Preludio pour cor en Fa et harpe ou Piano, niveau 1-2 by Alain Weber; Drei Gedichte von HansMagnus Enzensberger für eine Singstimme und Flöte, 1968, rev. 1978 by Konrad Lechner;Musique à quatre, pour Flûte, clarinette en Si♭, Violon et Violoncelle by Antoine TisnéReview by: Donald AndrusNotes, Second Series, Vol. 39, No. 3 (Mar., 1983), pp. 703-704Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/940177 .

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Music Reviews Music Reviews

sic is buried prematurely in the pursuit of the new and must wait for resurrection until the composer's works have gained venerability. With this view in mind, solid pieces such as these need to be more read- ily available. They are both worthy of an audience.

The earlier of the two, Serenade (1919) is particularly appealing. It is lyrical, rhythmic, exuberant, and singularly friendly. The work is cast in two move- ments: the first simply marked moderato, but the second divides into five sections that have the quality of movements-ada- gio, allegro molto (scherzo), langsamer, al- legretto grazioso (rhythmically reminiscent of the scherzo) and allegro vivace (a brief fugal coda). The Serenade utilizes a six-note motif that opens the first movement and appears in various guises throughout the remainder of the work. Its texture is fre- quently contrapuntal, but Krenek is keenly sensitive to the rich coloristic possibilities of the string-clarinet combination. Stylisti- cally it seems to confirm his descriptions of his early music as "delineated by the landmarks set up by Debussy, Max Reger, Richard Strauss, and perhaps Scriabin."

Of Krenek's quartets the first is probably the best known and has been available for some time. The second, though written in 1921 (the same year as the first) waited until the 1970s for publication. It is an ex- tensive work in three movements, a testa- ment to the composer's early fluency. Even Krenek has expressed amazement at the quantity of music he produced during these years. Here the style smacks of Bar- t6k (another early influence), especially in its rhythmic ostinatos and massive disson- ant sonorities. The first movement is pre- ceded by a richly textured introduction (andante sostenuto) which evolves from an intense fourteen-bar cello solo that opens the work. The second movement is a scherzo of mammoth proportions and the last movement an adagio followed by a passa- caglia. The passacaglia is perhaps the most imaginative and intriguing part of what, throughout, is a strikingly original com- position.

The scores are somewhat sloppily en- graved and not without errors. One par- ticularly unfortunate oversight is an incor- rect clef in the cello part in the opening bars of the last movement of the Serenade. These works would be welcome and sig-

sic is buried prematurely in the pursuit of the new and must wait for resurrection until the composer's works have gained venerability. With this view in mind, solid pieces such as these need to be more read- ily available. They are both worthy of an audience.

The earlier of the two, Serenade (1919) is particularly appealing. It is lyrical, rhythmic, exuberant, and singularly friendly. The work is cast in two move- ments: the first simply marked moderato, but the second divides into five sections that have the quality of movements-ada- gio, allegro molto (scherzo), langsamer, al- legretto grazioso (rhythmically reminiscent of the scherzo) and allegro vivace (a brief fugal coda). The Serenade utilizes a six-note motif that opens the first movement and appears in various guises throughout the remainder of the work. Its texture is fre- quently contrapuntal, but Krenek is keenly sensitive to the rich coloristic possibilities of the string-clarinet combination. Stylisti- cally it seems to confirm his descriptions of his early music as "delineated by the landmarks set up by Debussy, Max Reger, Richard Strauss, and perhaps Scriabin."

Of Krenek's quartets the first is probably the best known and has been available for some time. The second, though written in 1921 (the same year as the first) waited until the 1970s for publication. It is an ex- tensive work in three movements, a testa- ment to the composer's early fluency. Even Krenek has expressed amazement at the quantity of music he produced during these years. Here the style smacks of Bar- t6k (another early influence), especially in its rhythmic ostinatos and massive disson- ant sonorities. The first movement is pre- ceded by a richly textured introduction (andante sostenuto) which evolves from an intense fourteen-bar cello solo that opens the work. The second movement is a scherzo of mammoth proportions and the last movement an adagio followed by a passa- caglia. The passacaglia is perhaps the most imaginative and intriguing part of what, throughout, is a strikingly original com- position.

