A Dance Pageant: Renaissance and Baroque Keyboard Dances by Donald WaxmanReview by: Margot MartinNotes, Second Series, Vol. 52, No. 2 (Dec., 1995), pp. 644-646Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/899091 .

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NOTES, December 1995 NOTES, December 1995

(m. 75); expressive chains of appoggiaturas (m. 88); repeated rhythmic units through- out; and a quietly dancing melodic passage in single eighth-notes (m. 32) that suggests a solo cello line in its reaching back and forth between treble and bass.

Clangorous octaves and sevenths struck in high and low registers repeatedly interrupt the discourse, as in mm. 40 and 90. There is a wide-ranging nocturne/ barcarolle section with a soaring melodic line in octaves accompanied by a rolling left-hand arpeggiation in widely spaced in- tervals (mm. 102-22). This left-hand figure is derived from the Sonata's opening mea- sures.

A theme and seven variations follows (oddly, the sixth variation is not marked as such). It is a jittery interlude with frag- ments of the theme's chords alternating and clashing with more lyric material. From variation one to five, the harmonies presented in the bass remain basically the same, while in the treble, there is increas- ingly elaborate, bravura passagework. Both hands play in the treble above bass chords held with the sostenuto pedal. The style of the last variation is that of a two-part in- vention, featuring craggy and loquacious canonic writing. The seventh variation and coda, with its steely sounding octaves and sevenths swinging up and down the key- board, inescapably recalls passages from Aaron Copland's Variations for Piano.

The second movement begins quietly with a slow march featuring an ostinato in octaves in the left hand beneath a rising melody in octaves in the right. As the mel- ody rises higher on the keyboard and in- creases in intensity and volume, the octaves fill out with inner intervals (mm. 8ff.) and then subside. Next a steady undercurrent of a double ostinato continues below (m.

(m. 75); expressive chains of appoggiaturas (m. 88); repeated rhythmic units through- out; and a quietly dancing melodic passage in single eighth-notes (m. 32) that suggests a solo cello line in its reaching back and forth between treble and bass.

Clangorous octaves and sevenths struck in high and low registers repeatedly interrupt the discourse, as in mm. 40 and 90. There is a wide-ranging nocturne/ barcarolle section with a soaring melodic line in octaves accompanied by a rolling left-hand arpeggiation in widely spaced in- tervals (mm. 102-22). This left-hand figure is derived from the Sonata's opening mea- sures.

A theme and seven variations follows (oddly, the sixth variation is not marked as such). It is a jittery interlude with frag- ments of the theme's chords alternating and clashing with more lyric material. From variation one to five, the harmonies presented in the bass remain basically the same, while in the treble, there is increas- ingly elaborate, bravura passagework. Both hands play in the treble above bass chords held with the sostenuto pedal. The style of the last variation is that of a two-part in- vention, featuring craggy and loquacious canonic writing. The seventh variation and coda, with its steely sounding octaves and sevenths swinging up and down the key- board, inescapably recalls passages from Aaron Copland's Variations for Piano.

The second movement begins quietly with a slow march featuring an ostinato in octaves in the left hand beneath a rising melody in octaves in the right. As the mel- ody rises higher on the keyboard and in- creases in intensity and volume, the octaves fill out with inner intervals (mm. 8ff.) and then subside. Next a steady undercurrent of a double ostinato continues below (m.

23), while the upper line turns into two "voices" (m. 24), then into a two-handed line in rising octaves above a bass pedal (m. 28). A triplet figure from the previous section (m. 25) becomes a right-hand os- tinato (m. 35), while the left hand takes the solo melodic line, which is clearly de- rived from the invention-like material in the first movement (mm. 158-87) and the theme at the beginning of the sonata. After a cadenza, based on materials from both movements (mm. 38-48), this same solo line reappears above two previous os- tinatos combined (m. 49)-one in the bass, the other in the tenor register. Increasingly emphatic, this material breaks off dramat- ically and closes in an impassioned but stately coda that quiets drily into subdued, nonstaccato closing chords. The music is sturdily bound and clearly printed with staves adequately spaced throughout.

