Quatrième Concerto pour Piano et Orchestre. (Piano principal et réduction de l'orchestre pourun 2me piano) by Darius Milhaud; Deuxième Sonate pour Piano by Darius MilhaudReview by: William S. NewmanNotes, Second Series, Vol. 8, No. 1 (Dec., 1950), pp. 134-135Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/890298 .

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Darius Milhaud: Sonata. (Contempo- rary Organ Series, No. 23.) New York: The H. W. Gray Co., Inc., 1950. [32 p., $2.00]

This is Mihaud's second appearance on H. W. Gray's distinguished Contem- porary Organ Series, thus far the only composer so honored. His earlier work, a sweet and pretty little Pastorale, has been widely played, often, no doubt, as a convenient and safe concession to the faint demand for more contemporary music on recitals. The Sonata will not be widely played. Save for the short second movement, it is a difficult, relent- lessly dissonant, thickly-scored piece that makes severe demands on both player and listener. The style contrasts sharply with some of his more recent writing, giving reason to believe the reports that this was composed some 20 years ago.

The animated first movement (Etude) is in a large crab form, 78 measures out and 78 back, ending with a short coda. The attractive theme is soon lost in a sea of dissonant polyphony, and its interesting rhythmic pattern reduced to a monotonous common denominator of 16th notes. The literal retreat through the second half does nothing more than point up the meaningless dissonance of the first. The slow second movement (Reverie) is an intense and at times very beautiful improvisation on a simple theme that is allowed to be heard and enjoyed. The lively third and last move- ment (Final) resembles the first in its mono-rhythmic and dissonant confusion, although the formal design, a rondo type, is much clearer. As a serious work for organ by one of our outstanding con- temporary composers the Sonata merits attention; that it will not receive such

PIANO Darius Milhaud: Quatrieme Concerto pour Piano et Orchestre. (Piano prin- cipal et reduction de l'orchestre pour un 2me piano) Paris: Heugel et Cie [U. S. agent, Mercury Music Corp., New York] 1950. [33 p., no price]

Darius Milhaud: Deuxieme Sonate pour Piano. Paris: Heugel et Cie [U. S.

Darius Milhaud: Sonata. (Contempo- rary Organ Series, No. 23.) New York: The H. W. Gray Co., Inc., 1950. [32 p., $2.00]

This is Mihaud's second appearance on H. W. Gray's distinguished Contem- porary Organ Series, thus far the only composer so honored. His earlier work, a sweet and pretty little Pastorale, has been widely played, often, no doubt, as a convenient and safe concession to the faint demand for more contemporary music on recitals. The Sonata will not be widely played. Save for the short second movement, it is a difficult, relent- lessly dissonant, thickly-scored piece that makes severe demands on both player and listener. The style contrasts sharply with some of his more recent writing, giving reason to believe the reports that this was composed some 20 years ago.

The animated first movement (Etude) is in a large crab form, 78 measures out and 78 back, ending with a short coda. The attractive theme is soon lost in a sea of dissonant polyphony, and its interesting rhythmic pattern reduced to a monotonous common denominator of 16th notes. The literal retreat through the second half does nothing more than point up the meaningless dissonance of the first. The slow second movement (Reverie) is an intense and at times very beautiful improvisation on a simple theme that is allowed to be heard and enjoyed. The lively third and last move- ment (Final) resembles the first in its mono-rhythmic and dissonant confusion, although the formal design, a rondo type, is much clearer. As a serious work for organ by one of our outstanding con- temporary composers the Sonata merits attention; that it will not receive such

PIANO Darius Milhaud: Quatrieme Concerto pour Piano et Orchestre. (Piano prin- cipal et reduction de l'orchestre pour un 2me piano) Paris: Heugel et Cie [U. S. agent, Mercury Music Corp., New York] 1950. [33 p., no price]

Darius Milhaud: Deuxieme Sonate pour Piano. Paris: Heugel et Cie [U. S.

