Quatuor, Op. 2, mi bemol majeur. Pour clarinette, violon, alto et violoncelle by BernhardHenrik CrusellReview by: Albert MellNotes, Second Series, Vol. 18, No. 4 (Sep., 1961), p. 647Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/895572 .

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Tomkins' In Nomine for 3 viols is in- cluded in the Harvard Anthology of Mrusic, Vol. I, pp. 202-204, in Everett Helm's transcription from the original manuscript (Brit. Mus. Add. Mss. 17792-96). A practical edition of the same piece, entitled In Nomine a Tre, is now available in score and parts for 2 treble viols and bass viol, or for op- tional performance by two violins and cello. This edition has been prepared by Harry Danks. A comparison of the H-elm and Danks versions reveals dis- crepancies in the reading or interpre- tation of accidentals in measures 35 and 50. Danks' treatment of accidentals in the penultimate measure is open to question, and the purchaser is advised to emend his copy according to the reading in the Harvard Anthology.

Bernhard Henrik Crusell: Quatuor, Op. 2, mi bemol majeur. Pour cla- rinette, violon, alto et violoncelle. Basel: Edition Kneusslin; U. S. A.: C. F. Peters, New York, 1960. [Parts, $3.00]

In the early decades of the 19th cen- tury the compositions for clarinet by Bernhard Henrik Crusell (1775-1838) found a ready market. Born in Finland, Crusell spent most of his creative life in Sweden and was recognized as one of the best clarinet virtuosos of his time. His clarinet concertos, quartets, and duos were published by C. F. Peters, Richault, and others. Even in the early years of the present century his quartets for clarinet, violin, viola, and cello (Op. 2, 4, and 7) were still available in French editions by Costallat and Lemoine. Af- ter a lapse of half a century, and in one of the curious quirks of the publishing business, Musica Rara of London and Kneusslin of Basel projected-independ- ently of each other-a reprint of Crasell's Quartet in Eb major, Op. 2. With the appearance of the Kneusslin edition, Musica Rara has of course cancelled its own plans for publication. Crusell's quartet follows the traditional four-movement scheme of the string quartet with the clarinet substituted for the first violin. As might be expected, tile composer writes knowingly for the

Tomkins' In Nomine for 3 viols is in- cluded in the Harvard Anthology of Mrusic, Vol. I, pp. 202-204, in Everett Helm's transcription from the original manuscript (Brit. Mus. Add. Mss. 17792-96). A practical edition of the same piece, entitled In Nomine a Tre, is now available in score and parts for 2 treble viols and bass viol, or for op- tional performance by two violins and cello. This edition has been prepared by Harry Danks. A comparison of the H-elm and Danks versions reveals dis- crepancies in the reading or interpre- tation of accidentals in measures 35 and 50. Danks' treatment of accidentals in the penultimate measure is open to question, and the purchaser is advised to emend his copy according to the reading in the Harvard Anthology.

Bernhard Henrik Crusell: Quatuor, Op. 2, mi bemol majeur. Pour cla- rinette, violon, alto et violoncelle. Basel: Edition Kneusslin; U. S. A.: C. F. Peters, New York, 1960. [Parts, $3.00]

In the early decades of the 19th cen- tury the compositions for clarinet by Bernhard Henrik Crusell (1775-1838) found a ready market. Born in Finland, Crusell spent most of his creative life in Sweden and was recognized as one of the best clarinet virtuosos of his time. His clarinet concertos, quartets, and duos were published by C. F. Peters, Richault, and others. Even in the early years of the present century his quartets for clarinet, violin, viola, and cello (Op. 2, 4, and 7) were still available in French editions by Costallat and Lemoine. Af- ter a lapse of half a century, and in one of the curious quirks of the publishing business, Musica Rara of London and Kneusslin of Basel projected-independ- ently of each other-a reprint of Crasell's Quartet in Eb major, Op. 2. With the appearance of the Kneusslin edition, Musica Rara has of course cancelled its own plans for publication. Crusell's quartet follows the traditional four-movement scheme of the string quartet with the clarinet substituted for the first violin. As might be expected, tile composer writes knowingly for the

