A Selection of Short Dances by Orlando GibbonsReview by: Igor KipnisNotes, Second Series, Vol. 18, No. 3 (Jun., 1961), p. 484Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/895306 .

Accessed: 15/06/2014 19:39

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

.

Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.

http://www.jstor.org

This content downloaded from 194.29.185.230 on Sun, 15 Jun 2014 19:39:08 PMAll use subject to JSTOR Terms and Conditions

Non nobis Domine shows Haydn in a relatively unknown guise, for this, too, is music in the "strict" style. But the sure hand of the symphonist is at work, and the piece drives to a powerful climax by means of a wonderful pedal-point. Those who only know Haydn's choral writing from the masses and oratorios should not overlook this motet.

The hymn-anthem threatens to become the form par excellence of twentieth- century Kapellmeistermusik. Setting them has become a matter of adherence to one of a small stock of constantly re- curring formulae, all of them involving woefully bad modulations, incredibly

Non nobis Domine shows Haydn in a relatively unknown guise, for this, too, is music in the "strict" style. But the sure hand of the symphonist is at work, and the piece drives to a powerful climax by means of a wonderful pedal-point. Those who only know Haydn's choral writing from the masses and oratorios should not overlook this motet.

The hymn-anthem threatens to become the form par excellence of twentieth- century Kapellmeistermusik. Setting them has become a matter of adherence to one of a small stock of constantly re- curring formulae, all of them involving woefully bad modulations, incredibly

Non nobis Domine shows Haydn in a relatively unknown guise, for this, too, is music in the "strict" style. But the sure hand of the symphonist is at work, and the piece drives to a powerful climax by means of a wonderful pedal-point. Those who only know Haydn's choral writing from the masses and oratorios should not overlook this motet.

The hymn-anthem threatens to become the form par excellence of twentieth- century Kapellmeistermusik. Setting them has become a matter of adherence to one of a small stock of constantly re- curring formulae, all of them involving woefully bad modulations, incredibly

Non nobis Domine shows Haydn in a relatively unknown guise, for this, too, is music in the "strict" style. But the sure hand of the symphonist is at work, and the piece drives to a powerful climax by means of a wonderful pedal-point. Those who only know Haydn's choral writing from the masses and oratorios should not overlook this motet.

The hymn-anthem threatens to become the form par excellence of twentieth- century Kapellmeistermusik. Setting them has become a matter of adherence to one of a small stock of constantly re- curring formulae, all of them involving woefully bad modulations, incredibly

banal harmony, descants (frequently for junior choir and usually on such expres- sive words as ah, oo, mm, or ng-and recently we saw proom!), and "wow" endings. Ulysses Kay has avoided the cliches in his setting of Hanover. Neither the cloyingly sentimental nor the offen- sively pompous appears. There is rea- sonable freshness. All this is achieved without sacrificing the raison d'etre of the hymn-anthem-simplicity for the choir. Not everyone likes hymn-anthems, nor does everyone need them, but for those who do there is hope. Kay has pointed the way to others. May his tribe increase. MARK SIEBERT

banal harmony, descants (frequently for junior choir and usually on such expres- sive words as ah, oo, mm, or ng-and recently we saw proom!), and "wow" endings. Ulysses Kay has avoided the cliches in his setting of Hanover. Neither the cloyingly sentimental nor the offen- sively pompous appears. There is rea- sonable freshness. All this is achieved without sacrificing the raison d'etre of the hymn-anthem-simplicity for the choir. Not everyone likes hymn-anthems, nor does everyone need them, but for those who do there is hope. Kay has pointed the way to others. May his tribe increase. MARK SIEBERT

banal harmony, descants (frequently for junior choir and usually on such expres- sive words as ah, oo, mm, or ng-and recently we saw proom!), and "wow" endings. Ulysses Kay has avoided the cliches in his setting of Hanover. Neither the cloyingly sentimental nor the offen- sively pompous appears. There is rea- sonable freshness. All this is achieved without sacrificing the raison d'etre of the hymn-anthem-simplicity for the choir. Not everyone likes hymn-anthems, nor does everyone need them, but for those who do there is hope. Kay has pointed the way to others. May his tribe increase. MARK SIEBERT

banal harmony, descants (frequently for junior choir and usually on such expres- sive words as ah, oo, mm, or ng-and recently we saw proom!), and "wow" endings. Ulysses Kay has avoided the cliches in his setting of Hanover. Neither the cloyingly sentimental nor the offen- sively pompous appears. There is rea- sonable freshness. All this is achieved without sacrificing the raison d'etre of the hymn-anthem-simplicity for the choir. Not everyone likes hymn-anthems, nor does everyone need them, but for those who do there is hope. Kay has pointed the way to others. May his tribe increase. MARK SIEBERT

KEYBOARD MUSIC KEYBOARD MUSIC KEYBOARD MUSIC KEYBOARD MUSIC

John Bull: Harpsichord Pieces from Flemish Tablature. Ed. by H. F. Redlich. Wilhelmshaven: Otto Hein- rich Noetzel Verlag; U. S. A.: Peters, New York, 1958. [15 p., $1.50]

This slim volume contains five harpsi- chord pieces-Pavana Sinfoniae; a Gali- arda, regrettably isolated from the Pavan that originally preceded it; Courante "Alarme"; Courante "The Primrose"; and "Het Juweel," a quite different ver- sion of "Dr. Bull's Juell" which appears in the Fitzwilliam Virginal Book. The source of this music is the 1629 Tabula- tura (British Mueseum Ms. 23,623), con- taining 62 pieces for organ and harpsi- chord, that Bull compiled after he settled in Antwerp towards the end of his life. Redlich's editing is first-rate, save for several explanatory footnotes (pertaining to the execution of ornaments) that might be regarded as arbitrary.

