Symphonie Nr. 4 in vier Sätzen für großes Orchester und Sopran-Solo. Fassung 1911 byGustav Mahler; Erwin Ratz; Symphonie I, D-Dur. Nach dem Text der kritischenGesamtausgabe. Taschenpartitur. (Philharmonia Partituren.) by Gustav Mahler; Symphony No.1 in D Major ("Titan"). (Dover Miniature Scores.) by Gustav Mahler; Fünf Lieder nach Textenvon Friedrich Rückert für Singstimme und Orchester. Taschenpartitur. (Philharmonia ...Review by: James L. ZychowiczNotes, Second Series, Vol. 57, No. 4 (Jun., 2001), pp. 1011-1015Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/901032 .

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Music Reviews Music Reviews

slightest doubt that he maintained these high standards to the end. As a result, both performers and researchers of the reper- tory can have every confidence in the mate- rial presented in the Ceballos edition, and it should be in every library that collects the music of the Iberian siglo de oro.

Snow's unfinished work should stand as a warning to many scholars to write every- thing down as they proceed. Snow had an extraordinarily rich knowledge and under- standing of the music of the period, as well as its sources, the liturgical contexts behind the music, and the liturgical issues raised. If only he had kept a better written record of his research as he prepared this edition! Instead, we must now relv on the students

slightest doubt that he maintained these high standards to the end. As a result, both performers and researchers of the reper- tory can have every confidence in the mate- rial presented in the Ceballos edition, and it should be in every library that collects the music of the Iberian siglo de oro.

Snow's unfinished work should stand as a warning to many scholars to write every- thing down as they proceed. Snow had an extraordinarily rich knowledge and under- standing of the music of the period, as well as its sources, the liturgical contexts behind the music, and the liturgical issues raised. If only he had kept a better written record of his research as he prepared this edition! Instead, we must now relv on the students

and colleagues influenced by Snow during his lifetime to pick up the thread. In fact, already before his death Snow's work in the field had provoked new studies by many other scholars, as will become evident in Encomium Musicae: Essays in Honor of Robert J. Snow (ed. David Crawford, Festschrift Series, 17 [New York: Pendragon Press, 2001]), originally planned as a Festschrift for Snow. Indeed, the breadth and depth of this entire volume's scholarship will stand as a testament to Snow's enduring in- fluence on Hispanic music studies at the end of the twentieth century.

JANE MORLET HARDIE University of Sydney

and colleagues influenced by Snow during his lifetime to pick up the thread. In fact, already before his death Snow's work in the field had provoked new studies by many other scholars, as will become evident in Encomium Musicae: Essays in Honor of Robert J. Snow (ed. David Crawford, Festschrift Series, 17 [New York: Pendragon Press, 2001]), originally planned as a Festschrift for Snow. Indeed, the breadth and depth of this entire volume's scholarship will stand as a testament to Snow's enduring in- fluence on Hispanic music studies at the end of the twentieth century.

JANE MORLET HARDIE University of Sydney

Gustav Mahler. Symphonie Nr. 4 in vier Satzen fur groBes Orchester und

Sopran-Solo. Fassung 1911; vorgelegt von Erwin Ratz 1963; korrigierte Auflage 1995. (Samtliche Werke, 4.) Vienna: Universal Edition, 1995, c1963. [Note, 1 p.; Revisionsbericht, 3 p.; score, 123 p. ISMN M-008- 02433-7; UE 13823. DM 69; duration: ca. 54'.]

Gustav Mahler. Symphonie I, D-Dur. Nach dem Text der kritischen

Gesamtausgabe. Taschenpartitur. (Philharmonia Partituren.) Vienna: Philharmonia Partituren in der Universal Edition, [1998], c1967. [Pref. in Ger., Eng., Fr. (Reinhold Kubik), 4 p.; notes, 1 p.; score, p. 3-171. ISMN M-008-05948-3; Philharmonia No. 545. DM 24; duration: 50'.]

