Music
Identifieur interne : 000720 ( Istex/Corpus ); précédent : 000719; suivant : 000721Music
Auteurs : Glyn Marillier ; Gil Sullivan ; Graham Wood ; Leonard Regnier ; Peter SundmanSource :
- International Journal of Music Education [ 0255-7614 ] ; 1988.
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DOI: 10.1177/025576148801100113
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ISTEX:A4A45222DFB288F61B9667CFF2B3169B78B8519CLe document en format XML
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Recent
PublicationsMusic
SAGE Publications, Inc.1988DOI: 10.1177/025576148801100113
Glyn Marillier
Gil Sullivan
Graham Wood
Leonard Regnier
Peter Sundman
Frank
Bencriscutto & Hal Freese, Total Musicianship, Neil A. Kjos Music Company,
San Diego, California, 1983-7. Total Musicianship is a 4 year curriculum for
junior and senior high school band programmes aimed at helping students develop
the techniques and musical understanding necessary for successful ensemble
performance. The curriculum is easily used as warm-up material and requires
approximately 15 to 20 minutes of rehearsal time each week. The music kit
includes student books available for concert band and jazz ensemble instrumentation
in which all four years of material are included within the same book. A wide
range of exercises covers ensemble sound production, chord construction, intonation,
scales, arpeggios and modes in all keys, chromatics, intervals, rhythms, articulations
- including triple tonguing, breath control and such basic devices as the
12 bar blues and ii-V7-I progression in all keys. The Comprehensive Skills
Plan and colour- coded Achievement Charts outline assignments from the student
books and enable teachers to teach what they want when they want. The Conductor's
Score/Manual is a 208 page guide through the entire curriculum with helpful
instructional suggestions and clearly marked cross referencing to the appropriate
page in the student book. Also included is a Practice Cassette which invites
students to improvise over recorded backgrounds from the Theory and Creativity
sections of the book. Total Musicianship is attractively finished and deserves
consideration by school Band Directors. Scott Stroman, Jazzamatazz Big Band
Sounds for the Younger Set, Volume 4, Picture Song, Chester Music, London,
1987. A previous review (May, 1987) mentioned this innovative series of publications
and gave a description of the first three volumes in this set of Big Band
arrangements for school and college level ensembles. Stroman decribes Picture
Song as 'a medium to quick tempo piece with a joyous and bouncy feel'. The
solo section is flexible and may be used by any
combination
of Alto 1, Tenor 1, Trumpet 2, Trombone 2, Guitar or Keyboard. It is suggested
that the piece needs a very firm and crisp rhythmic feel, based on a solid
foundation between bass and drums. The horns need to pay close attention to
articulation and phrasing and are encouraged to play percussion instruments
in some sections of the piece in order to give a crisp, bouncy and joyous
feel to the work. Graham Morrison, Play Pop Recorder, Oxford University Press,
Oxford, 1987. Play Pop Recorder is a one book descant recorder course suitable
for use with primary and lower secondary school pupils. It starts from scratch,
assuming no previous musical knowledge, and the popular tunes are carefully
graded and suitably presented. Morrison has chosen material to ensure constant
melodic and rhythmic interest for all pupils whether in group or individual
teaching situations. The accompaniments to the tunes can be improvised on
guitar or keyboard instruments such as a piano or electric organ, using the
chord symbols provided. Simple rhythmic accompaniments to the main melody
can be added once the tunes have been mastered. Such pieces as Annie's Song,
Don't Cry for Me Argentina, Mr Tambourine Man, Mull of Kintyre, Mango Walk,
and When the Saints Go Marching In have simple, but effective, rhythmic accompaniments
that will provide interest to the works and challenges to the class. Most
of the pieces chosen by Morrison are 'evergreen' popular tunes and the title
Play Pop Recorder should not be regarded as an indication that this method
book contains only the very latest melodies. The material chosen will provide
enjoyment to many students for a number of years to come. Madeleine Ranger
& Peter Wilson, Stringpops: Fun Pieces for Beginner Strings, Volumes 1
& 2, Faber Music, London, 1987. This new tutor specifically designed for
either group or individual tuition can be used with a variety of violin/cello
combinations with piano accompaniment, or violin, cello and piano. The
8080
catchy
titles (e.g., Open String zambia, Sky Diver, Haunted Harmonics) present beginning
students with interesting, challenging compositions designed to illustrate
and develop a variety of playing techniques. The authors state that 'each
piece has its place in a carefully planned progression that takes the learner
violinist or cellist through the fundamentals of string technique, starting
with the simplest open string patterns and continuing in first position. The
series is designed to be suitable for both class and individual teaching,
and the violin and cello parts can stand on their own or be combined as a
duo. The music has been well tested in many schools within the Tower Hamlets
String Project of the Inner London Education Authority, with exciting and
encouraging results'. Book one includes the following: open string crossing
at different speeds, accentuation, dynamic contrasts, tremolo, first position
(all fingers), rest counting, short and long bows, new finger positions for
