Concertino; pour flûte et orchestre à cordes. Réduction pour flûte et piano par l'auteur byFrancis-Paul Demillac; Concertino, op. 10; For Flute and Orchestra by Edvard Fliflet BraeinReview by: Mary KrusenstjernaNotes, Second Series, Vol. 42, No. 1 (Sep., 1985), pp. 158-159Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/898272 .

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158 MLA Notes, September 1985

the purgatory of the basic two notes until he quits out of frustration and lets the rhythm "take it out." The delightful Diver- timento is a typically excellent production of Yorke Edition.

BERTRAM TURETZKY Del Mar, California

Michel Blavet. Six sonates, op. 2; pour la flute traversiere, avec la basse. Realisation de la basse: Silvio Cor- rado; revision: Pierre Paubon. (Plaisir de la flute.) Paris: Billaudot (Presser), 1983. [Vol. 1: score, 28 p., and part; $11.50. Vol. 2: score, 24 p., and part; $10.25. Vol. 3: score, 32 p., and part; $12.75]

Just as Telemann's Methodical Sonatas provide a manual for study of eighteenth- century ornamentation, Blavet's flute so- natas in his opus 2 offer a study of phrase definition through breath marks supplied by the composer. In the Avertissement from the 1732 edition (reprinted in the present score), Blavet comments about his own stu- dents' difficulty in determining where to breathe and resolves to demonstrate proper phrasing by placing breath marks in the music of opus 2.

The music is far from dry and pedantic. Each sonata carries a descriptive title ("L'Henriette," "La Vibray," and so on), and individual movements of each sonata may also bear titles. The sonatas are really French suites in five or six movements, two or three of which are dances. Blavet's writ- ing is elegant and idiomatic and demon- strates good interplay between the flute and the bass.

This edition is nicely printed with atten- tion given to page turns and overall clarity; however, there is no editor's preface, no suggestions about performance of the French ornaments are provided, the fig- ures from which the accompaniment was realized are omitted, and the publication does not include a separate part for the bass instrument. These omissions might lead one to look elsewhere for a more complete edi- tion of Blavet's sonatas.

MICHAEL C. STOUNE Texas Tech University

Francis-Paul Demillac. Concertino; pour flu'te et orchestre a cordes. Reduction pour flute et piano par l'auteur. Paris: Leduc (Presser), 1983. [Score, 34 p., and part; $22.00]

Edvard Fliflet Braein. Concertino, op. 10; for flute and orchestra. Oslo: Musikk-Huset, 1983. [Score, 51 p.; no price cited]

The tonal orientation of the solo flute part in Demillac's Concertino and the eigh- teenth- and nineteenth-century character of the harmonic structure of the Braein Concertino could make these pieces ap- pear somewhat reactionary on the contem- porary music scene. However, both works do reflect more recent sounds in the dis- sonant yet luscious harmonies of Demillac's string orchestra and in the very chromatic writing for the solo flute and solo orches- tral instruments in the work by Braein. It is tempting to compare these two pieces, since both were written in the same form and were published in the same year. The two composers have used reverse proce- dures. Francis-Paul Demillac (b. 1917), a Frenchman, has written a tonal solo part and a dissonant harmonic structure; Ed- vard Braein (1924-1976), a Norwegian conductor-composer, a very chromatic solo part and a predominantly consonant har- monic structure. Both approaches result in successful compositions which have imme- diate appeal to both the performer and lis- tener.

Demillac's Concertino is of moderate dif- ficulty, has a performance time of fourteen minutes, and is set in three separate move- ments: fast, slow, fast. It could possibly be played by a good high school flutist, yet it is profound enough to interest the most so- phisticated performer. The challenging scoring includes flutter-tonguing, one har- monic, one glissando, double and triple- tonguing, and some third register trills and difficult motivic work. The work has a very rhythmic character with a number of me- ter changes from to to

The printing of the flute part and piano reduction is adequate. The latter, idiomatic and moderately demanding, results in a pleasing performance, but only the sound of the string orchestra will fully realize the richness of the dissonant harmonic struc- ture.

