Sei piccoli pezzi per clarinetto e pianoforte, 1978 by Alessandro Solbiati; Tre movimenti perclarinetto e pianoforte, 1978 by Silvia Bianchera; Cinq nouvelles pièces pour clarinette seuleby Aubert LemelandReview by: Jerome RosenNotes, Second Series, Vol. 38, No. 1 (Sep., 1981), p. 173Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/940473 .

Accessed: 15/06/2014 23:40

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 support@jstor.org.

.

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

http://www.jstor.org

This content downloaded from 195.78.108.60 on Sun, 15 Jun 2014 23:40:15 PMAll use subject to JSTOR Terms and Conditions

Music Reviews Music Reviews Music Reviews

Alessandro Solbiati. Sei piccoli pezzi per clarinetto e pianoforte, 1978. Mil- ano: Suvini Zerboni (Boosey), 1979. [Set of 2 scores, $16.00]

Silvia Bianchera. Tre movimenti per clarinetto e pianoforte, 1978. Milano: Suvini Zerboni, 1979. [Score, 14 p., and part, $13.25]

Aubert Lemeland. Cinq nouvelles pieces pour clarinette seule. Paris: Bil- laudot (Presser), 1978. [6 p., $4.00]

Three new works for clarinet come from overseas. Two of them, for clarinet and piano, come from Italy. The third, for solo clarinet, is from France. The Sei Piccoli Pezzi of Alessandro Solbiati are well named. There are indeed six pieces, and they are each quite short. The second piece is only eight measures long-and the last measure is a fermata rest for both parts. The idiom is advanced-tonal. The harmony is fairly static. The music is carried along by ner- vous rhythms and sudden changes of tex- ture. The very shortness of the movements avoids the need for development or con- tinuity. Deftness of excecution is required of both clarinetist and pianist. Silvia Bianchera's Tre Movimenti are more ex- tended pieces. They are conservative in conception and in a rather over-ripe chro- matic tonal language. Aubert Lemeland's Cinq Nouvelles Pieces aren't all that new either, but they are well written for the in- strument and might provide some pleasant hours of practice and possibly a program piece for an advanced student clarinetist. The idiom is mildly modern.

David Blake. Nonet, 1971, rev. 1978, for flute, 2 oboes, clarinet, bass clari- net, 2 horns, 2 bassoons. Sevenoaks, England: Novello, 1979. [Study score, 43 p., $12.85; performance materials on rental]

Nonet, by British composer David Blake, is a twenty-minute work in three move- ments, fast-slow-fast. Blake is an excellent craftsman who knows his wind instruments thoroughly. He is also less innocent than his jolly music would have you believe. Un-

Alessandro Solbiati. Sei piccoli pezzi per clarinetto e pianoforte, 1978. Mil- ano: Suvini Zerboni (Boosey), 1979. [Set of 2 scores, $16.00]

Silvia Bianchera. Tre movimenti per clarinetto e pianoforte, 1978. Milano: Suvini Zerboni, 1979. [Score, 14 p., and part, $13.25]

Aubert Lemeland. Cinq nouvelles pieces pour clarinette seule. Paris: Bil- laudot (Presser), 1978. [6 p., $4.00]

Three new works for clarinet come from overseas. Two of them, for clarinet and piano, come from Italy. The third, for solo clarinet, is from France. The Sei Piccoli Pezzi of Alessandro Solbiati are well named. There are indeed six pieces, and they are each quite short. The second piece is only eight measures long-and the last measure is a fermata rest for both parts. The idiom is advanced-tonal. The harmony is fairly static. The music is carried along by ner- vous rhythms and sudden changes of tex- ture. The very shortness of the movements avoids the need for development or con- tinuity. Deftness of excecution is required of both clarinetist and pianist. Silvia Bianchera's Tre Movimenti are more ex- tended pieces. They are conservative in conception and in a rather over-ripe chro- matic tonal language. Aubert Lemeland's Cinq Nouvelles Pieces aren't all that new either, but they are well written for the in- strument and might provide some pleasant hours of practice and possibly a program piece for an advanced student clarinetist. The idiom is mildly modern.

