Dania sonans, IV: Music from the Time of Christian III. Selected Compositions from the PartBooks of the Royal Chapel (1541), Part I by Henrik GlahnReview by: Standley HowellNotes, Second Series, Vol. 37, No. 2 (Dec., 1980), pp. 403-405Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/939518 .

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Music Reviews Music Reviews

Franz Schubert. Franz Schubert Lieder, Heft 2: Winterreise, op. 89, Hohe Stimme (Originallage). Urtext der Neuen Schubert-Ausgabe. Heraus- gegeben von Walther Diirr. Kassel: Barenreiter/ Miinchen: G. Henle, 1979. [87 p., DM 16.00; Also available for middle voice (transposition)]

Franz Schubert. Franz Schubert Lieder, Heft 2: Winterreise, op. 89, Hohe Stimme (Originallage). Urtext der Neuen Schubert-Ausgabe. Heraus- gegeben von Walther Diirr. Kassel: Barenreiter/ Miinchen: G. Henle, 1979. [87 p., DM 16.00; Also available for middle voice (transposition)]

As a result of the research of the Neue Schubert-Ausgabe, an edition of selected Schubert songs in seventeen volumes, prepared by Walther Diirr, will be published jointly by Barenreiter and Henle over the next years. Following closely the principles of organization of the NSA (see my review in Notes 35 [1978-79]: 401-03), the first eight volumes will contain all songs published with opus numbers during Schubert's life time, while volumes nine through seventeen will be made up of selected settings that remained manuscripts for many years after the composer's death. Within these two groups, the individual volumes are orga- nized according to poets. Each volume, except for the last which is reserved for songs for bass, appears in versions for both high and middle voice. (The interested reader is referred to the detailed outline of the edition on the interior page of the back cover of each volume.)

The volume under consideration here is the second in the series, featuring the cycle Winterreise, op. 89, for high voice. The sources for the edition are the autograph (first drafts for the first part of the cycle, fair copies for the second) in the Pierpont Morgan Library, a copyist's copy for the first part (with corrections by Schubert) in the Vienna Stadtbibliothek, and the first editions of both parts in January and December 1828, respectively, for which Schubert read the proofs. The consultation and new interpre- tation of these sources has produced a musical text that differs considerably from the well-known Peters edition by Max

As a result of the research of the Neue Schubert-Ausgabe, an edition of selected Schubert songs in seventeen volumes, prepared by Walther Diirr, will be published jointly by Barenreiter and Henle over the next years. Following closely the principles of organization of the NSA (see my review in Notes 35 [1978-79]: 401-03), the first eight volumes will contain all songs published with opus numbers during Schubert's life time, while volumes nine through seventeen will be made up of selected settings that remained manuscripts for many years after the composer's death. Within these two groups, the individual volumes are orga- nized according to poets. Each volume, except for the last which is reserved for songs for bass, appears in versions for both high and middle voice. (The interested reader is referred to the detailed outline of the edition on the interior page of the back cover of each volume.)

The volume under consideration here is the second in the series, featuring the cycle Winterreise, op. 89, for high voice. The sources for the edition are the autograph (first drafts for the first part of the cycle, fair copies for the second) in the Pierpont Morgan Library, a copyist's copy for the first part (with corrections by Schubert) in the Vienna Stadtbibliothek, and the first editions of both parts in January and December 1828, respectively, for which Schubert read the proofs. The consultation and new interpre- tation of these sources has produced a musical text that differs considerably from the well-known Peters edition by Max

Friedlaender. In terms of pitch and rhythm, the Peters volume stands largely uncorrected (the penultimate measure of Ruickblick is an important exception!), but in terms of dynamics and articulation, almost all settings have gone through considerable overhaul. The most significant changes, of course, are the result of one of the major findings in Schubert autograph studies, i.e., the reinterpretation of many non-sensical decrescendo markings (-) as accents (>). Other revisions involve elimination, addi- tion, or more precise placement of dynamic markings, reinterpretation of some martel- lato passages as staccato, addition and elimination of accents (especially in Gefrorene Tranen andLetzteHoffnung), etc. Suggestions for the performance of grace- notes are provided in ossia staves above the vocal line; footnotes point to a few important differences between the sources consulted.

Since the price for the volumes of the NSA is unfortunately prohibitive to most individuals, Diirr's edition of selected songs is a welcome enterprise: for the first time the results of the latest Schubert research are made available to performers and music lovers at a reasonable cost. Librarians of music schools and music departments should subscribe to the series perhaps in multiple copies. Schubert's songs can no longer be performed from the venerable Friedlaender volumes; Diirr's edition will replace them over the years.