F and C, lifted up bow, and double stopping on open strings. In book two technical
and musical features include: shorter bows, slurred and staccato articulation,
the major scale, harmonics, sul ponticello, left hand pizzicato, sforzando,
glissando, and backward extension of first finger. These short, catchy pieces
provide excellent literature for the beginning string player and should prove
popular with school instrumental teachers looking for ensemble material for
group tuition and performance. Judith Pearce & Christopher Gunning, The
Really Easy Flute Book, Faber Music, London, 1987. Christopher Gunning & Leslie Pearson, The Really Easy Horn Book, Faber Music, London, 1987. Leslie
Pearson, The Really Easy Tenor Horn Book, Faber Music, London, 1987. Christopher
Gunning & Graham Lyons, The Really Easy Trumpet Book, Faber Music, London,
1987. These really easy teaching books are designed for students who can play
just three notes on either the flute, trumpet, horn or tenor horn. The short,
imaginative pieces include traditional tunes, classics and specially composed
melodies, all with attractive piano accompaniments. The pieces are arranged
progressively and guide the beginner through the early stages of tone production,
breathing and fingering with music that is fun to play. John Miller, Simple
Studies for Beginners Brass, Faber Music, London, 1987. John Miller is one
of Britain's leading brass players and presently performs with the Philharmonia
Orchestra. He states that his aim in writing this tutor was to 'cover the
entire spectrum of basic technique, including the development of range, stamina
and breath control, but at the same time to avoid mere technicalities, since
musical abilities must
surely
grow hand in hand with technical skills. The studies' titles point towards
distinct musical styles.' Simple Studies can be used by any brass player who
reads from the treble clef. The 38 short studies, all composed by Miller,
are arranged progressively and pose fresh technical challenges for the beginning
brass student. Paul Harris, Six Miniatures for Trumpet and Piano, Ricordi
& Co., London, 1987. Six Miniatures is written for students in their third
and fourth year of study. The six contrasting pieces use various time signatures
(from 2 to 7 beats in a bar) and provide the intermediate player with stimulating
and interesting rhythmic challenges. The first piece, Fanfare, uses a characteristic
fanfare-like tune and requires bold playing with strict observation of the
accents and dynamics. Berceuse is a lullaby, lyrical and cantabile in character,
requiring expressive playing and careful breath control. March is a light
and jaunty piece to be played with a tight rhythm. The fourth piece, Waltz,
is written in 4 and features a lilting and rather cheeky lopsided 'waltz'
in which the secondary accent falls on the fourth beat (3+2). Serenade is
an expressive serenade suitable for the development of legato playing, whilst
Dance, the final movement, is an exciting and vigorous dance requiring a strong
attack. These are well written, and present pieces worthy of consideration
by teachers of intermediate level trumpet students. Harold East, Sonatina,
for Horn and Piano, Ricordi & Co., London, 1987. This is a three movement
piece which explores the many facets of horn playing. The range, lyrical quality
and rhythmical drive of the instrument are used to good effect, and the varied
musical content and coherent piano part are challenging and satisfying to
play, both for the advanced student and professional player. Sonatina would
be particularly useful for senior high school student examination and lower
tertiary level recitals. Jim Parker, A Londoner In New York: Part T : Echoes
of Harlem, the Chrysler Building, Grand Central; Part 2: Central Park, Radio
City, for Brass Ensemble, Chester Music, London, 1987. A Londoner in New York
was commissioned by the Philip Jones Brass Ensemble and written in 1983. It
is recorded by this ensemble on the record entitled Lollipops: Claves D 8503,
CD50-8503. Parker states that he had 'for some time been considering how to
express in music the impressions made on me by New York. My general feeling
was that here was a city which prided itself on being modern and progressive
but which, nevertheless, retained a delightful old-fashioned quality'. The
work begins with Echoes of Harlem, a piece about Harlem as it was in the heyday
of Fats Waller, Duke Ellington and other great
8181
jazzmen.
The style required is relaxed but rhythmic, and the muted effects by trumpets
help give the movement a light quality and jazzy feel. The Chrysler Building
is one of the world's most elegant skyscrapers and the playing in this movement
named after it should reflect the grandeur and decorative brilliance of this
superb monument to Art Deco Architecture. It is to be played in a more symphonic
style than the opening movement, and features short flugelhorn solos, flutter
tonguing effects and trombone glissandi. Grand Central is named after the
station which features in many black and white films, and the music in this
movement reflects a steam locomotive. Once the piece is under way it should
have a momentum which keeps its impetus regardless of dynamics. This movement
needs to be played as rhythmically as possible. Central Park is a languid
waltz reflecting the rural atmosphere to be found in much of this famous park.
The trumpet solos are to be played with a bright and optimistic quality. The
last movement, Radio City, describes the main auditorium of Radio City Music
Hall and should be played with a vivacious, dynamic and extroverted quality.
