ber, who edits the cello part and has recorded it; the reduction
of the economical but telling score is Holst's own. The rhapsodic
flights of this distinguished music are nicely controlled, and
Holst's fastidious judgment will ensure a ready welcome for the
piece. Kurt Weill was about to sit at the feet of Busoni when he
wrote his cello sonata of 1920 (European American/ Universal, ?8).
Still in his prentice years, he con- trived a work of considerable
originality. From the glum ostinato of the start, it already has a
whiff of that acrid quality typical of his later music. After the
dogged melodies and spare writing of the first movement, the 7/4
Andante espressivo luxuriates more, and the grotesqueries of the
finale underpin some bold flights of fancy. Gerhard Schedl's op.l
(Doblinger/Universal, ?3.60) is a sonata for unaccompanied cello in
which a latterday Pierrot looks at the moon and finds much to
entertain him as well as to be cross about. Cellistic resources are
exploited to the full, and only an accomplished player need attempt
the piece, which is in four linked and epigram- matic sections
sharing much melodic material.
ROBERT ANDERSON
Modern guitar With one exception, the music in this review does
not use advanced musical language, nor aleatory passages. Trilogy
by Frederic Hand (Presser/ Universal, ?3.60) is a three-movement
sonata- like work which would never leave the middle of the road
were it not for some unexpected twists, for instance where a 12/8
bar is divided 4 + 3 + 3 + 2 in the last movement. Otherwise the
music is on the sweet side but nonetheless attrac- tive. Alexander
Bellow's Tales of the Alhambra (Kerby/ Elkin, ?2.80) is also good,
all-purpose music. Taken as a whole it is suitable concert
material; played singly each movement would be useful for students.
The music, prefaced by quotations from Washington Irving, has
nothing to do with its more famous eponymous work - there is hardly
a tremolo in sight - but describes the beauty of the Alhambra in
times of peace and war. Another very descriptive composition is
Suite by Owen Middleton (Belwin, ?2.25), a set of 'mood pieces' as
the editor, Ronald Purcell, writes in the preface. Each movement,
whether a lullaby or a dance, is most evocative, and the Virginia
Reel would surely bring some much- needed smiles to the audience at
the close of a concert.
Sergio Chiereghin's Passacaglia (Berben/Fen- tone, ?2.95) is
built on a four-bar ostinato from the 'scuola veneta de 1600' which
the composer uses to create great tension, despite (or because of)
retaining the simple theme unaltered until the end. Another rather
tense piece is Jindrich Feld's Barbaric Dance (Schirmer, ?2.90)
which, with its insistence on harmonies in 4ths and broken
rhythms,' is full of restless energy until the final passage in
harmonics (and here the nota-
ber, who edits the cello part and has recorded it; the reduction
of the economical but telling score is Holst's own. The rhapsodic
flights of this distinguished music are nicely controlled, and
Holst's fastidious judgment will ensure a ready welcome for the
piece. Kurt Weill was about to sit at the feet of Busoni when he
wrote his cello sonata of 1920 (European American/ Universal, ?8).
Still in his prentice years, he con- trived a work of considerable
originality. From the glum ostinato of the start, it already has a
whiff of that acrid quality typical of his later music. After the
dogged melodies and spare writing of the first movement, the 7/4
Andante espressivo luxuriates more, and the grotesqueries of the
finale underpin some bold flights of fancy. Gerhard Schedl's op.l
(Doblinger/Universal, ?3.60) is a sonata for unaccompanied cello in
which a latterday Pierrot looks at the moon and finds much to
entertain him as well as to be cross about. Cellistic resources are
exploited to the full, and only an accomplished player need attempt
the piece, which is in four linked and epigram- matic sections
sharing much melodic material.
ROBERT ANDERSON
Modern guitar With one exception, the music in this review does
not use advanced musical language, nor aleatory passages. Trilogy
by Frederic Hand (Presser/ Universal, ?3.60) is a three-movement
sonata- like work which would never leave the middle of the road
were it not for some unexpected twists, for instance where a 12/8
bar is divided 4 + 3 + 3 + 2 in the last movement. Otherwise the
music is on the sweet side but nonetheless attrac- tive. Alexander
Bellow's Tales of the Alhambra (Kerby/ Elkin, ?2.80) is also good,
all-purpose music. Taken as a whole it is suitable concert
material; played singly each movement would be useful for students.
