Nueva biblioteca española de música de teclado, siglos XVI al XVIII by Antonio BacieroReview by: Alexander SilbigerNotes, Second Series, Vol. 41, No. 2 (Dec., 1984), pp. 386-388Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/940621 .

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MLA, Notes, December 1984 MLA, Notes, December 1984 MLA, Notes, December 1984

evidence, but for the most part are clear and readable. A short list of symbols and their meanings at the beginning is very helpful. Measures are numbered to pro- vide assistance in "staying together" with the orchestra (or in this case, the second piano).

This competition piece is extremely dif- ficult-both technically and musically. Large hands to manage the wide stretches are a definite asset.

It is unfortunate that a work as good as this will likely receive a very limited hear- ing. At present there is not a single re- cording of a Tisne work in the Schwann catalogue (the flute concerto is available from Musical Heritage Society), and I doubt that big-name pianists will be vying for performance rights to this new and un- proven work.

Stanley Hollingsworth. Concerto for piano and orchestra; arr. for 2 pianos by the composer. Melville, NY: Bel- win, 1983. [Set of 2 scores; $10.00]

Born in California in 1924, Stanley Hol- lingsworth studied with Milhaud at Mills College and with Menotti at the Curtis In- stitute. His piano concerto bears a dedica- tion to Menotti. Hollingsworth's works in- clude choral compositions, chamber music, and operas. Currently he teaches compo- sition and music theory at Oakland Uni- versity in Rochester, Michigan. The piano concerto was commissioned by the Mead- owbrook Music Festival, where Neville Marriner conducted the Detroit Symphony Orchestra in its first performance on 5 July 1980. The pianist was Flavio Varani.

In three movements, the work is in the Romantic tradition. This is not to say that it is another out-of-time nineteenth-cen- tury concerto, even though outwardly it exhibits some of the trappings of sonata form, brilliant pianistic passage work, gor- geous melodies, and poignant harmonies. The second movement, Romanza, contains particularly beautiful material made even more delightful by the skillful interplay be- tween solo and orchestra. Although the strongly lyrical tone of this music is evi- dent, there is enough dissonance, rhythmic variety, and disjunct melody to avoid sounding old-fashioned.

Hollingsworth makes considerable use of quartal harmony-sometimes in parallel

evidence, but for the most part are clear and readable. A short list of symbols and their meanings at the beginning is very helpful. Measures are numbered to pro- vide assistance in "staying together" with the orchestra (or in this case, the second piano).

This competition piece is extremely dif- ficult-both technically and musically. Large hands to manage the wide stretches are a definite asset.

It is unfortunate that a work as good as this will likely receive a very limited hear- ing. At present there is not a single re- cording of a Tisne work in the Schwann catalogue (the flute concerto is available from Musical Heritage Society), and I doubt that big-name pianists will be vying for performance rights to this new and un- proven work.

Stanley Hollingsworth. Concerto for piano and orchestra; arr. for 2 pianos by the composer. Melville, NY: Bel- win, 1983. [Set of 2 scores; $10.00]

Born in California in 1924, Stanley Hol- lingsworth studied with Milhaud at Mills College and with Menotti at the Curtis In- stitute. His piano concerto bears a dedica- tion to Menotti. Hollingsworth's works in- clude choral compositions, chamber music, and operas. Currently he teaches compo- sition and music theory at Oakland Uni- versity in Rochester, Michigan. The piano concerto was commissioned by the Mead- owbrook Music Festival, where Neville Marriner conducted the Detroit Symphony Orchestra in its first performance on 5 July 1980. The pianist was Flavio Varani.

In three movements, the work is in the Romantic tradition. This is not to say that it is another out-of-time nineteenth-cen- tury concerto, even though outwardly it exhibits some of the trappings of sonata form, brilliant pianistic passage work, gor- geous melodies, and poignant harmonies. The second movement, Romanza, contains particularly beautiful material made even more delightful by the skillful interplay be- tween solo and orchestra. Although the strongly lyrical tone of this music is evi- dent, there is enough dissonance, rhythmic variety, and disjunct melody to avoid sounding old-fashioned.

