The Interpretation of Early Music by Robert DoningtonReview by: Albert CohenNotes, Second Series, Vol. 22, No. 1 (Autumn, 1965), pp. 711-714Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/894410 .

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control of his sources. (He is also the victim of an amusing misprint in what is generally an excellently produced vol- ume: instead of "Madre di Dio Mon- archessa del Tutto" [as on p. 30] for the title of the mass for sixteen voices, we find on p. 29: "Monachessa del Tutto.")

The remaining two papers, again the work of Dr. Kast, are the product of basic research and frankly utilitarian in intent, rather than interpretative. "Bio- graphische Notizen zu romischen Musi- kern des 17. Jahrhunderts" is especially noteworthy. Although most of the sixty- seven musicians included are obscure figures, Dr. Kast adds to our basic knowledge of such men as Gregorio Al- legri, J. H. Kapsberger (on whom he is preparing a special monograph), Stefano Landi, Marco Marazzoli, Bernardo Pas- quini, Mario Savioni, and Philippo Vitali. In the case of Marazzoli, for ex- ample, we are given the documents that establish the circumstances of his death and the reasoning that sets it as having taken place on 26 January 1662 (al- though this is misprinted on p. 52 as 1661), as well as the research that cor- rects his date of birth from 1619, as found in many accounts (including

control of his sources. (He is also the victim of an amusing misprint in what is generally an excellently produced vol- ume: instead of "Madre di Dio Mon- archessa del Tutto" [as on p. 30] for the title of the mass for sixteen voices, we find on p. 29: "Monachessa del Tutto.")

The remaining two papers, again the work of Dr. Kast, are the product of basic research and frankly utilitarian in intent, rather than interpretative. "Bio- graphische Notizen zu romischen Musi- kern des 17. Jahrhunderts" is especially noteworthy. Although most of the sixty- seven musicians included are obscure figures, Dr. Kast adds to our basic knowledge of such men as Gregorio Al- legri, J. H. Kapsberger (on whom he is preparing a special monograph), Stefano Landi, Marco Marazzoli, Bernardo Pas- quini, Mario Savioni, and Philippo Vitali. In the case of Marazzoli, for ex- ample, we are given the documents that establish the circumstances of his death and the reasoning that sets it as having taken place on 26 January 1662 (al- though this is misprinted on p. 52 as 1661), as well as the research that cor- rects his date of birth from 1619, as found in many accounts (including

Kast's own in MGG), to "either c. 1602 or c. 1608." (The Marazzoli testament once cited by Piero Capponi in La Scuola Romana ["Accademia Musicale Chi- giana"; Siena, 1953, p. 103] is unfor- tunately still not forthcoming.) Dr. Kast concludes the book with "Bibliographie der Aufsatze zur Musik in aussermusi- kalischen italienischen Zeitschriften I," to be continued in subsequent volumes of the series.

I conclude my review with mild bibliographical misgivings. As a subject, "the history of Italian and German music" provides a sentimental focus but no practical one, since it comes so dis- concertingly close to being coterminous with the history of European music gen- erally. How could people interested variously in Giacomo Carissimi or Joachim Woltersdorf or Giuseppe Verdi all be expected to find their way to Analecta Musicologica, Band 1? It is, in other words, a non-periodic periodical not destined for display on the periodical shelf; a state of affairs that would be at least partly set to rights if its varied and stimulating contents could be absorbed by The Music Index.

DAVID L. BURROWS

Kast's own in MGG), to "either c. 1602 or c. 1608." (The Marazzoli testament once cited by Piero Capponi in La Scuola Romana ["Accademia Musicale Chi- giana"; Siena, 1953, p. 103] is unfor- tunately still not forthcoming.) Dr. Kast concludes the book with "Bibliographie der Aufsatze zur Musik in aussermusi- kalischen italienischen Zeitschriften I," to be continued in subsequent volumes of the series.

I conclude my review with mild bibliographical misgivings. As a subject, "the history of Italian and German music" provides a sentimental focus but no practical one, since it comes so dis- concertingly close to being coterminous with the history of European music gen- erally. How could people interested variously in Giacomo Carissimi or Joachim Woltersdorf or Giuseppe Verdi all be expected to find their way to Analecta Musicologica, Band 1? It is, in other words, a non-periodic periodical not destined for display on the periodical shelf; a state of affairs that would be at least partly set to rights if its varied and stimulating contents could be absorbed by The Music Index.