David Blake. Nonet, 1971, rev. 1978, for flute, 2 oboes, clarinet, bass clari- net, 2 horns, 2 bassoons. Sevenoaks, England: Novello, 1979. [Study score, 43 p., $12.85; performance materials on rental]

Nonet, by British composer David Blake, is a twenty-minute work in three move- ments, fast-slow-fast. Blake is an excellent craftsman who knows his wind instruments thoroughly. He is also less innocent than his jolly music would have you believe. Un-

Alessandro Solbiati. Sei piccoli pezzi per clarinetto e pianoforte, 1978. Mil- ano: Suvini Zerboni (Boosey), 1979. [Set of 2 scores, $16.00]

Silvia Bianchera. Tre movimenti per clarinetto e pianoforte, 1978. Milano: Suvini Zerboni, 1979. [Score, 14 p., and part, $13.25]

Aubert Lemeland. Cinq nouvelles pieces pour clarinette seule. Paris: Bil- laudot (Presser), 1978. [6 p., $4.00]

Three new works for clarinet come from overseas. Two of them, for clarinet and piano, come from Italy. The third, for solo clarinet, is from France. The Sei Piccoli Pezzi of Alessandro Solbiati are well named. There are indeed six pieces, and they are each quite short. The second piece is only eight measures long-and the last measure is a fermata rest for both parts. The idiom is advanced-tonal. The harmony is fairly static. The music is carried along by ner- vous rhythms and sudden changes of tex- ture. The very shortness of the movements avoids the need for development or con- tinuity. Deftness of excecution is required of both clarinetist and pianist. Silvia Bianchera's Tre Movimenti are more ex- tended pieces. They are conservative in conception and in a rather over-ripe chro- matic tonal language. Aubert Lemeland's Cinq Nouvelles Pieces aren't all that new either, but they are well written for the in- strument and might provide some pleasant hours of practice and possibly a program piece for an advanced student clarinetist. The idiom is mildly modern.

David Blake. Nonet, 1971, rev. 1978, for flute, 2 oboes, clarinet, bass clari- net, 2 horns, 2 bassoons. Sevenoaks, England: Novello, 1979. [Study score, 43 p., $12.85; performance materials on rental]

Nonet, by British composer David Blake, is a twenty-minute work in three move- ments, fast-slow-fast. Blake is an excellent craftsman who knows his wind instruments thoroughly. He is also less innocent than his jolly music would have you believe. Un-

derneath its apparent simplicity this music is tightly organized. It grows out of minute intervallic cells which are found through- out. Perhaps Blake's early acquaintance with the Schoenberg school, via his study with Hans Eisler, shows here. This is a dis-

tinguished composition which merits the attention of wind players everywhere, preferably in groups of nine.

JEROME ROSEN University of California, Davis

Earle Brown. Novara [for flute, bass clarinet, trumpet, piano, 2 violins, vi- ola, cello]. London: Universal (Euro- pean American), 1979. [Instructions in Eng., Ger., 8 p., score, 4 p., $21.50]

Earle Brown is well known for his ap- proach to musical composition, which grants the performer, as well as the composer, a

significant part in shaping the final form and character of a work. Brown's commit-' ment to this approach is attested to by a number of works for various instrumental and vocal forces published since the early 1950s. (See, for example, the list of his works in The New Grove Dictionary.) In these works he has explored different aspects of the collaborative process between com- poser and performer by incorporating a range of aleatory elements. As has fre- quently been pointed out, Brown's works were inspired by, and in a sense can be understood as musical analogues to, the action paintings of Jackson Pollack and the mobiles of Alexander Calder.