Hollingsworth makes considerable use of quartal harmony-sometimes in parallel

evidence, but for the most part are clear and readable. A short list of symbols and their meanings at the beginning is very helpful. Measures are numbered to pro- vide assistance in "staying together" with the orchestra (or in this case, the second piano).

This competition piece is extremely dif- ficult-both technically and musically. Large hands to manage the wide stretches are a definite asset.

It is unfortunate that a work as good as this will likely receive a very limited hear- ing. At present there is not a single re- cording of a Tisne work in the Schwann catalogue (the flute concerto is available from Musical Heritage Society), and I doubt that big-name pianists will be vying for performance rights to this new and un- proven work.

Stanley Hollingsworth. Concerto for piano and orchestra; arr. for 2 pianos by the composer. Melville, NY: Bel- win, 1983. [Set of 2 scores; $10.00]

Born in California in 1924, Stanley Hol- lingsworth studied with Milhaud at Mills College and with Menotti at the Curtis In- stitute. His piano concerto bears a dedica- tion to Menotti. Hollingsworth's works in- clude choral compositions, chamber music, and operas. Currently he teaches compo- sition and music theory at Oakland Uni- versity in Rochester, Michigan. The piano concerto was commissioned by the Mead- owbrook Music Festival, where Neville Marriner conducted the Detroit Symphony Orchestra in its first performance on 5 July 1980. The pianist was Flavio Varani.

In three movements, the work is in the Romantic tradition. This is not to say that it is another out-of-time nineteenth-cen- tury concerto, even though outwardly it exhibits some of the trappings of sonata form, brilliant pianistic passage work, gor- geous melodies, and poignant harmonies. The second movement, Romanza, contains particularly beautiful material made even more delightful by the skillful interplay be- tween solo and orchestra. Although the strongly lyrical tone of this music is evi- dent, there is enough dissonance, rhythmic variety, and disjunct melody to avoid sounding old-fashioned.

Hollingsworth makes considerable use of quartal harmony-sometimes in parallel

chords which are extremely difficult to play because of the long leaps; however, if the indicated phrasing is carefully followed it is possible to play these passages. The use of these particular chords reminded me of a passage in Charles Griffes's Scherzo for piano-a rough, somewhat primitive sound that is very exciting.

The idiomatic piano writing is effective and gratifying to the pianist. It is a delight to find a wide variety of pianistic passage- work which lies well for the fingers and doesn't depend entirely on parallel octaves for brilliance. Hollingsworth's imaginative use of scales in parallel fourths, seconds, and sevenths gives the impression of being as "right" as thirds and sixths. Obviously, the composer understands piano writing and playing.

The form pretty much follows the tra- ditional layout of the piano concerto. The first movement is in sonata form with con- trasting ideas, development, and recapitu- lation. The lyrical second movement be- gins with a tranquil section and then builds to a huge climax in a cadenza before drop- ping back to the quiet mood of the open- ing. The toccata-like last movement is an exciting finale with brilliant scales, octaves, parallel fourths, and other manifestations of scintillation. The whole adds up to a marvelous musical experience.

The traditional notation is clear and easy to read. Fingering is not indicated, but helpful phrasing, division of notes between the hands, and playable groupings of notes all assist the reader. The work is difficult but rewarding.

DALE L. HUDSON Florida State University

Nueva biblioteca espanola de musica de teclado, siglos XVI al XVIII. Re- vision y transcripcion: Antonio Baci- ero. Madrid: Uni6n Musical Espafiola (Schirmer), 1977-81. [6 vols., each with notes in Span., Eng. (vols. 2, 3, and 4 Span. only), and score; $25.00 each]

These six volumes present an anthology of some two hundred pieces of Spanish keyboard music from the sixteenth to the beginning of the nineteenth century. Un- like the early keyboard music from Italy, France, England, and the German-speak-

chords which are extremely difficult to play because of the long leaps; however, if the indicated phrasing is carefully followed it is possible to play these passages. The use of these particular chords reminded me of a passage in Charles Griffes's Scherzo for piano-a rough, somewhat primitive sound that is very exciting.

