Review

Reviewed Work(s): Solos (1740); For Bassoon by Jean Daniel Braun and Jaroslav Capek;
Sonata in F, Op. 24, No. 3; For Bassoon and Basso Continuo by Franois Devienne and Klaus
Hubmann; Sonata in g Minor, Op. 24, No. 5; For Bassoon and Basso Continuo by Franois
Devienne and Klaus Hubmann
Review by: Brian Klitz
Source: Notes, Second Series, Vol. 45, No. 1 (Sep., 1988), pp. 157-158
Published by: Music Library Association
Stable URL: http://www.jstor.org/stable/941413
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Music Reviews 157

flute
flutetraversiere
traversiere
seriesseries
of the of
Studio
theper Ed- permented
Studio mented
Ed- style.
style.
Editorial
Editorial
practice
practice
aside, aside,
all fiveall five
izioni
izioniScelte
Scelte
of Florence,
of Florence,
for example,
for example,
or or are
editions
editions are
well
well
printed
printed
on good
on good
paper;paper;
in in
the
theAmerican
American series,
series,
Early Music
EarlyFacsimi- my
my sampling
Music Facsimi- sampling I could
I could
findfind
no serious
no serious
dis- dis-
les.
les.Libraries
Libraries
should
should
be encouraged
be encouraged
to ac- tocrepancies
crepancies
ac- between
between score
score
and parts,
and parts,
and and
quire
quirethese
these
facsimile
facsimile
reprint
reprint
editions editions
and only
only
and ininthe
theGraun
Graunwerewere
there
there
page-turn
page-turn
make
makethemthemavailable
available
to performers.
to performers.
(If li- (If li-
problems
problems inin
thethe
parts.
parts.
brary
brarybudgets
budgets
do not
doallow
not for
allow
bothfor
facsim-
both facsim-
iles
ilesand
andmodern
modern
editions,
editions,
which should
whichbeshould be
chosen?
chosen? Ideally,
Ideally,
everyevery
music music
collection Charles
CharlesDelusse.
collection Delusse.AirAir
a la agrecque;
la grecque;
for for
should
should include
include
a gooda good
representation
representation
of of and
flute
flute andbass
bass
[keyboard]
[keyboard]in the
in dia-
the dia-
facsimiles,
facsimiles, andand
theythey
shouldshould
circulate.
circulate.
It is It is
tonic, chromatic, and enharmonic
only
onlybybyexposure
exposure
to thetooriginals
the originals
that sing-that sing-
genres (1760). Edited by Rudolf Rasch.
ers
ersand
andplayers
players
can understand-and
can understand-and cope cope
with-modern
with-modern editions.)
editions.)
(Corpus microtonale, 22.) Utrecht:
For
Forthose
thosecases
cases
in which
in which
the original Diapason
the original
is is Press, 1984. [Intro. and score,
unreadable or unreliable, and as a neces- 3 p.]
sary concession to modern musicians who The very brief "Air a la grecque" of
may lack fluency in a variety of clefs or may Charles Delusse is one issue in a series of
wish to use a realized keyboard continuo publications of microtonal music and is, ac-
part, I'd like to propose modern editions cording to the editor, "the first microtonal
in a revised format. My edition would con- piece for flute ever written." (It was pub-
sist primarily of a reprint of the original, lished about 1760 as part of Delusse's L'art
with modernized clefs and accidentals; in
de la flute traversiere.) This simple, melodi-
the case of most solo and trio sonatas, this
ous air of thirty-eight bars (including a da
practice would provide a complete score capo) makes repeated use in the flute part
(with bass line and figures) for every player. of a rising chromatic scale subdivided into
A second score, with realized continuo part quartertones; the remainder of the solo line
(and perhaps other editorial additions and and (probably) the entire accompaniment
suggestions), could then be offered as a are conventional. Since quartertone finger-
supplement. ing charts are available for the modern flute
Although a written-out figured-bass re- (in his valuable preface the editor reprints
alization is a self-contradiction, better re-
Delusse's fingerings for the eighteenth-
alizations would have helped all the edi- century instrument), this is a practical re-
tions being reviewed here. Wrong chords, cital work-though slight, it is something
poor register choices, and a veritable plague of a conversation piece.
of clumsy, unmusical doubling in the key- DOUGLAS LEEDY
board part of suspensions, passing sev-
Oceanside, Oregon
enths, and other embellishing notes in the
solo line (figures frequently inform the
keyboard player what notes not to play) dis-
figure all but the Graun, the keyboard part
Jean Daniel Braun. Solos (1740); for
of which, though reasonably accurate, is
minutely calculated to a ludicrous extreme. bassoon. Edited by Jaroslav Capek.
A significant notational lapse occurs in the London: Schott (European Ameri-
Schott editions: the figure 5 representing can), 1985. [21 p.; $8.95.]
5b or 51 -that is, a diminished fifth-is
misprinted consistently as 5+, a raised or
Francois Devienne. Sonata in F, op.
24, no. 3; for bassoon and basso con-
augmented fifth.
Editors must feel they have to "do some- tinuo. Edited by Klaus Hubmann.
thing," but the most appropriate "some- Monteux, France: Musica Rara (For-
thing" is often simply to stay out of the way. eign Music Distributors), c1984. [Score,
It doesn't help to "modernize" key signa- 16 p., and parts; $11.25.]
tures (as one editor did here), or hopelessly
overburden both the page and the player's Francois Devienne. Sonata in g mi-
eyesight (as did another) by printing out an nor, op. 24, no. 5; for bassoon and
editorial realization in situ of nearly every basso continuo. Edited by Klaus Hub-
ornament in an already densely orna- mann. Monteux: Musica Rara (For-