Gustav Mahler. Symphony No. 1 in D Major ("Titan"). (Dover Miniature Scores.) Mineola, N.Y.: Dover Publications, c1998. Re-publication of the edition Vienna: Josef Weinberger, [1899]. [Program note, 1 p.; glossary, p. iv-v; instrumentation, p. vi; score, p. 1-169. ISBN 0-486-40419-6. $4.95.]

Gustav Mahler. Funf Lieder nach Texten von Friedrich Ruckert fiur

Singstimme und Orchester. Taschenpartitur. (Philharmonia Partituren.) Vienna: Philharmonia Partituren in der Universal Edition, [1998]. [Pref. in Ger., Eng., Fr., 1 p.; score, p. 3-40. ISMN M-008-05988-9; Philharmo- nia No. 5479. DM 16.]

Gustav Mahler. Funfzehn Lieder, Humoresken und Balladen aus Des Knaben Wunderhorn fur Singstimme und Klavier. Nach dem Text der kritischen Gesamtausgabe hrsg. von Renate Hilmar-Voit unter Mitarbeit von Thomas Hampson. Vienna: Universal Edition, c1994-95. [Ausgabe fiur hohere Stimmlage (1994): 1 plate; pref. in Ger., Eng., p. v-x; score, 138 p.; song texts in Ger., Eng., p. 139-48; Mahler's German perfor- mance indications-translation and commentary (T. Hampson), p. 149- 51; 1 pl.; crit. notes in Ger., Eng., p. 153-62. UE 30 600; DM 65. Ausgabe fur tiefere Stimmlage (1995): same layout; ISMN M-008-02515-0; UE 30 601; DM 65.]

Gustav Mahler. Symphonie Nr. 4 in vier Satzen fur groBes Orchester und

Sopran-Solo. Fassung 1911; vorgelegt von Erwin Ratz 1963; korrigierte Auflage 1995. (Samtliche Werke, 4.) Vienna: Universal Edition, 1995, c1963. [Note, 1 p.; Revisionsbericht, 3 p.; score, 123 p. ISMN M-008- 02433-7; UE 13823. DM 69; duration: ca. 54'.]

Gustav Mahler. Symphonie I, D-Dur. Nach dem Text der kritischen

Gesamtausgabe. Taschenpartitur. (Philharmonia Partituren.) Vienna: Philharmonia Partituren in der Universal Edition, [1998], c1967. [Pref. in Ger., Eng., Fr. (Reinhold Kubik), 4 p.; notes, 1 p.; score, p. 3-171. ISMN M-008-05948-3; Philharmonia No. 545. DM 24; duration: 50'.]

Gustav Mahler. Symphony No. 1 in D Major ("Titan"). (Dover Miniature Scores.) Mineola, N.Y.: Dover Publications, c1998. Re-publication of the edition Vienna: Josef Weinberger, [1899]. [Program note, 1 p.; glossary, p. iv-v; instrumentation, p. vi; score, p. 1-169. ISBN 0-486-40419-6. $4.95.]

Gustav Mahler. Funf Lieder nach Texten von Friedrich Ruckert fiur

Singstimme und Orchester. Taschenpartitur. (Philharmonia Partituren.) Vienna: Philharmonia Partituren in der Universal Edition, [1998]. [Pref. in Ger., Eng., Fr., 1 p.; score, p. 3-40. ISMN M-008-05988-9; Philharmo- nia No. 5479. DM 16.]

Gustav Mahler. Funfzehn Lieder, Humoresken und Balladen aus Des Knaben Wunderhorn fur Singstimme und Klavier. Nach dem Text der kritischen Gesamtausgabe hrsg. von Renate Hilmar-Voit unter Mitarbeit von Thomas Hampson. Vienna: Universal Edition, c1994-95. [Ausgabe fiur hohere Stimmlage (1994): 1 plate; pref. in Ger., Eng., p. v-x; score, 138 p.; song texts in Ger., Eng., p. 139-48; Mahler's German perfor- mance indications-translation and commentary (T. Hampson), p. 149- 51; 1 pl.; crit. notes in Ger., Eng., p. 153-62. UE 30 600; DM 65. Ausgabe fur tiefere Stimmlage (1995): same layout; ISMN M-008-02515-0; UE 30 601; DM 65.]