Darius Milhaud: Sonata. (Contempo- rary Organ Series, No. 23.) New York: The H. W. Gray Co., Inc., 1950. [32 p., $2.00]

This is Mihaud's second appearance on H. W. Gray's distinguished Contem- porary Organ Series, thus far the only composer so honored. His earlier work, a sweet and pretty little Pastorale, has been widely played, often, no doubt, as a convenient and safe concession to the faint demand for more contemporary music on recitals. The Sonata will not be widely played. Save for the short second movement, it is a difficult, relent- lessly dissonant, thickly-scored piece that makes severe demands on both player and listener. The style contrasts sharply with some of his more recent writing, giving reason to believe the reports that this was composed some 20 years ago.

The animated first movement (Etude) is in a large crab form, 78 measures out and 78 back, ending with a short coda. The attractive theme is soon lost in a sea of dissonant polyphony, and its interesting rhythmic pattern reduced to a monotonous common denominator of 16th notes. The literal retreat through the second half does nothing more than point up the meaningless dissonance of the first. The slow second movement (Reverie) is an intense and at times very beautiful improvisation on a simple theme that is allowed to be heard and enjoyed. The lively third and last move- ment (Final) resembles the first in its mono-rhythmic and dissonant confusion, although the formal design, a rondo type, is much clearer. As a serious work for organ by one of our outstanding con- temporary composers the Sonata merits attention; that it will not receive such

PIANO Darius Milhaud: Quatrieme Concerto pour Piano et Orchestre. (Piano prin- cipal et reduction de l'orchestre pour un 2me piano) Paris: Heugel et Cie [U. S. agent, Mercury Music Corp., New York] 1950. [33 p., no price]

Darius Milhaud: Deuxieme Sonate pour Piano. Paris: Heugel et Cie [U. S.

Darius Milhaud: Sonata. (Contempo- rary Organ Series, No. 23.) New York: The H. W. Gray Co., Inc., 1950. [32 p., $2.00]

This is Mihaud's second appearance on H. W. Gray's distinguished Contem- porary Organ Series, thus far the only composer so honored. His earlier work, a sweet and pretty little Pastorale, has been widely played, often, no doubt, as a convenient and safe concession to the faint demand for more contemporary music on recitals. The Sonata will not be widely played. Save for the short second movement, it is a difficult, relent- lessly dissonant, thickly-scored piece that makes severe demands on both player and listener. The style contrasts sharply with some of his more recent writing, giving reason to believe the reports that this was composed some 20 years ago.

The animated first movement (Etude) is in a large crab form, 78 measures out and 78 back, ending with a short coda. The attractive theme is soon lost in a sea of dissonant polyphony, and its interesting rhythmic pattern reduced to a monotonous common denominator of 16th notes. The literal retreat through the second half does nothing more than point up the meaningless dissonance of the first. The slow second movement (Reverie) is an intense and at times very beautiful improvisation on a simple theme that is allowed to be heard and enjoyed. The lively third and last move- ment (Final) resembles the first in its mono-rhythmic and dissonant confusion, although the formal design, a rondo type, is much clearer. As a serious work for organ by one of our outstanding con- temporary composers the Sonata merits attention; that it will not receive such

PIANO Darius Milhaud: Quatrieme Concerto pour Piano et Orchestre. (Piano prin- cipal et reduction de l'orchestre pour un 2me piano) Paris: Heugel et Cie [U. S. agent, Mercury Music Corp., New York] 1950. [33 p., no price]

Darius Milhaud: Deuxieme Sonate pour Piano. Paris: Heugel et Cie [U. S.

seems indicated by the uncompromising disregard of the common sense principles of organ writing evident throughout, a factor that permits very little of the printed page to be projected successfully.

Leo Sowerby: Choral Prelude on Pali- sades. New York: The H. W. Gray Co., Inc., 1950. [7 p., $.75]

Sowerby here uses a fine, sturdy tune of his own making, written for the 1940 Episcopal Hymnal. As befits the melody, the prelude is done in festival style. Three variations follow the simple open- ing statement, each increasing in in- tensity until the full organ close. The tune sounds clearly throughout, set against accompanying figures derived from itself and worked out in the com- poser's characteristic style. Convincing canonic imitation features the first and third variations. Not too difficult and immediately effective, it is an all-purpose piece of high quality.