The scores are somewhat sloppily en- graved and not without errors. One par- ticularly unfortunate oversight is an incor- rect clef in the cello part in the opening bars of the last movement of the Serenade. These works would be welcome and sig-

nificant additions to a library's collection of chamber music. They attest to the vast wealth of material this century can yield to those interested in seeing it in its totality.

TOM CLEMAN Northern Arizona University

Alain Weber. Preludio pour cor en Fa et harpe ou piano, niveau 1-2. Res-

ponsable de la serie: Georges Barbo- teu. Paris: Leduc (Magnamusic-Ba- ton), 1981. [Set of 2 performance scores, $7.75]

Konrad Lechner. Drei Gedichte von Hans Magnus Enzensberger fur eine

Singstimme und Flote, 1968, rev. 1978. Celle: Moeck Verlag (European American), 1979. [Performance score, 9 p., $6.50]

Antoine Tisne. Musique a quatre, pour flute, clarinette en Sib, violon et vio- loncelle. Paris: Jobert (Presser), 1980. [Score, 19 p., $8.00]

Collection Carrousel is a series containing works by various composers aimed at fam- iliarizing young music students with recent musical styles, techniques, and notation. Alain Weber's Preludio, one work from this collection, is intended for a third-year horn student and a fourth- or fifth-year harp student. There exists in the United States a definite shortage of really new music ac- cessible to less advanced students and their teachers; this entire series is worth looking into from that standpoint.

Each measure of Preludio is assigned a varying number of seconds in length. The horn part consists primarily of long tones without high or low pitch extremes which are to be fit into the proportional scheme of each measure. Most of the activity takes place in the harp part. The ensemble of horn and harp makes a lovely combination. Although the harp part is adaptable to the piano, the delicacy of the harp is prefera- ble. The pitches and other notation are written with harp strings in mind, and there is no pedaling marked for the piano. The fingernail glissando for harp near the end is not readily imitated on piano unless played on the strings inside the instrument (the score makes no suggestion). The tempo

nificant additions to a library's collection of chamber music. They attest to the vast wealth of material this century can yield to those interested in seeing it in its totality.

TOM CLEMAN Northern Arizona University

Alain Weber. Preludio pour cor en Fa et harpe ou piano, niveau 1-2. Res-

ponsable de la serie: Georges Barbo- teu. Paris: Leduc (Magnamusic-Ba- ton), 1981. [Set of 2 performance scores, $7.75]

Konrad Lechner. Drei Gedichte von Hans Magnus Enzensberger fur eine

Singstimme und Flote, 1968, rev. 1978. Celle: Moeck Verlag (European American), 1979. [Performance score, 9 p., $6.50]

Antoine Tisne. Musique a quatre, pour flute, clarinette en Sib, violon et vio- loncelle. Paris: Jobert (Presser), 1980. [Score, 19 p., $8.00]

Collection Carrousel is a series containing works by various composers aimed at fam- iliarizing young music students with recent musical styles, techniques, and notation. Alain Weber's Preludio, one work from this collection, is intended for a third-year horn student and a fourth- or fifth-year harp student. There exists in the United States a definite shortage of really new music ac- cessible to less advanced students and their teachers; this entire series is worth looking into from that standpoint.

Each measure of Preludio is assigned a varying number of seconds in length. The horn part consists primarily of long tones without high or low pitch extremes which are to be fit into the proportional scheme of each measure. Most of the activity takes place in the harp part. The ensemble of horn and harp makes a lovely combination. Although the harp part is adaptable to the piano, the delicacy of the harp is prefera- ble. The pitches and other notation are written with harp strings in mind, and there is no pedaling marked for the piano. The fingernail glissando for harp near the end is not readily imitated on piano unless played on the strings inside the instrument (the score makes no suggestion). The tempo

703 703

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MLA Notes, March 1983 MLA Notes, March 1983

of the piece is slow throughout. Preludio succeeds as an enjoyable and accessible piece for an unusual combination.