A can-can section, played as fast as comfortable, is followed by a maestoso
which depicts the Rockettes performing high kicks. These pieces are similar
in scope, dimensions and scoring to the popular Three Brass Cats, and Ancther
Cat: Kraken, by Chris Hazell. For advanced school and tertiary ensembles with
an E flat trumpet and flugelhorn these would be enormously popular and effective.
Once again this innovative series of publications has provided interesting
and challenging pieces for brass ensemble, and like the majority of works
in this series these five movements are sure to become popular. Gary McPherson
Humphrey Salter & Robert Carr, Divisions Upon A Ground for Treble Recorder,
Guitar and Bass Instrument (b.c.) edited by Johannes Klier, Das Blockfloeten
Repertoire, Edition Moeck, Celle, 1986. Divisions upon a ground occupy a large
and important place in English music of the 17th century, and numerous 'schools
of instruction' like Christopher Simpson's The Division Viol or the Art of
Playing Extempore upon a Ground (London, 1659) were published to assist England's
keen bands of amateur musicians. Not for nothing was the recorder known on
the Continent as the English flute, and Salter's Genteel Companion (London,
1683) together with Carr's Delightful Companion (1686) performed the same
function for England's recorder enthusiasts as the Simpson did for the violist.
It is from these two publications that Johannes Klier has selected the three
grounds of the present edition. The first is an excellent example of the Spanish
Folia, the other two bearing some resemblance to two Italian grounds: the
Ciacona
and
the Romanesca respectively. All are delightful to play, especially from such
a well researched and meticulously presented edition. The clear table of ornaments
and the fact that the harmonic continuo instrument is the guitar (much favoured
by the English for this purpose in the 17th century) all point to sensitive
and intelligent editorship - something we have come to expect of Moeck's Das
Blockfloeten Repertoire series under Gerhardt Braun. Entirely accessible and
pleasing music to play, it would be difficult to praise this publication too
highly. With score and three parts beautifully printed it represents excellent
value and a most useful addition to the available repertoire of this fertile
period. Karel van Steenhoven, Wolken, for Four Treble Recorders or similar
equal pitch instruments, Edition Moeck, Celle, 1985. Paul Leenhouts, Report
Upon 'When Shall The Sun Shine?', for SATB Recorder Quartet, Edition Moeck,
Celle, 1986. Trees Hoogwegt, Tekanemos, for Two Recorders, Edition Moeck,
Celle, 1986. These three modern works for recorders have all been performed
by the Amsterdam Loeki Stardust Quartet and are published under their banner.
Many a reader will have been impressed by this group's impeccable and stylish
playing in broadcasts and concerts and it is a great service to lovers of
their music that it is being made available to their admirers in this way.
That finesse is matched in the quality and the intelligence with which the
general layout, arrangement of parts and scores and so on have been managed.
The organisation fits the needs of the individual pieces rather than some
abstract, uniform plan. This is important, since the three compositions are
all quite different from each other. Wolken ('Clouds') was given its first
performance in 1984 and is a rigorously constructed work using standard notation
plus a few extended techniques like glissando, flutter-tonguing and finger
vibrato. It owes a little to Xenakis in its completely notated evocation of
stochastic phenomena such as clouds, and is important for this fact alone; there are few works in this style for recorders. Alternative performance on
four flutes, clarinets or similar instruments is invited by the composer,
further extending the usefulness of the piece which works well and is an excellent
challenge for four advanced treble recorder players. Paul Leenhouts' Report
on 'When Shall The Sun Shine?' is a delightful updated, up-tempo remodelling
of the old report or fantasia upon pre-existing popular songs. In this case
the popular songs include The Girls Go By and You Are The Sunshine Of My Life
with reworkings in swing style that are harmonically and rhythmically convincing.
It's all a lot of fun with plenty of meaty writing for every player plus a
little sprechgesang and vocal imitations of
8282
rhythm
box and high-hat cymbal. Dedicated to the Amsterdam Loeki Stardust Quartet,
it was premiered during the finale of the Musiqua Antiqua Competition held
in Bruges in 1981. Takanemos calls for two players, one on tenor recorder
and the other doubling descant and treble at 415 Hz., although Trees Hoogwegt
also allows for alternative instrumentation. While, of the three, this was
the first piece composed (1979), it makes the most 'avant garde' demands,
with a fair range of special symbols and techniques: diaphragmatic and throat
vibrato, singing designated pitches through the recorder and multiphonics,
for instance, with special emphasis on precise observation of dynamic levels
for the different degrees of over-blowing required. The explanation of the
symbols and general instructions are very clear and helpful. Age-mates (all
born in 1957 or 1958) and fellow countrymen in a land that has become synonymous
with fine recorder music, players and makers, these three composers should
be congratulated for so successfully extending the recorder repertoire and
the publishers for their superb presentation of both music and addenda.