Dom Paul Benoit: Quatre Preludes. New York: J. Fischer & Bro., 1950. [16 p., $1.50]

The Preludes are noted here as an interesting exhibit of organ music as written by a contemporary French Bene- dictine monk. One might expect at least a slight nod in the direction of Titelouze or the Benedictine brethren at Solesmes. On the contrary, there is complete capitulation to Debussy and his very secular impressionist contemporaries. Dom Benoit writes very well indeed, but the result has value neither liturgically (or should not have) nor non-liturgically, save for those who are still not dis- turbed by the use of commercial idioms in serious music.

LUTHER Noss

MUSIC agent, Mercury Music Corp., New York] 1950. [20 p., $2.50]

Here is a flurry of important new piano works from the press of Heugel in Paris. Milhaud's music, which has been second to no other in variety of styles through the years, seems now to have become all texture and flow. Like a vivacious con- versationalist, the composer releases his

seems indicated by the uncompromising disregard of the common sense principles of organ writing evident throughout, a factor that permits very little of the printed page to be projected successfully.

Leo Sowerby: Choral Prelude on Pali- sades. New York: The H. W. Gray Co., Inc., 1950. [7 p., $.75]

Sowerby here uses a fine, sturdy tune of his own making, written for the 1940 Episcopal Hymnal. As befits the melody, the prelude is done in festival style. Three variations follow the simple open- ing statement, each increasing in in- tensity until the full organ close. The tune sounds clearly throughout, set against accompanying figures derived from itself and worked out in the com- poser's characteristic style. Convincing canonic imitation features the first and third variations. Not too difficult and immediately effective, it is an all-purpose piece of high quality.

Dom Paul Benoit: Quatre Preludes. New York: J. Fischer & Bro., 1950. [16 p., $1.50]

The Preludes are noted here as an interesting exhibit of organ music as written by a contemporary French Bene- dictine monk. One might expect at least a slight nod in the direction of Titelouze or the Benedictine brethren at Solesmes. On the contrary, there is complete capitulation to Debussy and his very secular impressionist contemporaries. Dom Benoit writes very well indeed, but the result has value neither liturgically (or should not have) nor non-liturgically, save for those who are still not dis- turbed by the use of commercial idioms in serious music.

LUTHER Noss

MUSIC agent, Mercury Music Corp., New York] 1950. [20 p., $2.50]

Here is a flurry of important new piano works from the press of Heugel in Paris. Milhaud's music, which has been second to no other in variety of styles through the years, seems now to have become all texture and flow. Like a vivacious con- versationalist, the composer releases his

seems indicated by the uncompromising disregard of the common sense principles of organ writing evident throughout, a factor that permits very little of the printed page to be projected successfully.

Leo Sowerby: Choral Prelude on Pali- sades. New York: The H. W. Gray Co., Inc., 1950. [7 p., $.75]

Sowerby here uses a fine, sturdy tune of his own making, written for the 1940 Episcopal Hymnal. As befits the melody, the prelude is done in festival style. Three variations follow the simple open- ing statement, each increasing in in- tensity until the full organ close. The tune sounds clearly throughout, set against accompanying figures derived from itself and worked out in the com- poser's characteristic style. Convincing canonic imitation features the first and third variations. Not too difficult and immediately effective, it is an all-purpose piece of high quality.

Dom Paul Benoit: Quatre Preludes. New York: J. Fischer & Bro., 1950. [16 p., $1.50]

The Preludes are noted here as an interesting exhibit of organ music as written by a contemporary French Bene- dictine monk. One might expect at least a slight nod in the direction of Titelouze or the Benedictine brethren at Solesmes. On the contrary, there is complete capitulation to Debussy and his very secular impressionist contemporaries. Dom Benoit writes very well indeed, but the result has value neither liturgically (or should not have) nor non-liturgically, save for those who are still not dis- turbed by the use of commercial idioms in serious music.

LUTHER Noss

MUSIC agent, Mercury Music Corp., New York] 1950. [20 p., $2.50]

Here is a flurry of important new piano works from the press of Heugel in Paris. Milhaud's music, which has been second to no other in variety of styles through the years, seems now to have become all texture and flow. Like a vivacious con- versationalist, the composer releases his

seems indicated by the uncompromising disregard of the common sense principles of organ writing evident throughout, a factor that permits very little of the printed page to be projected successfully.

