Sérénade, pour quintette à vent solo et orchestre à cordes, xylophone, harpe ou piano, ou pourquintette à vent et piano by Karel HusaReview by: Richard A. MonacoNotes, Second Series, Vol. 23, No. 4 (Jun., 1967), p. 833Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/894321 .

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formance duration is given as about eighteen minutes. The instrumental writ- ing is not difficult, with rhythmic patterns being quite traditional throughout. The one exception is the brass writing of the "Fugue," where all three players are given very rapid patterns which for the most part double the strings. One hopes that performances will be of the complete unit, for this work is expressive and concise, varied yet consistent.

BRUCE ARCHIBALD Amherst College

Aaron Copland: Music for a Great

City. [3333-4331-timp., perc.-harp- piano-str.] (Hawkes Pocket Scores, No. 769.) New York: Boosey & Hawkes, 1965. [Min. score, 100 p., $5.50]

If our critics were not obsessed with the unique, and our audiences with the familiar, this genre of music might be standard fare on our concert programs (no festivals, no ballyhoo). Music For A Great City is symphonic in structure and scope (short for Copland, long for those who eschew themes, development, recapitula- tion). It is in four movements, each of which has a programmatic title.

The materials of the first movement are typical of Copland. One finds pentatonic motives in complex polychordal surround- ings which vaguely suggest Westminster Chimes; there are major scales, and thirds and fourths dominate the melodic struc- ture. There is much use made of jazz rhythms, chattering sounds in woodwinds made up of parallel clusters, and wonder- fully sonorous writing for brass which is reminiscent of the Third Symphony.

In sharp contrast to the joyful noise of the first movement, "Night Thoughts" is lyrical, and it is related to the last move- ment of his Piano Quartet in both the melodic style and the simple, quietly mov- ing rhythms. The third movement, aptly titled "Subway Jam," is scored for brass, percussion, woodwinds, and double basses; it is essentially percussive with dissonant, acrid chords, played by the winds, punctu- ating the evocative noise of a large battery of percussion. It is not for the tender-eared listener; in any event it is short, but it is not sweet.

The thematic material of the opening

formance duration is given as about eighteen minutes. The instrumental writ- ing is not difficult, with rhythmic patterns being quite traditional throughout. The one exception is the brass writing of the "Fugue," where all three players are given very rapid patterns which for the most part double the strings. One hopes that performances will be of the complete unit, for this work is expressive and concise, varied yet consistent.

BRUCE ARCHIBALD Amherst College

Aaron Copland: Music for a Great

City. [3333-4331-timp., perc.-harp- piano-str.] (Hawkes Pocket Scores, No. 769.) New York: Boosey & Hawkes, 1965. [Min. score, 100 p., $5.50]

If our critics were not obsessed with the unique, and our audiences with the familiar, this genre of music might be standard fare on our concert programs (no festivals, no ballyhoo). Music For A Great City is symphonic in structure and scope (short for Copland, long for those who eschew themes, development, recapitula- tion). It is in four movements, each of which has a programmatic title.

The materials of the first movement are typical of Copland. One finds pentatonic motives in complex polychordal surround- ings which vaguely suggest Westminster Chimes; there are major scales, and thirds and fourths dominate the melodic struc- ture. There is much use made of jazz rhythms, chattering sounds in woodwinds made up of parallel clusters, and wonder- fully sonorous writing for brass which is reminiscent of the Third Symphony.

In sharp contrast to the joyful noise of the first movement, "Night Thoughts" is lyrical, and it is related to the last move- ment of his Piano Quartet in both the melodic style and the simple, quietly mov- ing rhythms. The third movement, aptly titled "Subway Jam," is scored for brass, percussion, woodwinds, and double basses; it is essentially percussive with dissonant, acrid chords, played by the winds, punctu- ating the evocative noise of a large battery of percussion. It is not for the tender-eared listener; in any event it is short, but it is not sweet.

The thematic material of the opening

formance duration is given as about eighteen minutes. The instrumental writ- ing is not difficult, with rhythmic patterns being quite traditional throughout. The one exception is the brass writing of the "Fugue," where all three players are given very rapid patterns which for the most part double the strings. One hopes that performances will be of the complete unit, for this work is expressive and concise, varied yet consistent.

BRUCE ARCHIBALD Amherst College

Aaron Copland: Music for a Great

City. [3333-4331-timp., perc.-harp- piano-str.] (Hawkes Pocket Scores, No. 769.) New York: Boosey & Hawkes, 1965. [Min. score, 100 p., $5.50]

If our critics were not obsessed with the unique, and our audiences with the familiar, this genre of music might be standard fare on our concert programs (no festivals, no ballyhoo). Music For A Great City is symphonic in structure and scope (short for Copland, long for those who eschew themes, development, recapitula- tion). It is in four movements, each of which has a programmatic title.

The materials of the first movement are typical of Copland. One finds pentatonic motives in complex polychordal surround- ings which vaguely suggest Westminster Chimes; there are major scales, and thirds and fourths dominate the melodic struc- ture. There is much use made of jazz rhythms, chattering sounds in woodwinds made up of parallel clusters, and wonder- fully sonorous writing for brass which is reminiscent of the Third Symphony.