JURGEN THYM Eastman School of Music

Friedlaender. In terms of pitch and rhythm, the Peters volume stands largely uncorrected (the penultimate measure of Ruickblick is an important exception!), but in terms of dynamics and articulation, almost all settings have gone through considerable overhaul. The most significant changes, of course, are the result of one of the major findings in Schubert autograph studies, i.e., the reinterpretation of many non-sensical decrescendo markings (-) as accents (>). Other revisions involve elimination, addi- tion, or more precise placement of dynamic markings, reinterpretation of some martel- lato passages as staccato, addition and elimination of accents (especially in Gefrorene Tranen andLetzteHoffnung), etc. Suggestions for the performance of grace- notes are provided in ossia staves above the vocal line; footnotes point to a few important differences between the sources consulted.

Since the price for the volumes of the NSA is unfortunately prohibitive to most individuals, Diirr's edition of selected songs is a welcome enterprise: for the first time the results of the latest Schubert research are made available to performers and music lovers at a reasonable cost. Librarians of music schools and music departments should subscribe to the series perhaps in multiple copies. Schubert's songs can no longer be performed from the venerable Friedlaender volumes; Diirr's edition will replace them over the years.

JURGEN THYM Eastman School of Music

Dania sonans, IV: Music from the Time of Christian III. Selected compo- sitions from the part books of the Royal Chapel (1541), part I. Edited by Henrik Glahn. Copenhagen; Edition Egtved, 1978. [Introduction and critical notes, 86 p., score, 145 p., cloth, no price given]

Dania sonans, IV: Music from the Time of Christian III. Selected compo- sitions from the part books of the Royal Chapel (1541), part I. Edited by Henrik Glahn. Copenhagen; Edition Egtved, 1978. [Introduction and critical notes, 86 p., score, 145 p., cloth, no price given]

Previous installments in the Dania sonans series have presented monuments of Danish music, interesting primarily as local history. But in the present volume, which is to be continued by Dania sonans Vand VI, Henrik Glahn offers a detailed study and partial edition of a major source for the study of sixteenth-century performance practice.

Previous installments in the Dania sonans series have presented monuments of Danish music, interesting primarily as local history. But in the present volume, which is to be continued by Dania sonans Vand VI, Henrik Glahn offers a detailed study and partial edition of a major source for the study of sixteenth-century performance practice.

The manuscript Copenhagen, kongelige Bibliotek, G1. kgl. Samling 1872.4° (KB 1872) is a set of seven part-books (an eighth is lost) containing 163 compositions for four to sixteen parts. Its leather covers are stamped with the royal Danish coat of arms and the date 1541, and Glahn has established conclusively that it was copied by J&argen

The manuscript Copenhagen, kongelige Bibliotek, G1. kgl. Samling 1872.4° (KB 1872) is a set of seven part-books (an eighth is lost) containing 163 compositions for four to sixteen parts. Its leather covers are stamped with the royal Danish coat of arms and the date 1541, and Glahn has established conclusively that it was copied by J&argen

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MLA Notes, December 1980

Heyde, principal trumpeter and director of the trumpeter-corps at the Danish court from 1542 to 1555. These details, plus the absence of text in all but eleven pieces (then only in the bass part) and the presence of a few instrumentation specifications, indicate that the manuscript was prepared for instru- mental use, and not, as nearly all previous descriptions have assumed, for the royal chapel choir. Glahn recognizes this instru- mental function of the part-books, but dilutes his conclusion by postulating that they might have been used in conjunction with a parallel set of vocal parts, now lost, in combined vocal-instrumental performances. This is sheer speculation; there is no reason to assume that KB 1872 was intended for anything but independent instrumental performance. Hence these part-books are the best evidence we have for what a court wind- band played at the height of the Renaissance.

The repertoire consists almost entirely of vocal music, both sacred and secular; only about a dozen pieces, mostly canons, seem to have been conceived exclusively for instru- ments. Many works are by leading composers of the first half of the century, most prominently Josquin and Senfl, and were probably copied from printed sources. Because Denmark had adopted Lutheranism as the state religion in 1536, there are also many settings of Lutheran hymns by composers such as Johann Walter and the royal Danish chapel-master Jadrgen Presten. Another substantial group of works appears to have been copied from the extensive manuscript collection at the Konigsberg court of Duke Albert of Prussia, where Heyde had been employed immediately prior to his Copenhagen appointment. Since this collection was destroyed during World War II, KB 1872 includes works by Konigsberg musicians Adrian Petit Coclico and the brothers Kugelmann, as well as otherwise unknown pieces attributed to Ludwig Senfl and Thomas Stoltzer, who are known to have corresponded with, and sent music to, Duke Albert. (Glahn's doubts about the accuracy of these attributions seem to me unfounded.)