Leo Sowerby: Choral Prelude on Pali- sades. New York: The H. W. Gray Co., Inc., 1950. [7 p., $.75]

Sowerby here uses a fine, sturdy tune of his own making, written for the 1940 Episcopal Hymnal. As befits the melody, the prelude is done in festival style. Three variations follow the simple open- ing statement, each increasing in in- tensity until the full organ close. The tune sounds clearly throughout, set against accompanying figures derived from itself and worked out in the com- poser's characteristic style. Convincing canonic imitation features the first and third variations. Not too difficult and immediately effective, it is an all-purpose piece of high quality.

Dom Paul Benoit: Quatre Preludes. New York: J. Fischer & Bro., 1950. [16 p., $1.50]

The Preludes are noted here as an interesting exhibit of organ music as written by a contemporary French Bene- dictine monk. One might expect at least a slight nod in the direction of Titelouze or the Benedictine brethren at Solesmes. On the contrary, there is complete capitulation to Debussy and his very secular impressionist contemporaries. Dom Benoit writes very well indeed, but the result has value neither liturgically (or should not have) nor non-liturgically, save for those who are still not dis- turbed by the use of commercial idioms in serious music.

LUTHER Noss

MUSIC agent, Mercury Music Corp., New York] 1950. [20 p., $2.50]

Here is a flurry of important new piano works from the press of Heugel in Paris. Milhaud's music, which has been second to no other in variety of styles through the years, seems now to have become all texture and flow. Like a vivacious con- versationalist, the composer releases his

134 134 134 134

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ideas in such a steady stream and with such good-natured volubility that the listener becomes hypnotized by the flow and scarcely considers the ideas. Not that ideas are lacking, but those that there are do not impress themselves significantly on their own account. They merge into the larger order of a con- tinuous motivic or figural web.

Naturally, a composer who has written as much, as well, and as long as Milhaud, must be a first-rate craftsman. And that Milhaud certainly is. The slick sonorities, largely created by pan-diatonic- ism and widespread chords in fourths, sevenths, and ninths, make for brilliant pianistic writing. See, for example, the solo filigree in the second movement of the concerto (and, incidentally, see what a debt is still owed to Chopin in such passages). The fluent rhythm keeps un- folding like gentle blank verse. But Milhaud has changed his tune, and liter- ally so. Gone are the square, inten- tionally naive phrases in which he and Maxime Jacob used to delight. Gone is the polytonality he so stoutly defended in 1923. Watered down are the lively Latin- American and jazz syncopations of former days. In their places are constant motivic interplay and mercurial harmonic changes. The total effect is no longer polychrome but monochrome, whether the movement is slow or fast.

The Quatrieme Concerto in three move- ments is more acrid and energetic and jagged than the earlier concertos. It does not indulge, for example, in neat Prokofiev-like harmonies as does Mil- haud's Concerto of 1933. But it is still essentially conversation music. Pianists will relish the work and find plenty in it to be really virtuoso about. By com- parison, the Deuxieme Sonate in four movements is sonatina conversation. In it are vestiges of a much earlier Milhaud style, including numerous outward recol- lections of the first sonata in C of 1916. (For example, the fugue subject of the first is recalled on page 5 of the second, the rocking of half-note chords on page 4, and the extended use of 4-against-3 on page 6.) It is interesting to compare Milhaud's handling of 7% meter in an

ideas in such a steady stream and with such good-natured volubility that the listener becomes hypnotized by the flow and scarcely considers the ideas. Not that ideas are lacking, but those that there are do not impress themselves significantly on their own account. They merge into the larger order of a con- tinuous motivic or figural web.

Naturally, a composer who has written as much, as well, and as long as Milhaud, must be a first-rate craftsman. And that Milhaud certainly is. The slick sonorities, largely created by pan-diatonic- ism and widespread chords in fourths, sevenths, and ninths, make for brilliant pianistic writing. See, for example, the solo filigree in the second movement of the concerto (and, incidentally, see what a debt is still owed to Chopin in such passages). The fluent rhythm keeps un- folding like gentle blank verse. But Milhaud has changed his tune, and liter- ally so. Gone are the square, inten- tionally naive phrases in which he and Maxime Jacob used to delight. Gone is the polytonality he so stoutly defended in 1923. Watered down are the lively Latin- American and jazz syncopations of former days. In their places are constant motivic interplay and mercurial harmonic changes. The total effect is no longer polychrome but monochrome, whether the movement is slow or fast.