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NOTES, June 2001

The music of Gustav Mahler has become an essential component of the performing repeitory, as is evident in the number of new recordings issued annually as well as the continued publication of the com- poser's works. The recent publications here under review, extending from reissues and reprints of historic editions to newly edited scores, offer a range of editorial approaches toward the music, since Mahler continually revised his compositions after their initial publication. Certainly the Mahler Sdmtliche Werke offers one valid way of presenting the composer's music, but various reissues of earlier editions as well as the publication of new editions of selected compositions re- flect different and equally acceptable edito- rial perspectives, underscoring the fact that the editing of Mahler's music presents a number of challenges that remain unre- solved.

The editorial problem with Mahler is simple to explain, yet difficult to solve satis- factorily. Unlike Anton Bruckner, Mahler did not leave multiple, discrete versions of compositions, nor did he arrive at final, fully sanctioned versions of individual works. Rather, various sets of revisions exist in addition to the formally published ver- sions, and those who edit Mahler's music must find a suitable methodology that both determines and expresses the composer's intentions within the constraints of a con- ventional edition.

The standard versions of Mahler's works are the critical editions published by Uni- versal Edition (and others) for the Inter- nationale Gustav Mahler Gesellschaft in Vienna. Inaugurated by the Austrian musi- cologist Envin Ratz in 1959, this Sd-mtliche Werke continued after Ratz's death (in 1973) and is not yet quite complete, with the outstanding lacuna being the critical edition of Mahler's settings from Des Knaben Wunderhorn for voice and orchestra. This Gesamtausgabe is essentially based on the principle of the Ausgabe letzter Hand (not entirely synonymous with an Ausgabe letzterFassung), which should reproduce the last version sanctioned by the composer. Yet reaching consensus as to what Mahler would have allowed is a matter of frequent dispute.

In 1966, Ferdinand Redlich published an important article challenging Ratz's ap- proach to the critical editions of Mahler's

Fourth through Seventh Symphonies ("Gustav Mahler: Probleme einer kritischen Gesamtausgabe," Die Musikforschung 19 [1966]: 378-401). In the course of his own career, Redlich brought out competing edi- tions through Ernst Eulenburg in London. Rather than adhere to Ratz's application of Ausgabe letzter Hand and the incorporation of revisions not yet brought to perfor- mance, Redlich was more conservative in his approach. It is most unfortunate that Ratz and Redlich were unable to collabo- rate, since both of them arrived at fascinat- ing insights into the music through their divergent points of view.

A comparative reading of the prefaces by Ratz and Redlich demonstrates the diffi- culty of determining what Mahler might have sanctioned. A case may be made for a final version that essentially matches the last edition the composer ushered into print. By the same token, however, it is also viable to argue for an edition based on the version last performed by the composer. Mahler's final revisions also appear in his lists of corrections or, as in the case of the Fourth Symphony, autograph corrections entered into printed scores. In fact, Mahler's final corrections to the Fourth Symphony form the basis for Ratz's 1963 critical edition of the work. While the au- thenticity of the corrections is indisputable, we might debate their suitability in an edi- tion. In fact, my own research proves that for the final performance of the Fourth Symphony in New York on 17January 1911, Mahler used the last published version of the work (1909) without the further revi- sions he had already made between 1910 and 1911. It is certainly likely that Mahler would have integrated these final revisions into his planned new editions of the early symphonies, but his death in May 1911 in- tervened. It is also possible that Mahler would have arrived at still further revisions while preparing the new edition of his first four symphonies for Universal (see Mahler's letter from July 1910 to Emil Freund, pub- lished in Gustav Mahler: Briefe, ed. Herta Blaukopf, 2d ed. [Vienna: Paul Zsolnay, 1996], 416-17)-and, more importantly, any further performances he would have conducted.

