Zoroastre by Jean Philippe Rameau; L. de Cahusac; Françoise GervaisReview by: Robert DoningtonNotes, Second Series, Vol. 23, No. 2 (Dec., 1966), pp. 335-337Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/895441 .

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II, and "Salvation" from Walker's South- ern Harmony.

Professor Miller's statement in his "Pref- ace to the Hymns" that "hymn writing has diminished almost to the vanishing point" seems to overstate the case. Even if we omit translations and restrict our- selves to American hymns of the twentieth century, we find examples by Curtis S. Beach, Walter R. Bowie, Harry E. Fosdick, William DeWitt Hyde, David McCord, William P. Merrill, Frank M. North, John Edgar Park, and Howard C. Robbins. Mr. Ferris is equally pessimistic about twentieth-century tunes. He finds that "the styles of most serious contemporary composers are incompatible with the sim- plicity demanded of congregational song."

II, and "Salvation" from Walker's South- ern Harmony.

Professor Miller's statement in his "Pref- ace to the Hymns" that "hymn writing has diminished almost to the vanishing point" seems to overstate the case. Even if we omit translations and restrict our- selves to American hymns of the twentieth century, we find examples by Curtis S. Beach, Walter R. Bowie, Harry E. Fosdick, William DeWitt Hyde, David McCord, William P. Merrill, Frank M. North, John Edgar Park, and Howard C. Robbins. Mr. Ferris is equally pessimistic about twentieth-century tunes. He finds that "the styles of most serious contemporary composers are incompatible with the sim- plicity demanded of congregational song."

Without arguing for hymns based on serial or aleatric concepts, one might argue that a number of recent and contemporary American composers have cultivated a spare, economical style which is not in conflict with the requirements of a good hymn tune. The tune "Nisi Dominus" by Randall Thompson, which is included in the present volume, would seem to illus- trate the point.

A college hymnal may appropriately be a scholarly hymnal, and the notes on each hymn add much to the value of this volume.

CHARLES W. HUGHES

Hunter College of the City University of New York

Without arguing for hymns based on serial or aleatric concepts, one might argue that a number of recent and contemporary American composers have cultivated a spare, economical style which is not in conflict with the requirements of a good hymn tune. The tune "Nisi Dominus" by Randall Thompson, which is included in the present volume, would seem to illus- trate the point.

A college hymnal may appropriately be a scholarly hymnal, and the notes on each hymn add much to the value of this volume.

CHARLES W. HUGHES

Hunter College of the City University of New York

Jean Philippe Rameau: Zoroastre. Tragedie lyrique de L. de Cahusac. Restitution par Fran§oise Gervais. Paris: Editions Franqaises de Musique, 1965. [603 p., cloth, NF 250.-]

Jean Philippe Rameau: Zoroastre. Tragedie lyrique de L. de Cahusac. Restitution par Fran§oise Gervais. Paris: Editions Franqaises de Musique, 1965. [603 p., cloth, NF 250.-]

Zoroastre is a major work of Rameau's maturity and exhibits some special fea- tures of novelty-particularly in dispens- ing with the lengthy and as a rule some- what irrelevant prologue customary in French opera from Lully on. This full edition has the further importance of making a whole opera available which is not included in the Complete, but as yet incompleted, Edition. The editorial labor expended must have been very great, and for this we can feel the sincerest grati- tude. Nevertheless, as so easily happens, certain mistakes of policy and execution have somewhat reduced the value of the edition.

There is hardly any of that prefatory information which can be so valuable in setting a great but unfamiliar work of this kind in its context-not even a sum- mary of the plot, which any opera director would like to have for a start. The sources used (a score and a set of parts) are stated, but not described; thus it becomes dif- ficult to assess just what the editor has done with the primary material, though with patience this difficulty might be overcome, at least in essentials. Certainly it is not at all clear at a glance just what has been happening and to what.

Suggestions are given throughout for actual orchestration, and these, so far as they go, seem valuable and legitimate.