DAVID L. BURROWS

The Interpretation of Early Music. By Robert Donington. London: Faber & Faber; New York: St. Martin's Press, 1963. [605 p., music, 8vo; $27.50]

The Interpretation of Early Music. By Robert Donington. London: Faber & Faber; New York: St. Martin's Press, 1963. [605 p., music, 8vo; $27.50]

General interest in the performance of early music has flourished remarkably in recent years among both amateur and professional musicians. Publications devoted to performance problems, edi- tions and facsimile reproductions of original sources, and practical perform- ing editions are increasingly being made available. Indeed, they are in demand, for the problems that beset would-be per- formers of this music are many. It takes specialized knowledge, playing skills on often obsolete instruments, and an ap- propriate point of historical reference- as well as sound musicianship and a deep interest in earlier styles-to achieve some degree of success in this field of endeavour.

Mr. Donington's book, aimed at help- ing to solve (or at least to clarify) many of these problems, is therefore re-

General interest in the performance of early music has flourished remarkably in recent years among both amateur and professional musicians. Publications devoted to performance problems, edi- tions and facsimile reproductions of original sources, and practical perform- ing editions are increasingly being made available. Indeed, they are in demand, for the problems that beset would-be per- formers of this music are many. It takes specialized knowledge, playing skills on often obsolete instruments, and an ap- propriate point of historical reference- as well as sound musicianship and a deep interest in earlier styles-to achieve some degree of success in this field of endeavour.

Mr. Donington's book, aimed at help- ing to solve (or at least to clarify) many of these problems, is therefore re-

ceived with great interest. Organized in a manner not unlike that of the early classic study by Arnold Dolmetsch, The Interpretation of the Music of the XVII & XVIII Centuries (first published in 1915), it is basically a personal expres- sion of the meaning of baroque music,' and of possible solutions to problems that arise in performing this music. "The purpose of this book," notes the author, "is to contribute to our understanding of early interpretation by assembling and discussing some of the surviving evidence [p. 25].... This book is my contribution towards the main problems of early music as they arise in actual rehearsal and performance. It is, I realize, a very uneven contribution [p. 525]."

1 The title-word Early is misapplied, since the work is almost entirely concerned with music of the baroque period.

ceived with great interest. Organized in a manner not unlike that of the early classic study by Arnold Dolmetsch, The Interpretation of the Music of the XVII & XVIII Centuries (first published in 1915), it is basically a personal expres- sion of the meaning of baroque music,' and of possible solutions to problems that arise in performing this music. "The purpose of this book," notes the author, "is to contribute to our understanding of early interpretation by assembling and discussing some of the surviving evidence [p. 25].... This book is my contribution towards the main problems of early music as they arise in actual rehearsal and performance. It is, I realize, a very uneven contribution [p. 525]."

1 The title-word Early is misapplied, since the work is almost entirely concerned with music of the baroque period.

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The work is divided into four Books: I. Style, II. The Notes, III. The Expres- sion, and IV. Instruments. These, in turn, are further sub-divided into numbered Parts, Chapters, and sub-chapters, the entire work being essentially organized in the form of an outline. The general (although not consistent) procedure fol- lowed in presenting the material of the various sections is to provide background, define terms, isolate the problems, cite historical evidence related to the prob- lems (usually arranged chronologically and all in English translation), draw conclusions from this evidence, and pro- vide suggestions for performance based on the material reviewed and on prac- tical considerations.

An additional step, which would have added immeasurably to the practical value of the book, could have been the inclusion of more extended musical ex- amples demonstrating the author's sug- gested solutions for problems discussed, in precise and complete terms (perhaps in the form of a supplementary inser- tion). Not enough examples are provid- ed, in this reviewer's opinion, to demon- strate the practical application of many of Mr. Donington's conclusions.