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Music Reviews 159

The Braein Concertino has a perfor- mance time of sixteen to seventeen min- utes and is set in three movements-fast, slow, fast-without a pause between the last two movements. It is scored for one oboe, two clarinets, one bassoon, two horns, trumpet, timpani, and strings. The first and third movements are reminiscent of the Carl Nielsen Concerto for flute and orchestra, the orchestra sharing equally with the so- loist. Some excellent solo and ensemble playing from both the flutist and orchestral players will be required to make this work cohesive and convincing.

Although this piece seems somewhat eas- ier than the Nielsen Concerto, it is not without challenge. The third movement is a case in point, requiring a virtuoso to ne- gotiate the playful melody at the recom- mended metronome marking. No ex- tended techniques are used and little exploitation is made of extreme third reg- ister with the exception of two passages to d6"". Low register writing for the solo flute creates no balance problems, for the or- chestration is done intelligently and color- fully, containing solos for the winds and cello.

Two good additions to the flute reper- toire!

MARY KRUSENSTJERNA Rochester, NY

Johann Gottlieb Graun. Sonate F-dur; fur 2 Querfloten und Basso continuo. Erstausgabe. Hrsg. von Herbert Kolbel. Wilhelmshaven: Noetzel (Peters), 1983. [Score, 20 p., and parts; $9.00]

This elegant and energetic trio sonata is another of the fruits of the rich orchard that was the court of Frederick the Great. J. G. Graun was a senior member of the orchestra and one of the principal players. He wrote a large number of compositions, mostly for chamber combinations of winds, very few of which were published during his life, and few since. The trio published in the Larte delflauto series of Heinrichsho- fen is a first edition.

The work is in gallant style with three movements progressing from Largo to Poco allegro to Vivace. Suggestions are given for the performance of the ornaments, and editorial corrections are clearly indicated.

The edition provides figures below the bass line, individual parts for two flutes and the bass, and a score with a conservative but effective realization. This trio is a valuable addition to the repertoire and a very ef- fective program addition.

MICHAEL C. STOUNE Texas Tech University

Thomas Lupo. The Four-Part Con- sort Music. Transcribed and edited by Richard Charteris and John M. Jen- nings. Clarabricken, Clifden, Co. Kil- kenny, Ireland: Boethius Press, 1983. [Score, 81 p.; commentary, 7 p.; cloth, ?17.60; set of part books, paper, ?12.60; individual parts, each ?3.80]

Thomas Lupo has been less well-served in modern editions than his contemporar- ies John Coprario and Orlando Gibbons, and his music is scarcely known to viol players. Yet as early as 1946, Ernst Meyer recognized the high quality of Lupo's mu- sic and regarded him as "one of the most important composers of the new genera- tion" after Thomas Morley and Michael East (English Chamber Music [London, 1946], p. 143). The seven fantasies by Lupo pub- lished in Jacobean Consort Music (Musica Bri- tannica, 9 [London, 1955]) represent less than one-tenth of his music for viol con- sort, and only one four-part work was in- cluded in that volume. Thus, a handsome new edition of the complete four-part fan- tasias makes an important contribution to the literature for viol consort and an entic- ing introduction to Lupo's fine instrumen- tal music.

A prolific composer, Thomas Lupo was a violinist in the King's Musick from 1591 until his death in 1628; for the last seven years of his life he also held the appoint- ment of composer "to the violins" and for a time also composer "to the lutes and voices." His lute music is lost, but a few an- thems, motets, and madrigals survive in manuscripts, and nearly a hundred fanta- sias for viols, most of them in four, five, and six parts.

The variety of texture with different spacings and pairings of instruments will provide viol players with some fascinating new material for consort playing. The thir- teen works presented here offer at least four

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