While the possibility of further refine- ments could justify Ratz's incorporation of Mahler's final revisions into the critical edi-

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Music Reviews

tion, editing the music is further compli- cated by the composer's comments about performing his own works. Otto Klenm- perer, for example, recounts in his mem- oirs (Peter Heyworth, Conversations with Klemperer, rev. ed. [London: Faber and Faber, 1985], 34) Mahler's comments dur- ing the rehearsal for the 1910 premiere of the Eighth Symphony in Munich, noting that Mahler revised the otherwise finished score for the performance and then recom- mended to the conductors present to take liberties adjusting his music, when neces- sary, to facilitate performance. Although perhaps anecdotal, Klemperer's recollec- tion essentially opens the door for musi- cians of subsequent generations to take edi- torial license with Mahler's music. Indeed, editors have taken it upon themselves to revise Mahler's works, and the proper level of editorial intervention remains undeter- mined and sometimes controversial.

Despite its merits, Ratz's critical edition of the Fourth Symphony presents weak- nesses, especially when compared with the later volumes of the Gesamtausgabe that Ratz saw into print, as well as those published since his death. The three-page critical commentary for the symphony is a terse report mostly addressing the prove- nance of the manuscripts and other auto- graph sources for the symphony, followed by a list of approximately a dozen editorial changes. Here Ratz reports that he imple- mented the final changes found in two sources, but the brief list included with the edition hardly covers the numerous alter- ations he made to the score. Without this information made available in a formal critical report, it is difficult to gauge the scope of revisions Mahler proposed to un- dertake for this symphony near the time of his death. Yet by publishing the Fourth Symphony with Mahler's "final revisions" tacitly included without the support of a critical commentary, Ratz leaves an edition mostly closed to further discussion. It at- tests to Ratz's firm conviction in regarding Mahler's final, autograph annotations as the ultimate text for the Gesamtausgabe. As practical as this approach might have been in Ratz's day, it would have been more fruitful, and certainly less divisive, had Ratz based his edition on the principle of Aus- gabe letzter Fassung and presented Mahler's final revisions in a critical apparatus, thus

providing easy access to the final published version as well as the projected changes. Instead, Ratz's notes and supporting docu- mentation, deposited in the archive of the Internationale Gustav Mahler Gesellschaft, remain unavailable to those consulting the first edition of the symphony as issued in the early course of the Mahler Sdntliche Werke.

Further evidence of the tacit editing of Mahler's Fourth Symphony appears in the newly revised version published by Uni- versal in 1995, based on a set of corrections made to Ratz's 1963 score by Karl Heinz Fussl in the late 1980s. The changes are, for the most part, orthographic and include corrections of misplaced clefs or reposi- tioned editorial notes. One useful improve- ment is the revised pagination with the score now starting on page 1 rather than 3.

The absence of a comprehensive list of changes made to the 1963 edition fur- ther complicates the Fourth Symphony's situation-under at least two layers of edit- ing, it is difficult for the reader to distin- guish Mahler's actual revisions from editor- ial alterations. Moreover, the corrections were entered on the same plates that were used for Ratz's 1963 edition, transferring many of its infelicities of notation and en- graving to the "new" 1995 edition. For the present, those who already own the 1963 publication might consider waiting until the truly revised one, promised by Rein- hold Kubik at the end of the Revisionsbericht for the 1995 edition, finally appears.

A similar situation exists with the cor- rected printing of the critical edition of Mahler's First Symphony. The newly issued Universal miniature score presents the same text (in reduced format) as appears in the larger-sized, revised 1992 edition of the Sdmtliche Werke, which, in turn, is based on Ratz's 1967 critical edition of the sym- phony. Indeed, the 1992 edition, with a preface and critical notes by Sander Wil- kens, is designated "verbesserte Ausgabe" (improved edition), marked by a more con- servative and controversial treatment of the "solo" indications in the double bass part (those wishing to explore this matter more fully should consult Wilkens's Editionspraxis und allgemeine Korrekturensystematik zul den lWerken Gustav Mahlers: Kritischer Bericht und Revisionsbericht zum Autograph der Ersten Synmphonie, Berliner musikwissenschaftliche

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NOTES, June 2001

Arbeiten, 41 [Munich: Emil Katzbichler, 1996]).