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158
NOTES, September 1988

eign
eignMusic
MusicDistributors),
Distributors),
c1984. [Score,
c1984.Daniel
[Score,
Daniel Capelletti.
Capelletti.Cariatides;
Cariatides;
violonviolon
et e
16
16p.,
p.,andand
parts;
parts;
$11.25.]$11.25.] piano.
piano.Paris:
Paris:Jobert
Jobert
(Presser),
(Presser),
1985. 198
[Score,
[Score,1414
p.,p.,
andand
part.]
part.]
The
Thetitle
title
"Solos"
"Solos"
of the of
Jean
theDaniel
Jean
Braun
Daniel Braun
edition
edition is somewhat
is somewhat
misleading:
misleading: Larry
Larry
these works these Alan
worksAlan
Smith.
Smith.
Euterpean
Euterpean
Sere- Ser
for
forone
one
unaccompanied
unaccompanied
bassoon are
bassoon nade;
nade;
closer are for
for
closer violin
violin
andand
piano.
piano.
BrynBryn
Mawr:Maw
to
towhat
whatwe we
normally
normally
think ofthink
as pedagog- Merion
Merion(Presser),
of as pedagog- (Presser),
1986.
1986.
[Score,
[Score,
11 p., 11
ical
icalmaterial.
material.Within
Within
that idiom,
that twenty- theand
theidiom, and part;
part;
twenty- $10.00.]
$10.00.]
nine
nine exercises
exercises
(many(many
with dance
withtitles)
dance
do titles) do
have
have some
someintrinsic
intrinsic
value and
value
mightand Gerald
Gerald
be might Levinson.
be Levinson.
Duo:
Duo:
Winds
Winds
of Light;
of Ligh
useful.
useful. OneOne
shortcoming
shortcoming
of the edition
of the for
for violin
violin
is edition is and
andpiano.
piano.
Bryn
Bryn
Mawr:Mawr
that
thatmore
morethanthan
half ofhalf
the pieces
of the havepieces
key Merion
Merion
have key(Presser),
(Presser), 1985.1985.
[Set [Set
of twoof two
signatures
signatures of two
of flats,
two and flats,
the rest
andhavethe rest have
performing
performing scores;
scores;
$25.00.]
$25.00.]
either
either oneone
flat flat
or no or
flatsno
or flats
sharps. or
Those
sharps. Those
are
arethethe
only
only
key signatures
key signatures
used. used. Somei
SomeiSatoh.
Satoh. Birds
Birdsin Warped
in WarpedTime Tim
The
Theeditor,
editor,
Jaroslav
Jaroslav
Capek, indicates
Capek,that II;
II; for
indicates for
thatviolin
violin andand
piano.
piano.
Tokyo:
Tokyo:
On- On
the
thesolos
solos
werewere
written
written
originallyoriginally gaku
gaku
for either for no
noTomo
either Tomo (Presser),
(Presser),
[1985],
[1985],
c1983.c198
transverse
transverse fluteflute
or bassoon
or bassoon
(with a change
(with a[Score,
change8 8
[Score, p.;p.;
$7.00.]
$7.00.]
of
ofclef),
clef),and and
that their
that authorship
their authorship
is in is in
question.
question. He fails
He fails
to mention
to mention
the double the Robert
double Hall Lewis. Nuances; for vi-
stops
stops (on(onpagespages
10 and1011),and
which11), whicholin
suggest and piano. Bryn Mawr: Presser,
suggest
that
thatthe thecomposer
composerhad strings
had instrings
mind as in 1985.
mind[Setas of two performing scores;
well.
well. Cellists,
Cellists,
also, may
also,
wish
may to consider
wish to these $15.00.]
consider these
pieces.
The two moderately difficult composi- Luigi Zaninelli. Visions; for violin and
tions by Devienne include a realized con- piano. Delaware Water Gap, PA:
tinuo. They are cast in the three-move- Shawnee, 1986. [Score, 16 p., and part;
ment sonata form of the period, and have $14.00.]
a vocabulary common to eighteenth-cen-
tury works for bassoon: scale-like passages Pierre Ancelin. Dona nobis pacem;
of sixteenth-notes alternating with triplets; pour violon et orgue. Paris: Billaudot
series of skips that involve a tenth or more; (Presser), 1985. [Score, 14 p., and part;
and accented non-harmonic passing tones $13.50.]
inserted to relieve the potential monotony
of harmonic progressions built largely on William Mathias. Sonata no. 2; for vi-
I, IV, and V chords. olin and piano. Oxford: Oxford Uni-
These are not great works. Devienne, versity Press, 1986. [Score, 31 p., and
along with Braun, belongs to that army of part; $27.95.]
eighteenth-century composers whose works
combine occasional nice touches with con- Antonio Ruiz Pipo. Trois evasions;
spicuous weaknesses, whose harmonic and pour violon et piano. Ancona, Italy:
Berben (Presser), 1985. [Performing
melodic vocabularies are predictable, and
whose reputations have suffered by com-score, 14 p.; $7.75.]
parison with Haydn and Mozart.
Nevertheless, Devienne's compositions
The compositions being reviewed here
should hold considerable interest for bas-
soonists-particularly those who may are
be noteworthy in that they are accessible
to the moderately advanced player. Al-
unfamiliar with some of the earliest pro-
grammable literature for their instrument.though they range in style from imitations
BRIAN KLITZ of known composers (Pip6) to depictions of
University of Connecticut
gusts of wind (Levinson), there is a link in
the emphasis placed on tonal coloration and
texture.

Robert Mann's Duo is in seven parts, of

Robert Mann. Duo for Violin and
which only the last has a title: "Expiration."
Piano. Boston: lone (E. C. Schirmer),
The sections are differentiated not so much
1986. [Score, 48 p., and part; $25.00.]
in tempo as in texture. Aleatoric areas sud-

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