Lieder eines fahrenden Gesellen; für Singstimme and Orchester by Gustav Mahler; MathiasHansenReview by: Jeffrey LangfordNotes, Second Series, Vol. 41, No. 4 (Jun., 1985), pp. 797-798Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/940902 .

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organum style, the sixth for two voices on a light registration, the seventh in three- voiced counterpoint, the eighth in canon with invertible counterpoint, and the final variation an extended toccata for manuals alone, its rhythmic interest gained by con- stantly changing meters concluding with added pedal and thicker textures for a sat- isfying conclusion. Since 1970 Weaver has been Director of Music at New York's Madison Avenue Presbyterian Church, and

organum style, the sixth for two voices on a light registration, the seventh in three- voiced counterpoint, the eighth in canon with invertible counterpoint, and the final variation an extended toccata for manuals alone, its rhythmic interest gained by con- stantly changing meters concluding with added pedal and thicker textures for a sat- isfying conclusion. Since 1970 Weaver has been Director of Music at New York's Madison Avenue Presbyterian Church, and

he has recorded both these attractive pieces on the 1962 Casavant organ there on The Sounds of MAPC (LP 520499) available from the church at 921 Madison Avenue, NYC 10021. The composer plays his music with unfailing skill and flair which will inspire other performers. Surely music librarians and organists will want to acquire these at- tractive scores.

LEONARD RAVER The Juilliard School

he has recorded both these attractive pieces on the 1962 Casavant organ there on The Sounds of MAPC (LP 520499) available from the church at 921 Madison Avenue, NYC 10021. The composer plays his music with unfailing skill and flair which will inspire other performers. Surely music librarians and organists will want to acquire these at- tractive scores.

LEONARD RAVER The Juilliard School

VOCAL AND CHORAL MUSIC VOCAL AND CHORAL MUSIC Gustav Mahler. Lieder eines fahren- den Gesellen; fur Singstimme and Orchester [3332; 423; timp.; perc.; harp; strings] Nach den Quellen hrsg. von Mathias Hansen. Leipzig: Peters, c1982. [Score, 84 p.; concluding re- marks in Eng., 3 p.; $25.00]

Lieder eines fahrenden Gesellen is the first of many song cycles and collections of songs that lie at the heart of Mahler's creative achievement. Like many of his later vocal works, this cycle exists in two forms: one for voice and piano, another for voice and orchestra. Both versions were first pub- lished in 1897 by Josef Weinberger of Vi- enna, although the actual date of compo- sition was close to 1884.

Since the autograph manuscript of the 1897 orchestral version of the Gesellen cycle has never been found, a truly critical edi- tion of this work is virtually impossible. Editions currently in circulation, including those from International, Eulenberg, Phil- harmonia, and Kalmus, are, therefore, lit- tle more than reprints of the original 1897 publication.

Unlike most of the earlier editions, the new Peters edition prints all four poems on separate pages at the front of the score. Unfortunately, these texts are full of errors of all kinds, ranging from simple typos to the omission of whole lines of verse in the third poem. Worse, the texts are accom- panied by English translations which can only be described as almost useless. This situation results from Peter's decision to use the old singing translation which first ap- peared in the 1924 Philharmonia edition. While this translation probably served well

Gustav Mahler. Lieder eines fahren- den Gesellen; fur Singstimme and Orchester [3332; 423; timp.; perc.; harp; strings] Nach den Quellen hrsg. von Mathias Hansen. Leipzig: Peters, c1982. [Score, 84 p.; concluding re- marks in Eng., 3 p.; $25.00]

Lieder eines fahrenden Gesellen is the first of many song cycles and collections of songs that lie at the heart of Mahler's creative achievement. Like many of his later vocal works, this cycle exists in two forms: one for voice and piano, another for voice and orchestra. Both versions were first pub- lished in 1897 by Josef Weinberger of Vi- enna, although the actual date of compo- sition was close to 1884.

Since the autograph manuscript of the 1897 orchestral version of the Gesellen cycle has never been found, a truly critical edi- tion of this work is virtually impossible. Editions currently in circulation, including those from International, Eulenberg, Phil- harmonia, and Kalmus, are, therefore, lit- tle more than reprints of the original 1897 publication.