This work shares qualities with the com- poser's other three works in this genre: economy of materials and great craftsman- ship and knowledge of the keyboard. They all demonstrate the piano's ability to rep- resent high drama, using knowledgeably written passages featuring highly contrast- ing and expressive elements. With their in- terplay between quiet clarity and stridency, the pieces are impassioned and thoughtful. Each one, however, begins in a different emotional atmosphere and uses different methods to change the climate of the drama. They all merit close analysis and frequent hearing and playing. The publi- cation of Burrill Phillips's Piano Sonata No. 3 should win friends for the other fine works by this composer.

JOHN MCCAULEY New York City

23), while the upper line turns into two "voices" (m. 24), then into a two-handed line in rising octaves above a bass pedal (m. 28). A triplet figure from the previous section (m. 25) becomes a right-hand os- tinato (m. 35), while the left hand takes the solo melodic line, which is clearly de- rived from the invention-like material in the first movement (mm. 158-87) and the theme at the beginning of the sonata. After a cadenza, based on materials from both movements (mm. 38-48), this same solo line reappears above two previous os- tinatos combined (m. 49)-one in the bass, the other in the tenor register. Increasingly emphatic, this material breaks off dramat- ically and closes in an impassioned but stately coda that quiets drily into subdued, nonstaccato closing chords. The music is sturdily bound and clearly printed with staves adequately spaced throughout.

This work shares qualities with the com- poser's other three works in this genre: economy of materials and great craftsman- ship and knowledge of the keyboard. They all demonstrate the piano's ability to rep- resent high drama, using knowledgeably written passages featuring highly contrast- ing and expressive elements. With their in- terplay between quiet clarity and stridency, the pieces are impassioned and thoughtful. Each one, however, begins in a different emotional atmosphere and uses different methods to change the climate of the drama. They all merit close analysis and frequent hearing and playing. The publi- cation of Burrill Phillips's Piano Sonata No. 3 should win friends for the other fine works by this composer.

JOHN MCCAULEY New York City

MISCELLANEOUS MISCELLANEOUS

A Dance Pageant: Renaissance and Baroque Keyboard Dances. Selected and edited by Donald Waxman with il- lustrated descriptions and historical notes on the dances by Wendy Hilton. Boston: Galaxy Music Corporation (E. C. Schirmer), 1992. [Intro. mate- rial, pp. 3-10; the dances, pp. 11-77;

A Dance Pageant: Renaissance and Baroque Keyboard Dances. Selected and edited by Donald Waxman with il- lustrated descriptions and historical notes on the dances by Wendy Hilton. Boston: Galaxy Music Corporation (E. C. Schirmer), 1992. [Intro. mate- rial, pp. 3-10; the dances, pp. 11-77;

notes and sources, pp. 78-79. ISBN 0-911318-18-6. $14.95.]

A Dance Pageant is a practical performing edition of approximately fifty Baroque and Renaissance keyboard dances from the six- teenth to the eighteenth centuries. The dances are categorized according to type: courante, minuet and passepied, gavotte,

notes and sources, pp. 78-79. ISBN 0-911318-18-6. $14.95.]

A Dance Pageant is a practical performing edition of approximately fifty Baroque and Renaissance keyboard dances from the six- teenth to the eighteenth centuries. The dances are categorized according to type: courante, minuet and passepied, gavotte,

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Music Reviews

bourree and rigaudon, sarabande, gigue, allemande, pavane, and galliard and volta. Each dance type includes representatives from various nations, including France, Germany, Italy, England, and Spain. The introduction gives the general historical and social background of the dances, and each section in turn has its own foreword, containing specifics of the dance steps and rhythms, with correlations and guidelines to keyboard performance. The focus of this volume is as an introductory guide for the newcomer to Baroque and Renaissance keyboard music, designed to give students a clear concept of these dances and help them learn to play the dances with an awareness of the general motion and step rhythms of the dance. Both Wendy Hilton and Donald Waxman construct their com- ments in the manner of helpful directions pointed toward both novice students of early music and their instructors.