Tomkins' In Nomine for 3 viols is in- cluded in the Harvard Anthology of Mrusic, Vol. I, pp. 202-204, in Everett Helm's transcription from the original manuscript (Brit. Mus. Add. Mss. 17792-96). A practical edition of the same piece, entitled In Nomine a Tre, is now available in score and parts for 2 treble viols and bass viol, or for op- tional performance by two violins and cello. This edition has been prepared by Harry Danks. A comparison of the H-elm and Danks versions reveals dis- crepancies in the reading or interpre- tation of accidentals in measures 35 and 50. Danks' treatment of accidentals in the penultimate measure is open to question, and the purchaser is advised to emend his copy according to the reading in the Harvard Anthology.

Bernhard Henrik Crusell: Quatuor, Op. 2, mi bemol majeur. Pour cla- rinette, violon, alto et violoncelle. Basel: Edition Kneusslin; U. S. A.: C. F. Peters, New York, 1960. [Parts, $3.00]

In the early decades of the 19th cen- tury the compositions for clarinet by Bernhard Henrik Crusell (1775-1838) found a ready market. Born in Finland, Crusell spent most of his creative life in Sweden and was recognized as one of the best clarinet virtuosos of his time. His clarinet concertos, quartets, and duos were published by C. F. Peters, Richault, and others. Even in the early years of the present century his quartets for clarinet, violin, viola, and cello (Op. 2, 4, and 7) were still available in French editions by Costallat and Lemoine. Af- ter a lapse of half a century, and in one of the curious quirks of the publishing business, Musica Rara of London and Kneusslin of Basel projected-independ- ently of each other-a reprint of Crasell's Quartet in Eb major, Op. 2. With the appearance of the Kneusslin edition, Musica Rara has of course cancelled its own plans for publication. Crusell's quartet follows the traditional four-movement scheme of the string quartet with the clarinet substituted for the first violin. As might be expected, tile composer writes knowingly for the

Tomkins' In Nomine for 3 viols is in- cluded in the Harvard Anthology of Mrusic, Vol. I, pp. 202-204, in Everett Helm's transcription from the original manuscript (Brit. Mus. Add. Mss. 17792-96). A practical edition of the same piece, entitled In Nomine a Tre, is now available in score and parts for 2 treble viols and bass viol, or for op- tional performance by two violins and cello. This edition has been prepared by Harry Danks. A comparison of the H-elm and Danks versions reveals dis- crepancies in the reading or interpre- tation of accidentals in measures 35 and 50. Danks' treatment of accidentals in the penultimate measure is open to question, and the purchaser is advised to emend his copy according to the reading in the Harvard Anthology.

Bernhard Henrik Crusell: Quatuor, Op. 2, mi bemol majeur. Pour cla- rinette, violon, alto et violoncelle. Basel: Edition Kneusslin; U. S. A.: C. F. Peters, New York, 1960. [Parts, $3.00]

In the early decades of the 19th cen- tury the compositions for clarinet by Bernhard Henrik Crusell (1775-1838) found a ready market. Born in Finland, Crusell spent most of his creative life in Sweden and was recognized as one of the best clarinet virtuosos of his time. His clarinet concertos, quartets, and duos were published by C. F. Peters, Richault, and others. Even in the early years of the present century his quartets for clarinet, violin, viola, and cello (Op. 2, 4, and 7) were still available in French editions by Costallat and Lemoine. Af- ter a lapse of half a century, and in one of the curious quirks of the publishing business, Musica Rara of London and Kneusslin of Basel projected-independ- ently of each other-a reprint of Crasell's Quartet in Eb major, Op. 2. With the appearance of the Kneusslin edition, Musica Rara has of course cancelled its own plans for publication. Crusell's quartet follows the traditional four-movement scheme of the string quartet with the clarinet substituted for the first violin. As might be expected, tile composer writes knowingly for the

clarinet. Performers who may be tired of the handful of staples in the repertory of original clarinet music will find it pleasant to browse through Crusell's craftsmanlike if not very profound music.