The music, prefaced by quotations from Washington Irving, has
nothing to do with its more famous eponymous work - there is hardly
a tremolo in sight - but describes the beauty of the Alhambra in
times of peace and war. Another very descriptive composition is
Suite by Owen Middleton (Belwin, ?2.25), a set of 'mood pieces' as
the editor, Ronald Purcell, writes in the preface. Each movement,
whether a lullaby or a dance, is most evocative, and the Virginia
Reel would surely bring some much- needed smiles to the audience at
the close of a concert.
Sergio Chiereghin's Passacaglia (Berben/Fen- tone, ?2.95) is
built on a four-bar ostinato from the 'scuola veneta de 1600' which
the composer uses to create great tension, despite (or because of)
retaining the simple theme unaltered until the end. Another rather
tense piece is Jindrich Feld's Barbaric Dance (Schirmer, ?2.90)
which, with its insistence on harmonies in 4ths and broken
rhythms,' is full of restless energy until the final passage in
harmonics (and here the nota-
ber, who edits the cello part and has recorded it; the reduction
of the economical but telling score is Holst's own. The rhapsodic
flights of this distinguished music are nicely controlled, and
Holst's fastidious judgment will ensure a ready welcome for the
piece. Kurt Weill was about to sit at the feet of Busoni when he
wrote his cello sonata of 1920 (European American/ Universal, ?8).
Still in his prentice years, he con- trived a work of considerable
originality. From the glum ostinato of the start, it already has a
whiff of that acrid quality typical of his later music. After the
dogged melodies and spare writing of the first movement, the 7/4
Andante espressivo luxuriates more, and the grotesqueries of the
finale underpin some bold flights of fancy. Gerhard Schedl's op.l
(Doblinger/Universal, ?3.60) is a sonata for unaccompanied cello in
which a latterday Pierrot looks at the moon and finds much to
entertain him as well as to be cross about. Cellistic resources are
exploited to the full, and only an accomplished player need attempt
the piece, which is in four linked and epigram- matic sections
sharing much melodic material.
ROBERT ANDERSON
Modern guitar With one exception, the music in this review does
not use advanced musical language, nor aleatory passages. Trilogy
by Frederic Hand (Presser/ Universal, ?3.60) is a three-movement
sonata- like work which would never leave the middle of the road
were it not for some unexpected twists, for instance where a 12/8
bar is divided 4 + 3 + 3 + 2 in the last movement. Otherwise the
music is on the sweet side but nonetheless attrac- tive. Alexander
Bellow's Tales of the Alhambra (Kerby/ Elkin, ?2.80) is also good,
all-purpose music. Taken as a whole it is suitable concert
material; played singly each movement would be useful for students.
The music, prefaced by quotations from Washington Irving, has
nothing to do with its more famous eponymous work - there is hardly
a tremolo in sight - but describes the beauty of the Alhambra in
times of peace and war. Another very descriptive composition is
Suite by Owen Middleton (Belwin, ?2.25), a set of 'mood pieces' as
the editor, Ronald Purcell, writes in the preface. Each movement,
whether a lullaby or a dance, is most evocative, and the Virginia
Reel would surely bring some much- needed smiles to the audience at
the close of a concert.
Sergio Chiereghin's Passacaglia (Berben/Fen- tone, ?2.95) is
built on a four-bar ostinato from the 'scuola veneta de 1600' which
the composer uses to create great tension, despite (or because of)
retaining the simple theme unaltered until the end. Another rather
tense piece is Jindrich Feld's Barbaric Dance (Schirmer, ?2.90)
which, with its insistence on harmonies in 4ths and broken
rhythms,' is full of restless energy until the final passage in
harmonics (and here the nota-
ber, who edits the cello part and has recorded it; the reduction
of the economical but telling score is Holst's own. The rhapsodic
flights of this distinguished music are nicely controlled, and
Holst's fastidious judgment will ensure a ready welcome for the
piece. Kurt Weill was about to sit at the feet of Busoni when he
wrote his cello sonata of 1920 (European American/ Universal, ?8).
