Incantation and Dance, for violin and piano by Dai-Keong Lee; Patricia TraversReview by: Abram LoftNotes, Second Series, Vol. 8, No. 1 (Dec., 1950), p. 141Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/890317 .

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per il S. Natale. The "ad arbitrio" would seem to indicate that the composer in- tended the obligato instruments to be played either as a trio or as concertino parts in a concerto grosso. By the very nature of the writing, however, the omis- sion of the full body of instruments of the orchestral tutti in the trio version is unmistakably felt. The music becomes somewhat meaningless without this con- trast. While the editor approximates the effect of alternate soli and tutti by dynamic change and reinforcement of the bass line in his piano part, the piece does fare much better in its orchestral form. If more Baroque trio music is to be published, why not give us some of the finer examples of the hundreds of genuine trio sonatas of the period? Here there is a great body of excellent chamber music relatively unknown.

Dr. Paumgartner has done a careful editorial job, adding only essential dy- namic indications and bowings. There are some slight inconsistencies and omis- sions but these are obviously the result of inadequate proof-reading. The edition is attractive enough in cover design and general appearance even if it leaves much to be desired from the point of view of music printing and lettering. For ex- ample, in both score and parts, measure numbers and crescendo, tutti and solo indications are so small they can scarcely be read. Yet these are minor considera- tions; more important is the quality of the music. We can think of numerous works of the time that are more deserv- ing of attention than this Concerto of Manfredini. The series Violinmusik des Barock of which it is a part, includes concertos by Gluck, Tartini, and Vivaldi, as well as three sonatas by Pietro degli Antonii, which should prove more inter- esting. SIDNEY BECK

Henry Cowell: How Old Is Song, for violin and piano. New York: Peer Inter- national Corporation, 1950. [Score, 2 p., and part, 1 p., $.50]

The flavor of the tender, unpretentious melody and harmonization of this piece seems to suggest "nineteenth century" as an answer to the title. Of special appeal

per il S. Natale. The "ad arbitrio" would seem to indicate that the composer in- tended the obligato instruments to be played either as a trio or as concertino parts in a concerto grosso. By the very nature of the writing, however, the omis- sion of the full body of instruments of the orchestral tutti in the trio version is unmistakably felt. The music becomes somewhat meaningless without this con- trast. While the editor approximates the effect of alternate soli and tutti by dynamic change and reinforcement of the bass line in his piano part, the piece does fare much better in its orchestral form. If more Baroque trio music is to be published, why not give us some of the finer examples of the hundreds of genuine trio sonatas of the period? Here there is a great body of excellent chamber music relatively unknown.

Dr. Paumgartner has done a careful editorial job, adding only essential dy- namic indications and bowings. There are some slight inconsistencies and omis- sions but these are obviously the result of inadequate proof-reading. The edition is attractive enough in cover design and general appearance even if it leaves much to be desired from the point of view of music printing and lettering. For ex- ample, in both score and parts, measure numbers and crescendo, tutti and solo indications are so small they can scarcely be read. Yet these are minor considera- tions; more important is the quality of the music. We can think of numerous works of the time that are more deserv- ing of attention than this Concerto of Manfredini. The series Violinmusik des Barock of which it is a part, includes concertos by Gluck, Tartini, and Vivaldi, as well as three sonatas by Pietro degli Antonii, which should prove more inter- esting. SIDNEY BECK

Henry Cowell: How Old Is Song, for violin and piano. New York: Peer Inter- national Corporation, 1950. [Score, 2 p., and part, 1 p., $.50]

The flavor of the tender, unpretentious melody and harmonization of this piece seems to suggest "nineteenth century" as an answer to the title. Of special appeal

per il S. Natale. The "ad arbitrio" would seem to indicate that the composer in- tended the obligato instruments to be played either as a trio or as concertino parts in a concerto grosso. By the very nature of the writing, however, the omis- sion of the full body of instruments of the orchestral tutti in the trio version is unmistakably felt. The music becomes somewhat meaningless without this con- trast. While the editor approximates the effect of alternate soli and tutti by dynamic change and reinforcement of the bass line in his piano part, the piece does fare much better in its orchestral form. If more Baroque trio music is to be published, why not give us some of the finer examples of the hundreds of genuine trio sonatas of the period? Here there is a great body of excellent chamber music relatively unknown.

