20th-Century Guitar

Author(s): Mary Criswick

Source: The Musical Times, Vol. 127, No. 1726 (Dec., 1986), p. 695
Published by: Musical Times Publications Ltd.
Stable URL: https://www.jstor.org/stable/964679
Accessed: 14-09-2019 15:49 UTC

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 of
of the
the late
latecomposer.
composer.Brouwer
Brouwerhashas
found
found
an an
unex-
unex-

Music Revzews
pected
pected solution
solutionininwriting
writingeach
each
variation
variation
in Baro-
in Baro-
que
que dance
dance form.
form.The
Thebourree
bourreeis is
brilliant;
brilliant;
butbut
even
even
Brouwer
Brouwer had
hadto
tobreak
breakout
outofof
the
the
system
system
andand
write
write
an
an improvisazione
improvisazionebefore
beforereturning
returning
to to
a toccata.
a toccata.
From
From Cuba
Cubato
toVenezuela,
Venezuela,and
and
it it
is is
pleasing
pleasing
to to
note
note that
that Antonio
AntonioLauro,
Lauro,until
until
now
now
indissolubly
indissolubly
linked
linked with
withVenezuelan
Venezuelanwaltzes
waltzes
of of
varying
varying
ap- ap-
peal,
peal, has
has published
publisheda aSonata
Sonata(Zanibon/Elkin,
(Zanibon/Elkin,?6) ?6)
of
of more
more substance.
substance.TheThemusical
musicallanguage
language
is not
is not
advanced
advanced and
andthe
themovements
movementsareare
pleasant
pleasant
to to
listen
listen to,
to, especially
especiallythe
thefirst,
first,with
withitsits
recurring
recurring
and
and continuo
continuo(Universal,
(Universal,
?4.90),
?4.90),
offers
offers
valuable
valuable
Schiitz themes
themes and andsyncopated
syncopatedaccompaniment.
accompaniment. TheThe
insight
insight into
intosuch
suchornamentation
ornamentation expected
expected
in ain a
Brazilian
Brazilian Celso
CelsoMachado
Machadois is thethe
composer
composer of of
strong and memorable sonata. The continuo
Frevo
Frevo Bajado
Bajado(Lemoine/United,
(Lemoine/United, ?5.80),
?5.80),a collec-
a collec-
The appearance in 1984 of volume xxxix in realization by Albert de Klerk is appropriately
tion
tion ofof six
sixpieces
piecesinina amixed
mixed traditional
traditional andand
art art
Barenreiter's Neue Ausgabe of Schiitz's col- simple where necessary.
style,
style, written
writtendowndownby bythe
theamanuensis
amanuensis Thierry
Thierry
lected works represented the first complete The principles of Baroque ornamentation,
Rougier
Rougier (I(Iwonder
wonderwhether
whether I would
I wouldhave
havenotated
notated
publication of what the composer referred to as especially as they affect German music, were four even beats in a bar of 3/4 as four dotted
his 'Schwanengesang' - a setting of Psalm 119, presented in 1752 by Quantz in his Versuch. As quavers rather than four crotchets bracketed in
Wohl denen, die ohne Wandel leben (in 11 sec- a supplement he published in 1759 Six Duets
the time of three). They would be excellent en-
tions, swv482- 92), Psalm 100, Jauchzet dem op.2 for flutes (or other instruments with
core material. Rougier himself is the author of
Herren, alle Welt (swv493) and the German suitable transpositions). In the original preface
Trois musiques populaires de Bulgarie, Roumanie,
Magnificat (swv494). These settings, for two the composer extolled the value of duets and
Grece (Lemoine/United, ?4.15) in which odd-
antiphonal choirs, were composed between 1664 encouraged the use of ornamentation when ap-
numbered time-signatures (7/8, 21/8) seem to be
and 1671, and a title-page (Konigs und Propheten propriate and the performer's abilities permit.
de rigueur. They are colourful pieces and not too
Davids hundert und neunzehender Psalm .. .) was In a good new edition (Schott, ?8.85), the editor
difficult so they make for varied teaching
printed. The music, however, remained in Nikolaus Delius refers to the relevant parts of material.
manuscript and now survives only in parts - the Versuch (now happily available again in Ed-
Like Brouwer, Antonio Ruiz-Pipo has turn-
six vocal parts in Dresden and the organ part ward Reilly's outstanding translation) for help
ed for inspiration to an earlier age in his Tiento
in the Stefan Zweig collection in the British with ornamentation. The work is presented here
por tiento (Berben/Fentone, ?3), written in
Museum. The Cantus and Tenor parts of Choir as a score with the second part printed in small
homage to the vihuelista Alonso Mudarra. Each
II are lost but have been supplied by Wolfram notes and at the normal size in a separate part.
section begins with Mudarra (in quarto tono,
Steude. NIALL O'LOUGHLIN
tercer and primer tono) before an improvisatory
Every item in the 'Schwanengesang', in-
development. The changes are of course quite
cluding each section of Psalm 119, has now been
brutal but Ruiz-Pip6 softens the music with a
published separately by the Deutscher Verlag.
series of sustained, sensuous chords at the end.
The issue is intended primarily for performance
and so lacks the 18 pages of Introduction and 20th-century guitarBerkeley (Oxford, ?3.50), like all the music
The Sonata in One Movement by Michael