The strongest and clearest presenta- tions are accorded the chapters devoted to Embellishment (Book II, Part 2), Dotted Notes (Ch. XLIII), Inequality (Ch. XLV), and Triplet Rhythm (Ch. XLVI), for which this source could well become the standard reference in English (in large part, this material was originally published by Mr. Donington in articles for the 5th ed. of Grove's Dic- tionary). The section on Accompaniment (Book II, Part 3, seemingly indebted in part to Arnold's Art of Accompaniment from a Thorough-Bass of 1931) also con- tains sound chapters, notably the one devoted to Texture (Ch. XXIX).

Much of the rest of the work, how- ever, although it includes perceptive ob- servations and carefully-chosen evidence drawn from contemporary "authorities," 2

2 The "authorities' are weighted in favor of English and German sources, and about one-quarter of the 762 numbered quotations are derived from two principal treatises: Quantz's Versuch of 1752 and C.P.E. Bach's Versuch of 1753-62.

is weakened by occasional incomplete, unsupported, and questionable state- ments. For example: "We not only can but must rely on our intuitive response to the expressive implications of early music" (p. 26); ". . . no baroque au- thority displays a very sound or well- informed historical sense; most of them display none at all" (p. 38) ; "Totally vibrato-less string tone sounds dead in any music" (p. 170), and later, ". . . a relaxed, moderate vibrato not only can but must be used to keep the tone alive [in baroque music]" (p. 470); "The metronome is a devil's invention . . ., be- ing accurate in every respect except what matters, namely the musical circum- stances of the case" (p. 338); "In renais- sance polyphony . . . there is no such thing as a regular accented beat" (p. 354); "If a saxophonist finds a baroque sonata which makes an excellent musical effect on his instrument, which was in- vented in the nineteenth century, there is nothing in the baroque attitude to music which prevents him [sic]" (p. 438; "There is only one fundamental technique of singing:) what we now call the old Italian technique" (p. 450); "There is no musical objection ... to using the comfortable modern end-pin [in performing baroque music], either for cellists or gambists" (p. 468).

The uneven nature of much of this work is also partly a result of what ap- pear to be notable omissions in the dis- cussion. For example: P. 32, There is no mention of the role played by Human- ism in the "element of passion in early music." P. 67, One wonders how the baroque practice of having parts with different key signatures relates to the entire question of conflicting signatures. P. 69, The concepts of tactus and tempo giusto are not mentioned in the discus- sion of "measure" and "regular intervals of time." P. 311, There is no treatment of the part played by national preference in the questions of "repeats and omis- sions." (An interesting manifestation of this preference is evident in Planche L of Rousseau's Dictionnaire of 1768, where notation for Reprises a Fitalienne is dis- tinguished from that a la francoise.) P. 325, The citation of metronome

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equivalents for baroque tempo indica- tions (the author uses the terminology "time words") are limited to those derived from Quantz, whereas certainly many others are available from this period. (See, for example, those dis- cussed in Ralph Kirkpatrick's early study, "Eighteen-Century Metronome In- dications," in Papers of the AMS, 1938, which is not included in the Bibliog- raphy.) Pp. 326-37, A systematic listing of the appropriate Aflekt and structural features for each of the dances, cited from contemporary authorities, is a per- tinent omission to the material presented, as is the absence of other dances from the period (such as badinerie and polo- naise). Also, the meaning of Rondeau is not clarified (that is, as a form rather than exclusively a style term). P. 437, A review of the role played by national preference in the choice of ap- propriate instruments in performance of baroque music would be of value. P. 451, The description of early vocal techniques cited from Mersenne is not qualified, as it is in the source, by the statement that they are found "assez rarement." P. 466, It appears difficult to justify use of struc- tural features of the violin as described by Mersenne (the reference for quotation (694) should correctly read Traite des instruments, p. 182) to support the man- ner of performing unaccompanied violin music of J. S. Bach. P. 476, It would be of interest to relate the baroque bow technique of the violin (which is dis- cussed) to that of the viol (which is not). (A relevant study on "Differences Between 18th Century and Modem Violin Bowing," by Sol Babitz, not cited by Mr. Donington, is found in The Score and IMA magazine of March, 1957.)