Glahn's edition encompasses the manu- script's unpublished unica and a few other works not otherwise available in modern editions. Given KB 1872's size and the fact that it is a late peripheral source for many well-known works, a complete edition would have been impractical. Dania sonans IV contains five-part pieces, and the other

two volumes will present those in six and more parts, respectively. All works for eight or more voices are incomplete in the source, and it is to be hoped that the third volume will supply reconstructions.

This is an avowed scholarly edition, and Glahn's concern for a precise rendering of the manuscript reading imposes some restrictions on the edition's utility. Modern clefs and bar-lines are employed, but the original note values are retained. Editorial accidentals are applied conservatively and somewhat inconsistently. More seriously, Glahn has decided not to underlay texts where they are known, "in accordance with the source" (p. 70). But as nearly all of this music was doubtless originally written to be performable by voices, and is not available in any other edition, this omission seems most unfortunate.

In view of the edition's scholarly orien- tation, it is also unfortunate that there are rather frequent errors in the transcription and critical notes, most of which are not readily detectable. Wrong notes are rare, but some rhythmic values are incorrect (e.g., a dotted whole-note instead of a ms. whole- note plus half rest); superscript brackets indicating ligatures are often omitted; and corrections in the edition are not always recorded in the critical notes. These are not debilitating flaws in most cases, but they are all additional obstacles to anyone who might wish to attempt his own text underlay.

Glahn's introduction is given in parallel columns of Danish and an awkward but serviceable English translation, while the manuscript inventory and critical notes are entirely in Glahn's own excellent English. The introduction devotes sections to the manuscript's physical features, history, probable sources, and repertoire, as well as the available data concerning its copyist, Jodrgen Heyde. Most of the essential information is here, although one could wish for a fuller treatment of musical organizations at the Danish court. Perhaps most valuable is the manuscript inventory, which identifies composers and/or concor- dances for 122 of the 163 pieces. No attempt is made to cite manuscript sources (with a few local exceptions), but the list of printed concordances is intended to be as complete as possible. Readers are warned, however, that even among printed sources there are some omissions, including a number of well- known collections.

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Music Reviews Music Reviews Music Reviews

The relatively minor lapses which necessarily preoccupy the reviewer should not be allowed to obscure the value of this publication. Glahn's edition and especially his study of KB 1872 are important tools for

The relatively minor lapses which necessarily preoccupy the reviewer should not be allowed to obscure the value of this publication. Glahn's edition and especially his study of KB 1872 are important tools for

The relatively minor lapses which necessarily preoccupy the reviewer should not be allowed to obscure the value of this publication. Glahn's edition and especially his study of KB 1872 are important tools for

anyone interested in sixteenth-century performance practice.

STANDLEY HOWELL Chicago, Illinois

anyone interested in sixteenth-century performance practice.

STANDLEY HOWELL Chicago, Illinois

anyone interested in sixteenth-century performance practice.

STANDLEY HOWELL Chicago, Illinois

Giuseppe Tartini. Sei sonate op. II Le Cene, per violino e basso continuo (4-6). A cura di Edoardo Farina. (Le opere di Guiseppe Tartini, collana diretta da Edoardo Farina). Milano: Carisch, in cooperation with L'Acca- demia Tartiniana di Padova, 1979. [Facsim., notes in It., Eng., 11 p., score, 51 p., appendices, 6 p., parts, facsim. of "Adagio de Mr. Tartini. .. ," 1798, no price given]

Giuseppe Tartini. Sei sonate op. II Le Cene, per violino e basso continuo (4-6). A cura di Edoardo Farina. (Le opere di Guiseppe Tartini, collana diretta da Edoardo Farina). Milano: Carisch, in cooperation with L'Acca- demia Tartiniana di Padova, 1979. [Facsim., notes in It., Eng., 11 p., score, 51 p., appendices, 6 p., parts, facsim. of "Adagio de Mr. Tartini. .. ," 1798, no price given]

