Épisode quatrième; pour saxophone ténor seul by Betsy Jolas; Approche de la musiquecontemporaine: 15 mosaïques pour saxophone alto Mi♭ by Hubert Prati; Calligramme poursaxophone seul; alto et soprano successifs by Thérèse Brenet; Canzona; Solo Clarinet by DennisRileyReview by: Jerome RosenNotes, Second Series, Vol. 44, No. 3 (Mar., 1988), pp. 587-588Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/941555 .

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Music Reviews Music Reviews

of antiphonal passages at a variety of dy- namic levels. Fitzgerald has provided am- ple cues in the parts, and this, given the modest ranges and key, makes this publi- cation admirably suited for high school students. However, advanced players will also enjoy the musical worth of Hassler's Venetian-style setting of Luther's familiar chorale.

Arthur Frackenpohl's three transcrip- tions for double brass quintet were re- corded by the Canadian Brass and the Ber- lin Philharmonic Brass, and certainly re- flect the virtuosity and flair one has come to expect from these ensembles. In the In Nomine, Frackenpohl has skillfully wrought Gibbons's seamless, five-part string texture into one that alternates two wind quintets. Ordinarily, this sort of thing seems rather pointless, but the endurance demanded by English viol music when transcribed for brass leads plausibly to this solution. The alternation between quintets is dovetailed adroitly, and the overall effect is quite ac- ceptable. Range considerations will limit this transcription to adept college students and professionals: trumpets, trombone, and tuba parts all include lines that move through written high C's. The horn has similar de- mands, and the change to piccolo trumpet that enhances a smashing ending calls for a high F. The trumpets in Quintet II are in C, with no substitute Bb parts, and both trombone parts are written in tenor clef.

Palestrina's polychoral Jubilate Deo is an eight-part, double-choir motet, and its ar- rangement for two brass quintets occasion- ally produces for the low brass the oft- despised doubling of the bass line. Frackenpohl wisely avoids much of this by the simple expedient of dropping a trum- pet or tuba, thereby not only avoiding the players' getting bored, but also gaining valuable textural contrast. The ranges are modest, trombone parts are in bass clef, and, except for requiring C trumpets, this ar- rangement can reasonably be played by high school students.

Frackenpohl's transcription of Lasso's Echo Song is an even briefer composition (under two minutes in duration), but its delightful rapid alternation of rhythmic gestures is certain to be a crowd pleaser. The double-quartet texture is handled sim- ilarly to that of Jubilate Deo, and its acces- sibility to students makes it a sure bet for most brass ensembles.

All three of the foregoing arrangements

of antiphonal passages at a variety of dy- namic levels. Fitzgerald has provided am- ple cues in the parts, and this, given the modest ranges and key, makes this publi- cation admirably suited for high school students. However, advanced players will also enjoy the musical worth of Hassler's Venetian-style setting of Luther's familiar chorale.

Arthur Frackenpohl's three transcrip- tions for double brass quintet were re- corded by the Canadian Brass and the Ber- lin Philharmonic Brass, and certainly re- flect the virtuosity and flair one has come to expect from these ensembles. In the In Nomine, Frackenpohl has skillfully wrought Gibbons's seamless, five-part string texture into one that alternates two wind quintets. Ordinarily, this sort of thing seems rather pointless, but the endurance demanded by English viol music when transcribed for brass leads plausibly to this solution. The alternation between quintets is dovetailed adroitly, and the overall effect is quite ac- ceptable. Range considerations will limit this transcription to adept college students and professionals: trumpets, trombone, and tuba parts all include lines that move through written high C's. The horn has similar de- mands, and the change to piccolo trumpet that enhances a smashing ending calls for a high F. The trumpets in Quintet II are in C, with no substitute Bb parts, and both trombone parts are written in tenor clef.

Palestrina's polychoral Jubilate Deo is an eight-part, double-choir motet, and its ar- rangement for two brass quintets occasion- ally produces for the low brass the oft- despised doubling of the bass line. Frackenpohl wisely avoids much of this by the simple expedient of dropping a trum- pet or tuba, thereby not only avoiding the players' getting bored, but also gaining valuable textural contrast. The ranges are modest, trombone parts are in bass clef, and, except for requiring C trumpets, this ar- rangement can reasonably be played by high school students.