Critical Commentary found in the Barenreiter

reviewed here (the avant-garde guitar seems to
Although most dreams are elusive, with vignette
volume. The editorial parts are labelled 'erganzt'
have died down for a while), is easy on the ear;
fading upon vignette, apparently unconnected
but printed at the normal size. They are skilfully
by any waking logic, Thomas Wilson has it is a longish work (12 minutes) which should
man-
composed and make available a rich repertory
please guitarists who are still struggling to per-
aged to capture their essence in Dreammusic
of late Schuitz that needs no recommendation
form
(Berben/Fentone, ?3) to a surprising extent. programmes of substantial music rather
The
from me. COLIN TIMMS
than strings of, say, Venezuelan waltzes. The
natural form of dreaming leads to a fragmentary
piece of music which Wilson cleverlysonata
bindsis nicely structured with several themes
together with a two-note motif of amaking
risingtheir reappearance heaped up on each
semitone. The whole thing disappears inother at the end before a final fff chord s hich,
a puff
though
of smoke at the end and should be played witha common ending, seems sadly out of
Baroque wind humour. For those who prefer to stayplace here.
awake,
Finally
however, the facets of warm nights are well ex- some rarities, tucked away in two
The history of Bach's Sonata inby
pressed Gthefor two
Catalan flutes
Jaume volumes
Torrent in Nits of teaching material edited bv Simon
and continuo, BWV1039,d'estiu
is confused. But
(Trekel, Hamburg, it A
n.p.). iswandering,
Wynberg; called First Repertoire for Solo Guitar
certainly a genuine work, showing
indecisive typically
prelude gives (Faber, ?2.95 each), they include some 65 original
way to a languorous
strong harmonic and contrapuntal serenade before things variety
hot up at and works
the gaming for guitar. Mixed with Murcia and
table.
imagination. A good new Brokenedition by Gerhard
dreams follow, less fragmented Giuliani
than we have Mendez, Glasser, Maw and
Braun (Universal, ?8.45)Wilson's takes account
- perhaps Catalan nights ofmakethe
for even Khatchaturian, pieces by the first three hav-
later viola da gamba version of
easier sleep thanthe
Scottishwork with
ones - before a lullaby ing been specially commissioned. The second
a few minor but sensible additions. One of in traditional local style. Having got the baby volume is at a higher level (Wynberg estimates
Bach's contemporaries, William Babell, was to bed we join the noisy fiesta with its rhythmic Grade 3-4, but I would go one or even two
taught by Pepusch, made harpsichord ar- rasgueados. higher) and has the more interesting works, the
rangements of music by Handel and had a To South America, via Cuba, with Leo Khatchaturian prelude being a charm. Maw's
distinguished career as a London organist. He Brouwer's Variations sur un theme de Django Stamping Dance is fun but the logic of Glasser's
was therefore in touch with contemporary per- Reinhardt (Transatlantiques/United, ?3.45). ThePig in a Rain Puddle (vol. 1) escapes me. It is in
forming practice, as is evident in the ornamen- legendary French jazz guitarist who accomplish- five discrete sections dotted about the page. Each
tation he wrote in the Adagios of his 24 Solos ed with the two remaining fingers of his left hand is played once in the order indicated by arrows
posthumously published in 1725. The second what many of us could not do with four, has in-so one wonders why it is not written out in the
of these, published in an excellent new edition spired many works, and it is easy to fall into theconventional way. The pig, by the way, slips over
by Han de Vries as Sonata in C minor for oboe trap of writing an honmmage merely in the styleat the end. MARY CRIS WICK

695

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