The Quatrieme Concerto in three move- ments is more acrid and energetic and jagged than the earlier concertos. It does not indulge, for example, in neat Prokofiev-like harmonies as does Mil- haud's Concerto of 1933. But it is still essentially conversation music. Pianists will relish the work and find plenty in it to be really virtuoso about. By com- parison, the Deuxieme Sonate in four movements is sonatina conversation. In it are vestiges of a much earlier Milhaud style, including numerous outward recol- lections of the first sonata in C of 1916. (For example, the fugue subject of the first is recalled on page 5 of the second, the rocking of half-note chords on page 4, and the extended use of 4-against-3 on page 6.) It is interesting to compare Milhaud's handling of 7% meter in an

ideas in such a steady stream and with such good-natured volubility that the listener becomes hypnotized by the flow and scarcely considers the ideas. Not that ideas are lacking, but those that there are do not impress themselves significantly on their own account. They merge into the larger order of a con- tinuous motivic or figural web.

Naturally, a composer who has written as much, as well, and as long as Milhaud, must be a first-rate craftsman. And that Milhaud certainly is. The slick sonorities, largely created by pan-diatonic- ism and widespread chords in fourths, sevenths, and ninths, make for brilliant pianistic writing. See, for example, the solo filigree in the second movement of the concerto (and, incidentally, see what a debt is still owed to Chopin in such passages). The fluent rhythm keeps un- folding like gentle blank verse. But Milhaud has changed his tune, and liter- ally so. Gone are the square, inten- tionally naive phrases in which he and Maxime Jacob used to delight. Gone is the polytonality he so stoutly defended in 1923. Watered down are the lively Latin- American and jazz syncopations of former days. In their places are constant motivic interplay and mercurial harmonic changes. The total effect is no longer polychrome but monochrome, whether the movement is slow or fast.

The Quatrieme Concerto in three move- ments is more acrid and energetic and jagged than the earlier concertos. It does not indulge, for example, in neat Prokofiev-like harmonies as does Mil- haud's Concerto of 1933. But it is still essentially conversation music. Pianists will relish the work and find plenty in it to be really virtuoso about. By com- parison, the Deuxieme Sonate in four movements is sonatina conversation. In it are vestiges of a much earlier Milhaud style, including numerous outward recol- lections of the first sonata in C of 1916. (For example, the fugue subject of the first is recalled on page 5 of the second, the rocking of half-note chords on page 4, and the extended use of 4-against-3 on page 6.) It is interesting to compare Milhaud's handling of 7% meter in an

inner movement with that in Copland's piano sonata. Where Copland enjoys nervous doodling Milhaud sets up a supple continuous pulse.

Pierre Boulez: Deuxieme Sonata pour Piano. Paris: Heugel et Cie [U. S. agent, Mercury Music Corp., New York] 1950. [48 p., $4.50]

The voluminous Deuxieme sonate of Pierre Boulez is another matter. When- ever I am dismayed by so recondite a work as this one I recall Berlioz's in- ability to fathom Wagner's score of Tristan, and forge ahead. But one must agree that the French are no longer writing facilely to induce performances of their works. I can remember nothing quite so consistently forbidding since the eighty-page Piano Sonata III was pub- lished in 1924 by Kaikhosru Sorabji. As a matter of fact the two works have in common their ceaseless rise and fall. But where Sorabji's style was undulatory, Boulez's is spasmodic. Separated only by short rests, one dramatic, impetuous outburst follows another, produced almost invariably by gigantic, angular leaps (especially 9ths) through two to four octaves and back, and all this amidst involute rhythms unaided by regular bar- ring. The sounds and the rhythms may reflect the influence of Oliver Messiaen, for they bring to mind resourceful com- binations in the latter's Vingt regards sur Fenfant Jesus. The four movements are stated to last about 32 minutes. In spite of elaborate and extreme dynamic indications, Boulez cautions performers against what "are commonly called 'ex- pressive nuances.' " No statement should be hazarded regarding the total effect of this piece until some enterprising per- former troubles to master it.