Orlando Gibbons: A Selection of Short Dances. London: Stainer & Bell; U. S. A.: Galaxy, New York, 1960. [19 p., $2.50]

These 18 pieces made up the first volume of Margaret H. Glyn's five-volume set of the complete keyboard works of Gibbons, published in 1925. The present volume is an exact reprinting of that edition except for some editorial revi- sions by Thurston Dart, who has com- pared the texts with the sources (British

John Bull: Harpsichord Pieces from Flemish Tablature. Ed. by H. F. Redlich. Wilhelmshaven: Otto Hein- rich Noetzel Verlag; U. S. A.: Peters, New York, 1958. [15 p., $1.50]

This slim volume contains five harpsi- chord pieces-Pavana Sinfoniae; a Gali- arda, regrettably isolated from the Pavan that originally preceded it; Courante "Alarme"; Courante "The Primrose"; and "Het Juweel," a quite different ver- sion of "Dr. Bull's Juell" which appears in the Fitzwilliam Virginal Book. The source of this music is the 1629 Tabula- tura (British Mueseum Ms. 23,623), con- taining 62 pieces for organ and harpsi- chord, that Bull compiled after he settled in Antwerp towards the end of his life. Redlich's editing is first-rate, save for several explanatory footnotes (pertaining to the execution of ornaments) that might be regarded as arbitrary.

Orlando Gibbons: A Selection of Short Dances. London: Stainer & Bell; U. S. A.: Galaxy, New York, 1960. [19 p., $2.50]

These 18 pieces made up the first volume of Margaret H. Glyn's five-volume set of the complete keyboard works of Gibbons, published in 1925. The present volume is an exact reprinting of that edition except for some editorial revi- sions by Thurston Dart, who has com- pared the texts with the sources (British

John Bull: Harpsichord Pieces from Flemish Tablature. Ed. by H. F. Redlich. Wilhelmshaven: Otto Hein- rich Noetzel Verlag; U. S. A.: Peters, New York, 1958. [15 p., $1.50]

This slim volume contains five harpsi- chord pieces-Pavana Sinfoniae; a Gali- arda, regrettably isolated from the Pavan that originally preceded it; Courante "Alarme"; Courante "The Primrose"; and "Het Juweel," a quite different ver- sion of "Dr. Bull's Juell" which appears in the Fitzwilliam Virginal Book. The source of this music is the 1629 Tabula- tura (British Mueseum Ms. 23,623), con- taining 62 pieces for organ and harpsi- chord, that Bull compiled after he settled in Antwerp towards the end of his life. Redlich's editing is first-rate, save for several explanatory footnotes (pertaining to the execution of ornaments) that might be regarded as arbitrary.

Orlando Gibbons: A Selection of Short Dances. London: Stainer & Bell; U. S. A.: Galaxy, New York, 1960. [19 p., $2.50]

These 18 pieces made up the first volume of Margaret H. Glyn's five-volume set of the complete keyboard works of Gibbons, published in 1925. The present volume is an exact reprinting of that edition except for some editorial revi- sions by Thurston Dart, who has com- pared the texts with the sources (British

John Bull: Harpsichord Pieces from Flemish Tablature. Ed. by H. F. Redlich. Wilhelmshaven: Otto Hein- rich Noetzel Verlag; U. S. A.: Peters, New York, 1958. [15 p., $1.50]

This slim volume contains five harpsi- chord pieces-Pavana Sinfoniae; a Gali- arda, regrettably isolated from the Pavan that originally preceded it; Courante "Alarme"; Courante "The Primrose"; and "Het Juweel," a quite different ver- sion of "Dr. Bull's Juell" which appears in the Fitzwilliam Virginal Book. The source of this music is the 1629 Tabula- tura (British Mueseum Ms. 23,623), con- taining 62 pieces for organ and harpsi- chord, that Bull compiled after he settled in Antwerp towards the end of his life. Redlich's editing is first-rate, save for several explanatory footnotes (pertaining to the execution of ornaments) that might be regarded as arbitrary.