Unlike most of the earlier editions, the new Peters edition prints all four poems on separate pages at the front of the score. Unfortunately, these texts are full of errors of all kinds, ranging from simple typos to the omission of whole lines of verse in the third poem. Worse, the texts are accom- panied by English translations which can only be described as almost useless. This situation results from Peter's decision to use the old singing translation which first ap- peared in the 1924 Philharmonia edition. While this translation probably served well

enough for performances of the work in English, it was never intended as a literal translation. The distortions in the meaning of the original German will only confuse the user.

Comments concerning the music itself must begin with the observation that this score, too, is based on the original 1897 edition. In fact, beyond the elimination of the English translation under the vocal part, the elimination of Italian translations of many of the original German expression marks, and the substitution of German for Italian in labeling the instruments of the orchestra, there is nothing really new in the current Peters edition. But its few distinc- tive features are important. In particular, the high quality of the engraving and the spaciousness of the printed layout will be greatly appreciated by performers.

The editor closes this volume with a "Nachwort," explaining some of the com- plex history of the work and its several ex- tant primary sources. But the English translation here is often less than idiomatic and sometimes downright confusing. In addition, the typos which marred the printed texts in the introduction reappear here, further testifying to the apparently low priority given the textual matter throughout this edition.

Ultimately, of course, this edition will be measured against its chief competition, the edition prepared in 1982 by Zoltan Roman for the International Gustav Mahler Soci- ety as part of their Kritische Gesamtausgabe. Here too the musical differences between editions are surprisingly few and inconse- quential, concerning mostly the layout on the printed page. Thus, on the basis of the music alone, the new Peters edition offers

enough for performances of the work in English, it was never intended as a literal translation. The distortions in the meaning of the original German will only confuse the user.

Comments concerning the music itself must begin with the observation that this score, too, is based on the original 1897 edition. In fact, beyond the elimination of the English translation under the vocal part, the elimination of Italian translations of many of the original German expression marks, and the substitution of German for Italian in labeling the instruments of the orchestra, there is nothing really new in the current Peters edition. But its few distinc- tive features are important. In particular, the high quality of the engraving and the spaciousness of the printed layout will be greatly appreciated by performers.

The editor closes this volume with a "Nachwort," explaining some of the com- plex history of the work and its several ex- tant primary sources. But the English translation here is often less than idiomatic and sometimes downright confusing. In addition, the typos which marred the printed texts in the introduction reappear here, further testifying to the apparently low priority given the textual matter throughout this edition.

Ultimately, of course, this edition will be measured against its chief competition, the edition prepared in 1982 by Zoltan Roman for the International Gustav Mahler Soci- ety as part of their Kritische Gesamtausgabe. Here too the musical differences between editions are surprisingly few and inconse- quential, concerning mostly the layout on the printed page. Thus, on the basis of the music alone, the new Peters edition offers

797 797

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MLA Notes, June 1985 MLA Notes, June 1985 MLA Notes, June 1985

a viable alternative to the Mahler Society score. What it does not offer, of course, is the kind of detailed critical commentary (nur auf Deutsch, natiirlich!) found in the more scholarly edition; but for many people this will be of little or no concern in picking one edition over another.

JEFFREY LANGFORD Manhattan School of Music

Ten Georgian Glees; for 4 voices SATB. Edited by David Johnson. London: Oxford, 1981. [Intro., fac- sims., 6 p.; score, 51 p.; editorial com- ments, 6 p.; $9.00]

The English School; for 6 voices. Ed- ited by Anthony G. Petti. (Chester Books of Motets, 13.) London: Ches- ter (A. Broude), 1982. [Score, 44 p.; $6.50]

The Italian and Spanish Schools; for 6 voices. Edited by Anthony G. Petti. (Chester Books of Motets, 14.) Lon- don: Chester (A. Broude), 1982. [Score, 44 p.; $6.50]

Strongly influenced by the part-writing and word-setting techniques of English church music, glees flourished from around 1760 to 1830, an estimated 10,000 of them having been composed in that period. The existence of "glee clubs" in American schools and colleges is explained by the fact that glees were popular with amateur choirs until the 1920s. Though glees were generally sung one voice to a part at professional concerts in London around 1800, David Johnson, editor of this collection of Geor-

a viable alternative to the Mahler Society score. What it does not offer, of course, is the kind of detailed critical commentary (nur auf Deutsch, natiirlich!) found in the more scholarly edition; but for many people this will be of little or no concern in picking one edition over another.