The idiomatic piano writing is effective and gratifying to the pianist. It is a delight to find a wide variety of pianistic passage- work which lies well for the fingers and doesn't depend entirely on parallel octaves for brilliance. Hollingsworth's imaginative use of scales in parallel fourths, seconds, and sevenths gives the impression of being as "right" as thirds and sixths. Obviously, the composer understands piano writing and playing.

The form pretty much follows the tra- ditional layout of the piano concerto. The first movement is in sonata form with con- trasting ideas, development, and recapitu- lation. The lyrical second movement be- gins with a tranquil section and then builds to a huge climax in a cadenza before drop- ping back to the quiet mood of the open- ing. The toccata-like last movement is an exciting finale with brilliant scales, octaves, parallel fourths, and other manifestations of scintillation. The whole adds up to a marvelous musical experience.

The traditional notation is clear and easy to read. Fingering is not indicated, but helpful phrasing, division of notes between the hands, and playable groupings of notes all assist the reader. The work is difficult but rewarding.

DALE L. HUDSON Florida State University

Nueva biblioteca espanola de musica de teclado, siglos XVI al XVIII. Re- vision y transcripcion: Antonio Baci- ero. Madrid: Uni6n Musical Espafiola (Schirmer), 1977-81. [6 vols., each with notes in Span., Eng. (vols. 2, 3, and 4 Span. only), and score; $25.00 each]

These six volumes present an anthology of some two hundred pieces of Spanish keyboard music from the sixteenth to the beginning of the nineteenth century. Un- like the early keyboard music from Italy, France, England, and the German-speak-

chords which are extremely difficult to play because of the long leaps; however, if the indicated phrasing is carefully followed it is possible to play these passages. The use of these particular chords reminded me of a passage in Charles Griffes's Scherzo for piano-a rough, somewhat primitive sound that is very exciting.

The idiomatic piano writing is effective and gratifying to the pianist. It is a delight to find a wide variety of pianistic passage- work which lies well for the fingers and doesn't depend entirely on parallel octaves for brilliance. Hollingsworth's imaginative use of scales in parallel fourths, seconds, and sevenths gives the impression of being as "right" as thirds and sixths. Obviously, the composer understands piano writing and playing.

The form pretty much follows the tra- ditional layout of the piano concerto. The first movement is in sonata form with con- trasting ideas, development, and recapitu- lation. The lyrical second movement be- gins with a tranquil section and then builds to a huge climax in a cadenza before drop- ping back to the quiet mood of the open- ing. The toccata-like last movement is an exciting finale with brilliant scales, octaves, parallel fourths, and other manifestations of scintillation. The whole adds up to a marvelous musical experience.

The traditional notation is clear and easy to read. Fingering is not indicated, but helpful phrasing, division of notes between the hands, and playable groupings of notes all assist the reader. The work is difficult but rewarding.

DALE L. HUDSON Florida State University

Nueva biblioteca espanola de musica de teclado, siglos XVI al XVIII. Re- vision y transcripcion: Antonio Baci- ero. Madrid: Uni6n Musical Espafiola (Schirmer), 1977-81. [6 vols., each with notes in Span., Eng. (vols. 2, 3, and 4 Span. only), and score; $25.00 each]

These six volumes present an anthology of some two hundred pieces of Spanish keyboard music from the sixteenth to the beginning of the nineteenth century. Un- like the early keyboard music from Italy, France, England, and the German-speak-

386 386 386

This content downloaded from 62.122.73.34 on Sat, 14 Jun 2014 01:28:54 AMAll use subject to JSTOR Terms and Conditions

Music Reviews

ing regions, the early Spanish keyboard repertory has remained a rather unex- plored territory. Modern editions are largely confined to the works of leading figures- Cabez6n, Correa de Arauxo, Cabanilles, Soler-and basic bibliographical and stylis- tic studies of the entire repertory are non- existent. Yet, Spanish keyboard music has very much its own distinct traditions, its own genres and styles, its own notational and

performance practices, and, certainly, its own great masters. Hence, one welcomes this comprehensive anthology-but the hope that it will provide a means to be- come better acquainted with the rich early Spanish keyboard literature and its long historical development is not entirely ful- filled.