Still in his prentice years, he con- trived a work of considerable
originality. From the glum ostinato of the start, it already has a
whiff of that acrid quality typical of his later music. After the
dogged melodies and spare writing of the first movement, the 7/4
Andante espressivo luxuriates more, and the grotesqueries of the
finale underpin some bold flights of fancy. Gerhard Schedl's op.l
(Doblinger/Universal, ?3.60) is a sonata for unaccompanied cello in
which a latterday Pierrot looks at the moon and finds much to
entertain him as well as to be cross about. Cellistic resources are
exploited to the full, and only an accomplished player need attempt
the piece, which is in four linked and epigram- matic sections
sharing much melodic material.
ROBERT ANDERSON
Modern guitar With one exception, the music in this review does
not use advanced musical language, nor aleatory passages. Trilogy
by Frederic Hand (Presser/ Universal, ?3.60) is a three-movement
sonata- like work which would never leave the middle of the road
were it not for some unexpected twists, for instance where a 12/8
bar is divided 4 + 3 + 3 + 2 in the last movement. Otherwise the
music is on the sweet side but nonetheless attrac- tive. Alexander
Bellow's Tales of the Alhambra (Kerby/ Elkin, ?2.80) is also good,
all-purpose music. Taken as a whole it is suitable concert
material; played singly each movement would be useful for students.
The music, prefaced by quotations from Washington Irving, has
nothing to do with its more famous eponymous work - there is hardly
a tremolo in sight - but describes the beauty of the Alhambra in
times of peace and war. Another very descriptive composition is
Suite by Owen Middleton (Belwin, ?2.25), a set of 'mood pieces' as
the editor, Ronald Purcell, writes in the preface. Each movement,
whether a lullaby or a dance, is most evocative, and the Virginia
Reel would surely bring some much- needed smiles to the audience at
the close of a concert.
Sergio Chiereghin's Passacaglia (Berben/Fen- tone, ?2.95) is
built on a four-bar ostinato from the 'scuola veneta de 1600' which
the composer uses to create great tension, despite (or because of)
retaining the simple theme unaltered until the end. Another rather
tense piece is Jindrich Feld's Barbaric Dance (Schirmer, ?2.90)
which, with its insistence on harmonies in 4ths and broken
rhythms,' is full of restless energy until the final passage in
harmonics (and here the nota-
tion is most confusing without an explanatory preface; what is
the difference between lozenge- shaped notes and ordinary round
ones with a little circle above?).
In the past few years the small but steady trickle of musicians
from Eastern Europe has meant that their repertory has been opened
up to us in the West. The publisher whose editions reach us most
steadily is Panton in Prague via Univer- sal. Their most recent
arrival, although copy- righted 1981, is Stepan Urban's
Compositions for Guitar (95p - despite importation, their
publications undercut ours). Without recourse to avant-garde
language, nor to undue use of per- cussive effects, Urban
nevertheless gives us some- thing fresh and new, and I particularly
liked the 'Dance for a Squirrel' with its three simple, play- ful
movements. Just as easy on the ear are the Petites pieces intimes
by Francis Kleynjans (Billaudot/United, ?2.35), a gifted and
person- able young composer/performer. The six short pieces are
mostly tinged with a slight but unob- trusive South American
flavour, making charm- ing miniatures suitable for encores.
The exception mentioned at the start of this review is William
Hellermann's Distances/ Embraces (Presser/Universal, $4), an
aleatory work in which the interpreter, while left a very free
hand, is given many guidelines as to mood, e.g. 'gracefully',
'rustling', 'mysteriously', 'mus- ingly' and so on. Much use is
made of percussive and bottleneck effects, and the player is also
required to whistle and hum into the soundhole. After a climax of
frenzied activity the work ends as it began, with sustained
harmonics alternating with crossed strings. MARY CRISWICK
Modern horn From a mixed batch of new pieces for horn one that
immediately attracts the attention is Sea Eagle for solo by Peter
Maxwell Davies (Chester, ?2.99). It moves in floating melodic lines
with a fair sprinkling of grace notes, irregular rhythms and full
compass. The fast runs and changes of register in the first and
last movements are par- ticularly difficult. No less demanding but
not so exciting is Motum 2 for horn by Alain Voirpy
(Lemoine/United, ?3.80). Between slow-moving passages which explore
changes in tone-colour there are contrasting passages of short fast
flourishes. With the significant addition of a tam- tam Le signe du
lion by Gilles Tremblay (Salabert/United, ?3.85) is much more
explosive in spirit with some exciting interaction between the
instruments.