Clara
Schumann, Selected Piano Works by Clara Schumann, Henle, Munich, 1987. '...
in spite of her creative talents and her overwhelming successes in her musical
endeavours, Clara Schumann never had serious ambitions as a composer' (The
New Groves). Indeed, the distinctly inhospitable mileu during 19th century
Germany towards any such ambitions in women is most tragically exemplified
by the sentiments expressed in her diary of 1839 -'I once thought that I possessed
creative talent, but I have given up this idea; a woman must not desire to
compose - not one has been able to do it, and why'should I expect to? It would
be arrogance, although, indeed my father led me into it in earlier days.'
History shows us that Clara Schumann was, in youth, a prodigious talent and
in maturity, one of the highest ranking pianists of last century, 'complete
technical mastery, depth and sincerity of feeling' (Liszt). Unfortunately,
history also points to her as a composer constantly in the shadow of her husband
Robert, and although it would be naive to pretend that the quality and originality
of her music reached the same heights, it would be equally criminal as a consequence
to treat with condescension, or worse, ignore the musical output of this,
the most important and significant woman composer in musical history before
this century. This collection of works, some quite short, presents a range
of piano pieces from the four Character pieces Op. 5, composed at sixteen,
to the three Romances Op. 21 written three years before Robert's death, and
about the last music she herself ever composed. Included are a toccata, nocturne,
ballade, mazurka, scherzo and an
exquisite
set of variations Op. 20 on a theme by Robert. The writing, a hybridized style
somewhere between Chopin's, Liszt's and Robert's, is highly romantic, harmonically
creative and at times, quite simply inspirational. Technically most pieces
teeter between moderately easy to moderately hard while musically her writing
is rich in beauty of melody and harmony, pianistically quite accessible. Her
not infrequent use of lOths may cause problems for inexperienced performers.
Johann Strauss Jnr., Waltzes, Supraphon, Prague, 1986. Many of the Strauss
Waltzes have become immortal, strongly occupying the affections of the musical
public at large. Almost as soon as they were composed they were published,
and no sooner were they published than there appeared various piano arrangements.
This particular compilation by Supraphon, containing an abundance of fingering
and very few octaves is quite obviously published with younger pianists and
dilettantes in view; in other words, you won't need to become a Franz Liszt
to play these musical delights. Carl Maria von Weber, Selected Piano Works,
G. Henle, Munich, 1987. So great was the influence of Carl Maria von Weber
in opera that today he is recognised as virtually the creator of German romantic
opera, his Euryanthe (1823) being regarded by most as the precursor of Wagner's
Lohengrin. Not so well known today, though, was his prodigious gift as a pianist; a cursory glance at the requirements in his four sonatas will quickly qualify
this, while all his solo and concerted piano works show an imagination of
extraordinary power and fertility. His early works such as Momento capriccioso,
Op. 12, and Grande Polonaise, Op. 21 were written in 1808, while the later
works, e.g. Invitation to the Dance, Op. 65, and Polacca brilliante, Op. 72
were composed in 1819. Between these two groups the composer underwent a noticeable
development, evidenced in particular by his more secure command of form in
the later works. The six years before his death in 1826 saw almost entire
devotion to opera, his sole work for piano during these last years being the
Sonata in E minor, Op. 70. Far less serious than the sonatas, this miscellaneous
collection of Weber's piano works (including those mentioned above) is thoroughly
delightful and delightfully thorough, especially in its musical working out.
Moreover, Weber's 'charming' musical style makes these pieces encouraging
to those with a moderate to advanced technique. Equally encouraging is Henle's
edition which is, as usual, impeccable in its detailed research, layout and
clarity. Stephen Heller, Selected Piano Works, G. Henle Verlag, Munich, 1987.
Hungarian pianist/composer Stephen Heller
8383
(1813-88)
is one of the plethora of miscellaneous musicians who blended well into the
nineteenth century musical collage, but whose talents and originalities never
quite touched upon genius, or if they did, never for longer than a millisecond
of music's history. In music, of course this does not necessarily mean that
their work is not worthy of attention, as this recent publication by Henle
of selected piano works of Heller bears out. About his Preludes Op. 81, Heller
wrote that his object was 'to write quite short but nevertheless well-rounded,
self-contained movements', rather than 'trying to say something in many words',
which was an easy task. He preferred to suggest 'something sublime and sensual
in a few strokes ... building blocks for future poems'. These short quotes
of the composer proffer an adumbrate summation of Henle's well chosen collection
of thirty-two piano pieces, all best described as 'character pieces', 'which
are at most of moderate difficulty, and sometimes quite easy to play'. This
edition makes it a pleasure both to read and (more importantly) discover this
much neglected but very interesting and often quite beautiful music that is
steeped in the German romantic tradition.
