String trio, Op. 45 by Arnold Schoenberg; Jacques-Louis MonodReview by: Tom ClemanNotes, Second Series, Vol. 35, No. 3 (Mar., 1979), p. 719Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/939413 .

Accessed: 14/06/2014 07:56

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 62.122.79.56 on Sat, 14 Jun 2014 07:56:24 AMAll use subject to JSTOR Terms and Conditions

Music Reviews Music Reviews Music Reviews

The edition, as is always the case with

George Crumb (and rightly so), is a facsimile of his beautifully conceived and remarkably executed manuscript.

DAVID BURGE Eastman School of Music

Arnold Schoenberg: String trio, op. 45. Revised, edited by Jacques-Louis Monod (1976). Hillsdale, NY: Boelke-

Bomart, 1977. [Notes, 15 p., score, 23

p., $4.00; set of parts, $6.00]

Jacques-Louis Monod's newly revised edition of Schoenberg's String Trio, op. 45, will add a valuable reference source to any collection of the composer's music. The Trio, commissioned for a symposium on music criticism at Harvard University, was composed in 1946 during a near fatal illness. The work is immediately remarkable for its extensive use of coloristic devices and has long been a favorite for graduate seminars in serial analysis. In fact, the editor himself indicates that one of the first results of his research was a series of four talks given in the fall of 1969 for a twentieth- century music seminar at Columbia Uni- versity.

A revised edition seems to have been much needed, for both performance and analysis, as there are some 280 corrections involving such matters as dynamics, tempo, mode of playing, and articulation, as well as actual pitch changes. All corrections and changes have been exhaustively document- ed in fourteen pages of prefatory notes and meticulously catalogued by measure number, instrument, beat, and source. Such changes, moreover, are clearly marked in the score. Where Monod has indicated inaccurate pitches that are not clearly slips of the pen he has justified his suggestions in a thoroughly scholarly fashion. The reader should be forewarned, however, that a working knowledge of twelve-tone theory and its accompanying terminology is essen- tial to be able to follow his explanations. As indicated by the editor, reference sources for this edition are the composer's original material, two errata lists, a second set of proofs of the first edition, several reproductions of the manuscript, "a tran- script of differences existing between the second set of proofs and the printed copy,"

The edition, as is always the case with

George Crumb (and rightly so), is a facsimile of his beautifully conceived and remarkably executed manuscript.

DAVID BURGE Eastman School of Music

Arnold Schoenberg: String trio, op. 45. Revised, edited by Jacques-Louis Monod (1976). Hillsdale, NY: Boelke-

Bomart, 1977. [Notes, 15 p., score, 23

p., $4.00; set of parts, $6.00]

Jacques-Louis Monod's newly revised edition of Schoenberg's String Trio, op. 45, will add a valuable reference source to any collection of the composer's music. The Trio, commissioned for a symposium on music criticism at Harvard University, was composed in 1946 during a near fatal illness. The work is immediately remarkable for its extensive use of coloristic devices and has long been a favorite for graduate seminars in serial analysis. In fact, the editor himself indicates that one of the first results of his research was a series of four talks given in the fall of 1969 for a twentieth- century music seminar at Columbia Uni- versity.

A revised edition seems to have been much needed, for both performance and analysis, as there are some 280 corrections involving such matters as dynamics, tempo, mode of playing, and articulation, as well as actual pitch changes. All corrections and changes have been exhaustively document- ed in fourteen pages of prefatory notes and meticulously catalogued by measure number, instrument, beat, and source. Such changes, moreover, are clearly marked in the score. Where Monod has indicated inaccurate pitches that are not clearly slips of the pen he has justified his suggestions in a thoroughly scholarly fashion. The reader should be forewarned, however, that a working knowledge of twelve-tone theory and its accompanying terminology is essen- tial to be able to follow his explanations. As indicated by the editor, reference sources for this edition are the composer's original material, two errata lists, a second set of proofs of the first edition, several reproductions of the manuscript, "a tran- script of differences existing between the second set of proofs and the printed copy,"

The edition, as is always the case with

George Crumb (and rightly so), is a facsimile of his beautifully conceived and remarkably executed manuscript.

DAVID BURGE Eastman School of Music

Arnold Schoenberg: String trio, op. 45. Revised, edited by Jacques-Louis Monod (1976). Hillsdale, NY: Boelke-

Bomart, 1977. [Notes, 15 p., score, 23

p., $4.00; set of parts, $6.00]

Jacques-Louis Monod's newly revised edition of Schoenberg's String Trio, op. 45, will add a valuable reference source to any collection of the composer's music. The Trio, commissioned for a symposium on music criticism at Harvard University, was composed in 1946 during a near fatal illness. The work is immediately remarkable for its extensive use of coloristic devices and has long been a favorite for graduate seminars in serial analysis. In fact, the editor himself indicates that one of the first results of his research was a series of four talks given in the fall of 1969 for a twentieth- century music seminar at Columbia Uni- versity.

A revised edition seems to have been much needed, for both performance and analysis, as there are some 280 corrections involving such matters as dynamics, tempo, mode of playing, and articulation, as well as actual pitch changes. All corrections and changes have been exhaustively document- ed in fourteen pages of prefatory notes and meticulously catalogued by measure number, instrument, beat, and source. Such changes, moreover, are clearly marked in the score. Where Monod has indicated inaccurate pitches that are not clearly slips of the pen he has justified his suggestions in a thoroughly scholarly fashion. The reader should be forewarned, however, that a working knowledge of twelve-tone theory and its accompanying terminology is essen- tial to be able to follow his explanations. As indicated by the editor, reference sources for this edition are the composer's original material, two errata lists, a second set of proofs of the first edition, several reproductions of the manuscript, "a tran- script of differences existing between the second set of proofs and the printed copy,"

and some of Schoenberg's letters. Monod has produced an authoritative

and accurate edition of the Trio that should be of great use to both student and per- former.