Two pieces for four horns deserve brief men- tion: the
straightforward Horn Postille op.46 by Kurt Schwertsik (Boosey,
playing score ?1.50) and Three Intermezzos op.76 no.1 by Helmut
Eder (Doblinger/Universal, score and parts ?7.15). Three of
Schwertsik's four pieces are based on march-like rhythms, while in
the slow one a sinuous bass melody is accompanied by simple
chorale-like harmonies. Eder's pieces are
tion is most confusing without an explanatory preface; what is
the difference between lozenge- shaped notes and ordinary round
ones with a little circle above?).
In the past few years the small but steady trickle of musicians
from Eastern Europe has meant that their repertory has been opened
up to us in the West. The publisher whose editions reach us most
steadily is Panton in Prague via Univer- sal. Their most recent
arrival, although copy- righted 1981, is Stepan Urban's
Compositions for Guitar (95p - despite importation, their
publications undercut ours). Without recourse to avant-garde
language, nor to undue use of per- cussive effects, Urban
nevertheless gives us some- thing fresh and new, and I particularly
liked the 'Dance for a Squirrel' with its three simple, play- ful
movements. Just as easy on the ear are the Petites pieces intimes
by Francis Kleynjans (Billaudot/United, ?2.35), a gifted and
person- able young composer/performer. The six short pieces are
mostly tinged with a slight but unob- trusive South American
flavour, making charm- ing miniatures suitable for encores.
The exception mentioned at the start of this review is William
Hellermann's Distances/ Embraces (Presser/Universal, $4), an
aleatory work in which the interpreter, while left a very free
hand, is given many guidelines as to mood, e.g. 'gracefully',
'rustling', 'mysteriously', 'mus- ingly' and so on. Much use is
made of percussive and bottleneck effects, and the player is also
required to whistle and hum into the soundhole. After a climax of
frenzied activity the work ends as it began, with sustained
harmonics alternating with crossed strings. MARY CRISWICK
Modern horn From a mixed batch of new pieces for horn one that
immediately attracts the attention is Sea Eagle for solo by Peter
Maxwell Davies (Chester, ?2.99). It moves in floating melodic lines
with a fair sprinkling of grace notes, irregular rhythms and full
compass. The fast runs and changes of register in the first and
last movements are par- ticularly difficult. No less demanding but
not so exciting is Motum 2 for horn by Alain Voirpy
(Lemoine/United, ?3.80). Between slow-moving passages which explore
changes in tone-colour there are contrasting passages of short fast
flourishes. With the significant addition of a tam- tam Le signe du
lion by Gilles Tremblay (Salabert/United, ?3.85) is much more
explosive in spirit with some exciting interaction between the
instruments.
Two pieces for four horns deserve brief men- tion: the
straightforward Horn Postille op.46 by Kurt Schwertsik (Boosey,
playing score ?1.50) and Three Intermezzos op.76 no.1 by Helmut
Eder (Doblinger/Universal, score and parts ?7.15). Three of
Schwertsik's four pieces are based on march-like rhythms, while in
the slow one a sinuous bass melody is accompanied by simple
chorale-like harmonies. Eder's pieces are
tion is most confusing without an explanatory preface; what is
the difference between lozenge- shaped notes and ordinary round
ones with a little circle above?).
In the past few years the small but steady trickle of musicians
from Eastern Europe has meant that their repertory has been opened
up to us in the West. The publisher whose editions reach us most
steadily is Panton in Prague via Univer- sal. Their most recent
arrival, although copy- righted 1981, is Stepan Urban's
Compositions for Guitar (95p - despite importation, their
publications undercut ours). Without recourse to avant-garde
language, nor to undue use of per- cussive effects, Urban
nevertheless gives us some- thing fresh and new, and I particularly
liked the 'Dance for a Squirrel' with its three simple, play- ful
movements. Just as easy on the ear are the Petites pieces intimes
by Francis Kleynjans (Billaudot/United, ?2.35), a gifted and
person- able young composer/performer. The six short pieces are
mostly tinged with a slight but unob- trusive South American
flavour, making charm- ing miniatures suitable for encores.