French
Baroque Pieces for Flute and Keyboard, edited by Frans Vester, Figured Bass
realised by Jane Eston, Universal Edition, London, 1987. This volume contains
three compositions from the French Baroque. They are Neuvième Concert (Intitulg
Ritratto dell'amore) by Franqois Couperin, Troisième Suite en Sol majeur by
Louis deCaix d'Hervelois and Sonate en Mi Mineur by Jean Marie Leclair. The
collection forms part of an anthology of German, French, Italian and British
baroque sonatas. By separating the volumes these pieces are excellent for
tuition purposes as one is able to see more clearly the contrast of national
styles. The pieces in this volume reflect the style galant with its extensive
use made of ornamentation and graceful melodies. These editions are urtext
with additional editorial comment in square brackets or small print. The elaboration
of the basso continuo has been kept simple. The excellent preface and introduction
give the player a broader context for understanding the style of this period
and there are useful further references for the performer who wishes to explore
more deeply. The music is not too difficult to play at a superficial level
but the execution of the mordents, inverted mordents and trills requires crisp
technique. In general the clarity of this music tends to make it more difficult
than it seems. Mistakes tend to be there for all to see. The selection of
musical pieces has ensured interesting melodic material suitable for the intermediate
player and above. For the advanced and even professional performer there is
a very real interpretative challenge.
This
volume is highly recommended and will nicely complement the more commonly-known
Baroque pieces in one's collection. F. A. Hoffmeister, Nouvelle Grande Sonate,
for Flute and Piano, Op. 17, edited by Armin Guthmann, Universal Edition,
Vienna, 1987. Franz Anton Hoffmeister devoted himself to music after studying
law and was highly regarded by his contemporaries. He was born in 1754 and
died in Vienna in 1812. His output includes 24 flute concertos and a similar
number of sonatas for flute and piano as well as duos and trios and a large
amount of chamber music that involved the flute. Stylistically he compares
with Mozart and Haydn and although clearly not of their calibre, has written
attractive and appealing music for the flute. This is particularly noteworthy
considering the lack of repertoire for the flute in the Classical period.
This sonata was published by the Leipzig branch of Hoffmeister's own publishing
firm and would suit the intermediate player. The new edition adheres strictly
to the text of the first edition, although errors have been emended. All additions
by the present editor are designated by brackets. Joseph Haydn, The Seasons,
for Two Flutes from a Contemporary Arrangement, edited by Gerhard Braun, Universal
Edition, Vienna, 1987. Joseph Haydn did not compose prolifically for the flute,
at least as a solo instrument. He only took a serious interest in it in middle
age, and his most famous works for the flute are transcriptions. The present
edition employs some of the material from Haydn's Creation and is a most successful
arrangement. Its original intention was to provide entertainment for nineteenth
century musicians, and it is a welcome addition to the flautist's repertoire.
The editor has added or emended a number of articulation marks and corrected
minor inaccuracies in the source material. These twelve duets would suit flautists
at an intermediate level. Joseph Haydn, Six Duets, Volume 2, Numbers 4-6,
arranged for Two Flutes by Samuel Arnold (1740-1802), Universal Edition, Vienna,
1987. The three duets in this volume are arrangements of Haydn's string quartets
Opus 76. The present edition is a facsimile of the first edition arranged
by the composer Samuel Arnold who was also a flautist. It provides an insight
into the composing practice of a previous era and would make a delightful
item for one's flute collection. The music will give the intermediate and
advanced performer valuable stylistic experience. Flautists have much to learn
from the expressive power of the violin, and it is
8484
always
an interesting exercise to listen to the music in its original form. The present
edition contains bar numbers and emended accidentals to facilitate the reading
of the music. Three Duos for Flute and Guitar, arranged by Itobin Polseno,
Flute part edited by Lucille Goeres, Theodore Presser Company, Pennsylvania,
1987. The flute and guitar always have a happy marriage although problems
of tuning, in the wrong hands, can lead to a quick separation. It is pleasing
to see a number of contemporary composers writing for this pleasant combination
of instruments, and this collection of duos will be welcomed by the amateur
intermediate player. The three pieces in this collection are all popular and
well known works in the flute repertoire: the Polonaise from the Orchestral
Suite No. 2 in B Minor (BWV 1067), by J. S. Bach, Dance of the Blessed Spirits
from Orfeo ed Euridice by Gluck and Sicilienne from Incidental Music to Pelleas
et Melisande Op. 80 by Faur6. These pieces rely on a strong melodic line in
the flute part with the guitar mainly concerned with accompaniment and the
occasional melodic imitation. The range of the flute avoids the top of the
third register where the tuning could be a problem with the guitar. Both members
of the duo should find these pieces most satisfying to play, and they would
also make excellent concert items. The Flute Player's Companion, Volumes 1
and 2, compiled and edited by Edward Blakeman, Chester Music, London, 1987.