Konrad Lechner's settings of Enzensber- ger poems are titled: 1) April, 2) Zikade (Cicada), and 3) Schlaferung (Drowsiness). They are written in the soprano voice range (c'- bb" with extensions on toneless or whispered sounds as low as ak). The texts are expressionistic; the vocal settings are in the Schoenberg Pierrot Lunaire tra- dition, employing at times very disjunct leaps but at other times hypnotic repeti- tion. The leaps are often at entries in which the pitches are not sounded first by the flute, so the vocal part requires a very advanced singer skilled in new vocal music. The flute is an often powerful companion to the singer. Techniques featured include fluttertongue, glissandi, airtones, tremolos and whistle-tones, all sensitively integrated with the voice. The score uses a well-cued proportional notation system without bar- lines. These songs are an exciting intro- duction to a composer who is not well- known in this country.

Musique a quatre is in three movements lasting eight minutes: Invocation, Elegie, and Flux et Reflux. The compositional techniques combine serial writing with multiple ostinato passages reminiscent of Varese and Messiaen. The last movement, perhaps the most unusual of all, begins with sliding trills in the strings over a close interval range, filled in by sustained winds to make a sound-mass (tone cluster). The rhythms quicken in the middle with new ostinati. The first section returns to con- clude the piece. Meanwhile, the dynamic levels are kept soft, with only one fortis- simo outburst in each of the strings in the middle. The work is of moderate diffi- culty. There is an interesting musical per- sonality at work here.

DONALD ANDRUS

California State University, Long Beach

Elliot Kaplan. Suite for woodwind trio (flute, BI clarinet, bassoon), 1980. Bryn Mawr, Penn.: Presser, 1981. [Score, 8 p., and parts, $8.75]

Henri Lazarof. String Quartet, 1980. Bryn Mawr, Penn.: Merion (Presser), 1981. [Score, 15 p., and parts, $15.00]

of the piece is slow throughout. Preludio succeeds as an enjoyable and accessible piece for an unusual combination.

Konrad Lechner's settings of Enzensber- ger poems are titled: 1) April, 2) Zikade (Cicada), and 3) Schlaferung (Drowsiness). They are written in the soprano voice range (c'- bb" with extensions on toneless or whispered sounds as low as ak). The texts are expressionistic; the vocal settings are in the Schoenberg Pierrot Lunaire tra- dition, employing at times very disjunct leaps but at other times hypnotic repeti- tion. The leaps are often at entries in which the pitches are not sounded first by the flute, so the vocal part requires a very advanced singer skilled in new vocal music. The flute is an often powerful companion to the singer. Techniques featured include fluttertongue, glissandi, airtones, tremolos and whistle-tones, all sensitively integrated with the voice. The score uses a well-cued proportional notation system without bar- lines. These songs are an exciting intro- duction to a composer who is not well- known in this country.

Musique a quatre is in three movements lasting eight minutes: Invocation, Elegie, and Flux et Reflux. The compositional techniques combine serial writing with multiple ostinato passages reminiscent of Varese and Messiaen. The last movement, perhaps the most unusual of all, begins with sliding trills in the strings over a close interval range, filled in by sustained winds to make a sound-mass (tone cluster). The rhythms quicken in the middle with new ostinati. The first section returns to con- clude the piece. Meanwhile, the dynamic levels are kept soft, with only one fortis- simo outburst in each of the strings in the middle. The work is of moderate diffi- culty. There is an interesting musical per- sonality at work here.