In sharp contrast to the joyful noise of the first movement, "Night Thoughts" is lyrical, and it is related to the last move- ment of his Piano Quartet in both the melodic style and the simple, quietly mov- ing rhythms. The third movement, aptly titled "Subway Jam," is scored for brass, percussion, woodwinds, and double basses; it is essentially percussive with dissonant, acrid chords, played by the winds, punctu- ating the evocative noise of a large battery of percussion. It is not for the tender-eared listener; in any event it is short, but it is not sweet.

The thematic material of the opening

formance duration is given as about eighteen minutes. The instrumental writ- ing is not difficult, with rhythmic patterns being quite traditional throughout. The one exception is the brass writing of the "Fugue," where all three players are given very rapid patterns which for the most part double the strings. One hopes that performances will be of the complete unit, for this work is expressive and concise, varied yet consistent.

BRUCE ARCHIBALD Amherst College

Aaron Copland: Music for a Great

City. [3333-4331-timp., perc.-harp- piano-str.] (Hawkes Pocket Scores, No. 769.) New York: Boosey & Hawkes, 1965. [Min. score, 100 p., $5.50]

If our critics were not obsessed with the unique, and our audiences with the familiar, this genre of music might be standard fare on our concert programs (no festivals, no ballyhoo). Music For A Great City is symphonic in structure and scope (short for Copland, long for those who eschew themes, development, recapitula- tion). It is in four movements, each of which has a programmatic title.

The materials of the first movement are typical of Copland. One finds pentatonic motives in complex polychordal surround- ings which vaguely suggest Westminster Chimes; there are major scales, and thirds and fourths dominate the melodic struc- ture. There is much use made of jazz rhythms, chattering sounds in woodwinds made up of parallel clusters, and wonder- fully sonorous writing for brass which is reminiscent of the Third Symphony.

In sharp contrast to the joyful noise of the first movement, "Night Thoughts" is lyrical, and it is related to the last move- ment of his Piano Quartet in both the melodic style and the simple, quietly mov- ing rhythms. The third movement, aptly titled "Subway Jam," is scored for brass, percussion, woodwinds, and double basses; it is essentially percussive with dissonant, acrid chords, played by the winds, punctu- ating the evocative noise of a large battery of percussion. It is not for the tender-eared listener; in any event it is short, but it is not sweet.

The thematic material of the opening

of the last movement is so very different from that of the preceding movements that it seems to be not so much a new move- ment as a new piece; the composer's rela- tively recent preoccupation with serialism seems to have come to the fore. Approxi- mately half way through the movement, however, the themes and textures of the first movement return, and the piece con- cludes as it began. Let us hope that it is programmed with the frequency that it deserves.

Karel Husa: Serenade, pour quintette A vent solo et orchestre A cordes, xylo- phone, harpe ou piano, ou pour quin- tette i vent et piano. Paris: Alphonse Leduc, 1966. [Min. score, 57 p., $5.85]

Readers familiar with Husa's orchestral wizardry will welcome this new work. It is in three movements: "La montagne," "La nuit," "La danse." All elements of pitch, textural density, rhythm, and tem- po, as well as thematic material, contribute to the welcome formal clarity of each movement. The work is tonal but com- plex; the harmony is dissonant and serves as a foil for the melody, which ranges from the extremely chromatic to short phrases of folk material (presumably Czechoslo- vakian). The writing for winds is com- pletely idiomatic, and it calls for per- formers of great skill; the string parts, while less demanding, are written with obviously complete knowledge of the coloristic range of the medium. It was first performed by the Baltimore Sym- phony Orchestra with the Wind Quintet of the same orchestra as soloists. It should be a frequently performed work, not only by major orchestras, but also by good community or conservatory orchestras which have the services of faculty or pro- fessional quintets available to them.

Variations on a Theme of Zoltan Ko- daly, composed and dedicated to their master on his 80th birthday by Antal Dorati, Geza Frid, Oedoen Partos, Ti- bor Serly, Sandor Veress, his grateful pupils. [3333-4331-timp., perc.-harp- piano-str.] (Hawkes Pocket Scores, No.

772.) New York: Boosey & Hawkes, 1965. [Min. score, 99 p., $4.00]

of the last movement is so very different from that of the preceding movements that it seems to be not so much a new move- ment as a new piece; the composer's rela- tively recent preoccupation with serialism seems to have come to the fore. Approxi- mately half way through the movement, however, the themes and textures of the first movement return, and the piece con- cludes as it began. Let us hope that it is programmed with the frequency that it deserves.