Frackenpohl's transcription of Lasso's Echo Song is an even briefer composition (under two minutes in duration), but its delightful rapid alternation of rhythmic gestures is certain to be a crowd pleaser. The double-quartet texture is handled sim- ilarly to that of Jubilate Deo, and its acces- sibility to students makes it a sure bet for most brass ensembles.

All three of the foregoing arrangements

are published as photocopies of manu- scripts. The parts are clear, large, and quite legible. Unfortunately, the accompanying scores-minuscule, faint reductions of the originals-are practically unreadable. This is a small matter in the case of the In Nom- ine, since players of the caliber required to perform the composition probably wouldn't need a conductor anyway. But many groups playing the other two works may realisti- cally need a conductor, and the scores pro- vided could not be used. In any event, all three transcriptions are fine additions to the repertoire for double brass quintet.

WILLIAM E. RUNYAN Colorado State University

Betsy Jolas. Episode quatrieme; pour saxophone tenor seul. Paris: Leduc (Presser), 1984. [6 p.; $6.50.]

Hubert Prati. Approche de la mu- sique contemporaine: 15 mosaiques pour saxophone alto Mi. Paris: Bil- laudot (Presser), 1985. [27 p.; $9.50.]

Therese Brenet. Calligramme pour saxophone seul; alto et soprano suc- cessifs. Paris: Billaudot (Presser), 1985. [11 p.; $6.75.]

Dennis Riley. Canzona; solo clarinet. New York: Peters, 1985. [4 p.; $5.00.]

Betsy Jolas, Professor of Composition at the National Conservatory of Music in Paris, has turned her attention to the saxophone. Her Episode quatrieme for unaccompanied tenor saxophone explores many of the new performance techniques that have been developed by adventuresome instrumen- talists in recent years. She calls for circular breathing, multiphonics, alternate finger- ings for timbral and microtonal pitch vari- ations, extended high register, and singing while playing. These effects are heard as logical details in a long (8'15") and richly detailed melodic line which, for all its ap- parent freedom, is a carefully controlled and beautifully shaped arch-form. During the course of the piece repeated or extended pitches give structural support to more ac- tive sections. The score is carefully edited so that the performer might know at every point what is intended. Explanatory com- ments are given in French; no English translation is provided.

are published as photocopies of manu- scripts. The parts are clear, large, and quite legible. Unfortunately, the accompanying scores-minuscule, faint reductions of the originals-are practically unreadable. This is a small matter in the case of the In Nom- ine, since players of the caliber required to perform the composition probably wouldn't need a conductor anyway. But many groups playing the other two works may realisti- cally need a conductor, and the scores pro- vided could not be used. In any event, all three transcriptions are fine additions to the repertoire for double brass quintet.

WILLIAM E. RUNYAN Colorado State University

Betsy Jolas. Episode quatrieme; pour saxophone tenor seul. Paris: Leduc (Presser), 1984. [6 p.; $6.50.]

Hubert Prati. Approche de la mu- sique contemporaine: 15 mosaiques pour saxophone alto Mi. Paris: Bil- laudot (Presser), 1985. [27 p.; $9.50.]

Therese Brenet. Calligramme pour saxophone seul; alto et soprano suc- cessifs. Paris: Billaudot (Presser), 1985. [11 p.; $6.75.]

Dennis Riley. Canzona; solo clarinet. New York: Peters, 1985. [4 p.; $5.00.]

Betsy Jolas, Professor of Composition at the National Conservatory of Music in Paris, has turned her attention to the saxophone. Her Episode quatrieme for unaccompanied tenor saxophone explores many of the new performance techniques that have been developed by adventuresome instrumen- talists in recent years. She calls for circular breathing, multiphonics, alternate finger- ings for timbral and microtonal pitch vari- ations, extended high register, and singing while playing. These effects are heard as logical details in a long (8'15") and richly detailed melodic line which, for all its ap- parent freedom, is a carefully controlled and beautifully shaped arch-form. During the course of the piece repeated or extended pitches give structural support to more ac- tive sections. The score is carefully edited so that the performer might know at every point what is intended. Explanatory com- ments are given in French; no English translation is provided.

