terms and Conditions
violist. The melodies are chosen with a view to balance of mood and are ar- ranged in contrasting sequence. In the desire to impose an additional element of coherence upon the work, Serly uses the opening fragment of one of the more striking songs to serve in the lead-off measures for the two-sectioned introduc- tory rhapsodizing. Moderate pyrotechnics give way to the air of the first melody, in C minor, which in turn is followed by a lively strain in C major. A puckish echo-ending is dulled somewhat by a bald two-measure transition to the key of G major, in which the calm, brief third episode is cast. A brusque switch fol- lows, back into D minor, the key of the introduction, bringing the complete tune from which the first measures of the
violist. The melodies are chosen with a view to balance of mood and are ar- ranged in contrasting sequence. In the desire to impose an additional element of coherence upon the work, Serly uses the opening fragment of one of the more striking songs to serve in the lead-off measures for the two-sectioned introduc- tory rhapsodizing. Moderate pyrotechnics give way to the air of the first melody, in C minor, which in turn is followed by a lively strain in C major. A puckish echo-ending is dulled somewhat by a bald two-measure transition to the key of G major, in which the calm, brief third episode is cast. A brusque switch fol- lows, back into D minor, the key of the introduction, bringing the complete tune from which the first measures of the
Rhapsody had been drawn. Harmonics and pizzicato strumming are presented by the viola as it bandies the tune back and forth with the orchestra. An alle- gretto grazioso, all the more infectious in merriment because of its restraint, now intrudes upon the scene, soon drowning out the preceding material. The pace quickens; a last interlude on the key- note fragment is swept away by the whirlwind rush that ends the composition.
The technical demands upon the soloist in this piece are considerable, but can certainly be met by the well-schooled player. A generous measure of bril- liance and warmth must be added to mere dexterity, however, to give this work completely successful interpretation.
ABRAM LOFT
Rhapsody had been drawn. Harmonics and pizzicato strumming are presented by the viola as it bandies the tune back and forth with the orchestra. An alle- gretto grazioso, all the more infectious in merriment because of its restraint, now intrudes upon the scene, soon drowning out the preceding material. The pace quickens; a last interlude on the key- note fragment is swept away by the whirlwind rush that ends the composition.
The technical demands upon the soloist in this piece are considerable, but can certainly be met by the well-schooled player. A generous measure of bril- liance and warmth must be added to mere dexterity, however, to give this work completely successful interpretation.
ABRAM LOFT
SELECTED CURRENT POPULAR MUSIC SELECTED CURRENT POPULAR MUSIC
Revivals
Because of You. From "I Was an American Spy," words and music by Arthur Hammerstein and Dudley Wilkinson, orchestration arr. by Paul Weirick. New York: Broad- cast Music, Inc., c1940. [Song, $.40; orchestration, $1.00] I'm in Love Again. Words and music by Cole Porter, orchestration arr. by Jack Mason. New York: Craw- ford Music Corp., copyright 1925 by Harms, Inc. [Song, $.50; orchestra- tion, $.75] Sweet Violets. Words and music by Cy Coben and Charles Grean, or- chestration arr. by Johnny Warring- ton and Joe Leahy. New York: Edwin H. Morris & Co., Inc., c1951. [Song, $.40; orchestration, $1.00]
Current Tunes
Come On-A My House. Words and music by Ross Bagdasarian and Wil- liam Saroyan, orchestration arr. by Johnny Warrington. New York: Duchess Music Corp., c1951. [Song, $.40; orchestration, $1.00]
How High the Moon. Words by Nancy Hamilton, music by Morgan Lewis, orchestration arr. by Jack Mason. New York: Chappell & Co.,
Revivals
Because of You. From "I Was an American Spy," words and music by Arthur Hammerstein and Dudley Wilkinson, orchestration arr. by Paul Weirick. New York: Broad- cast Music, Inc., c1940. [Song, $.40; orchestration, $1.00] I'm in Love Again. Words and music by Cole Porter, orchestration arr. by Jack Mason. New York: Craw- ford Music Corp., copyright 1925 by Harms, Inc. [Song, $.50; orchestra- tion, $.75] Sweet Violets. Words and music by Cy Coben and Charles Grean, or- chestration arr. by Johnny Warring- ton and Joe Leahy. New York: Edwin H. Morris & Co., Inc., c1951. [Song, $.40; orchestration, $1.00]
Current Tunes
Come On-A My House. Words and music by Ross Bagdasarian and Wil- liam Saroyan, orchestration arr. by Johnny Warrington. New York: Duchess Music Corp., c1951. [Song, $.40; orchestration, $1.00]
How High the Moon. Words by Nancy Hamilton, music by Morgan Lewis, orchestration arr. by Jack Mason. New York: Chappell & Co.,
Inc., c1940. [Song, $.50; orchestra- tion, $1.00] I Get Ideas. Words by Dorcas Cochran, music by Sanders. New York: Hill & Range Songs, Inc., c1951. [Song, $.40] Jezebel. Words and music by Wayne Shanklin, orchestration arr. by Paul Weirick. New York: Broadcast Music, Inc., c1951. [Song, $.40; orchestration, $1.00] Longing for You. Words by Ber- nard Jansen, music by Walter Dana, orchestration arr. by Larry Clinton. New York: Ludlow Music, Inc., c1951. [Song, $.40; orchestration, $1.00] Mister and Mississippi. Words and music by Irving Gordon, orchestra- tion arr. by Johnny Warrington. New York: Shapiro, Bernstein & Co., Inc., c1951. [Song, $.40; or- chestration, $.75] Morningside of the Mountain. Words and music by Dick Manning and Larry Stock, orchestration arr. by Jack Mason. New York: Remick Music Corp., c1951. [Song, $.40; orchestration, $1.00] My Truly, Truly Fair. Words and music by Bob Merrill, orchestration arr. by Paul Weirick. New York: Santly-Joy, Inc., c1951. [Song, $.40; orchestration, $.75]
Inc., c1940. [Song, $.50; orchestra- tion, $1.00] I Get Ideas. Words by Dorcas Cochran, music by Sanders. New York: Hill & Range Songs, Inc., c1951. [Song, $.40] Jezebel. Words and music by Wayne Shanklin, orchestration arr. by Paul Weirick. New York: Broadcast Music, Inc., c1951. [Song, $.40; orchestration, $1.00] Longing for You. Words by Ber- nard Jansen, music by Walter Dana, orchestration arr. by Larry Clinton. New York: Ludlow Music, Inc., c1951. [Song, $.40; orchestration, $1.00] Mister and Mississippi. Words and music by Irving Gordon, orchestra- tion arr. by Johnny Warrington. New York: Shapiro, Bernstein & Co., Inc., c1951. [Song, $.40; or- chestration, $.75] Morningside of the Mountain. Words and music by Dick Manning and Larry Stock, orchestration arr. by Jack Mason. New York: Remick Music Corp., c1951. [Song, $.40; orchestration, $1.00] My Truly, Truly Fair. Words and music by Bob Merrill, orchestration arr. by Paul Weirick. New York: Santly-Joy, Inc., c1951. [Song, $.40; orchestration, $.75]
755 755
This content downloaded from 185.44.77.82 on Mon, 16 Jun 2014 14:32:41 PMAll use subject to JSTOR Terms and Conditions