Giuseppe Tartini. Sei sonate op. II Le Cene, per violino e basso continuo (4-6). A cura di Edoardo Farina. (Le opere di Guiseppe Tartini, collana diretta da Edoardo Farina). Milano: Carisch, in cooperation with L'Acca- demia Tartiniana di Padova, 1979. [Facsim., notes in It., Eng., 11 p., score, 51 p., appendices, 6 p., parts, facsim. of "Adagio de Mr. Tartini. .. ," 1798, no price given]

This is the second installment of a sonata set by Tartini published as Opus II by Le Cene in Amsterdam (1743). It was an unauthorized publication which upset the composer very much, particularly since he was preparing his own collection of twelve sonatas to be known as Opus II (published in Rome in 1745). However, there is no reason to doubt the authenticity of Le Cene's Opus II, despite the fact that the composer's autograph is lost. There are manuscript sources of copyists who worked with Tartini; these manuscripts, in conjunction with the printed version, were used to establish a fairly reliable text. In fact, the editor Farina offers an interesting theory, "We should not exclude the hypothesis that it was Tartini himself who had sent the six sonatas to Le Cene, just as he had already done with those of Opus I, and that, held back by the publisher during his long illness, they were finally published, but by the heirs, and without the author's knowledge."

Whichever way Le Cene assembled the set, it is a "most happy selection." For the record, we shall list the sonatas according to Brainard's numbering (Catalogo tematico, 1975): No. 1 = B. g.4; No.2 = B. A 5; No.3 = B.d 4; No.4 = B. e 7; No.5 = B. F 5; No.6 = B. E 6. (See Notes 32 [1975-76]: 552-53.) In addition to the sonatas 4, 5, and 6, the present volume contains the Fifth Sonata in Tartini's autograph version (the only one so preserved) which differs somewhat from the extant copies and Le Cene's printed version. As a special bonus, there is an appendix

This is the second installment of a sonata set by Tartini published as Opus II by Le Cene in Amsterdam (1743). It was an unauthorized publication which upset the composer very much, particularly since he was preparing his own collection of twelve sonatas to be known as Opus II (published in Rome in 1745). However, there is no reason to doubt the authenticity of Le Cene's Opus II, despite the fact that the composer's autograph is lost. There are manuscript sources of copyists who worked with Tartini; these manuscripts, in conjunction with the printed version, were used to establish a fairly reliable text. In fact, the editor Farina offers an interesting theory, "We should not exclude the hypothesis that it was Tartini himself who had sent the six sonatas to Le Cene, just as he had already done with those of Opus I, and that, held back by the publisher during his long illness, they were finally published, but by the heirs, and without the author's knowledge."

Whichever way Le Cene assembled the set, it is a "most happy selection." For the record, we shall list the sonatas according to Brainard's numbering (Catalogo tematico, 1975): No. 1 = B. g.4; No.2 = B. A 5; No.3 = B.d 4; No.4 = B. e 7; No.5 = B. F 5; No.6 = B. E 6. (See Notes 32 [1975-76]: 552-53.) In addition to the sonatas 4, 5, and 6, the present volume contains the Fifth Sonata in Tartini's autograph version (the only one so preserved) which differs somewhat from the extant copies and Le Cene's printed version. As a special bonus, there is an appendix

This is the second installment of a sonata set by Tartini published as Opus II by Le Cene in Amsterdam (1743). It was an unauthorized publication which upset the composer very much, particularly since he was preparing his own collection of twelve sonatas to be known as Opus II (published in Rome in 1745). However, there is no reason to doubt the authenticity of Le Cene's Opus II, despite the fact that the composer's autograph is lost. There are manuscript sources of copyists who worked with Tartini; these manuscripts, in conjunction with the printed version, were used to establish a fairly reliable text. In fact, the editor Farina offers an interesting theory, "We should not exclude the hypothesis that it was Tartini himself who had sent the six sonatas to Le Cene, just as he had already done with those of Opus I, and that, held back by the publisher during his long illness, they were finally published, but by the heirs, and without the author's knowledge."

Whichever way Le Cene assembled the set, it is a "most happy selection." For the record, we shall list the sonatas according to Brainard's numbering (Catalogo tematico, 1975): No. 1 = B. g.4; No.2 = B. A 5; No.3 = B.d 4; No.4 = B. e 7; No.5 = B. F 5; No.6 = B. E 6. (See Notes 32 [1975-76]: 552-53.) In addition to the sonatas 4, 5, and 6, the present volume contains the Fifth Sonata in Tartini's autograph version (the only one so preserved) which differs somewhat from the extant copies and Le Cene's printed version. As a special bonus, there is an appendix

bringing the Adagio from the Fifth Sonata with seventeen embellished variations-a veritable school of eighteenth-century ornamentation (this sample page was first published by Cartier in his L'Art du violon, 1798).