TOM CLEMAN Northern Arizona University

Ilan Rechtman: Five miniatures for bassoon and piano. Bryn Mawr:

Elkan-Vogel, 1977. [Score, 7 p., and

part, $3.95]

Nicole Philiba: Concert: 3 mouve- ments pour hautbois et piano. Paris: Lemoine (Elkan-Vogel), 1976. [Score, 11 p., and part, $4.50]

Roger C. Vogel: Suite in G for oboe and bassoon. Bryn Mawr: Tritone Press (Presser), 1977. [Set of 2 per- formance scores, $3.00]

Of the three items listed above for review, perhaps the most interesting, for nonmusi- cal reasons at least, is the Five Miniatures by Ilan Rechtman. He is something of a child prodigy, something not too common at the moment. As the notes, complete with photo, point out, Rechtman was born in 1963 and wrote this little set of pieces in 1974, shortly after his eleventh birthday. He is also an accomplished pianist, for, by the age of fourteen, he had appeared as soloist with two of the major orchestras in Israel, his native country.

The Five Miniatures actually have six movements, for the piece begins with an Introduction for bassoon alone and then proceeds into the body of the work. The following movements are marked Andante, Con spirito, Cantabile, Allegro and Maestoso. The work as a whole is quite short, running to an overall five minutes or a bit less. The style is somewhat traditional in terms of phrase building and melodic development, but combined with a hint of atonality that is mildly reminiscent of certain works of Hindemith in the 1930s. The level of technical difficulty is not great for either player. Teachers of bassoon may find it a most useful work for students facing the traditional junior recital.

Nicole Philiba's Concert is a slightly more extended work, in three movements

and some of Schoenberg's letters. Monod has produced an authoritative

and accurate edition of the Trio that should be of great use to both student and per- former.

TOM CLEMAN Northern Arizona University

Ilan Rechtman: Five miniatures for bassoon and piano. Bryn Mawr:

Elkan-Vogel, 1977. [Score, 7 p., and

part, $3.95]

Nicole Philiba: Concert: 3 mouve- ments pour hautbois et piano. Paris: Lemoine (Elkan-Vogel), 1976. [Score, 11 p., and part, $4.50]

Roger C. Vogel: Suite in G for oboe and bassoon. Bryn Mawr: Tritone Press (Presser), 1977. [Set of 2 per- formance scores, $3.00]

Of the three items listed above for review, perhaps the most interesting, for nonmusi- cal reasons at least, is the Five Miniatures by Ilan Rechtman. He is something of a child prodigy, something not too common at the moment. As the notes, complete with photo, point out, Rechtman was born in 1963 and wrote this little set of pieces in 1974, shortly after his eleventh birthday. He is also an accomplished pianist, for, by the age of fourteen, he had appeared as soloist with two of the major orchestras in Israel, his native country.

The Five Miniatures actually have six movements, for the piece begins with an Introduction for bassoon alone and then proceeds into the body of the work. The following movements are marked Andante, Con spirito, Cantabile, Allegro and Maestoso. The work as a whole is quite short, running to an overall five minutes or a bit less. The style is somewhat traditional in terms of phrase building and melodic development, but combined with a hint of atonality that is mildly reminiscent of certain works of Hindemith in the 1930s. The level of technical difficulty is not great for either player. Teachers of bassoon may find it a most useful work for students facing the traditional junior recital.

Nicole Philiba's Concert is a slightly more extended work, in three movements

and some of Schoenberg's letters. Monod has produced an authoritative

and accurate edition of the Trio that should be of great use to both student and per- former.

TOM CLEMAN Northern Arizona University

Ilan Rechtman: Five miniatures for bassoon and piano. Bryn Mawr:

Elkan-Vogel, 1977. [Score, 7 p., and

part, $3.95]

Nicole Philiba: Concert: 3 mouve- ments pour hautbois et piano. Paris: Lemoine (Elkan-Vogel), 1976. [Score, 11 p., and part, $4.50]

Roger C. Vogel: Suite in G for oboe and bassoon. Bryn Mawr: Tritone Press (Presser), 1977. [Set of 2 per- formance scores, $3.00]

Of the three items listed above for review, perhaps the most interesting, for nonmusi- cal reasons at least, is the Five Miniatures by Ilan Rechtman. He is something of a child prodigy, something not too common at the moment. As the notes, complete with photo, point out, Rechtman was born in 1963 and wrote this little set of pieces in 1974, shortly after his eleventh birthday. He is also an accomplished pianist, for, by the age of fourteen, he had appeared as soloist with two of the major orchestras in Israel, his native country.

The Five Miniatures actually have six movements, for the piece begins with an Introduction for bassoon alone and then proceeds into the body of the work. The following movements are marked Andante, Con spirito, Cantabile, Allegro and Maestoso. The work as a whole is quite short, running to an overall five minutes or a bit less. The style is somewhat traditional in terms of phrase building and melodic development, but combined with a hint of atonality that is mildly reminiscent of certain works of Hindemith in the 1930s. The level of technical difficulty is not great for either player. Teachers of bassoon may find it a most useful work for students facing the traditional junior recital.

Nicole Philiba's Concert is a slightly more extended work, in three movements

719 719 719

This content downloaded from 62.122.79.56 on Sat, 14 Jun 2014 07:56:24 AMAll use subject to JSTOR Terms and Conditions