Sonata for Clarinet and Piano by Robert StevensonReview by: Burnet C. TuthillNotes, Second Series, Vol. 11, No. 2 (Mar., 1954), p. 273Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/892666 .

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T.he editor has long been eager to make known his discovery of this work through ipublication and all cdlarinetists should be grateful to have it available. It is obviously written for clarinet, noit for just any woodwind of convenient range, as in the case of the three quartets for clarinet and strings by the composer's son Carl, where the wind part may be played also by oboe or flute. While the chalumeau register is -not featured, it is not completely avoided as it was by Carl.

This is probably the earliest work for solo clarinet, but it is of much more than historical interest. It has, as the editor states, melodic freshness, rhythmic drive, and unusual harmonic effects. Its three movements do not impose excessive technical demands on the performer ex- cept in three tricky spots, oine of these in a cadenza provided by the editor. I suspect that some of the ornaments inter- preted here as grace notes should aotual- ly be played as appoggiatirras.

Robert Stevenson: Sonata for Clarinet and Piano. [London: Urited Music Pub- lishers], 1953. [Clarinet-piano score, 19 p., and part; $1.50]

A most intriguing feature of this so- nata is that the clarinet part alone may be worked out with a certain amount of musical satisfaction. Assemnbling it with the piano part will require a deal of preparation for its intriciaciets present difficult ensemble pxrobles. TIe har- monies are polymodal and polytonal by turns. There are no normal accoom- panying figures and the two parts are of equal importance. The first movement is in 7/4 meter, energetic but rather dry; the slow movement, in ir- regular measure len;gths, is a long mel- ody with a brief rhapsoodic interlude; there is a shbort scherza in 6/8; the finale is in a driving 3/4 meter with a fugue in dissonant counterpoint. The work commands interest but it is only for an audience ready for the contem- porary idiom.

Marion Bauer: Duo for Oboe and Clari- net, Op. 25. New York: C. F. Peters Corp., 1953. [Score, 10 p.; $2.00]

In the four numbers of this suite the oontrasting tone colors of the two instru-

ments bring out the contrapuntal lines that are necessarily used. The style is definitely modern but pleasanfly so. Ef- fective peTfornlanoe will require careful balance in the enisemble in order -to bring out clearly the subject motives in their varied metamorphoses.

Paul Bowles: Music for a Farce. For clarinet, trumpet, percussion, piano. New Y-ork: Weintraub Mu-sic Co., 1953. [Score, 34 p., and parts; $5.00]

This is *a gay suite of eight, numbers in modern. vein, which uses the unusual oombination, of instruments skilfully and brightly seasons it with percussion ef- fects. The whole is tuneful and vigor- oius, a good finale for a concert program, colmbining ironic humor, nostalgia, and brilliance.

BURNET C. TUTHILL

Ernest Bloch: Suite HWbraique for Vi- ola (or Violin) and Piano. New York: G. Schinmer, 1953. [Score, 15 p., and parts, 6 p. each; $1.50]

Ernest Bloch likes the viola. Anyone who has played his Suite for Viola anrd Piano (O oTrcheistra) will appreciate the truth of this statemnent. Bloch's feeling for the instrument has not weakened in the years since 1919, when thiat suite was written. In the Suite HMbraique the composer lavishes on the viola the same passionate lyricism. of old. The title justly places viola befrore its pos- sible alternate, the violin. Violinists will certlainly enjoy performing the piece. And, to be sure, the only difference be- tween the alternate versions is the ab- sence of a few low-register chord's and runs in the violin part. But the throb- bing Intensity of the viola tone seems very muach a part of the piece. Left vi- oli,sts above all, therefore, welcome this new work to the repertoire. Difficult.

Ernest Walker: Variations on an Origi- nal Theme for Viola and Piano. Loni don: Novello [U. S. agent: H. W. Gray, New York], 1953. [Score, 18 p., part, 7 p.; 5/6, $2.00]

A pleasant show-piece. Walker seeks out, with solid craftsmanship, a nunibex of transformations of the theme. A pleas- ant remtiniscence of Brahmsian tec}hnique

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