Zoroastre is a major work of Rameau's maturity and exhibits some special fea- tures of novelty-particularly in dispens- ing with the lengthy and as a rule some- what irrelevant prologue customary in French opera from Lully on. This full edition has the further importance of making a whole opera available which is not included in the Complete, but as yet incompleted, Edition. The editorial labor expended must have been very great, and for this we can feel the sincerest grati- tude. Nevertheless, as so easily happens, certain mistakes of policy and execution have somewhat reduced the value of the edition.

There is hardly any of that prefatory information which can be so valuable in setting a great but unfamiliar work of this kind in its context-not even a sum- mary of the plot, which any opera director would like to have for a start. The sources used (a score and a set of parts) are stated, but not described; thus it becomes dif- ficult to assess just what the editor has done with the primary material, though with patience this difficulty might be overcome, at least in essentials. Certainly it is not at all clear at a glance just what has been happening and to what.

Suggestions are given throughout for actual orchestration, and these, so far as they go, seem valuable and legitimate.

They are stated to be based on "the com- position of the orchestra of the Opera in 1756 and the customs of the age." This is teasing to a scholar, who would like to be told on what authority the suggestions rely. Paul-Marie Masson, in his classic study L'Opera de Rameau (Paris, 1930, p. 513), gives virtually the same picture. If this was the source, an acknowledge- ment would have been gracious; if, as is quite likely, original sources have also been consulted, a reference to them would have been invaluable. Moreover, there are problems on which we are gradually dis- covering new evidence which even Mas- son had not found. In particular, we are trying to find out just what was really done in all those lengthy passages where no accompaniment is indicated beyond a bare figured bass. Neither in Lully nor in Rameau can these passages now be thought necessarily confined to harpsi- chord and cello or gamba. The accompani- ment was, or largely was, the responsibil- ity of the small orchestral group called the petit choeur, as opposed to the full orchestra called the grand choeur. The petit choeur, which is known to have included a wide variety of instruments in the seventeenth century, can hardly have gotten smaller in Rameau, who was ac- cused of over-accompanying his recitatives. (See, for example, Jiirgen Eppelsheim, Das

They are stated to be based on "the com- position of the orchestra of the Opera in 1756 and the customs of the age." This is teasing to a scholar, who would like to be told on what authority the suggestions rely. Paul-Marie Masson, in his classic study L'Opera de Rameau (Paris, 1930, p. 513), gives virtually the same picture. If this was the source, an acknowledge- ment would have been gracious; if, as is quite likely, original sources have also been consulted, a reference to them would have been invaluable. Moreover, there are problems on which we are gradually dis- covering new evidence which even Mas- son had not found. In particular, we are trying to find out just what was really done in all those lengthy passages where no accompaniment is indicated beyond a bare figured bass. Neither in Lully nor in Rameau can these passages now be thought necessarily confined to harpsi- chord and cello or gamba. The accompani- ment was, or largely was, the responsibil- ity of the small orchestral group called the petit choeur, as opposed to the full orchestra called the grand choeur. The petit choeur, which is known to have included a wide variety of instruments in the seventeenth century, can hardly have gotten smaller in Rameau, who was ac- cused of over-accompanying his recitatives. (See, for example, Jiirgen Eppelsheim, Das

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Orchester in den Werken Jean-Baptiste Lullys, Tutzing, 1961, pp. 150ff., and Gloria Rose, "Agazzari and the Improvis- ing Orchestra," Journal of the American Musicological Society, Vol. XVIII, 1965, pp. 382ff.)

It is disappointing to find this problem, which admittedly is difficult, still unac- knowledged here, for one of the main practical obstacles in putting on a Lully or a Rameau opera is working out how to make the recitative (which in French opera is really arioso) into a musically effective part of the whole. A harpsichord with cello or gamba will not sound effec- tive over such large expanses, especially in a full theatrical performance. This is not secco recitative, and it does not appear to have been accompanied like secco reci- tative. So very few separate original parts survive that we have little direct evidence of what was actually played: but it was more than got into the score; and per- haps it was still being largely improvised- but melodically improvised-from the figured bass, in the traditional seven- teenth-century manner. We do not know this, but it seems possible.