JEFFREY LANGFORD Manhattan School of Music

Ten Georgian Glees; for 4 voices SATB. Edited by David Johnson. London: Oxford, 1981. [Intro., fac- sims., 6 p.; score, 51 p.; editorial com- ments, 6 p.; $9.00]

The English School; for 6 voices. Ed- ited by Anthony G. Petti. (Chester Books of Motets, 13.) London: Ches- ter (A. Broude), 1982. [Score, 44 p.; $6.50]

The Italian and Spanish Schools; for 6 voices. Edited by Anthony G. Petti. (Chester Books of Motets, 14.) Lon- don: Chester (A. Broude), 1982. [Score, 44 p.; $6.50]

Strongly influenced by the part-writing and word-setting techniques of English church music, glees flourished from around 1760 to 1830, an estimated 10,000 of them having been composed in that period. The existence of "glee clubs" in American schools and colleges is explained by the fact that glees were popular with amateur choirs until the 1920s. Though glees were generally sung one voice to a part at professional concerts in London around 1800, David Johnson, editor of this collection of Geor-

a viable alternative to the Mahler Society score. What it does not offer, of course, is the kind of detailed critical commentary (nur auf Deutsch, natiirlich!) found in the more scholarly edition; but for many people this will be of little or no concern in picking one edition over another.

JEFFREY LANGFORD Manhattan School of Music

Ten Georgian Glees; for 4 voices SATB. Edited by David Johnson. London: Oxford, 1981. [Intro., fac- sims., 6 p.; score, 51 p.; editorial com- ments, 6 p.; $9.00]

The English School; for 6 voices. Ed- ited by Anthony G. Petti. (Chester Books of Motets, 13.) London: Ches- ter (A. Broude), 1982. [Score, 44 p.; $6.50]

The Italian and Spanish Schools; for 6 voices. Edited by Anthony G. Petti. (Chester Books of Motets, 14.) Lon- don: Chester (A. Broude), 1982. [Score, 44 p.; $6.50]

Strongly influenced by the part-writing and word-setting techniques of English church music, glees flourished from around 1760 to 1830, an estimated 10,000 of them having been composed in that period. The existence of "glee clubs" in American schools and colleges is explained by the fact that glees were popular with amateur choirs until the 1920s. Though glees were generally sung one voice to a part at professional concerts in London around 1800, David Johnson, editor of this collection of Geor-

gian glees, concludes that "by far the ma- jority of performances must have been am- ateur choral ones." Johnson has chosen ten very attractive selections by seven different composers for this publication, and has in- cluded an informative introduction to the genre as well as concise biographies and sensitive editorial notes. In virtually all ways, this publication is an excellent example of how current standards of musicology serve both musicians of the past and of today.

The Chester Books of Motets are admi- rably done. The aim of the series, in the words of the editor, "is to make more readily available a comprehensive body of Latin motets from the Renaissance and Early Ba- roque periods. . . . Generally speaking, most of the motets. . . are within the scope of the moderately able choir." Preserving the desirable features of a critical edition, the music is clearly presented with per- formers in mind: the motets are barred regularly; texts are fully underlaid, with translations provided; keyboard reductions with suggested dynamics are included; and, when necessary, the music is transposed into a more practical performing key. To quote the editor again, "each volume includes a section containing editorial notes on the scope of the edition, the composers, the motets, and the sources, together with a list of any editorial emendations and altera- tions."

Volume 13 contains attractive works by Byrd, Dering, Morley, Mundy, White, and also four six-part rounds from Ravens- croft's Pammelia. In volume 14, the com- posers represented are Giovanni Gabrieli, Merulo, Palestrina, Porta, Esquivel, Mo- rales, and Victoria.

ROBERT GRONQUIST Simmons College

gian glees, concludes that "by far the ma- jority of performances must have been am- ateur choral ones." Johnson has chosen ten very attractive selections by seven different composers for this publication, and has in- cluded an informative introduction to the genre as well as concise biographies and sensitive editorial notes. In virtually all ways, this publication is an excellent example of how current standards of musicology serve both musicians of the past and of today.

The Chester Books of Motets are admi- rably done. The aim of the series, in the words of the editor, "is to make more readily available a comprehensive body of Latin motets from the Renaissance and Early Ba- roque periods. . . . Generally speaking, most of the motets. . . are within the scope of the moderately able choir." Preserving the desirable features of a critical edition, the music is clearly presented with per- formers in mind: the motets are barred regularly; texts are fully underlaid, with translations provided; keyboard reductions with suggested dynamics are included; and, when necessary, the music is transposed into a more practical performing key. To quote the editor again, "each volume includes a section containing editorial notes on the scope of the edition, the composers, the motets, and the sources, together with a list of any editorial emendations and altera- tions."