In the introduction, Hilton addresses the key questions of who, what, when, where, and why in a synopsis of the social back- ground and developments of courtly dance. She explains who danced these dances, what kinds of dances they were, and for what occasions they were used. She describes the social atmosphere surround- ing courtly dance, addressing when and how courtiers would learn the dances and when and where dancing took place. She tells us the dates of when certain dances were most in vogue, when they fell out of fashion and also relates why dance was so important, whether it was for health, de- portment, or etiquette. Hilton then gives a brief introduction to dance notation and dance scholarship, leading to a discussion of Renaissance and Baroque dance style, dance rhythm, and tempo. Her discussion is liberally highlighted with illustrations of dancers, balls, theatrical productions, and existing choreographies. She ends her re- view by giving general guidelines for tempo based upon choreographic considerations. More specific details as to rhythm and tempo are given in the sections on the in- dividual dances.

Donald Waxman uses Hilton's choreo- graphic observations to ascertain guidelines for keyboard performance, focusing on the movement and rhythm of each dance. He shows how an understanding of a dance's steps and its character provides clues in

determining a proper tempo and style of playing. He includes observations on com- mon faults of tempo and phrasing, as well as ways to avoid these faults. His sugges- tions on articulation and accentuation stem from references to the rhythmic stress and phrase structure of individual dances, and he aims at giving the performer direction in expressing each dance's style, without getting bogged down in an overabundance of detail. Additionally, his comments pro- vide information on musical style and in- strumental dance forms and their changes over time.

As for editorial procedures, sources for the dances (detailed at the end of the book) are taken from early manuscripts, early publications, and modern authoritative edi- tions. An authoritative score, taken from these sources, is printed in black typeface, with editorial markings printed in lighter gray typeface. These editorial marks in- clude fingerings, tempo indications, phras- ing and articulation suggestions, and re- alization of ornaments. In this way, the editor can "provide a guide to the inter- pretation of each piece, while clearly dis- tinguishing between his suggestions and the music as originally notated or first pub- lished" (p. 78). Meters, clefs, and barrings have been modernized.

Most of these pieces are on an interme- diate level, for the student who has de- veloped enough technical proficiency to play with independence between the hands and who can begin to have some mastery over the ornaments. The private instruc- tor will find this volume helpful in intro- ducing students to early keyboard music, as well as an enjoyable way of familiarizing students with the rudiments of Renaissance and Baroque performance practices. The grouping of the dances by categories al- lows the student to learn the fundamental characteristics of each dance type, while distinguishing between stylistic differences (and similarities) of nationality and time period. The editorial marks for articula- tion and dynamics refer, of course, to piano performance and give good inter- pretive suggestions for the student making the transition from a nineteenth- and twentieth-century style of music. The met- ronome markings, fingerings, and realiza- tions of the ornaments are sound and help- ful for both teacher and student. While

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NOTES, December 1995

Waxman does not include any ornament tables, or much of discussion about orna- mentation, he does give additional refer- ences on the topic for those wishing to ex- plore the concept further.

The uniqueness in this volume lies in its union of dance scholarship with keyboard performance, bringing out the relation- ships between the practical dance and the stylized dance. Even the more advanced specialist or student can benefit from this point of view, as it is indeed rare to see a consideration of practiced, dance in con- junction with purely instrumental perfor- mance. Not nearly enough has been done in either musical performance or analysis that relates stylized dance music to the ac- tual dance itself, much of which is due to the unfamiliarity and inconvenience of ac- cessing, and then interpreting, information on Renaissance and Baroque dance. Here, Hilton and Waxman have done the job for us, making this information easily accessi-

ble and explaining complex material in a clear, simple, and concise manner. The more advanced scholar or performer could find these dance discussions helpful as a starting point for further study. Also of value and convenience is the fine collection of illustrations depicting dancers, cos- tumes, and choreographies assembled un- der one cover.

Hilton and Waxman have brought the music out of its vacuum, making it less abstract bv examining its very real oper- ation in society. Their descriptions of the visual and rhythmic aspects of these dances help make them more immediate and ac- cessible for the average student. Their dis- cussions also demonstrate the value of scholarship to performance, giving us a fine mix of historical research and practical application.

MARGOT MARTIN

Uniiversitv of California, Los Angeles

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