If we are to rely on harpsichord with cello or gamba, in spite of this highly open situation, we must at least provide the harpsichord with a very full and sonorous realization, abounding in scale passages and arpeggiendos, such as late Baroque accompanists used to build up the resonance of a harpsichord accom- paniment. In this edition, the harpsichord realization is so thin and chaste that it can give little support even in solo pas- sages, and in choral and orchestral pas- sages might almost as well not be played at all. This is a common fault of mod- em editors and is not to be pinned par- ticularly on to this one; but it is very serious in practice, because it leaves so many passages without even the bare min- imum of support. It is absolutely essential to give a harpsichord part plenty of movement and plenty of notes, if it is to serve for accompaniment in a large au- ditorium.

The entire contents of this edition have been transposed down by one tone, "in order to correspond to the French pitch of the eighteenth century." No ref- erence and no authority is given for this statement; and if any that is new is forth-

coming, some information about it would have been very desirable. The French Government Commission of 1858 on pitch believed (but it believed a great deal) in a very low pitch for Paris in the early eighteenth century (1700). Not even the highly scientific work of L1. S. Lloyd and of Arthur Mendel can give us specific confirmation of this; and Anthony Baines's recent investiga- tion into evidence consisting mainly of surviving wind instruments led him to suggest that from the pioneering work of the Hotteterre family in the later sev- enteenth century down to the later eight- eenth century at least one common ten- dency of instrumental pitch stood roughly a semitone below a' = 440. But Mr. Men- del was good enough to inform me that in his present opinion, which I think is the best available on this, the difference of a whole tone is likely to be about right. In any case, if a transposition down is essential to the comfort of the singer, it is in principle right to make it; and in practice a whole tone transposition is better than a semitone transcription, which results in very unsonorous keys of many sharps or flats. There are bari- tone top F-sharps here in the (untrans- posed) original, but also low G naturals- a wide range at best, but certainly not improved by this drastic transposition. It would have been much less drastic, and perhaps wiser, to modify a few unduly high notes or passages. If in fact the drastic transposition sounds better, it is worth making it of course; the matter would quickly appear in performance, on which presumably the present edition rests, since it is sponsored (greatly to their credit) by the Radiodiffusion Tel6vision Francaise.

A further decision, justified in prin- ciple, is the writing out in ordinary no- tation of numerous ornaments which are shown by crosses and other highly inde- terminate signs in the original. In prac- tice, the notation can at best only be approximate (and this should be, but is not here stated), yet that is far better than leaving unspecialized performers to floun- der; the correct use of ornaments makes a cumulative effect of great musical im- portance. I am all the sorrier, therefore, to have to report that, on the whole, too many of these ornaments seem to be

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wrongly written out. I am not talking about fine details, which remain to some extent controversial among the specialists; I am talking about such elementary ne- cessities as making long appoggiaturas long enough to have their proper influence upon the harmony instead of too short to have much influence at all. The schol- arly evidence is overwhelming; the musical improvement is manifest once understood; the failure of this editor to keep up with the times in so crucial a responsibility is unexpected and unfortunate. The notes

wrongly written out. I am not talking about fine details, which remain to some extent controversial among the specialists; I am talking about such elementary ne- cessities as making long appoggiaturas long enough to have their proper influence upon the harmony instead of too short to have much influence at all. The schol- arly evidence is overwhelming; the musical improvement is manifest once understood; the failure of this editor to keep up with the times in so crucial a responsibility is unexpected and unfortunate. The notes

wrongly written out. I am not talking about fine details, which remain to some extent controversial among the specialists; I am talking about such elementary ne- cessities as making long appoggiaturas long enough to have their proper influence upon the harmony instead of too short to have much influence at all. The schol- arly evidence is overwhelming; the musical improvement is manifest once understood; the failure of this editor to keep up with the times in so crucial a responsibility is unexpected and unfortunate. The notes

are mostly right (e.g., upper note starts trills); but the rhythms of the orna- ments are often incorrect and awkward. It is a pity that the editor worked so hard on this and got so much musicologically and musically unacceptable. This very pains- taking and indeed very welcome edition does not stand up to Prunieres' Lully-or Jacobi's Rameau. Still, we can remain grateful: these labors are not lightly un- dertaken.