Each volume is chronologically orga- nized, and covers the entire time span. However, the distribution of the pieces over the volumes follows no logical plan; even works from a single collection are often broken up among several volumes. For ex- ample, the six toccatas of Sebastian Albero, taken from a single source, are scattered over five volumes. On the other hand, sets of anonymous pieces of diverse chronolog- ical (and, sometimes, national) origin have been brought together by the editor into a series of suites, under the heading "Suite cortesana."

The claim made in the preface that all these pieces are published here for the first time in a modern edition requires two qualifications. For a number of pieces (ex- amples to be given below) this means merely the first modern Spanish edition; for sev- eral other compositions, it means merely the first edition of a version found in a particular source, since editions of versions from other sources (which often do not present significant differences) do exist. Qualifications are also required with re- gard to the Spanish origin of these com- positions; a substantial number of pieces, although transcribed from early Spanish prints and manuscripts, are not by Spanish composers or are adaptations of works by foreign authors. In several cases, the editor evidently was not aware of the non-Spanish provenance of these pieces.

The earliest layer of the repertory pre- sented here consists largely of brief fanta- sias and plainchant verses-some of them illustrative examples from the well-known sixteenth-century treatises by Tomas de

Santa Maria, Juan Bermudo, and Her- nando de Cabez6n. The seventeenth-cen- tury segments are more substantial. There are numerous examples of that uniquely Iberian genre sometimes called tiento or obra, long and complex pieces with a most var- iegated content. It should be said, though, that many of the pieces included here by Ximenez, Bruna, de Torrijos, and other minor figures tend to be a bit pedestrian and rarely attain the grandeur of those by the masters of the genre, Correa de Ar- auxo and Cabanilles.

Also from the seventeenth century is a large selection of dances and other pieces in the popular style. Although most are presented as anonymous, several appear in other European manuscripts attributed to French composers, such as la Barre and Monnard, and several others (I counted at least half a dozen and suspect several more) are keyboard settings of excerpts from Lully's operas and ballets, including the lengthy "La Chacona" (6:27; from Armide); the "Entrada" attributed to "Bretons" (6:117; "Entree des Bretons et Bretonnes" from the Ballet du Temple de la Paix); and an "Obra de Fancy," attributed by the ed- itor to William Byrd (!) (6:118; from Persee- "Fancy" evidently being a misreading of the opera's title in the manuscript). Although these adaptations may very well be the work of a Spanish musician, there is nothing characteristically Spanish about the set- tings, which differ little from those found in late seventeenth-century keyboard manuscripts from many European coun- tries. The "Pasacalles" that opens the "Suite cortesana no. 3" (4:54) actually is a seg- ment lifted from Frescobaldi's "Cento par- tite sopra passacagli" (mm. 268-83) from his Secondo libro di toccate (1637). This ex- cerpt also misled a more careful scholar, Richard Hudson, who included it as "Spanish, 1709" in his anthology The Pas- sacaglia (The Folia, the Saraband, the Passa- caglia, and the Chaconne, 4 vols., [Neuhau- sen-Stuttgart, 1982], 3:141).

Probably of greatest musical and histor- ical interest are the works from the middle of the eighteenth century by Domenico Scarlatti, Antonio Soler, and Sebastian Al- bero. The Scarlatti sonatas are taken from a manuscript in the Archivo musical de la Catedral de Valladolid, MS. 27, a source evidently not known to Scarlatti scholars such as Ralph Kirkpatrick and Joel Shev-

387

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MLA, Notes, December 1984 MLA, Notes, December 1984

eloff. The manuscript contains, in addition to five sonatas by Blasco de Nebra, a group of nine anonymous sonatas, of which six are known from other Scarlatti sources (K. 5, 7, 65, 66, 98, and 130). Three sonatas are unique to the manuscript, but, on the basis of their appearance within the group, are published here as works of Scarlatti (3: 37- 50), along with four of the known sonatas.