Karel Husa: Serenade, pour quintette A vent solo et orchestre A cordes, xylo- phone, harpe ou piano, ou pour quin- tette i vent et piano. Paris: Alphonse Leduc, 1966. [Min. score, 57 p., $5.85]

Readers familiar with Husa's orchestral wizardry will welcome this new work. It is in three movements: "La montagne," "La nuit," "La danse." All elements of pitch, textural density, rhythm, and tem- po, as well as thematic material, contribute to the welcome formal clarity of each movement. The work is tonal but com- plex; the harmony is dissonant and serves as a foil for the melody, which ranges from the extremely chromatic to short phrases of folk material (presumably Czechoslo- vakian). The writing for winds is com- pletely idiomatic, and it calls for per- formers of great skill; the string parts, while less demanding, are written with obviously complete knowledge of the coloristic range of the medium. It was first performed by the Baltimore Sym- phony Orchestra with the Wind Quintet of the same orchestra as soloists. It should be a frequently performed work, not only by major orchestras, but also by good community or conservatory orchestras which have the services of faculty or pro- fessional quintets available to them.

Variations on a Theme of Zoltan Ko- daly, composed and dedicated to their master on his 80th birthday by Antal Dorati, Geza Frid, Oedoen Partos, Ti- bor Serly, Sandor Veress, his grateful pupils. [3333-4331-timp., perc.-harp- piano-str.] (Hawkes Pocket Scores, No.

772.) New York: Boosey & Hawkes, 1965. [Min. score, 99 p., $4.00]

of the last movement is so very different from that of the preceding movements that it seems to be not so much a new move- ment as a new piece; the composer's rela- tively recent preoccupation with serialism seems to have come to the fore. Approxi- mately half way through the movement, however, the themes and textures of the first movement return, and the piece con- cludes as it began. Let us hope that it is programmed with the frequency that it deserves.

Karel Husa: Serenade, pour quintette A vent solo et orchestre A cordes, xylo- phone, harpe ou piano, ou pour quin- tette i vent et piano. Paris: Alphonse Leduc, 1966. [Min. score, 57 p., $5.85]

Readers familiar with Husa's orchestral wizardry will welcome this new work. It is in three movements: "La montagne," "La nuit," "La danse." All elements of pitch, textural density, rhythm, and tem- po, as well as thematic material, contribute to the welcome formal clarity of each movement. The work is tonal but com- plex; the harmony is dissonant and serves as a foil for the melody, which ranges from the extremely chromatic to short phrases of folk material (presumably Czechoslo- vakian). The writing for winds is com- pletely idiomatic, and it calls for per- formers of great skill; the string parts, while less demanding, are written with obviously complete knowledge of the coloristic range of the medium. It was first performed by the Baltimore Sym- phony Orchestra with the Wind Quintet of the same orchestra as soloists. It should be a frequently performed work, not only by major orchestras, but also by good community or conservatory orchestras which have the services of faculty or pro- fessional quintets available to them.

Variations on a Theme of Zoltan Ko- daly, composed and dedicated to their master on his 80th birthday by Antal Dorati, Geza Frid, Oedoen Partos, Ti- bor Serly, Sandor Veress, his grateful pupils. [3333-4331-timp., perc.-harp- piano-str.] (Hawkes Pocket Scores, No.

772.) New York: Boosey & Hawkes, 1965. [Min. score, 99 p., $4.00]

of the last movement is so very different from that of the preceding movements that it seems to be not so much a new move- ment as a new piece; the composer's rela- tively recent preoccupation with serialism seems to have come to the fore. Approxi- mately half way through the movement, however, the themes and textures of the first movement return, and the piece con- cludes as it began. Let us hope that it is programmed with the frequency that it deserves.

Karel Husa: Serenade, pour quintette A vent solo et orchestre A cordes, xylo- phone, harpe ou piano, ou pour quin- tette i vent et piano. Paris: Alphonse Leduc, 1966. [Min. score, 57 p., $5.85]

Readers familiar with Husa's orchestral wizardry will welcome this new work. It is in three movements: "La montagne," "La nuit," "La danse." All elements of pitch, textural density, rhythm, and tem- po, as well as thematic material, contribute to the welcome formal clarity of each movement. The work is tonal but com- plex; the harmony is dissonant and serves as a foil for the melody, which ranges from the extremely chromatic to short phrases of folk material (presumably Czechoslo- vakian). The writing for winds is com- pletely idiomatic, and it calls for per- formers of great skill; the string parts, while less demanding, are written with obviously complete knowledge of the coloristic range of the medium. It was first performed by the Baltimore Sym- phony Orchestra with the Wind Quintet of the same orchestra as soloists. It should be a frequently performed work, not only by major orchestras, but also by good community or conservatory orchestras which have the services of faculty or pro- fessional quintets available to them.

Variations on a Theme of Zoltan Ko- daly, composed and dedicated to their master on his 80th birthday by Antal Dorati, Geza Frid, Oedoen Partos, Ti- bor Serly, Sandor Veress, his grateful pupils. [3333-4331-timp., perc.-harp- piano-str.] (Hawkes Pocket Scores, No.

772.) New York: Boosey & Hawkes, 1965. [Min. score, 99 p., $4.00]

833 833 833 833

This content downloaded from 185.44.79.40 on Sun, 15 Jun 2014 20:43:25 PMAll use subject to JSTOR Terms and Conditions