DONALD ANDRUS

California State University, Long Beach

Elliot Kaplan. Suite for woodwind trio (flute, BI clarinet, bassoon), 1980. Bryn Mawr, Penn.: Presser, 1981. [Score, 8 p., and parts, $8.75]

Henri Lazarof. String Quartet, 1980. Bryn Mawr, Penn.: Merion (Presser), 1981. [Score, 15 p., and parts, $15.00]

Jacob Druckman. Delizie contente che l'alme beate, for wind quintet and electronic tape. New York: Boosey & Hawkes, 1981. [Set of 6 scores and parts, no price given; tape available on sale]

Elliot Kaplan's Suite for woodwind trio was composed in 1980, and is scored for flute, BI clarinet, and bassoon. It is a charming piece in four movements that is as unpretentious as it is accessible. Each movement has its own character, its own set of musical values. Only the second, lento con moto, suggests a dance; a delicate and dignified waltz. The other movements de- pend, for the most part, on energetic mo- tor rhythms and ostinati that are hallmarks of neoclassical compositions. Indeed, the influences of Kaplan's teachers (Quincy Porter and Hindemith) are clearly evident.

If this music is not blazingly original, no matter. The bubbly, infectious rhythms, the bouncing accompaniments to the care- fully composed tunes, and the mildly dis- sonant counterpoint all add up to music of much charm and warmth. This would be an ideal choice for advanced wind students as well as for professionals seeking conser- vative but extremely attractive new wind music.

String Quartet by Henri Lazarof is a substantial and impressive addition to the literature. It explores in its three move- ments a four-note rhythmic motivic cell that often expands into longer figures, or it may contract back into itself. This tiny cell acts as an axis around which sweeping, dramatic phrases revolve.

The first movement sets the mood for the work, with its busy repeated-note fig- ures alternating with sonorous chords and chromatic counterpoint. The middle movement, only one minute in duration, is a further exploration of the four-note cell in a highly concentrated form. The last three measures of this movement are par- ticularly enchanting. The little figure jumps from one instrument to another, each end- ing on an artificial harmonic. The result is delicate and serene. The last movement begins with a short cello solo. Quickly the others fill out the texture with overlapping virtuosic figures. The four-note cell makes an appearance and sweeps the music to its conclusion, which is a return of the solo

Jacob Druckman. Delizie contente che l'alme beate, for wind quintet and electronic tape. New York: Boosey & Hawkes, 1981. [Set of 6 scores and parts, no price given; tape available on sale]

Elliot Kaplan's Suite for woodwind trio was composed in 1980, and is scored for flute, BI clarinet, and bassoon. It is a charming piece in four movements that is as unpretentious as it is accessible. Each movement has its own character, its own set of musical values. Only the second, lento con moto, suggests a dance; a delicate and dignified waltz. The other movements de- pend, for the most part, on energetic mo- tor rhythms and ostinati that are hallmarks of neoclassical compositions. Indeed, the influences of Kaplan's teachers (Quincy Porter and Hindemith) are clearly evident.

If this music is not blazingly original, no matter. The bubbly, infectious rhythms, the bouncing accompaniments to the care- fully composed tunes, and the mildly dis- sonant counterpoint all add up to music of much charm and warmth. This would be an ideal choice for advanced wind students as well as for professionals seeking conser- vative but extremely attractive new wind music.

String Quartet by Henri Lazarof is a substantial and impressive addition to the literature. It explores in its three move- ments a four-note rhythmic motivic cell that often expands into longer figures, or it may contract back into itself. This tiny cell acts as an axis around which sweeping, dramatic phrases revolve.

The first movement sets the mood for the work, with its busy repeated-note fig- ures alternating with sonorous chords and chromatic counterpoint. The middle movement, only one minute in duration, is a further exploration of the four-note cell in a highly concentrated form. The last three measures of this movement are par- ticularly enchanting. The little figure jumps from one instrument to another, each end- ing on an artificial harmonic. The result is delicate and serene. The last movement begins with a short cello solo. Quickly the others fill out the texture with overlapping virtuosic figures. The four-note cell makes an appearance and sweeps the music to its conclusion, which is a return of the solo

704 704

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