Certainly the most remarkable pieces in the entire anthology are the six toccatas by Sebastian Albero (1722-1756), each con- sisting of a Recercata, a Fuga, and a So- nata. For a description of these fascinating pieces, I refer to Linton Powell, A History of Spanish Piano Music (Bloomington, IN: 1980), pp. 12-15; Powell has also cham- pioned these works in lectures and perfor- mances. Also of interest are eight preludes by Antonio Soler, from the composer's treatise Llave de la modulaci6n (see Ralph Kirkpatrick, Domenico Scarlatti [Princeton, 1953], pp. 243-47), examples of rapid modulations through remote keys, in a bi- zarre improvisatory style.

In a dozen or so sonatas by later eigh- teenth-century figures (some living well into the nineteenth century), one sees the grad- ual replacement of the characteristically Spanish Scarlattian mannerisms by a watered-down version of the international Viennese style; few of these works contain much of musical merit, and several sound rather dilettantish.

The eighteenth-century pieces also in- clude quite a few foreign works. Since the editor did not trace the origin of these works beyond their Spanish sources, I shall for some provide further identification here. The "Verso" attributed to Pergolesi (1:66) is, in fact, an authentic work by this com- poser, but not originally written for key- board: it is an arrangement of the duet "Fac ut ardeat" from his Stabat Mater. In the notes to a sonata attributed to "Maestro Bach," (3:74) the editor mentions the possibility that the attribution refers to one of the Bach sons-probably J. C. Bach-but suggests, alternatively, that the author may be a Madrid organist by the name of Joseph Bach. By the time of publication of the sec- ond sonata of "Maestro Bach" (5:112), the identity of the true author of these works had apparently been brought to the edi- tor's attention; both, in fact, derive from Johann Christian Bach's frequently repub-

eloff. The manuscript contains, in addition to five sonatas by Blasco de Nebra, a group of nine anonymous sonatas, of which six are known from other Scarlatti sources (K. 5, 7, 65, 66, 98, and 130). Three sonatas are unique to the manuscript, but, on the basis of their appearance within the group, are published here as works of Scarlatti (3: 37- 50), along with four of the known sonatas.

Certainly the most remarkable pieces in the entire anthology are the six toccatas by Sebastian Albero (1722-1756), each con- sisting of a Recercata, a Fuga, and a So- nata. For a description of these fascinating pieces, I refer to Linton Powell, A History of Spanish Piano Music (Bloomington, IN: 1980), pp. 12-15; Powell has also cham- pioned these works in lectures and perfor- mances. Also of interest are eight preludes by Antonio Soler, from the composer's treatise Llave de la modulaci6n (see Ralph Kirkpatrick, Domenico Scarlatti [Princeton, 1953], pp. 243-47), examples of rapid modulations through remote keys, in a bi- zarre improvisatory style.

In a dozen or so sonatas by later eigh- teenth-century figures (some living well into the nineteenth century), one sees the grad- ual replacement of the characteristically Spanish Scarlattian mannerisms by a watered-down version of the international Viennese style; few of these works contain much of musical merit, and several sound rather dilettantish.

The eighteenth-century pieces also in- clude quite a few foreign works. Since the editor did not trace the origin of these works beyond their Spanish sources, I shall for some provide further identification here. The "Verso" attributed to Pergolesi (1:66) is, in fact, an authentic work by this com- poser, but not originally written for key- board: it is an arrangement of the duet "Fac ut ardeat" from his Stabat Mater. In the notes to a sonata attributed to "Maestro Bach," (3:74) the editor mentions the possibility that the attribution refers to one of the Bach sons-probably J. C. Bach-but suggests, alternatively, that the author may be a Madrid organist by the name of Joseph Bach. By the time of publication of the sec- ond sonata of "Maestro Bach" (5:112), the identity of the true author of these works had apparently been brought to the edi- tor's attention; both, in fact, derive from Johann Christian Bach's frequently repub-

lished Six sonatas for the pianoforte or

harpsichord, op. 5 (nos. 4 and 2). Finally, the first of the "Dos minues" attributed to

Joseph Haydn (2:78) was taken from that

composer's Divertimento per cembalo, H. XVI, 6.