The editor of these two volumes has chosen their contents to assist the flute
player's technical progress during the early years of study. The main areas
of flute technique are covered; posture, breathing, embouchure, fingering
and tonguing, and there are sections in each volume catering for them, with
pieces in the form of studies, exercises and duets. So many collections of
studies seem to be compiled in an arbitrary fashion with no sense of logic
or development that it is good to see volumes that contain melodic and musically
interesting material arranged in a logical manner. Phrasing and dynamics have
been edited but breathing is left to the player. The volumes are beautifully
presented with clear print and fine, entertaining illustrations and a clearly
marked contents page. There are brief introductions to the composers - mainly
flautists of the nineteenth century (Andersen, Demersseman, Dorus, Drouet,
inter alia). The first volume, designated Easy-Intermediate offers material
that very quickly becomes intermediate in standard. Both volumes offer a refreshing
approach to the organisation of study material and are highly recommended
for students, amateurs and teachers. Rupert Sherwood
Elizabeth
Maconchy, Five Sketches for Viola, Chester Music, London, 1987. The Five Sketches
are preceded by the following note from the composer: 'I have always had a
particular affection for the viola, with its beautiful dark tone colour and
its unlimited expressive range. I have tried in these pieces to explore that
range and to make them well varied in rhythm and content'. The Note E with
which the work begins and ends serves as a sort of 'point d'appui' throughout.
Elizabeth Maconchy has achieved her stated aim in full. The five short pieces
are certainly varied and interesting, and though often quite difficult, with
some high double stops and fifths, are well worth the attention of competent
viola players. Hendrik Andriessen, Sonatina in One Movement for Viola and
Piano, Broekmans & Van Poppel, Amsterdam, 1987. The eminent Dutch organist
and composer Hendrik Andriessen (1892) wrote quite a large amount of music
of various kinds including organ works, masses and other choral music, symphonies
and chamber music. This short work written in the 1920s for viola appeared
in manuscript form in 1984 from a private source. The key of E flat minor
would not appear to be the most friendly key in which to begin a work for
viola, but since this work is not technically demanding, it is easily manageable.
The middle section in A minor, is a further bonus to the student. A useful
short solo piece for student or professional.
Enrique
Granados, 8 Dances from 'Danzas Espanolas', arranged for two Guitars by Heinz
Wallisch, Universal Edition, Vienna, 1987. A laudable effort to make Granados'
music more accessible to aspiring guitarists. Although several of these dances
have long been an integral part of the guitar's solo-repertoire, it seems
a good idea to arrange them for two guitars. This makes them easier to play
and places them within the reach of average students. An approach less inhibited
by technical problems will help to bring out the many lovely tunes and to
develop a more cantabile style of player. On two guitars chords can be spaced
more widely than on one, thereby resembling more closely the original piano
texture. This edition will be welcomed by teachers and players alike. Karl-Heinz
Fussl, Ragtime for Guitar and Piano, Universal Edition, Vienna, 1987. The
repertoire for guitar and piano is scant, and this for a good reason: they
are very unequal partners! In this effective and rhythmically interesting
piece one senses problems with balance. Although the pianist is asked in the
foreword to avoid the use of the right pedal altogether, the piano has many
more notes to play against a guitar part which is written
8585
mostly
in single line! A possible way out would be either to amplify an acoustic
guitar or use an electric guitar. In both cases this piece should make very
enjoyable listening. Don't however, expect it to sound like a Scott Joplin
Rag! Dedicated to Ernst Krenek, its highly chromatic harmony is definitely
at home in the 20th century. Alonso Mudarra, Seven Pieces from Three Books
of Music in Tabulature for the Vihuela, edited by John Duarte, Universal Edition,
Australia, 1987. A well presented edition, with clear and unencumbered print,
intelligent fingering suggestions and an informative foreword. It is a pity
that so many of the pieces have already been published in other editions (like
the Fantasia X, La Romanesca, Conde Claros). John Duarte, Americana for Guitar
Solo, Universal Edition, Australia, 1987. This piece (consisting of the three
sections Broadway, Work Song and Blues and Hoe-down) is 'fun-music' in the
best sense of the word. It is equally pleasurable to play and listen to. The
writing for the guitar shows a world of experience with the music being comfortably
under the fingers, it is full of catchy tunes and special effects, and it
wouldn't be surprising if 'Americana' were soon to occupy as favoured a position
in the guitarist's repertoire as the same composer's English Suite. Ten Tunes
from Playford's The English Dancing Master, for Solo Guitar, arranged by John
Duarte, Universal Edition, Australia, 1987. These tastefully arranged tunes
will be warmly welcomed by teachers far and wide. Students of grade one to
three can use them as study or performance pieces; for students of higher
grades they are excellent sight-reading material. All concerned will learn
something about the English musical heritage. Amongst those who simply play
for pleasure they will find many friends. J. S. Bach, French Suite No. 3 (BWV
814), for Two Guitars, arranged by John Duarte, Universal Edition, Australia,
1987. Many attempts have been made to transcribe keyboard music by Bach for
the guitar, but the results of such efforts have often been so difficult to
play that only a few guitarists have bothered to tackle them. (The master,
as we know, was in the habit of making full use of the resources offered to
him by the various instruments, and to play his keyboard music on one guitar
is rather like playing it with one hand on the piano.) Transcribing keyboard
works for two guitars is therefore both sensible and logical. John W. Duarte
has done this with the French Suite No. 3 with his usual skill and taste.
