60 Easy Studies for Oboe by E. A. Pushechnikov; 25 Studies for Oboe by E. A.

Pushechnikov Review by: Albert Seay Notes, Second Series, Vol. 38, No. 3 (Mar., 1982), p. 704 Published by: Music Library Association Stable URL: http://www.jstor.org/stable/939601 . Accessed: 12/11/2012 23:31
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704
Many of these pieces serve as excellent sources for learning the French method of agrements and style, whereas others, when practiced in various transpositions as the author suggests, are material for experienced performers.
LESLIE ELLEN BROWN

MLA Notes, March 1982 Both volumes will be useful for teaching, but there will be few who will want to tackle the second volume, at least not until after several years of study. But the first one can be assigned rather early in the curriculum, although it should act as a supplement to a standard method, providing new material at elementary and intermediate stages, or even as something for sight-reading of the fairly well advanced. Pushechnikov is obviously an experienced oboist and teacher. He knows what is needed to solve certain problems and has provided it. If he himself can play everything he has written, he must be quite a performer. I wish Musica Rara had taken a sentence or two to let us know who he is.
ALBERT SEAY

Louisiana State University

60 easy studies E. A. Pushechnikov. for oboe. Monteux: Musica Rara, 1980. [34 p., 30.00F] Idem. 25 studies for oboe. Monteux: Musica Rara, 1980. [32 p., 30.00F] The two volumes of studies for oboe by E. A. Pushechnikov are useful collections for studio purposes, for most of the problems to be encountered in becoming a firstclass oboist are taken care of. The first volume, the 60 Easy Studies, is progressively arranged, beginning with simple melodies in easy keys. Only gradually are wider and wider intervallic leaps introduced and more difficult tonguing problems brought to the fore. All the etudes in this first volume are tonal and thus provide the kind of exercise material that is traditional and that can be applied to the standard repertoire. The second volume, the 25 Studies, is not to be considered as one to immediately follow the first. All twenty-five of the etudes are quite advanced and there is not the same feeling of progressive difficulty as in the first. All are virtuoso studies, with extremes of range, irregular arpeggios and wide leaps. Problems show up in every one of them that will demand facility in using alternate fingerings. Because of the rather aimless nature of some of the lines, key feeling is lost, making intonation in places a precarious thing. The two volumes seem to be reprints from Russian originals. There are symbols here and there that seem to have been suggestions for a particular fingering for special situations; unfortunately, there are no notes to explain these symbols. A few extra accidentals should have been entered for clarity, for there are some places where one cannot be sure as to the exact pitch intended. Most of this can be figured out, but time could have and should have been saved by a little additional editorial work.

ColoradoCollege

Jerome-Joseph de Momigny. The first

year at the piano. Newly worded and edited with pedagogic directions and a historical-didactic survey by Albert Amadeus Palm. Winterthur/Schweiz: (Peters), 1980. [Text in Ger., Eng., 80 p., $25.00]

Jer6me-Joseph de Momigny (1762-1838) lived in a remarkable age. He was a contemporary of such exceptional musicians as Haydn, Mozart, Clementi, and Field. Primarily known as a theoretician, Momigny was also an organist, composer, music editor, and publisher. The piano was in its youth, developing and growing, as were ideas about the technique of playing this instrument, so vastly different from the harpsichord. Of necessity, pedagogues devised and wrote methods for their students. Momigny himself published The First Year at the Piano in 1802-3. The first half of this text, which is in the Library of Congress, is all that survives of Momigny's pedagogy. Editor Albert Palm has given selections from this extant first half as well as several of Momigny's miscellaneous compositions: sets of variations on "Au Clair de la lune," "Un Troubadour Bernais," and "Valse de la Reine de Prusse," and the three Sonatas, op. 7. Appendix 1 gives ten examples of Momigny's finger exercises; Appendix 2 is a lengthy essay by the editor summarizing The First Year at the Piano.

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