Four Appendices are provided: I. Liga- tures (prepared by the late Gerald Hayes, principally from Morley's "Plaine and Easie Introduction to Practicall Musicke of 1597, which appears to add little of value to the study; also, one wonders why the commonly-used terms, propriety and perfection, have not been retained from Morley); II. Figured Bass: Two [Contemporary] Realizations; III. Ex- amples of Ornamentation (these include facsimile pages, some of which have

been reduced almost to the point of

illegibility); and IV. The Virginalists' Strokes (which are discussed more suc- cinctly and thoroughly within the body of the text, pp. 154, 173, and 197). An Index of Ornaments (Signs), (essential- ly reprinted from the 5th ed. of Grove's Dictionary, VI, 441-8) should prove use- ful as a quick, preliminary reference for principal ornaments of the period.

Care has obviously been taken in pre- paring this work for the press. It is well printed on good paper, and although the musical examples are small in size they are for the most part clearly legible. It has been carefully proof-read and has

surprisingly few typographical errors for a book of its nature and size. Clarifica- tion of several bibliographical items, how- ever, would seem appropriate for the general reader: references to Mattheson's Vollkommene Capellmeister should be to Part II, Ch. 3; those to Loulii's Elements are to the ed. of 1698 (Amsterdam) and not to that of 1696, as listed; references to Book III of Praetorius' Syntagma Musicum are to Part 3 (except p. 518, 1. 1); and citations from Mersenne's Har- monie universelle appearing after Ch. LIV apply to the Traite des instruments (except pp. 452 and 454). Of minor errors in the musical examples, only three are misleading: p. 165, Ex. 82, the fifth note in each measure is found as a sixteenth-note (semiquaver) in the third ed. of Brossard's Dictionaire; p. 377, Ex. 197, (e) should be notated a third higher in pitch (except for the final notes of resolution); p. 400, Ex. 210, the bass should have the same notes in measure 3 as it has in measure 2.

The Select Bibliography is excellent so far as it goes, and it provides probably the most up-to-date source for current bibliography dealing with the subject matter of the book. Mr. Donington has chosen to annotate briefly the relative worth of many of the titles, and sources of particular significance are singled out through use of different type faces. It might be noted that many items referred to during the course of the book (notably collections of music) are not included in the Bibliography. The Index,

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prepared by Terence A. Miller, is excel- lent and thorough.

All in all, Mr. Donington's work, as a

personal expression concerning "early" music, is an impressive, often distin-

guished, sometimes incomplete discussion of a complex subject that reveals the

sincerity, particular interests, and con- siderable knowledge-both practical and

prepared by Terence A. Miller, is excel- lent and thorough.

All in all, Mr. Donington's work, as a

personal expression concerning "early" music, is an impressive, often distin-

guished, sometimes incomplete discussion of a complex subject that reveals the

sincerity, particular interests, and con- siderable knowledge-both practical and

theoretical-of the author. As a source- book for solution of performance prob- lems, however, although often original and perceptive, it is inconsistent and uneven. The excessive price of the vol- ume will certainly deprive those who might best gain from it-amateur per- formers and students-from having ready accessibility to the work.

ALBERT COHEN

theoretical-of the author. As a source- book for solution of performance prob- lems, however, although often original and perceptive, it is inconsistent and uneven. The excessive price of the vol- ume will certainly deprive those who might best gain from it-amateur per- formers and students-from having ready accessibility to the work.

ALBERT COHEN

The World of Music. By G. Wallace Woodworth. Cambridge, Mass., The Belknap Press of Harvard University Press, 1964. [207 p., 8vo; $4.75] The World of Music. By G. Wallace Woodworth. Cambridge, Mass., The Belknap Press of Harvard University Press, 1964. [207 p., 8vo; $4.75]

Out of the experiences, observations, and reflections of a long generation of teaching and conducting, Harvard's be- loved "Woody" has analyzed the place of music in American society as few other writers have attempted. His chap- ters are highly provocative, in the best sense of that word. They should be read carefully by students, teachers, per- formers, critics, and music-lovers. The work began as a series of lectures given in Boston during the spring of 1961 through the Lowell Institute foundation, dealing with music as a part of "the empire of the mind." Now, in expanding the lectures, Prof. Woodworth surveys current evils, dangers, problems, and is- sues. On the positive side, he suggests a number of basic principles which should govern the pursuit of beauty in American musical life.