Volume 13 contains attractive works by Byrd, Dering, Morley, Mundy, White, and also four six-part rounds from Ravens- croft's Pammelia. In volume 14, the com- posers represented are Giovanni Gabrieli, Merulo, Palestrina, Porta, Esquivel, Mo- rales, and Victoria.

ROBERT GRONQUIST Simmons College

gian glees, concludes that "by far the ma- jority of performances must have been am- ateur choral ones." Johnson has chosen ten very attractive selections by seven different composers for this publication, and has in- cluded an informative introduction to the genre as well as concise biographies and sensitive editorial notes. In virtually all ways, this publication is an excellent example of how current standards of musicology serve both musicians of the past and of today.

The Chester Books of Motets are admi- rably done. The aim of the series, in the words of the editor, "is to make more readily available a comprehensive body of Latin motets from the Renaissance and Early Ba- roque periods. . . . Generally speaking, most of the motets. . . are within the scope of the moderately able choir." Preserving the desirable features of a critical edition, the music is clearly presented with per- formers in mind: the motets are barred regularly; texts are fully underlaid, with translations provided; keyboard reductions with suggested dynamics are included; and, when necessary, the music is transposed into a more practical performing key. To quote the editor again, "each volume includes a section containing editorial notes on the scope of the edition, the composers, the motets, and the sources, together with a list of any editorial emendations and altera- tions."

Volume 13 contains attractive works by Byrd, Dering, Morley, Mundy, White, and also four six-part rounds from Ravens- croft's Pammelia. In volume 14, the com- posers represented are Giovanni Gabrieli, Merulo, Palestrina, Porta, Esquivel, Mo- rales, and Victoria.

ROBERT GRONQUIST Simmons College

DRAMATIC MUSIC DRAMATIC MUSIC DRAMATIC MUSIC Benjamin Britten. Curlew River: a parable for church performance, op. 71. Libretto based on the medieval Japanese No-play Sumidagawa of Juro Motomasa by William Plomer; Ger- man translation by Ludwig Landgraf; production notes by Colin Graham. London: Faber (Schirmer), 1983. [In- tro. in Eng., Ger., 11 p.; score, 139 p.; notes, 17 p.; $39.25]

Benjamin Britten. Curlew River: a parable for church performance, op. 71. Libretto based on the medieval Japanese No-play Sumidagawa of Juro Motomasa by William Plomer; Ger- man translation by Ludwig Landgraf; production notes by Colin Graham. London: Faber (Schirmer), 1983. [In- tro. in Eng., Ger., 11 p.; score, 139 p.; notes, 17 p.; $39.25]

Benjamin Britten. Curlew River: a parable for church performance, op. 71. Libretto based on the medieval Japanese No-play Sumidagawa of Juro Motomasa by William Plomer; Ger- man translation by Ludwig Landgraf; production notes by Colin Graham. London: Faber (Schirmer), 1983. [In- tro. in Eng., Ger., 11 p.; score, 139 p.; notes, 17 p.; $39.25]

Idem. The Burning Fiery Furnace: second parable for church perfor- mance, op. 77. Libretto by William Plomer; Ger. translation by Ludwig Landgraf; production notes by Colin Graham. London: Faber (Schirmer), 1983. [Intro., 11 p.; score, 200 p.; notes, 4 p.; $47.00]

The appearance of these editions re- minds us that two decades have passed since

Idem. The Burning Fiery Furnace: second parable for church perfor- mance, op. 77. Libretto by William Plomer; Ger. translation by Ludwig Landgraf; production notes by Colin Graham. London: Faber (Schirmer), 1983. [Intro., 11 p.; score, 200 p.; notes, 4 p.; $47.00]

The appearance of these editions re- minds us that two decades have passed since

Idem. The Burning Fiery Furnace: second parable for church perfor- mance, op. 77. Libretto by William Plomer; Ger. translation by Ludwig Landgraf; production notes by Colin Graham. London: Faber (Schirmer), 1983. [Intro., 11 p.; score, 200 p.; notes, 4 p.; $47.00]

The appearance of these editions re- minds us that two decades have passed since

798 798 798

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