ROBERT DONINGTON University of Iowa

are mostly right (e.g., upper note starts trills); but the rhythms of the orna- ments are often incorrect and awkward. It is a pity that the editor worked so hard on this and got so much musicologically and musically unacceptable. This very pains- taking and indeed very welcome edition does not stand up to Prunieres' Lully-or Jacobi's Rameau. Still, we can remain grateful: these labors are not lightly un- dertaken.

ROBERT DONINGTON University of Iowa

are mostly right (e.g., upper note starts trills); but the rhythms of the orna- ments are often incorrect and awkward. It is a pity that the editor worked so hard on this and got so much musicologically and musically unacceptable. This very pains- taking and indeed very welcome edition does not stand up to Prunieres' Lully-or Jacobi's Rameau. Still, we can remain grateful: these labors are not lightly un- dertaken.

ROBERT DONINGTON University of Iowa

Seymour Barab: Little Red Riding Hood. A children's opera in one act. Words and music by Seymour Barab. Vocal score by the composer. New York: Boosey and Hawkes, 1965. [Piano-vocal score, 101 p., illus., $3.50]

Seymour Barab: Little Red Riding Hood. A children's opera in one act. Words and music by Seymour Barab. Vocal score by the composer. New York: Boosey and Hawkes, 1965. [Piano-vocal score, 101 p., illus., $3.50]

Seymour Barab: Little Red Riding Hood. A children's opera in one act. Words and music by Seymour Barab. Vocal score by the composer. New York: Boosey and Hawkes, 1965. [Piano-vocal score, 101 p., illus., $3.50]

Some children's operas are intended to be performed by children, while others, like Benjamin Britten's The Little Sweep, are designed for a mixed cast of adults and children, performing for an audi- ence of young people. In both types cos- tumes, scenery, and chorus are important components, and parts of limited difficulty are carefully constructed for the less pro- ficient members of the cast. Little Red Riding Hood, however, is planned for still another set of circumstances. Far from being a vehicle for community self- expression, it seems tailor-made for per- formance at a children's concert, where the orchestra is already provided; but ad- ditional resources needed should be kept within reasonable limits.

A practical mind designed the produc- tion details with impressive frugality. Lighting is used to suggest changes of scene. Props and stage furniture are pre- cisely listed to meet minimal require- ments. Only three singers are required, two of whom have double roles. A pro- logue permitting the wolf to make up before the audience has the double ad- vantage of showing the children how make-up is applied-a fascinating process -and of reassuring the more timid mem- bers of the audience that the wolf is really a man. Yet a fairly full orchestra is speci-

Some children's operas are intended to be performed by children, while others, like Benjamin Britten's The Little Sweep, are designed for a mixed cast of adults and children, performing for an audi- ence of young people. In both types cos- tumes, scenery, and chorus are important components, and parts of limited difficulty are carefully constructed for the less pro- ficient members of the cast. Little Red Riding Hood, however, is planned for still another set of circumstances. Far from being a vehicle for community self- expression, it seems tailor-made for per- formance at a children's concert, where the orchestra is already provided; but ad- ditional resources needed should be kept within reasonable limits.

A practical mind designed the produc- tion details with impressive frugality. Lighting is used to suggest changes of scene. Props and stage furniture are pre- cisely listed to meet minimal require- ments. Only three singers are required, two of whom have double roles. A pro- logue permitting the wolf to make up before the audience has the double ad- vantage of showing the children how make-up is applied-a fascinating process -and of reassuring the more timid mem- bers of the audience that the wolf is really a man. Yet a fairly full orchestra is speci-

Some children's operas are intended to be performed by children, while others, like Benjamin Britten's The Little Sweep, are designed for a mixed cast of adults and children, performing for an audi- ence of young people. In both types cos- tumes, scenery, and chorus are important components, and parts of limited difficulty are carefully constructed for the less pro- ficient members of the cast. Little Red Riding Hood, however, is planned for still another set of circumstances. Far from being a vehicle for community self- expression, it seems tailor-made for per- formance at a children's concert, where the orchestra is already provided; but ad- ditional resources needed should be kept within reasonable limits.