The exception mentioned at the start of this review is William
Hellermann's Distances/ Embraces (Presser/Universal, $4), an
aleatory work in which the interpreter, while left a very free
hand, is given many guidelines as to mood, e.g. 'gracefully',
'rustling', 'mysteriously', 'mus- ingly' and so on. Much use is
made of percussive and bottleneck effects, and the player is also
required to whistle and hum into the soundhole. After a climax of
frenzied activity the work ends as it began, with sustained
harmonics alternating with crossed strings. MARY CRISWICK
Modern horn From a mixed batch of new pieces for horn one that
immediately attracts the attention is Sea Eagle for solo by Peter
Maxwell Davies (Chester, ?2.99). It moves in floating melodic lines
with a fair sprinkling of grace notes, irregular rhythms and full
compass. The fast runs and changes of register in the first and
last movements are par- ticularly difficult. No less demanding but
not so exciting is Motum 2 for horn by Alain Voirpy
(Lemoine/United, ?3.80). Between slow-moving passages which explore
changes in tone-colour there are contrasting passages of short fast
flourishes. With the significant addition of a tam- tam Le signe du
lion by Gilles Tremblay (Salabert/United, ?3.85) is much more
explosive in spirit with some exciting interaction between the
instruments.
Two pieces for four horns deserve brief men- tion: the
straightforward Horn Postille op.46 by Kurt Schwertsik (Boosey,
playing score ?1.50) and Three Intermezzos op.76 no.1 by Helmut
Eder (Doblinger/Universal, score and parts ?7.15). Three of
Schwertsik's four pieces are based on march-like rhythms, while in
the slow one a sinuous bass melody is accompanied by simple
chorale-like harmonies. Eder's pieces are
tion is most confusing without an explanatory preface; what is
the difference between lozenge- shaped notes and ordinary round
ones with a little circle above?).
In the past few years the small but steady trickle of musicians
from Eastern Europe has meant that their repertory has been opened
up to us in the West. The publisher whose editions reach us most
steadily is Panton in Prague via Univer- sal. Their most recent
arrival, although copy- righted 1981, is Stepan Urban's
Compositions for Guitar (95p - despite importation, their
publications undercut ours). Without recourse to avant-garde
language, nor to undue use of per- cussive effects, Urban
nevertheless gives us some- thing fresh and new, and I particularly
liked the 'Dance for a Squirrel' with its three simple, play- ful
movements. Just as easy on the ear are the Petites pieces intimes
by Francis Kleynjans (Billaudot/United, ?2.35), a gifted and
person- able young composer/performer. The six short pieces are
mostly tinged with a slight but unob- trusive South American
flavour, making charm- ing miniatures suitable for encores.
The exception mentioned at the start of this review is William
Hellermann's Distances/ Embraces (Presser/Universal, $4), an
aleatory work in which the interpreter, while left a very free
hand, is given many guidelines as to mood, e.g. 'gracefully',
'rustling', 'mysteriously', 'mus- ingly' and so on. Much use is
made of percussive and bottleneck effects, and the player is also
required to whistle and hum into the soundhole. After a climax of
frenzied activity the work ends as it began, with sustained
harmonics alternating with crossed strings. MARY CRISWICK
Modern horn From a mixed batch of new pieces for horn one that
immediately attracts the attention is Sea Eagle for solo by Peter
Maxwell Davies (Chester, ?2.99). It moves in floating melodic lines
with a fair sprinkling of grace notes, irregular rhythms and full
compass. The fast runs and changes of register in the first and
last movements are par- ticularly difficult. No less demanding but
not so exciting is Motum 2 for horn by Alain Voirpy
(Lemoine/United, ?3.80). Between slow-moving passages which explore
changes in tone-colour there are contrasting passages of short fast
flourishes. With the significant addition of a tam- tam Le signe du
lion by Gilles Tremblay (Salabert/United, ?3.85) is much more
explosive in spirit with some exciting interaction between the
instruments.
Two pieces for four horns deserve brief men- tion: the
straightforward Horn Postille op.46 by Kurt Schwertsik (Boosey,
playing score ?1.50) and Three Intermezzos op.76 no.1 by Helmut
Eder (Doblinger/Universal, score and parts ?7.15). Three of
Schwertsik's four pieces are based on march-like rhythms, while in
the slow one a sinuous bass melody is accompanied by simple
chorale-like harmonies. Eder's pieces are
more ambitious and interesting, but not too difficult.