Marcel Mihalovici: Ricercari-Varia- tions libres pour Piano. Paris: Heugel et Cie [U. S. agent, Mercury Music Corp., New York] 1950. [32 p., no price]

We are back on terra firma again with Mihalovici's Ricercari. This, too, is an extended work, lasting about 21 minutes. The music is strong, the lines broad and expressive, the rhythms compelling, and the harmony convincing, although a bit

inner movement with that in Copland's piano sonata. Where Copland enjoys nervous doodling Milhaud sets up a supple continuous pulse.

Pierre Boulez: Deuxieme Sonata pour Piano. Paris: Heugel et Cie [U. S. agent, Mercury Music Corp., New York] 1950. [48 p., $4.50]

The voluminous Deuxieme sonate of Pierre Boulez is another matter. When- ever I am dismayed by so recondite a work as this one I recall Berlioz's in- ability to fathom Wagner's score of Tristan, and forge ahead. But one must agree that the French are no longer writing facilely to induce performances of their works. I can remember nothing quite so consistently forbidding since the eighty-page Piano Sonata III was pub- lished in 1924 by Kaikhosru Sorabji. As a matter of fact the two works have in common their ceaseless rise and fall. But where Sorabji's style was undulatory, Boulez's is spasmodic. Separated only by short rests, one dramatic, impetuous outburst follows another, produced almost invariably by gigantic, angular leaps (especially 9ths) through two to four octaves and back, and all this amidst involute rhythms unaided by regular bar- ring. The sounds and the rhythms may reflect the influence of Oliver Messiaen, for they bring to mind resourceful com- binations in the latter's Vingt regards sur Fenfant Jesus. The four movements are stated to last about 32 minutes. In spite of elaborate and extreme dynamic indications, Boulez cautions performers against what "are commonly called 'ex- pressive nuances.' " No statement should be hazarded regarding the total effect of this piece until some enterprising per- former troubles to master it.

Marcel Mihalovici: Ricercari-Varia- tions libres pour Piano. Paris: Heugel et Cie [U. S. agent, Mercury Music Corp., New York] 1950. [32 p., no price]

We are back on terra firma again with Mihalovici's Ricercari. This, too, is an extended work, lasting about 21 minutes. The music is strong, the lines broad and expressive, the rhythms compelling, and the harmony convincing, although a bit

inner movement with that in Copland's piano sonata. Where Copland enjoys nervous doodling Milhaud sets up a supple continuous pulse.

Pierre Boulez: Deuxieme Sonata pour Piano. Paris: Heugel et Cie [U. S. agent, Mercury Music Corp., New York] 1950. [48 p., $4.50]

The voluminous Deuxieme sonate of Pierre Boulez is another matter. When- ever I am dismayed by so recondite a work as this one I recall Berlioz's in- ability to fathom Wagner's score of Tristan, and forge ahead. But one must agree that the French are no longer writing facilely to induce performances of their works. I can remember nothing quite so consistently forbidding since the eighty-page Piano Sonata III was pub- lished in 1924 by Kaikhosru Sorabji. As a matter of fact the two works have in common their ceaseless rise and fall. But where Sorabji's style was undulatory, Boulez's is spasmodic. Separated only by short rests, one dramatic, impetuous outburst follows another, produced almost invariably by gigantic, angular leaps (especially 9ths) through two to four octaves and back, and all this amidst involute rhythms unaided by regular bar- ring. The sounds and the rhythms may reflect the influence of Oliver Messiaen, for they bring to mind resourceful com- binations in the latter's Vingt regards sur Fenfant Jesus. The four movements are stated to last about 32 minutes. In spite of elaborate and extreme dynamic indications, Boulez cautions performers against what "are commonly called 'ex- pressive nuances.' " No statement should be hazarded regarding the total effect of this piece until some enterprising per- former troubles to master it.

Marcel Mihalovici: Ricercari-Varia- tions libres pour Piano. Paris: Heugel et Cie [U. S. agent, Mercury Music Corp., New York] 1950. [32 p., no price]

We are back on terra firma again with Mihalovici's Ricercari. This, too, is an extended work, lasting about 21 minutes. The music is strong, the lines broad and expressive, the rhythms compelling, and the harmony convincing, although a bit

135 135 135

This content downloaded from 62.122.73.250 on Sat, 14 Jun 2014 15:36:28 PMAll use subject to JSTOR Terms and Conditions