A practical mind designed the produc- tion details with impressive frugality. Lighting is used to suggest changes of scene. Props and stage furniture are pre- cisely listed to meet minimal require- ments. Only three singers are required, two of whom have double roles. A pro- logue permitting the wolf to make up before the audience has the double ad- vantage of showing the children how make-up is applied-a fascinating process -and of reassuring the more timid mem- bers of the audience that the wolf is really a man. Yet a fairly full orchestra is speci-

fied: nine winds, percussion, harp, and strings. Without being unduly taxing, the singing parts demand clear enunciation, good intonation, considerable vocal agil- ity, and, for a really effective performance, good singing-actors with a flair for com- edy.

The mildly clever libretto is in rhymed couplets throughout, with an occasional bit of elementary school slang. I presume the heavy emphasis on good behavior, such as brushing teeth, doing homework, never speaking to strangers, and always obeying mother, would be presented tongue in cheek.

Not strikingly original, the music is me- lodious and has enough harmonic piquan- cy to avoid banality. The light texture never overpowers the words. The role of Little Red Riding Hood is sung by a soprano who, since she imitates the birds as she goes through the woods, must be able to manage some coloratura. A mezzo sings both Mother and Grandmother, while a baritone doubles as the wolf and his nemesis, the woodsman. If presented with spirit, good humor, and musical com- petence, the work should provide fifty minutes of inoffensive fun.

DENA J. EPSTEIN The University of Chicago

fied: nine winds, percussion, harp, and strings. Without being unduly taxing, the singing parts demand clear enunciation, good intonation, considerable vocal agil- ity, and, for a really effective performance, good singing-actors with a flair for com- edy.

The mildly clever libretto is in rhymed couplets throughout, with an occasional bit of elementary school slang. I presume the heavy emphasis on good behavior, such as brushing teeth, doing homework, never speaking to strangers, and always obeying mother, would be presented tongue in cheek.

Not strikingly original, the music is me- lodious and has enough harmonic piquan- cy to avoid banality. The light texture never overpowers the words. The role of Little Red Riding Hood is sung by a soprano who, since she imitates the birds as she goes through the woods, must be able to manage some coloratura. A mezzo sings both Mother and Grandmother, while a baritone doubles as the wolf and his nemesis, the woodsman. If presented with spirit, good humor, and musical com- petence, the work should provide fifty minutes of inoffensive fun.

DENA J. EPSTEIN The University of Chicago

fied: nine winds, percussion, harp, and strings. Without being unduly taxing, the singing parts demand clear enunciation, good intonation, considerable vocal agil- ity, and, for a really effective performance, good singing-actors with a flair for com- edy.

The mildly clever libretto is in rhymed couplets throughout, with an occasional bit of elementary school slang. I presume the heavy emphasis on good behavior, such as brushing teeth, doing homework, never speaking to strangers, and always obeying mother, would be presented tongue in cheek.

Not strikingly original, the music is me- lodious and has enough harmonic piquan- cy to avoid banality. The light texture never overpowers the words. The role of Little Red Riding Hood is sung by a soprano who, since she imitates the birds as she goes through the woods, must be able to manage some coloratura. A mezzo sings both Mother and Grandmother, while a baritone doubles as the wolf and his nemesis, the woodsman. If presented with spirit, good humor, and musical com- petence, the work should provide fifty minutes of inoffensive fun.

DENA J. EPSTEIN The University of Chicago

BAND MUSIC BAND MUSIC BAND MUSIC

Robert Starer: Fanfare, Pastorale and Serenade. New York: Piedmont Music Co., 1965. [Score, 16 p., $1.50; full

Robert Starer: Fanfare, Pastorale and Serenade. New York: Piedmont Music Co., 1965. [Score, 16 p., $1.50; full

Robert Starer: Fanfare, Pastorale and Serenade. New York: Piedmont Music Co., 1965. [Score, 16 p., $1.50; full

band, $7.50; symph. band, $10.00; pts., 50¢ ea.]

Robert Starer has made in this little

band, $7.50; symph. band, $10.00; pts., 50¢ ea.]

Robert Starer has made in this little

band, $7.50; symph. band, $10.00; pts., 50¢ ea.]

Robert Starer has made in this little

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