It is enlightening to observe such atten- tion to detail, especially since the First Symphony stands out among Mahler's sym- phonies for the marked differences be- tween its first edition and later revisions. In fact, Mahler's final corrections result in a much thinner texture than the fuller or- chestration of the first edition (Vienna: Josef Weinberger, [1899]), first reprinted by Dover Publications in 1987 (with the first edition of the Second Symphony) and now reissued as a low-priced miniature score. Alas, this pocket version of the score is unusually small and difficult to read, with some of the details illegible. The earlier Dover edition is far superior.

In contrast, the recently published minia- ture score of Mahler's Riickert-Lieder as Fiinf Lieder nach Texten von Friedrich Riickert is highly readable and quite useful. While at first glance this publication physically re- sembles the volume of Fiissl's critical edi- tion (Sdmtliche Werke, 14/4 [Vienna: C. F. Kahnt, 1984]), in fact, the short commen- tary at the beginning of the score shows that it is based on Universal Edition's 1926 edition of Mahler's Sieben Lieder aus letzter Zeit, but omits the two settings from Des Knaben Wunderhorn, "Revelge" and "Der Tamboursg'sell," now published elsewhere. While performers and scholars should still consult the critical edition for more recent scholarship on the music, the Philharmonia edition represents the score as it existed closer to Mahler's lifetime (and the source for many of the recordings).

The singer Thomas Hampson has been involved with several publications in the Mahler complete edition, among them the song anthology Fiinfzehn Lieder, Humoresken und Balladen aus "Des Knaben Wunderhorn." This performing edition of the songs, is- sued in the original version for lower voice and a partially transposed version for higher voice, reprints the text of the like- titled volume in the Gesamtausgabe (vol. XII/2b published in 1993) in a slightly larger format, retaining nearly all of the material found in the critical edition. In this new compilation of Wunderhornlieder, Hampson and coeditor Renate Hilmar-Voit present the settings of the songs Mahler composed between 1892 and 1901 in a more chronologically based order-specifically,

the Fiinf Humoresken of 1892, which exist with this title in manuscript only, and the Lieder, Humoresken und Balladen, a title de- rived from designations used for contem- porary performances of the songs.

This historically based edition of Mahler's songs provides insights into Mahler's devel- opment as a composer. The settings toward the end of this collection are, for example, longer than some of the earlier ones in the volume and are definitely more expansive than the Wunderhorn settings Mahler com- posed between 1887 and 1890 (and pub- lished as Lieder und Gesdnge [Mainz: B. Schott's Sohne, 1892], later issued as Lieder und Gesdnge aus derJugendzeit). In addition, the volume's subsections group together the music that Mahler would eventually use differently. The setting of "Das himmlische Leben" became, for example, the final movement of the Fourth Symphony and was omitted by Mahler from other collec- tions of Wunderhornlieder. "Urlicht" is a simi- lar case, becoming the fourth movement of the Second Symphony. Both songs were later published for voice and piano after the symphonies. (The editors indicate a printed source for the piano version of "Urlicht" but fail to mention the previous printed version of "Das himmlische Leben.")

The presentation raises questions about the purpose of this new edition. Since it is based on the Gesamtausgabe, it includes references to the apparatus found at the back of the volume in the Sdmtliche Wlerke whenever variants exist. Although this brings alternate readings to light (assuming the performers will take the extra step of consulting another volume), I am disap- pointed that the editors did not offer their expertise in explaining or evaluating the possible choices of readings available to performers and make these options more readily available by including them in the "practical" edition.