First of all, he discusses the enormous increase in man-hours spent in listening to music. He points out the growing sophistication fostered by the "good music" radio stations and the record shops. At the other end of the spectrum, however, he calls attention to the timid, short-sighted, and greedy concert man- agers and record companies who narrow rather than widen the orbit of concert music. The specialized, therapeutic use of music is no excuse for the "musical smog" which hangs over so much of our daily life in public places.

The author's own years of teaching and of contacts with other teachers at all levels are reflected in his discussion of music in schools, colleges, and conserva- tories. He summarizes the ACLS re- ports of 1959 and 1962 on public school music with a call for more festivals and

Out of the experiences, observations, and reflections of a long generation of teaching and conducting, Harvard's be- loved "Woody" has analyzed the place of music in American society as few other writers have attempted. His chap- ters are highly provocative, in the best sense of that word. They should be read carefully by students, teachers, per- formers, critics, and music-lovers. The work began as a series of lectures given in Boston during the spring of 1961 through the Lowell Institute foundation, dealing with music as a part of "the empire of the mind." Now, in expanding the lectures, Prof. Woodworth surveys current evils, dangers, problems, and is- sues. On the positive side, he suggests a number of basic principles which should govern the pursuit of beauty in American musical life.

First of all, he discusses the enormous increase in man-hours spent in listening to music. He points out the growing sophistication fostered by the "good music" radio stations and the record shops. At the other end of the spectrum, however, he calls attention to the timid, short-sighted, and greedy concert man- agers and record companies who narrow rather than widen the orbit of concert music. The specialized, therapeutic use of music is no excuse for the "musical smog" which hangs over so much of our daily life in public places.

The author's own years of teaching and of contacts with other teachers at all levels are reflected in his discussion of music in schools, colleges, and conserva- tories. He summarizes the ACLS re- ports of 1959 and 1962 on public school music with a call for more festivals and

fewer clinics or contests. He urges more opportunity at an earlier age for creative activity in musical composition, for the teaching of great works of music in the same depth as works of English literature are taught in the high schools. His distinction between the role of con- servatory and college is well drawn, as is the discussion of school credits for applied music.

Turning to church music, Prof Wood- worth discusses its aims and philosophy as expressed in the official publications of various church bodies. Music is the handmaiden of worship. Shoddy, inferior, unworthy music is as blasphemous as bad stained-glass or cheap jokes and slang in the pulpit. Campaigning for better music is not so much a technical problem as a human one, a problem in education and leadership.

In a chapter on the arts and govern- ment, he notes the considerable associa- tion of national, state, and local govern- ment in this country with all aspects of the visual arts, ever since the days of Washington and Jefferson. Although no musical performances are subsidized, ex- cept at the local level, they are curently being supported abroad through the cul- tural exchange programs. This chapter is concluded with strong arguments for taking the field of education out of the Department of Health, Education and Welfare and the establishment of a sepa- rate Department of Education and the Arts.

Never before in the history of music has there been such an interest in the work of the past. Yet the fountainhead of all music is the composer. Never in the past has there been such a diversity

fewer clinics or contests. He urges more opportunity at an earlier age for creative activity in musical composition, for the teaching of great works of music in the same depth as works of English literature are taught in the high schools. His distinction between the role of con- servatory and college is well drawn, as is the discussion of school credits for applied music.

Turning to church music, Prof Wood- worth discusses its aims and philosophy as expressed in the official publications of various church bodies. Music is the handmaiden of worship. Shoddy, inferior, unworthy music is as blasphemous as bad stained-glass or cheap jokes and slang in the pulpit. Campaigning for better music is not so much a technical problem as a human one, a problem in education and leadership.

In a chapter on the arts and govern- ment, he notes the considerable associa- tion of national, state, and local govern- ment in this country with all aspects of the visual arts, ever since the days of Washington and Jefferson. Although no musical performances are subsidized, ex- cept at the local level, they are curently being supported abroad through the cul- tural exchange programs. This chapter is concluded with strong arguments for taking the field of education out of the Department of Health, Education and Welfare and the establishment of a sepa- rate Department of Education and the Arts.

Never before in the history of music has there been such an interest in the work of the past. Yet the fountainhead of all music is the composer. Never in the past has there been such a diversity

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