Both guitars are busy throughout and have agreeable, fairly guitaristic things
to play. The text is based on the Bach Gesellschaft edition. Ornamentation
is explained in detail,
and
editorial suggestions are clearly marked. Those who might hold the view that
Bach's music in this form is not sufficiently challenging may rest assured:
properly executed it is difficult enough!
Joseph
Kuffner, 24 Instructional Duets in Progressive Order, for Two Bassoons, Universal
Edition, Vienna, 1987. Books of duets are still comparatively rare, so this
collection is all the more welcome. The duets correspond exactly to the Oboe
Duets Op. 199, but are modified by the composer. The music ranges in difficulty
from easy to intermediate and uses tunes from popular works, in vogue at the
time of writing (1776). Duets can be an invaluable teaching aid and those
in this particular collection are a delight to play. W. A. Mozart, Concerto
for Bassoon and Orchestra K.191 (186e), Edited by Milan Turkovic, Universal
Edition, Vienna, 1987. An excellent edition of Mozart's Bassoon Concerto,
based on the edition by Andre/Offenbach (second printing) of 1805. The editor
Milan Turkovic, a fine bassoonist, sees this early edition as an important
source, particularly in regard to phrasing details. Additions by him have
been clearly marked, and a commentary, particularly useful for less experienced
teachers and students, has been provided to explain any ambiguous points.
Also included on a separate sheet are two cadenzas by Turkovic for the first
and second movements. This edition is identical to the Boosey and Hawkes one,
the uncluttered printing is a blessing, and the absence of intrusive editing
additions plus the cadenzas and commentary make it the best I've seen. Going
Solo Bassoon: Selected Easy Classics for Bassoon and Piano, Arrangements by
Graham Sheen, Faber Music, London, 1987. The first in a new series of Going
Solo woodwind books, with twelve pieces aimed at intermediate standard players.
Featured is music by Famaby, Handel, Haydn, Mozart, Schubert, Grieg, Bizet,
Rimsky-Korsakov, Bart6k and Satie. Familiar tunes often inspire young players,
and this selection has variety both musical and historical. The arranger,
Graham Sheen, himself a fine bassoonist, has included brief notes for each
piece pointing out the main features and traps. Much of the music is taken
either directly or with slight alteration straight from the orchestral repertoire
and a number are intended to encourage fluency in the tenor register of the
bassoon. The pieces cover many styles from jaunty to lyrical, but always with
a particular playing problem in mind. The piano accompaniment has been kept
on the easy side. Overall, a joy to play.
8686
Timothy
Bowers, Burlesques, 5 pieces for Bassoon and Piano, Edited by John Orford,
I~icordi, London, 1987. These five pieces, Burlesque March, Colours, Winter
Landscape, The Chase, and Burlesque Dance, are around grade three to five
level. Although not too technically demanding, they contain some fairly complicated
rhythmical passages, plus many different styles of playing. Some time changes
within pieces and the first March in 54 make for interesting playing. The
piano part, of comparable standard, is clearly of equal musical importance.
The two instruments together give much scope for performers who wish to work
in tonal music of the 20th century, explore the various timbres of the bassoon
and work at ensemble playing. The addition of breath marks and the manner
of phrasing have been thoughtfully prepared to enhance the composer's intentions.
A very welcome addition to the repertoire. Ludwig Spohr, Adagio for Bassoon
and Piano in F major, Op. 115, Edited by Leonard Sharrow, International Music
Co., New York, 1987. The Adagio is in three sections, two similar outer parts
with a contrasting middle section in F minor. Slow works are in many ways
harder to perform than quick ones, and this piece is no exception. It would
suit quite advanced players. The full range of the bassoon is used, basic
simple melodies embellished by demisemiquaver arpeggio runs, trills and turns.
The middle section has the piano change from a simple rocking style to that
familiar repeated chord style often found in this period of full . blooded
romanticism. From the players' viewpoint this music demands control and the
ability to sustain a musical line, together with rubato and sostenuto techniques.
It teaches the use of ornaments, and is excellent for intonation practice
because of the range used and the need to sustain the melody. The piano part
is straightforward. , Peter Moore Jonathan FeBland, Three Miniatures for Clarinet
and Piano, Universal Edition, London, 1986. The British Jazz clarinettist,
Jonathan FeBland has produced three commendable works in the jazz idiom which
should have instant appeal to both listeners and performers because of their
tuneful and simple construction. The first movement, March, is the most technically
demanding for both players, with first passages for the clarinet providing
a challenge for advanced students. Lullaby, the second movement, is as its
name suggests quite sleepy, with sustained piano chords supporting an elegant
clarinet line in triplets. The composer has asked for soft tongue and poco
vibrato to add to the mood. The Finale has a basic rhumba rhythm throughout
and asks for frequent glissandi from the clarinet.