Dr. Paumgartner has done a careful editorial job, adding only essential dy- namic indications and bowings. There are some slight inconsistencies and omis- sions but these are obviously the result of inadequate proof-reading. The edition is attractive enough in cover design and general appearance even if it leaves much to be desired from the point of view of music printing and lettering. For ex- ample, in both score and parts, measure numbers and crescendo, tutti and solo indications are so small they can scarcely be read. Yet these are minor considera- tions; more important is the quality of the music. We can think of numerous works of the time that are more deserv- ing of attention than this Concerto of Manfredini. The series Violinmusik des Barock of which it is a part, includes concertos by Gluck, Tartini, and Vivaldi, as well as three sonatas by Pietro degli Antonii, which should prove more inter- esting. SIDNEY BECK

Henry Cowell: How Old Is Song, for violin and piano. New York: Peer Inter- national Corporation, 1950. [Score, 2 p., and part, 1 p., $.50]

The flavor of the tender, unpretentious melody and harmonization of this piece seems to suggest "nineteenth century" as an answer to the title. Of special appeal

per il S. Natale. The "ad arbitrio" would seem to indicate that the composer in- tended the obligato instruments to be played either as a trio or as concertino parts in a concerto grosso. By the very nature of the writing, however, the omis- sion of the full body of instruments of the orchestral tutti in the trio version is unmistakably felt. The music becomes somewhat meaningless without this con- trast. While the editor approximates the effect of alternate soli and tutti by dynamic change and reinforcement of the bass line in his piano part, the piece does fare much better in its orchestral form. If more Baroque trio music is to be published, why not give us some of the finer examples of the hundreds of genuine trio sonatas of the period? Here there is a great body of excellent chamber music relatively unknown.

Dr. Paumgartner has done a careful editorial job, adding only essential dy- namic indications and bowings. There are some slight inconsistencies and omis- sions but these are obviously the result of inadequate proof-reading. The edition is attractive enough in cover design and general appearance even if it leaves much to be desired from the point of view of music printing and lettering. For ex- ample, in both score and parts, measure numbers and crescendo, tutti and solo indications are so small they can scarcely be read. Yet these are minor considera- tions; more important is the quality of the music. We can think of numerous works of the time that are more deserv- ing of attention than this Concerto of Manfredini. The series Violinmusik des Barock of which it is a part, includes concertos by Gluck, Tartini, and Vivaldi, as well as three sonatas by Pietro degli Antonii, which should prove more inter- esting. SIDNEY BECK

Henry Cowell: How Old Is Song, for violin and piano. New York: Peer Inter- national Corporation, 1950. [Score, 2 p., and part, 1 p., $.50]

The flavor of the tender, unpretentious melody and harmonization of this piece seems to suggest "nineteenth century" as an answer to the title. Of special appeal

is the delicate color effect for which Cowell is so well known. The violin part is difficult only in that the player must catch the lyricism of the melody and bring out the shadings of its muted and unmuted passages; the technical prob- lems are moderate. The accompanist, on the other hand, has his work cut out for him, since the notes and chords of his part must be "swept along open strings," "plucked on strings," and "swept with back of nail."

Dai-Keong Lee: Incantation and Dance, for violin and piano. Violin part edited by Patricia Travers. New York: G. Schirmer, Inc., 1950. [Score, 13 p., and part, 3 p., $1.25]

Violinists who like to "dig in" when they play will enjoy this piece. The brief opening Incantation, for muted violin alone, is cast almost exclusively for the G-string, and calls for some meaty-though misterioso-playing from the performer. The full force of the work is unleashed in the Dance. Actually, this second section might better be called "chase," for in it the violin, abetted by a percussive piano, sets out in relent- less pursuit of the double-bar. With accents flying, the two instruments plunge through an assortment of 3/4, 3/8, 5/8, 7/8, and 4/4 measures, take breath briefly in a lyric middle section, sweep grandly over a series of ascending scale-passages, jolt on into a return of the opening material, and finally dash through a home-stretch coda for a fortis- simo-sforzando finish. Difficult.

Nicolas Nabokov: Canzone, for violin and piano. Violin part edited by Nathan Milstein. New York: Associated Music Publishers, Inc., 1950. [Score, 7 p., and part, 2 p., $1.25]

Nicolas Nabokov: Introduzione e Al- legro, for violin and piano. Violin part edited by Nathan Milstein. New York: Associated Music Publishers, Inc., 1950. [Score, 15 p., and part, 4 p., $1.50]

These two pieces will do for the lighter groups on violin programs. They are rest- ful and make no special demands on, or contribution to, the mind of the listener.

is the delicate color effect for which Cowell is so well known. The violin part is difficult only in that the player must catch the lyricism of the melody and bring out the shadings of its muted and unmuted passages; the technical prob- lems are moderate. The accompanist, on the other hand, has his work cut out for him, since the notes and chords of his part must be "swept along open strings," "plucked on strings," and "swept with back of nail."

