2
Deuxième concerto pour alto et orchestre. Réduction pour piano et alto by Darius Milhaud Review by: Louise Rood Notes, Second Series, Vol. 18, No. 2 (Mar., 1961), p. 315 Published by: Music Library Association Stable URL: http://www.jstor.org/stable/891666 . Accessed: 14/06/2014 02:03 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 of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes. http://www.jstor.org This content downloaded from 91.229.229.129 on Sat, 14 Jun 2014 02:03:05 AM All use subject to JSTOR Terms and Conditions

Deuxième concerto pour alto et orchestre. Réduction pour piano et altoby Darius Milhaud

Embed Size (px)

Citation preview

Page 1: Deuxième concerto pour alto et orchestre. Réduction pour piano et altoby Darius Milhaud

Deuxième concerto pour alto et orchestre. Réduction pour piano et alto by Darius MilhaudReview by: Louise RoodNotes, Second Series, Vol. 18, No. 2 (Mar., 1961), p. 315Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/891666 .

Accessed: 14/06/2014 02:03

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 [email protected].

.

Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.

http://www.jstor.org

This content downloaded from 91.229.229.129 on Sat, 14 Jun 2014 02:03:05 AMAll use subject to JSTOR Terms and Conditions

Page 2: Deuxième concerto pour alto et orchestre. Réduction pour piano et altoby Darius Milhaud

arise in part from insufficiently contrasted material and figuration to sustain inter- est throughout its many repetitions and echo-effects. Scored for two horns and strings, the opening tutti presents a wealth of figures upon which the solo part, using its own variants, ruminates at leisure. A brief excursion to the relative minor with extensive sequences constitutes- the main interest of the de- velopment. In the recapitulation, new variants appear but in a welcome change of register. As can be seen from the prevailing use of treble clef, the solo part consistently lies on the upper strings. The Andante contains a variety of deco- rated lines in square phrases; here again, tutti and solo are tenuously connected. The finale seems especially discursive although the phrases are of more inter- estingly varied length and the harmonic color is of greater richness than that of the Andante, which is chiefly restricted to primary chords. After its initial state- ment in the solo part, the theme never reappears, being replaced by arpeggios in different forms and rhythms. Perhaps judicious cuts might make this period- piece more enjoyable for- player and audience. Darius Milhaud: Deuxieme concerto pour alto et orchestre. Reduction pour piano et alto. Paris: Heugel; U. S. A.: Theodore Presser, 1958. [Score, 66 p., & pt., $6.00]

The Second Concerto of Darius Milhaud, written in 1955, is a four- movement work. The first, "Avec entrain," resembles a Baroque concerto with the ritornello in the solo part: a rapid, steadily-moving figure developed in varied rhythms with a few contrasting lyric moments. The second movement, "Avec charme," develops from a small chordal motive into a sustained dialogue between solo and orchestra. The scherzo-like third movement, "Avec esprit," opposes a tutti theme with shifting accents and a square-cut viola figure, combining them in contrapuntally ingenious ways. "Avec gaite," the finale, is a gigue with alter- nating staccato and legato figures in a tightly-woven linear texture. This work is neat, economical, and of astringent effect, er-pecially in its use of the viola.

Walter Piston: Concerto for viola and orchestra, 1957. Reduction for viola and piano by the composer. New York: Associated Music Pubs., 1959. [Score, 33 p., & pt., $4.00]

The Concerto by Walter Piston was written in 1957. In three movements, the first begins with a long melodic line whose germinal figure of a neighboring- tone reappears in the second, scherzoso section. With development and return subtly merged, the movement comes to a quiet close in the mood of the be- ginning. The second movement is the high point of the concerto; like a chorale fantasia, the rhapsodic solo line, in dialogue with the ritornello, evolves in ever-broadening arches. The jaunty finale, with a variety of incisive figures ranging from the opening brass fanfare through the scale-motive of the strings to the syncopated solo theme which again makes use of the neighboring-tone, culminates in a brilliant cadenza. The solo part is technically demanding but realistic. This is a work designed to put the viola in its finest light. William Flanagan: Chaconne for violin and piano. New York: Peer International; distr.: Southern, 1959. [Score, 11 p., & pt., $1.25] Tibor Sarai: Humoresque for viola and piano. Fingering and bowing by Pal Lukacs. Budapest: Editio Mu- sica; U. S. A.: Boosey and Hawkes, 1958. [Score, 10 p., & pt., $1.50'] Robert Ward: Arioso and Tarantelle for cello or viola and piano. New York: Highgate Press; distr.: Gal- axy, 1959. [Scores, 7, 17 p., & pts. (cello); $1.25, $2.00; vla. pt. avail.]

Recently issued short works, useful for performer and teacher, include Wil- liam Flanagan's Chaconne, for violin and piano, a melodically conceived set of variations in a modally flavored harmonic idiom; Tibor Sairai's Humoresque, for viola and piano, a light-hearted piece in conventional style; and Robert Ward's Arioso and Tarantelle for cello (or viola) and piano. These are carefully wrought pieces, expressive and effective. In all four of these short works, the piano is given a role of equal partnership.

LOUISE ROOD

315

This content downloaded from 91.229.229.129 on Sat, 14 Jun 2014 02:03:05 AMAll use subject to JSTOR Terms and Conditions