For horn and piano, the Ballade by Friedrich Zehm (Schlott,
?2.85) is an impressive piece in the Romantic tradition, much of it
bold and aggressive, with strong discordant harmonies and a great
deal of work for both players. A Sonatina for horn and piano by
Jaroslav Kofroii, dating from 1952, is an attractive neo-classical
piece of no great difficulties but some melodic attraction. It
comes from Panton/Universal at ?2.25.
NIALL O'LOUGHLIN
Modern trumpet As a former orchestral trumpeter Malcolm Arnold
can be relied upon to produce an idio- matic work for the
instrument. That his short Trumpet Concerto of 1982 (Faber,
reduction ?3.95) is a splendid exercise for the soloist will be no
surprise, though some of the orchestral harmonies are surprisingly
static and the inven- tion a little thin. A much more substantial
piece is the Sonata eroica of 1960 for trumpet and piano by Jiri
Valek (Panton/Universal, ?6.65). Its hard- driving neo-classical
rhythms and sonorous extended tonal harmonies all add up to a
strong and powerful work. The alternative part for clarinet
(included with the trumpet version) would also work well. The sheer
elan of Valek's sonata is not found in the more careful and
methodical writing ofthe Sonata for trumpet and organ by Josef
Doppelbauer (Doblinger/Univer- sal, ?6.20). Yet the working of the
material is splendid with well-graded climaxes and an imaginative
final fugue.
In a totally different style, James Erber's Chiaroscuro for
trumpet and piano (Ricordi, ?9) presents some fearsome metrical
difficulties in its 149 bars, despite a fairly constant quaver
beat. The composer refers to 'multiple processes of decay and
proliferation' in the piece that were suggested by a 17th-century
engraving (repro- duced in the score) and a sonnet by Michelangelo.
This takes the form of very complex subdivision of quavers, often
totally different in the two parts, and, in the more extreme cases,
rhythmic pat- terns that cut across the quaver divisions. All this
complexity, however, does not hide the fact that this is one of the
most challenging (to listeners and performers) and powerful pieces
for the medium to appear for a very long time.
NIALL O'LOUGHLIN
ON MATTERS OF SOUND Consult one of Britain's oldest private
recording services if you require: * Mobile units for a
professional recording of your
Choir/Festival/Service/Concert anywhere. * Use of 20' x 30'
modern studio with Steinway Concert Grand. (Video facilities). *
Manufacture of records/cassettes in attractive
covers from your Masters or ours - good fund- raisers.
Educational Cassettes for Associated Board Exams see p. 710.
SOUND NEWS STUDIOS. 18 Blenheim Road, London W4 1ES Tel: 01-995
1661
more ambitious and interesting, but not too difficult.
For horn and piano, the Ballade by Friedrich Zehm (Schlott,
?2.85) is an impressive piece in the Romantic tradition, much of it
bold and aggressive, with strong discordant harmonies and a great
deal of work for both players. A Sonatina for horn and piano by
Jaroslav Kofroii, dating from 1952, is an attractive neo-classical
piece of no great difficulties but some melodic attraction. It
comes from Panton/Universal at ?2.25.
NIALL O'LOUGHLIN
Modern trumpet As a former orchestral trumpeter Malcolm Arnold
can be relied upon to produce an idio- matic work for the
instrument. That his short Trumpet Concerto of 1982 (Faber,
reduction ?3.95) is a splendid exercise for the soloist will be no
surprise, though some of the orchestral harmonies are surprisingly
static and the inven- tion a little thin. A much more substantial
piece is the Sonata eroica of 1960 for trumpet and piano by Jiri
Valek (Panton/Universal, ?6.65). Its hard- driving neo-classical
rhythms and sonorous extended tonal harmonies all add up to a
strong and powerful work. The alternative part for clarinet
(included with the trumpet version) would also work well. The sheer
elan of Valek's sonata is not found in the more careful and
methodical writing ofthe Sonata for trumpet and organ by Josef
Doppelbauer (Doblinger/Univer- sal, ?6.20). Yet the working of the
material is splendid with well-graded climaxes and an imaginative
final fugue.