587 587

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MLA Notes, March 1988 MLA Notes, March 1988

Hubert Prati's 15 Mosaiques for unac- companied alto saxophone and Therese Brenet's Calligramme for unaccompanied alto and unaccompanied soprano saxophone have also arrived recently from France. Like the Jolas work, these pieces feature re- cently-developed performance tech- niques. As compositions neither is so sub- stantial as the Jolas, but each works well as a study piece for saxophonists who wish to extend their technique beyond the here- tofore standard range. Both come in well- printed editions that include fingering dia- grams and explanatory notes-again in untranslated French.

Perhaps Dennis Riley's penchant for writing very short pieces comes from his early interest in the music of Webern. Few of Riley's published works last longer than ten minutes; many of them are in the three- to six-minute range. Indeed his entire Six Canonic Variations for piano is one minute long. But like Webern he knows how to pack a lot of music into a brief time-span. A case in point is his four-and-a-half-minute Can- zona for solo clarinet which, however short, sounds fully developed and expansively lyrical. Like Webern, Riley eschews wasted motion. Every note counts and every ges- ture is enriched by manifold relationships. Also like Webern, he has a sure sense of proportion. Which is not to say that his music sounds like Webern's-whatever he may have learned from the Viennese mas- ter has been thoroughly absorbed into his own personal style. That style is outgoing, flowing, and-as noted above-lyrical. A four-note group which begins the piece generates the entire work, as the group is expanded and developed through pitch reference, melodic shape, and rhythmic configuration; this procedure suggests so- phisticated serial operations. While the writing is idiomatic, there are passages that might challenge even fine clarinetists. The musical qualities of this work should make the challenges worth the effort.

JEROME ROSEN University of California, Davis

Serge Lancen. Sonate; pour contre- basse en ut ou en re et piano. Paris: Billaudot (Presser), 1984. [Score, 27 p., and part; $12.75.]

Hubert Prati's 15 Mosaiques for unac- companied alto saxophone and Therese Brenet's Calligramme for unaccompanied alto and unaccompanied soprano saxophone have also arrived recently from France. Like the Jolas work, these pieces feature re- cently-developed performance tech- niques. As compositions neither is so sub- stantial as the Jolas, but each works well as a study piece for saxophonists who wish to extend their technique beyond the here- tofore standard range. Both come in well- printed editions that include fingering dia- grams and explanatory notes-again in untranslated French.

Perhaps Dennis Riley's penchant for writing very short pieces comes from his early interest in the music of Webern. Few of Riley's published works last longer than ten minutes; many of them are in the three- to six-minute range. Indeed his entire Six Canonic Variations for piano is one minute long. But like Webern he knows how to pack a lot of music into a brief time-span. A case in point is his four-and-a-half-minute Can- zona for solo clarinet which, however short, sounds fully developed and expansively lyrical. Like Webern, Riley eschews wasted motion. Every note counts and every ges- ture is enriched by manifold relationships. Also like Webern, he has a sure sense of proportion. Which is not to say that his music sounds like Webern's-whatever he may have learned from the Viennese mas- ter has been thoroughly absorbed into his own personal style. That style is outgoing, flowing, and-as noted above-lyrical. A four-note group which begins the piece generates the entire work, as the group is expanded and developed through pitch reference, melodic shape, and rhythmic configuration; this procedure suggests so- phisticated serial operations. While the writing is idiomatic, there are passages that might challenge even fine clarinetists. The musical qualities of this work should make the challenges worth the effort.

JEROME ROSEN University of California, Davis

Serge Lancen. Sonate; pour contre- basse en ut ou en re et piano. Paris: Billaudot (Presser), 1984. [Score, 27 p., and part; $12.75.]