With this volume, the Accademia Tartin- iana continues its exemplary scholarly project of a Complete Works Edition by Tartini. Admired though he was during his lifetime, Tartini has not been well served by his publishers nor by posterity. Just as the heirs of Le Cene took matters into their own hands, so did Parisian publishers pirate sonatas by Tartini and publish unautho- rized, often spurious editions (opp. 4, 5, 6, 7, 9) during the composer's lifetime. To establish reliable texts for these sonatas will be the next task of the editors.

Like all previous publications of the Accademia Tartiniana, the present edition of Opus II by Le Cene is a model of modern scholarship. In the absence of the composer's holograph, variants are inserted into the violin part. Of particular interest are the optional embellished versions of the same movement, added in the appendix; thus we have the first movements of Sonatas nos. 1, 3, 4, and 6 with various ornamentations. The realization of the figured bass is expert but simple; a separate cello part is provided. We owe Edoardo Farina and his scholarly collaborators a debt of gratitude.

BORIS SCHWARZ Queens College, City

University of New York

bringing the Adagio from the Fifth Sonata with seventeen embellished variations-a veritable school of eighteenth-century ornamentation (this sample page was first published by Cartier in his L'Art du violon, 1798).

With this volume, the Accademia Tartin- iana continues its exemplary scholarly project of a Complete Works Edition by Tartini. Admired though he was during his lifetime, Tartini has not been well served by his publishers nor by posterity. Just as the heirs of Le Cene took matters into their own hands, so did Parisian publishers pirate sonatas by Tartini and publish unautho- rized, often spurious editions (opp. 4, 5, 6, 7, 9) during the composer's lifetime. To establish reliable texts for these sonatas will be the next task of the editors.

Like all previous publications of the Accademia Tartiniana, the present edition of Opus II by Le Cene is a model of modern scholarship. In the absence of the composer's holograph, variants are inserted into the violin part. Of particular interest are the optional embellished versions of the same movement, added in the appendix; thus we have the first movements of Sonatas nos. 1, 3, 4, and 6 with various ornamentations. The realization of the figured bass is expert but simple; a separate cello part is provided. We owe Edoardo Farina and his scholarly collaborators a debt of gratitude.

BORIS SCHWARZ Queens College, City

University of New York

bringing the Adagio from the Fifth Sonata with seventeen embellished variations-a veritable school of eighteenth-century ornamentation (this sample page was first published by Cartier in his L'Art du violon, 1798).

With this volume, the Accademia Tartin- iana continues its exemplary scholarly project of a Complete Works Edition by Tartini. Admired though he was during his lifetime, Tartini has not been well served by his publishers nor by posterity. Just as the heirs of Le Cene took matters into their own hands, so did Parisian publishers pirate sonatas by Tartini and publish unautho- rized, often spurious editions (opp. 4, 5, 6, 7, 9) during the composer's lifetime. To establish reliable texts for these sonatas will be the next task of the editors.

Like all previous publications of the Accademia Tartiniana, the present edition of Opus II by Le Cene is a model of modern scholarship. In the absence of the composer's holograph, variants are inserted into the violin part. Of particular interest are the optional embellished versions of the same movement, added in the appendix; thus we have the first movements of Sonatas nos. 1, 3, 4, and 6 with various ornamentations. The realization of the figured bass is expert but simple; a separate cello part is provided. We owe Edoardo Farina and his scholarly collaborators a debt of gratitude.

BORIS SCHWARZ Queens College, City

University of New York

Anton Webern. Variationen fur Klavier, op. 27. Webern's ideas on inter- pretation by Peter Stadlen. Wien: Universal (European American), 1979. [Notes in Ger., Eng., 7 p., score, 11 double pages, $11.00]

Anton Webern. Variationen fur Klavier, op. 27. Webern's ideas on inter- pretation by Peter Stadlen. Wien: Universal (European American), 1979. [Notes in Ger., Eng., 7 p., score, 11 double pages, $11.00]

Anton Webern. Variationen fur Klavier, op. 27. Webern's ideas on inter- pretation by Peter Stadlen. Wien: Universal (European American), 1979. [Notes in Ger., Eng., 7 p., score, 11 double pages, $11.00]

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