In a totally different style, James Erber's Chiaroscuro for
trumpet and piano (Ricordi, ?9) presents some fearsome metrical
difficulties in its 149 bars, despite a fairly constant quaver
beat. The composer refers to 'multiple processes of decay and
proliferation' in the piece that were suggested by a 17th-century
engraving (repro- duced in the score) and a sonnet by Michelangelo.
This takes the form of very complex subdivision of quavers, often
totally different in the two parts, and, in the more extreme cases,
rhythmic pat- terns that cut across the quaver divisions. All this
complexity, however, does not hide the fact that this is one of the
most challenging (to listeners and performers) and powerful pieces
for the medium to appear for a very long time.
NIALL O'LOUGHLIN
ON MATTERS OF SOUND Consult one of Britain's oldest private
recording services if you require: * Mobile units for a
professional recording of your
Choir/Festival/Service/Concert anywhere. * Use of 20' x 30'
modern studio with Steinway Concert Grand. (Video facilities). *
Manufacture of records/cassettes in attractive
covers from your Masters or ours - good fund- raisers.
Educational Cassettes for Associated Board Exams see p. 710.
SOUND NEWS STUDIOS. 18 Blenheim Road, London W4 1ES Tel: 01-995
1661
more ambitious and interesting, but not too difficult.
For horn and piano, the Ballade by Friedrich Zehm (Schlott,
?2.85) is an impressive piece in the Romantic tradition, much of it
bold and aggressive, with strong discordant harmonies and a great
deal of work for both players. A Sonatina for horn and piano by
Jaroslav Kofroii, dating from 1952, is an attractive neo-classical
piece of no great difficulties but some melodic attraction. It
comes from Panton/Universal at ?2.25.
NIALL O'LOUGHLIN
Modern trumpet As a former orchestral trumpeter Malcolm Arnold
can be relied upon to produce an idio- matic work for the
instrument. That his short Trumpet Concerto of 1982 (Faber,
reduction ?3.95) is a splendid exercise for the soloist will be no
surprise, though some of the orchestral harmonies are surprisingly
static and the inven- tion a little thin. A much more substantial
piece is the Sonata eroica of 1960 for trumpet and piano by Jiri
Valek (Panton/Universal, ?6.65). Its hard- driving neo-classical
rhythms and sonorous extended tonal harmonies all add up to a
strong and powerful work. The alternative part for clarinet
(included with the trumpet version) would also work well. The sheer
elan of Valek's sonata is not found in the more careful and
methodical writing ofthe Sonata for trumpet and organ by Josef
Doppelbauer (Doblinger/Univer- sal, ?6.20). Yet the working of the
material is splendid with well-graded climaxes and an imaginative
final fugue.
In a totally different style, James Erber's Chiaroscuro for
trumpet and piano (Ricordi, ?9) presents some fearsome metrical
difficulties in its 149 bars, despite a fairly constant quaver
beat. The composer refers to 'multiple processes of decay and
proliferation' in the piece that were suggested by a 17th-century
engraving (repro- duced in the score) and a sonnet by Michelangelo.
This takes the form of very complex subdivision of quavers, often
totally different in the two parts, and, in the more extreme cases,
rhythmic pat- terns that cut across the quaver divisions. All this
complexity, however, does not hide the fact that this is one of the
most challenging (to listeners and performers) and powerful pieces
for the medium to appear for a very long time.
NIALL O'LOUGHLIN
ON MATTERS OF SOUND Consult one of Britain's oldest private
recording services if you require: * Mobile units for a
professional recording of your
Choir/Festival/Service/Concert anywhere. * Use of 20' x 30'
modern studio with Steinway Concert Grand. (Video facilities). *
Manufacture of records/cassettes in attractive
covers from your Masters or ours - good fund- raisers.
Educational Cassettes for Associated Board Exams see p. 710.
SOUND NEWS STUDIOS. 18 Blenheim Road, London W4 1ES Tel: 01-995
1661
more ambitious and interesting, but not too difficult.
For horn and piano, the Ballade by Friedrich Zehm (Schlott,
?2.85) is an impressive piece in the Romantic tradition, much of it
bold and aggressive, with strong discordant harmonies and a great
deal of work for both players. A Sonatina for horn and piano by
Jaroslav Kofroii, dating from 1952, is an attractive neo-classical
piece of no great difficulties but some melodic attraction. It
comes from Panton/Universal at ?2.25.