Dai-Keong Lee: Incantation and Dance, for violin and piano. Violin part edited by Patricia Travers. New York: G. Schirmer, Inc., 1950. [Score, 13 p., and part, 3 p., $1.25]

Violinists who like to "dig in" when they play will enjoy this piece. The brief opening Incantation, for muted violin alone, is cast almost exclusively for the G-string, and calls for some meaty-though misterioso-playing from the performer. The full force of the work is unleashed in the Dance. Actually, this second section might better be called "chase," for in it the violin, abetted by a percussive piano, sets out in relent- less pursuit of the double-bar. With accents flying, the two instruments plunge through an assortment of 3/4, 3/8, 5/8, 7/8, and 4/4 measures, take breath briefly in a lyric middle section, sweep grandly over a series of ascending scale-passages, jolt on into a return of the opening material, and finally dash through a home-stretch coda for a fortis- simo-sforzando finish. Difficult.

Nicolas Nabokov: Canzone, for violin and piano. Violin part edited by Nathan Milstein. New York: Associated Music Publishers, Inc., 1950. [Score, 7 p., and part, 2 p., $1.25]

Nicolas Nabokov: Introduzione e Al- legro, for violin and piano. Violin part edited by Nathan Milstein. New York: Associated Music Publishers, Inc., 1950. [Score, 15 p., and part, 4 p., $1.50]

These two pieces will do for the lighter groups on violin programs. They are rest- ful and make no special demands on, or contribution to, the mind of the listener.

is the delicate color effect for which Cowell is so well known. The violin part is difficult only in that the player must catch the lyricism of the melody and bring out the shadings of its muted and unmuted passages; the technical prob- lems are moderate. The accompanist, on the other hand, has his work cut out for him, since the notes and chords of his part must be "swept along open strings," "plucked on strings," and "swept with back of nail."

Dai-Keong Lee: Incantation and Dance, for violin and piano. Violin part edited by Patricia Travers. New York: G. Schirmer, Inc., 1950. [Score, 13 p., and part, 3 p., $1.25]

Violinists who like to "dig in" when they play will enjoy this piece. The brief opening Incantation, for muted violin alone, is cast almost exclusively for the G-string, and calls for some meaty-though misterioso-playing from the performer. The full force of the work is unleashed in the Dance. Actually, this second section might better be called "chase," for in it the violin, abetted by a percussive piano, sets out in relent- less pursuit of the double-bar. With accents flying, the two instruments plunge through an assortment of 3/4, 3/8, 5/8, 7/8, and 4/4 measures, take breath briefly in a lyric middle section, sweep grandly over a series of ascending scale-passages, jolt on into a return of the opening material, and finally dash through a home-stretch coda for a fortis- simo-sforzando finish. Difficult.

Nicolas Nabokov: Canzone, for violin and piano. Violin part edited by Nathan Milstein. New York: Associated Music Publishers, Inc., 1950. [Score, 7 p., and part, 2 p., $1.25]

Nicolas Nabokov: Introduzione e Al- legro, for violin and piano. Violin part edited by Nathan Milstein. New York: Associated Music Publishers, Inc., 1950. [Score, 15 p., and part, 4 p., $1.50]

These two pieces will do for the lighter groups on violin programs. They are rest- ful and make no special demands on, or contribution to, the mind of the listener.

is the delicate color effect for which Cowell is so well known. The violin part is difficult only in that the player must catch the lyricism of the melody and bring out the shadings of its muted and unmuted passages; the technical prob- lems are moderate. The accompanist, on the other hand, has his work cut out for him, since the notes and chords of his part must be "swept along open strings," "plucked on strings," and "swept with back of nail."

Dai-Keong Lee: Incantation and Dance, for violin and piano. Violin part edited by Patricia Travers. New York: G. Schirmer, Inc., 1950. [Score, 13 p., and part, 3 p., $1.25]

Violinists who like to "dig in" when they play will enjoy this piece. The brief opening Incantation, for muted violin alone, is cast almost exclusively for the G-string, and calls for some meaty-though misterioso-playing from the performer. The full force of the work is unleashed in the Dance. Actually, this second section might better be called "chase," for in it the violin, abetted by a percussive piano, sets out in relent- less pursuit of the double-bar. With accents flying, the two instruments plunge through an assortment of 3/4, 3/8, 5/8, 7/8, and 4/4 measures, take breath briefly in a lyric middle section, sweep grandly over a series of ascending scale-passages, jolt on into a return of the opening material, and finally dash through a home-stretch coda for a fortis- simo-sforzando finish. Difficult.

Nicolas Nabokov: Canzone, for violin and piano. Violin part edited by Nathan Milstein. New York: Associated Music Publishers, Inc., 1950. [Score, 7 p., and part, 2 p., $1.25]

Nicolas Nabokov: Introduzione e Al- legro, for violin and piano. Violin part edited by Nathan Milstein. New York: Associated Music Publishers, Inc., 1950. [Score, 15 p., and part, 4 p., $1.50]

These two pieces will do for the lighter groups on violin programs. They are rest- ful and make no special demands on, or contribution to, the mind of the listener.

141 141 141 141

This content downloaded from 194.29.185.251 on Mon, 16 Jun 2014 09:05:56 AMAll use subject to JSTOR Terms and Conditions