Novara, written in 1962, is similar in con- ception to the well known orchestral works Available Forms I and II, from the same pe- riod. The score of Novara consists of four attached pages; each page contains five musical events for various combinations of the eight instruments. The notation for in- dividual events is predominantly in what Brown refers to as "time-notation," now generally called spatial or proportional no- tation, the realization of which depends upon the performers' perception of hori- zontal distances between symbols, rather than conventional metrical organization. The three events that call for microtonal and other "non-characteristic" sounds em-

derneath its apparent simplicity this music is tightly organized. It grows out of minute intervallic cells which are found through- out. Perhaps Blake's early acquaintance with the Schoenberg school, via his study with Hans Eisler, shows here. This is a dis-

tinguished composition which merits the attention of wind players everywhere, preferably in groups of nine.

JEROME ROSEN University of California, Davis

Earle Brown. Novara [for flute, bass clarinet, trumpet, piano, 2 violins, vi- ola, cello]. London: Universal (Euro- pean American), 1979. [Instructions in Eng., Ger., 8 p., score, 4 p., $21.50]

Earle Brown is well known for his ap- proach to musical composition, which grants the performer, as well as the composer, a

significant part in shaping the final form and character of a work. Brown's commit-' ment to this approach is attested to by a number of works for various instrumental and vocal forces published since the early 1950s. (See, for example, the list of his works in The New Grove Dictionary.) In these works he has explored different aspects of the collaborative process between com- poser and performer by incorporating a range of aleatory elements. As has fre- quently been pointed out, Brown's works were inspired by, and in a sense can be understood as musical analogues to, the action paintings of Jackson Pollack and the mobiles of Alexander Calder.

Novara, written in 1962, is similar in con- ception to the well known orchestral works Available Forms I and II, from the same pe- riod. The score of Novara consists of four attached pages; each page contains five musical events for various combinations of the eight instruments. The notation for in- dividual events is predominantly in what Brown refers to as "time-notation," now generally called spatial or proportional no- tation, the realization of which depends upon the performers' perception of hori- zontal distances between symbols, rather than conventional metrical organization. The three events that call for microtonal and other "non-characteristic" sounds em-

derneath its apparent simplicity this music is tightly organized. It grows out of minute intervallic cells which are found through- out. Perhaps Blake's early acquaintance with the Schoenberg school, via his study with Hans Eisler, shows here. This is a dis-

tinguished composition which merits the attention of wind players everywhere, preferably in groups of nine.

JEROME ROSEN University of California, Davis

Earle Brown. Novara [for flute, bass clarinet, trumpet, piano, 2 violins, vi- ola, cello]. London: Universal (Euro- pean American), 1979. [Instructions in Eng., Ger., 8 p., score, 4 p., $21.50]

Earle Brown is well known for his ap- proach to musical composition, which grants the performer, as well as the composer, a

significant part in shaping the final form and character of a work. Brown's commit-' ment to this approach is attested to by a number of works for various instrumental and vocal forces published since the early 1950s. (See, for example, the list of his works in The New Grove Dictionary.) In these works he has explored different aspects of the collaborative process between com- poser and performer by incorporating a range of aleatory elements. As has fre- quently been pointed out, Brown's works were inspired by, and in a sense can be understood as musical analogues to, the action paintings of Jackson Pollack and the mobiles of Alexander Calder.

Novara, written in 1962, is similar in con- ception to the well known orchestral works Available Forms I and II, from the same pe- riod. The score of Novara consists of four attached pages; each page contains five musical events for various combinations of the eight instruments. The notation for in- dividual events is predominantly in what Brown refers to as "time-notation," now generally called spatial or proportional no- tation, the realization of which depends upon the performers' perception of hori- zontal distances between symbols, rather than conventional metrical organization. The three events that call for microtonal and other "non-characteristic" sounds em-

173 173 173

This content downloaded from 195.78.108.60 on Sun, 15 Jun 2014 23:40:15 PMAll use subject to JSTOR Terms and Conditions