Given the trends in various recent publi- cations of Mahler's music, the range of ac- cessibility is indeed wide. From photo- graphic reprints of first editions, to reprints of later ones, "improved" versions of the critical editions and, most recently, per- forming editions based on the Sdmtliche Werke, the variety is rich and bewildering. Since some of the texts that form the basis for these new editions are still available in various formats, it is important to approach

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Music Reviews Music Reviews

these recent publications with care. Re- prints of earlier editions are of limited value, and new editions should have a clearly stated purpose and identification. Because we now can choose between sev- eral available editions of many of Mahler's works, it is important that publishers clearly present this crucial background informa-

these recent publications with care. Re- prints of earlier editions are of limited value, and new editions should have a clearly stated purpose and identification. Because we now can choose between sev- eral available editions of many of Mahler's works, it is important that publishers clearly present this crucial background informa-

tion. Only then will it be possible to assess the content and appreciate what these edi- tions offer to students, scholars, and per- formers of Mahler's music.

JAMES L. ZYCHOWICZ

Madison, Wisconsin

tion. Only then will it be possible to assess the content and appreciate what these edi- tions offer to students, scholars, and per- formers of Mahler's music.

JAMES L. ZYCHOWICZ

Madison, Wisconsin

INSTRUMENTAL SOLO AND ENSEMBLE MUSIC INSTRUMENTAL SOLO AND ENSEMBLE MUSIC

Mauricio Kagel. Schattenklange: Drei Stucke fur BaBklarinette. Frankfurt am Main: Henry Litolff's Verlag/C. F. Peters, c1997. [Performance notes in Ger., Eng., p. i-iii; score, 14 p.; perfor- mance snapshots, 2 p. Litolff/Peters Nr. 8887. DM 29; duration: ca. 11'.]

Hitomi Kaneko. Espace/Brume pour marimba et clarinette basse. Tokyo: Zen-On Music, c1998. (Chamber Mu- sic, 31.) [Performance notes in Fr., Eng., Jap., 3 p.; score, p. 5-19. ISBN 4- 11-590184-5; ZCM -031. Y 1,200; dura- tion: ca. 7'.]

Edward Jacobs. Engage the Mountain: [For] Clarinet (Bass Clarinet) and Percussion (1 Player). New York: C. F. Peters, c1998. [Notes, 1 p.; score, 20 p. (spiral bound) and part. Edition Peters No. 67829. $14.95; duration: ca. 11'.]

Edward Jacobs. "I've Shook My Fists at the Sky" (Meditation and Agitation): [For] Clarinet Solo. New York: C. F. Peters, c1996. [Score, 7 p. Edition Peters No. 67727. $10; duration: ca. 8 1/.]

It was not long after the adoption of the clarinet into the orchestra in the late eighteenth century that instrument makers invented the bass clarinet. In 1836, Gia- como Meyerbeer used it as a solo obbligato accompaniment in Les Huguenots for the scene where the protagonists Raoul and Valentine recite their wedding vows to Raoul's servant Marcel, who marries them before the Catholic soldiers storm the church and the wedded couple die as mar- tyrs. At the premiere, the solo bass clarinet

Mauricio Kagel. Schattenklange: Drei Stucke fur BaBklarinette. Frankfurt am Main: Henry Litolff's Verlag/C. F. Peters, c1997. [Performance notes in Ger., Eng., p. i-iii; score, 14 p.; perfor- mance snapshots, 2 p. Litolff/Peters Nr. 8887. DM 29; duration: ca. 11'.]

Hitomi Kaneko. Espace/Brume pour marimba et clarinette basse. Tokyo: Zen-On Music, c1998. (Chamber Mu- sic, 31.) [Performance notes in Fr., Eng., Jap., 3 p.; score, p. 5-19. ISBN 4- 11-590184-5; ZCM -031. Y 1,200; dura- tion: ca. 7'.]

Edward Jacobs. Engage the Mountain: [For] Clarinet (Bass Clarinet) and Percussion (1 Player). New York: C. F. Peters, c1998. [Notes, 1 p.; score, 20 p. (spiral bound) and part. Edition Peters No. 67829. $14.95; duration: ca. 11'.]