Orlando Gibbons: A Selection of Short Dances. London: Stainer & Bell; U. S. A.: Galaxy, New York, 1960. [19 p., $2.50]

These 18 pieces made up the first volume of Margaret H. Glyn's five-volume set of the complete keyboard works of Gibbons, published in 1925. The present volume is an exact reprinting of that edition except for some editorial revi- sions by Thurston Dart, who has com- pared the texts with the sources (British

Museum, Drexel, etc.) and added the original ornamentation and fingerings. The phrasing, articulation signs, and dynamics of Miss Glyn's earlier volume have been retained somewhat inexpli- cably, though these may be of some aid to those approaching this music for the first time. An ornamentation guide, however, would have been an added convenience.

C. P. E. Bach: Musikalisches Man- cherlei, fur Klavier oder Cembalo. Erstmalig veroiffentlicht von A. Kranz. Wilhelmshaven: Otto Hein- rich Noetzel Verlag; U. S. A.: Peters, New York, 1958. [19 p., $1.50]

C. P. E. Bach's Musikalisches Man- cherley, or musical diversities, was a col- lection of solo and ensemble pieces pub- lished in Berlin in 1762-3. This first modern edition contains two minuets, two allegros, a polonaise, and a Sonata per il Cembalo solo-all for keyboard and comprising not more than a sampling of the original. The music is relatively easy and quite charming. Kranz's editing includes some pedalling suggestions, ex- pression marks, phrasing, and a curiously inconsistent attitude towards ornamentation: mordents and shakes (trills) are left in their original notation, although I strongly suspect that the two have at times been substituted one for the other; appoggiaturas, on the other

Museum, Drexel, etc.) and added the original ornamentation and fingerings. The phrasing, articulation signs, and dynamics of Miss Glyn's earlier volume have been retained somewhat inexpli- cably, though these may be of some aid to those approaching this music for the first time. An ornamentation guide, however, would have been an added convenience.

C. P. E. Bach: Musikalisches Man- cherlei, fur Klavier oder Cembalo. Erstmalig veroiffentlicht von A. Kranz. Wilhelmshaven: Otto Hein- rich Noetzel Verlag; U. S. A.: Peters, New York, 1958. [19 p., $1.50]

C. P. E. Bach's Musikalisches Man- cherley, or musical diversities, was a col- lection of solo and ensemble pieces pub- lished in Berlin in 1762-3. This first modern edition contains two minuets, two allegros, a polonaise, and a Sonata per il Cembalo solo-all for keyboard and comprising not more than a sampling of the original. The music is relatively easy and quite charming. Kranz's editing includes some pedalling suggestions, ex- pression marks, phrasing, and a curiously inconsistent attitude towards ornamentation: mordents and shakes (trills) are left in their original notation, although I strongly suspect that the two have at times been substituted one for the other; appoggiaturas, on the other

Museum, Drexel, etc.) and added the original ornamentation and fingerings. The phrasing, articulation signs, and dynamics of Miss Glyn's earlier volume have been retained somewhat inexpli- cably, though these may be of some aid to those approaching this music for the first time. An ornamentation guide, however, would have been an added convenience.

C. P. E. Bach: Musikalisches Man- cherlei, fur Klavier oder Cembalo. Erstmalig veroiffentlicht von A. Kranz. Wilhelmshaven: Otto Hein- rich Noetzel Verlag; U. S. A.: Peters, New York, 1958. [19 p., $1.50]

C. P. E. Bach's Musikalisches Man- cherley, or musical diversities, was a col- lection of solo and ensemble pieces pub- lished in Berlin in 1762-3. This first modern edition contains two minuets, two allegros, a polonaise, and a Sonata per il Cembalo solo-all for keyboard and comprising not more than a sampling of the original. The music is relatively easy and quite charming. Kranz's editing includes some pedalling suggestions, ex- pression marks, phrasing, and a curiously inconsistent attitude towards ornamentation: mordents and shakes (trills) are left in their original notation, although I strongly suspect that the two have at times been substituted one for the other; appoggiaturas, on the other

Museum, Drexel, etc.) and added the original ornamentation and fingerings. The phrasing, articulation signs, and dynamics of Miss Glyn's earlier volume have been retained somewhat inexpli- cably, though these may be of some aid to those approaching this music for the first time. An ornamentation guide, however, would have been an added convenience.

C. P. E. Bach: Musikalisches Man- cherlei, fur Klavier oder Cembalo. Erstmalig veroiffentlicht von A. Kranz. Wilhelmshaven: Otto Hein- rich Noetzel Verlag; U. S. A.: Peters, New York, 1958. [19 p., $1.50]

C. P. E. Bach's Musikalisches Man- cherley, or musical diversities, was a col- lection of solo and ensemble pieces pub- lished in Berlin in 1762-3. This first modern edition contains two minuets, two allegros, a polonaise, and a Sonata per il Cembalo solo-all for keyboard and comprising not more than a sampling of the original. The music is relatively easy and quite charming. Kranz's editing includes some pedalling suggestions, ex- pression marks, phrasing, and a curiously inconsistent attitude towards ornamentation: mordents and shakes (trills) are left in their original notation, although I strongly suspect that the two have at times been substituted one for the other; appoggiaturas, on the other

484 484 484 484

This content downloaded from 194.29.185.230 on Sun, 15 Jun 2014 19:39:08 PMAll use subject to JSTOR Terms and Conditions