This
work is highly recommended for players with an inclination towards jazz. Helmut
Bornefeld, Little Suite, for Clarinet and Keyboard (Piano/Organ), Universal
Edition, London, 1987. Little Suite contains six short pieces for the advanced
player with directions varying from cheerful to with pathos. The unusual feature
of having either piano or organ as the accompanying instrument is explained
in the preface with suggestions offered to the organist regarding registrations.
The organ would probably be best suited to this work especially in the second
piece which requires sustained chords held under the declamatory clarinet
line. This movement, entitled Dialogue, has a line of text in German printed
beneath the clarinet part. The composer suggests that the text be used as
a guide to the performer in achieving the speech like quality required. The
resultant effect is impressive, although an English translation would benefit
non-German speaking performers (all other markings have been translated from
the original German). Later pieces include rhapsodic passages for the clarinet
and some unusual rhythmic patterns. There are also unusual and different notations
used, but they are not difficult to understand. Paul Harris, On Safari, a
Suite of Six Duets for Two Clarinets, Ricordi, London, 1987. On Safari provides
clarinettists with a cheerful and useful suite of duets for performing and
teaching. Paul Harris states that they are written for students of about grade
3-5 standard and that the pieces explain the wide range of sonorities available
to the clarinet. The titles of the pieces, e.g. Baboons, Hippo and Gazelles,
reflect the humour in the music and the comments at the beginning of each
piece should be noted by the performers as guides to performance. A tuneful
and fun suite of simple pieces, On Safari should offer enjoyment to both teachers
and students. 200 Studies for the Clarinet, Edited by Gunther lopping and
Stephen Trier, Universal Edition, London, 1987. This collection of exercises,
solos and duets is a valuable addition to any clarinettist's music library,
aiming to improve a student's technique in the middle and lower register in
the easier keys for the clarinet. Set in chronological order they are of a
varying standard of difficulty, and stylistically range from Telemann to the
late romantic period. Although much of the material is familar to clarinet
teachers the collection contains many of the best clarinet studies written
for the developing student. A welcome addition to the teaching material for
the clarinet as a supplement to existing tutors at the grade 4 to 6 level.
8787
Andrew
Frank, Rhapsody IV for Clarinet, Mobart Music Publications, New York, 1987.
A rhythmically and technically difficult piece for the advanced player, Rhapsody
IV offers rewards only after serious study. In the modern idiom, this one
movement work requires the performer's complete concentration to successfully
master the varying dynamic contrasts and the extended range. The composer
has taken considerable pains to indicate the exact dynamic and rhythmic requirements
and the subtle tempo variations. Overall the piece is well structured with
a number of reflective and calmer passages interspersed with louder and more
vigorous
sections which incorporate wide leaps and handfuls of grace notes. Eberhard
Werdin, Impressionen, for Solo Clarinet in B flat, Doblinger, Vienna, 1987.
This suite of six pieces for the moderately advanced player offers a number
of contrasting styles from a Burlesque to a snatch of the Minuet from Dvorak's
Wind Serenade. Challenging in places, they are rewarding to perform. In the
contemporary idiom they are well written for the instrument, displaying spirited
staccato playing and soft legato passages. z</full_text></body></SAGEmeta></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>Music</title></titleInfo><titleInfo type="alternative"><title>Music</title></titleInfo><name type="personal"><namePart type="given">Glyn</namePart><namePart type="family">Marillier</namePart><role><roleTerm type="text">author</roleTerm></role></name><name type="personal"><namePart type="given">Gil</namePart><namePart type="family">Sullivan</namePart><role><roleTerm type="text">author</roleTerm></role></name><name type="personal"><namePart type="given">Graham</namePart><namePart type="family">Wood</namePart><role><roleTerm type="text">author</roleTerm></role></name><name type="personal"><namePart type="given">Leonard</namePart><namePart type="family">Regnier</namePart><role><roleTerm type="text">author</roleTerm></role></name><name type="personal"><namePart type="given">Peter</namePart><namePart type="family">Sundman</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="other" displayLabel="Other" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-7474895G-0">other</genre><originInfo><publisher>Sage Publications</publisher><place><placeTerm type="text">Sage CA: Thousand Oaks, CA</placeTerm></place><dateIssued encoding="w3cdtf">1988</dateIssued><copyrightDate encoding="w3cdtf">1988</copyrightDate></originInfo><relatedItem type="host"><titleInfo><title>International Journal of Music Education</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><originInfo><publisher>Sage</publisher></originInfo><part><date>1988</date><detail type="volume"><caption>vol.</caption><number>11</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>79</start><end>87</end></extent></part><identifier type="ISSN">0255-7614</identifier></relatedItem><identifier type="istex">A4A45222DFB288F61B9667CFF2B3169B78B8519C</identifier><identifier type="ark">ark:/67375/M70-6XXWDX3J-N</identifier><identifier type="DOI">10.1177/025576148801100113</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource><recordOrigin>Sage Publications</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/A4A45222DFB288F61B9667CFF2B3169B78B8519C/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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