NIALL O'LOUGHLIN
Modern trumpet As a former orchestral trumpeter Malcolm Arnold
can be relied upon to produce an idio- matic work for the
instrument. That his short Trumpet Concerto of 1982 (Faber,
reduction ?3.95) is a splendid exercise for the soloist will be no
surprise, though some of the orchestral harmonies are surprisingly
static and the inven- tion a little thin. A much more substantial
piece is the Sonata eroica of 1960 for trumpet and piano by Jiri
Valek (Panton/Universal, ?6.65). Its hard- driving neo-classical
rhythms and sonorous extended tonal harmonies all add up to a
strong and powerful work. The alternative part for clarinet
(included with the trumpet version) would also work well. The sheer
elan of Valek's sonata is not found in the more careful and
methodical writing ofthe Sonata for trumpet and organ by Josef
Doppelbauer (Doblinger/Univer- sal, ?6.20). Yet the working of the
material is splendid with well-graded climaxes and an imaginative
final fugue.
In a totally different style, James Erber's Chiaroscuro for
trumpet and piano (Ricordi, ?9) presents some fearsome metrical
difficulties in its 149 bars, despite a fairly constant quaver
beat. The composer refers to 'multiple processes of decay and
proliferation' in the piece that were suggested by a 17th-century
engraving (repro- duced in the score) and a sonnet by Michelangelo.
This takes the form of very complex subdivision of quavers, often
totally different in the two parts, and, in the more extreme cases,
rhythmic pat- terns that cut across the quaver divisions. All this
complexity, however, does not hide the fact that this is one of the
most challenging (to listeners and performers) and powerful pieces
for the medium to appear for a very long time.
NIALL O'LOUGHLIN
ON MATTERS OF SOUND Consult one of Britain's oldest private
recording services if you require: * Mobile units for a
professional recording of your
Choir/Festival/Service/Concert anywhere. * Use of 20' x 30'
modern studio with Steinway Concert Grand. (Video facilities). *
Manufacture of records/cassettes in attractive
covers from your Masters or ours - good fund- raisers.
Educational Cassettes for Associated Board Exams see p. 710.
SOUND NEWS STUDIOS. 18 Blenheim Road, London W4 1ES Tel: 01-995
1661
711 711 711 711
Article Contentsp.711
Issue Table of ContentsThe Musical Times, Vol. 125, No. 1702
(Dec., 1984), pp. 685-744Front Matter [pp.685-741]Letters to the
EditorDonizetti's 'Elisabeth' [p.692]Ernst Hermann Meyer
[p.692]Organs, Keys, Temperaments [p.692]Rossini Letters
[p.692]
The Symphonic Element in Nutcracker [pp.693-695]Tchaikovsky's
Mazeppa [pp.696-698]Gertrude Walker: An Elgarian Friendship
[pp.698-700]Delius and America: A New Perspective [pp.701-702]Franz
Schmidt: A Pupil's Memories [pp.702-703]Book ReviewsCompleat
Musicologist [p.704]Incompleat G & S [p.704]Sibelian Sound
[p.705]Pianist Abroad [p.705]Tracking Chopin [p.705]Mapping Operas
[p.706]Books Received [p.706]
Record ReviewsHarpsichords etc [p.707]Pianos and Fortepianos
[pp.707-708]Madrigals [p.708]
Music ReviewsBest Handel [p.709]European Chamber Music
[pp.709-710]Modern Chamber [p.710]European Piano Music [p.710]Cello
[pp.710-711]Modern Guitar [p.711]Modern Horn [p.711]Modern Trumpet
[p.711]Flute and Guitar [p.712]Modern Recorder [p.712]Easier Piano
[p.712]
Music in London [pp.713-714]Reports [pp.715-718]ObituaryRalph
Holmes [p.719]
Church and Organ MusicJohann Gottfried Walther (1684-1748). A
Tercentenary Tribute [pp.721-725]Organ Recitals [p.725]Royal
College of Organists [pp.726-727]IAO Congress [p.727]Christmas
Music [p.728]
Book Reviewuntitled [p.727]
London Diary for January [pp.742-744]Back Matter
![[Leavitt W] a Modern Method for Guitar(Bookos.org) (1)](https://img.dokumen.tips/doc/110x75/55cf9963550346d0339d1bf1/leavitt-w-a-modern-method-for-guitarbookosorg-1.jpg)