Robert Donington: Suite No. 1, for 3 or more violins. London: Elkin; U. S. A.: Galaxy, New York, 1960. [Parts, $1.00]

Most ensemble music written for per- formers of limited accomplishment offers very little musical satisfaction. Fortu- nately, this is not true of Robert Don- ington's Suite No. 1 for Three or More Violins. The third movement, entitled "Elegy," and the fifth movement are 3- part canons at the unison; the fourth movement, subtitled "Cuckoo," should be especially appealing to young performers. All six movements of this modest suite lie comfortably in the first position. They are simple without suggesting the sim- ple-minded, and have a contrapuntal suppleness and modal piquancy which heighten their appeal.

Joseph Haydn: Divertimento No. 1, Chorale St. Antoni. 2 oboes, 2 horns, 3 bassoons, contra-bassoon or string bass. New ed. by Robert Austin Boudreau. (Peters Ed., No. 6167.) New York: C. F. Peters, 1960. [Score, 16 p., & pts., $6.00]

Of Haydn's six Feldpartiten, written in the 1780's for the military band of Prince Esterhazy, the best known and most important is the one in Bb major (Hoboken II:46). Scored for two oboes, two horns, three bassoons, and a serpent, this partita, known as Divertimento No. 1, "Chorale St. Antonii," gets its name from the second movement, which is based on an old Austrian pilgrim's song. It was this movement which inspired Brahms' Variations on a Theme by Jo- seph Haydn, Op. 56 The Haydn partita was edited by Karl Geiringer for Schu- berth, Leipzig, 1932, with a contrabas- soon replacing the obsolete serpent. In 1942, Harold Perry edited the same com- position for Boosey and Hawkes as a quintet for flute, oboe, clarinet, bassoon, and horn. Recent Musica Rara catalogs list the same work as a sextet for 2 oboes, 2 horns, and 2 bassoons. Since

clarinet. Performers who may be tired of the handful of staples in the repertory of original clarinet music will find it pleasant to browse through Crusell's craftsmanlike if not very profound music.

Robert Donington: Suite No. 1, for 3 or more violins. London: Elkin; U. S. A.: Galaxy, New York, 1960. [Parts, $1.00]

Most ensemble music written for per- formers of limited accomplishment offers very little musical satisfaction. Fortu- nately, this is not true of Robert Don- ington's Suite No. 1 for Three or More Violins. The third movement, entitled "Elegy," and the fifth movement are 3- part canons at the unison; the fourth movement, subtitled "Cuckoo," should be especially appealing to young performers. All six movements of this modest suite lie comfortably in the first position. They are simple without suggesting the sim- ple-minded, and have a contrapuntal suppleness and modal piquancy which heighten their appeal.

Joseph Haydn: Divertimento No. 1, Chorale St. Antoni. 2 oboes, 2 horns, 3 bassoons, contra-bassoon or string bass. New ed. by Robert Austin Boudreau. (Peters Ed., No. 6167.) New York: C. F. Peters, 1960. [Score, 16 p., & pts., $6.00]

Of Haydn's six Feldpartiten, written in the 1780's for the military band of Prince Esterhazy, the best known and most important is the one in Bb major (Hoboken II:46). Scored for two oboes, two horns, three bassoons, and a serpent, this partita, known as Divertimento No. 1, "Chorale St. Antonii," gets its name from the second movement, which is based on an old Austrian pilgrim's song. It was this movement which inspired Brahms' Variations on a Theme by Jo- seph Haydn, Op. 56 The Haydn partita was edited by Karl Geiringer for Schu- berth, Leipzig, 1932, with a contrabas- soon replacing the obsolete serpent. In 1942, Harold Perry edited the same com- position for Boosey and Hawkes as a quintet for flute, oboe, clarinet, bassoon, and horn. Recent Musica Rara catalogs list the same work as a sextet for 2 oboes, 2 horns, and 2 bassoons. Since

clarinet. Performers who may be tired of the handful of staples in the repertory of original clarinet music will find it pleasant to browse through Crusell's craftsmanlike if not very profound music.