Edward Jacobs. "I've Shook My Fists at the Sky" (Meditation and Agitation): [For] Clarinet Solo. New York: C. F. Peters, c1996. [Score, 7 p. Edition Peters No. 67727. $10; duration: ca. 8 1/.]

It was not long after the adoption of the clarinet into the orchestra in the late eighteenth century that instrument makers invented the bass clarinet. In 1836, Gia- como Meyerbeer used it as a solo obbligato accompaniment in Les Huguenots for the scene where the protagonists Raoul and Valentine recite their wedding vows to Raoul's servant Marcel, who marries them before the Catholic soldiers storm the church and the wedded couple die as mar- tyrs. At the premiere, the solo bass clarinet

must have created quite an unusual and other-worldly affect at this very dramatic point in the opera. The subsequent use of the bass clarinet in the opera orchestra and the improved instrumental design by Adolphe Sax at the same time made it possible for the bass clarinet to become a regular member of the orchestra.

Although the bass clarinet was, for the most part, invented and improved in France, it was featured most prominently in the orchestral writing of Richard Wagner, Richard Strauss, and Gustav Mahler. Until fairly recently, however, composers were less inclined to use the bass clarinet in chamber music. The most notable exam- ples are in compositions by Arnold Schoen- berg, such as the Serenade, op. 24, the Suite, op. 29, and Pierrot Lunaire, and the wind sextet Mldi by Leos Janacek. In the last quarter of the twentieth century, however, there has been a much greater use of the instrument, due in part to the extraordinary virtuosos who commissioned works for the instrument, especially Harry Sparnaay in The Netherlands and Josef Horak in the Czech Republic-all predated, of course, by the work of jazz bass clar- inetist Eric Dolphy about a decade earlier.

Since the 1960s, Mauricio Kagel has been a leading avant-garde composer and has created a number of theater pieces. His 1995 Schattenkldnge (Shadow Sounds or Tones), which may also be performed in a regular concert version, is a recent exam- ple. Dedicated to Luciano Berio, the piece was commissioned by the city of Giitersloh and premiered on 7 October 1995. In the theater version, the barefoot bass clarinetist performs on a six-by-eight-foot podium placed behind a scrim, against which five spotlights, placed in different positions, are directed. The placement of the spotlights at different distances causes the player's

must have created quite an unusual and other-worldly affect at this very dramatic point in the opera. The subsequent use of the bass clarinet in the opera orchestra and the improved instrumental design by Adolphe Sax at the same time made it possible for the bass clarinet to become a regular member of the orchestra.

Although the bass clarinet was, for the most part, invented and improved in France, it was featured most prominently in the orchestral writing of Richard Wagner, Richard Strauss, and Gustav Mahler. Until fairly recently, however, composers were less inclined to use the bass clarinet in chamber music. The most notable exam- ples are in compositions by Arnold Schoen- berg, such as the Serenade, op. 24, the Suite, op. 29, and Pierrot Lunaire, and the wind sextet Mldi by Leos Janacek. In the last quarter of the twentieth century, however, there has been a much greater use of the instrument, due in part to the extraordinary virtuosos who commissioned works for the instrument, especially Harry Sparnaay in The Netherlands and Josef Horak in the Czech Republic-all predated, of course, by the work of jazz bass clar- inetist Eric Dolphy about a decade earlier.

Since the 1960s, Mauricio Kagel has been a leading avant-garde composer and has created a number of theater pieces. His 1995 Schattenkldnge (Shadow Sounds or Tones), which may also be performed in a regular concert version, is a recent exam- ple. Dedicated to Luciano Berio, the piece was commissioned by the city of Giitersloh and premiered on 7 October 1995. In the theater version, the barefoot bass clarinetist performs on a six-by-eight-foot podium placed behind a scrim, against which five spotlights, placed in different positions, are directed. The placement of the spotlights at different distances causes the player's

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