Bertold Hummel. Sonatine; fur Kon- trabass und Klavier, op. 69b. Ham- burg: Simrock (Presser), 1984. [Score, 16 p., and part; $13.75.]

The Sonata for contrabass (in C or in D) and piano by French composer Serge Lan- cen (b. 1922) is a rare publication in that it solves the page-turning problem-and this is a real plus! On the other hand the eleven lines of music per page in the contrabass part produce a compressed page with smaller notes that are hard to read. This is probably the way the page-turning prob- lem was solved, so the publisher made a decision.

Lancen is a fine pianist who has worked with prominent European bassists Yoan Gorlav, Pierre Hellouin, and Jean Marc Rollez. The contrabass writing utilizes all four strings-a happy difference from the compositions of most of Lancen's Euro- pean contemporaries, who seem to write for three-string instruments. From the deep dark luminescence of the low register to the tenor-baritone middle range to the reso- nantly ringing natural harmonics, Lancen uses the enormous range of this often mis- understood instrument with consummate mastery.

This attractive sonata is highlighted by an excellent balance between the bass and piano. The clarity of the instrumental cou- pling brings out the wide range of com- positional influences which make this ec- lectic piece work so well. Echoes of Debussy, Rachmaninov, Francaix, Dvofrk, Bloch, and Ginastera combine to make a tasty musical bouillabaisse.

This "old wine in old bottles" sonata was composed in 1984. If Lancen could have varied the length of his phrases (he seems obsessed with the four-bar phrase) and been a bit less predictable and repetitious, this might have been the best contrabass and piano sonata published this season.

Bertold Hummel's excellently produced Sonatine, op. 69b, for contrabass and piano employs orchestral tuning for the bass- most unusual for a Simrock publication, as Germany is one of the strongholds of the traditional scordatura. Have Hummel and Simrock been listening to Yorke Edition of London, the champions of orchestral tun- ing? It would be grand to think so, but I'd speculate that the tuning has to do with the

Bertold Hummel. Sonatine; fur Kon- trabass und Klavier, op. 69b. Ham- burg: Simrock (Presser), 1984. [Score, 16 p., and part; $13.75.]

The Sonata for contrabass (in C or in D) and piano by French composer Serge Lan- cen (b. 1922) is a rare publication in that it solves the page-turning problem-and this is a real plus! On the other hand the eleven lines of music per page in the contrabass part produce a compressed page with smaller notes that are hard to read. This is probably the way the page-turning prob- lem was solved, so the publisher made a decision.

Lancen is a fine pianist who has worked with prominent European bassists Yoan Gorlav, Pierre Hellouin, and Jean Marc Rollez. The contrabass writing utilizes all four strings-a happy difference from the compositions of most of Lancen's Euro- pean contemporaries, who seem to write for three-string instruments. From the deep dark luminescence of the low register to the tenor-baritone middle range to the reso- nantly ringing natural harmonics, Lancen uses the enormous range of this often mis- understood instrument with consummate mastery.

This attractive sonata is highlighted by an excellent balance between the bass and piano. The clarity of the instrumental cou- pling brings out the wide range of com- positional influences which make this ec- lectic piece work so well. Echoes of Debussy, Rachmaninov, Francaix, Dvofrk, Bloch, and Ginastera combine to make a tasty musical bouillabaisse.

This "old wine in old bottles" sonata was composed in 1984. If Lancen could have varied the length of his phrases (he seems obsessed with the four-bar phrase) and been a bit less predictable and repetitious, this might have been the best contrabass and piano sonata published this season.

Bertold Hummel's excellently produced Sonatine, op. 69b, for contrabass and piano employs orchestral tuning for the bass- most unusual for a Simrock publication, as Germany is one of the strongholds of the traditional scordatura. Have Hummel and Simrock been listening to Yorke Edition of London, the champions of orchestral tun- ing? It would be grand to think so, but I'd speculate that the tuning has to do with the

588 588

This content downloaded from 188.72.127.150 on Sun, 15 Jun 2014 13:52:21 PMAll use subject to JSTOR Terms and Conditions