Robert Donington: Suite No. 1, for 3 or more violins. London: Elkin; U. S. A.: Galaxy, New York, 1960. [Parts, $1.00]

Most ensemble music written for per- formers of limited accomplishment offers very little musical satisfaction. Fortu- nately, this is not true of Robert Don- ington's Suite No. 1 for Three or More Violins. The third movement, entitled "Elegy," and the fifth movement are 3- part canons at the unison; the fourth movement, subtitled "Cuckoo," should be especially appealing to young performers. All six movements of this modest suite lie comfortably in the first position. They are simple without suggesting the sim- ple-minded, and have a contrapuntal suppleness and modal piquancy which heighten their appeal.

Joseph Haydn: Divertimento No. 1, Chorale St. Antoni. 2 oboes, 2 horns, 3 bassoons, contra-bassoon or string bass. New ed. by Robert Austin Boudreau. (Peters Ed., No. 6167.) New York: C. F. Peters, 1960. [Score, 16 p., & pts., $6.00]

Of Haydn's six Feldpartiten, written in the 1780's for the military band of Prince Esterhazy, the best known and most important is the one in Bb major (Hoboken II:46). Scored for two oboes, two horns, three bassoons, and a serpent, this partita, known as Divertimento No. 1, "Chorale St. Antonii," gets its name from the second movement, which is based on an old Austrian pilgrim's song. It was this movement which inspired Brahms' Variations on a Theme by Jo- seph Haydn, Op. 56 The Haydn partita was edited by Karl Geiringer for Schu- berth, Leipzig, 1932, with a contrabas- soon replacing the obsolete serpent. In 1942, Harold Perry edited the same com- position for Boosey and Hawkes as a quintet for flute, oboe, clarinet, bassoon, and horn. Recent Musica Rara catalogs list the same work as a sextet for 2 oboes, 2 horns, and 2 bassoons. Since

clarinet. Performers who may be tired of the handful of staples in the repertory of original clarinet music will find it pleasant to browse through Crusell's craftsmanlike if not very profound music.

Robert Donington: Suite No. 1, for 3 or more violins. London: Elkin; U. S. A.: Galaxy, New York, 1960. [Parts, $1.00]

Most ensemble music written for per- formers of limited accomplishment offers very little musical satisfaction. Fortu- nately, this is not true of Robert Don- ington's Suite No. 1 for Three or More Violins. The third movement, entitled "Elegy," and the fifth movement are 3- part canons at the unison; the fourth movement, subtitled "Cuckoo," should be especially appealing to young performers. All six movements of this modest suite lie comfortably in the first position. They are simple without suggesting the sim- ple-minded, and have a contrapuntal suppleness and modal piquancy which heighten their appeal.

Joseph Haydn: Divertimento No. 1, Chorale St. Antoni. 2 oboes, 2 horns, 3 bassoons, contra-bassoon or string bass. New ed. by Robert Austin Boudreau. (Peters Ed., No. 6167.) New York: C. F. Peters, 1960. [Score, 16 p., & pts., $6.00]

Of Haydn's six Feldpartiten, written in the 1780's for the military band of Prince Esterhazy, the best known and most important is the one in Bb major (Hoboken II:46). Scored for two oboes, two horns, three bassoons, and a serpent, this partita, known as Divertimento No. 1, "Chorale St. Antonii," gets its name from the second movement, which is based on an old Austrian pilgrim's song. It was this movement which inspired Brahms' Variations on a Theme by Jo- seph Haydn, Op. 56 The Haydn partita was edited by Karl Geiringer for Schu- berth, Leipzig, 1932, with a contrabas- soon replacing the obsolete serpent. In 1942, Harold Perry edited the same com- position for Boosey and Hawkes as a quintet for flute, oboe, clarinet, bassoon, and horn. Recent Musica Rara catalogs list the same work as a sextet for 2 oboes, 2 horns, and 2 bassoons. Since

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