In spite of its wide-ranging content, this

anthology does not really serve those sim-

ply looking for a representative survey of the high points of early Spanish keyboard literature, as a result of both the omission of major works by its greatest masters (ex- cluded, since they have already been pub- lished elsewhere) and the inclusion of so

many foreign and marginal pieces. At the same time, these volumes will not fully sat-

isfy those with more scholarly interests, due to the fragmentary publication of the orig- inal collections and the inadequacy of the critical commentaries. These commentaries are contained in the Spanish prefaces to each volume; volumes 1, 5, and 6 also in- clude translations in something that bears an occasional resemblance to English (sam- ple: ". . . they can be considered as guides and interesting contributions to the scat-

tering of musical experiences of the most creative anxieties, and youth's restlessness, so profound and hope-giving, towards all musical themes and scopes").

The description of the sources is rather

haphazard, often providing only their lo- cation, but neither shelf-marks nor loca- tion of the pieces within the sources. Con- cordant sources are occasionally mentioned; specific variants never. The editor, in gen- eral, seems to be unaware of the relevant international scholarly literature; there is not a single reference to any writing or edi- tion by a non-Spanish scholar. Apparently, these volumes form part of a projected on- going series; the content of a seventh vol- ume is listed on the back of volume 6. One can only hope that the editor, before pro- ceeding further, will acquaint himself with the elementary principles of twentieth-cen- tury scholarship and editorial practices.

ALEXANDER SILBIGER

University of Wisconsin-Madison

Louis-Claude Daquin. Pieces de cla- vecin; the complete harpsichord suites. Edited by Christopher Hogwood. London: Faber Music (Schirmer), 1983.

lished Six sonatas for the pianoforte or

harpsichord, op. 5 (nos. 4 and 2). Finally, the first of the "Dos minues" attributed to

Joseph Haydn (2:78) was taken from that

composer's Divertimento per cembalo, H. XVI, 6.

In spite of its wide-ranging content, this

anthology does not really serve those sim-

ply looking for a representative survey of the high points of early Spanish keyboard literature, as a result of both the omission of major works by its greatest masters (ex- cluded, since they have already been pub- lished elsewhere) and the inclusion of so

many foreign and marginal pieces. At the same time, these volumes will not fully sat-

isfy those with more scholarly interests, due to the fragmentary publication of the orig- inal collections and the inadequacy of the critical commentaries. These commentaries are contained in the Spanish prefaces to each volume; volumes 1, 5, and 6 also in- clude translations in something that bears an occasional resemblance to English (sam- ple: ". . . they can be considered as guides and interesting contributions to the scat-

tering of musical experiences of the most creative anxieties, and youth's restlessness, so profound and hope-giving, towards all musical themes and scopes").

The description of the sources is rather

haphazard, often providing only their lo- cation, but neither shelf-marks nor loca- tion of the pieces within the sources. Con- cordant sources are occasionally mentioned; specific variants never. The editor, in gen- eral, seems to be unaware of the relevant international scholarly literature; there is not a single reference to any writing or edi- tion by a non-Spanish scholar. Apparently, these volumes form part of a projected on- going series; the content of a seventh vol- ume is listed on the back of volume 6. One can only hope that the editor, before pro- ceeding further, will acquaint himself with the elementary principles of twentieth-cen- tury scholarship and editorial practices.

ALEXANDER SILBIGER

University of Wisconsin-Madison

Louis-Claude Daquin. Pieces de cla- vecin; the complete harpsichord suites. Edited by Christopher Hogwood. London: Faber Music (Schirmer), 1983.

388 388

This content downloaded from 62.122.73.34 on Sat, 14 Jun 2014 01:28:54 AMAll use subject to JSTOR Terms and Conditions