Reviews

String Orchestra

A CHRISTMAS SYMPHONY (Gr. 1). Elliot Del Borgo. FJH Music, 2005, $45.

A Christmas Symphony includes “Angels We Have Heard on High,” “Hark! the Herald Angels Sing,” “God Rest Ye Merry, Gentlemen,” and “O Come, All Ye Faithful.” The piece starts in D, but is mostly in G, with both high and low second fingers. Second violin and viola parts double, as do cello and bass (except for one measure), a nice feature for this level. Bass includes high C-natural and D. The melody mostly features first violins and sometimes the cello/bass. This would be a great piece to work on extending and controlling the bow. Most of it is to be played with broad bows or in cantabile style, with some hooked bowings, a wide range of dynamics (mp to ff) and a few dotted-quarter–eighth patterns. S.P.W.

GOBLIN FEAST (Gr. 2). Keith Sharp. FJH Music, 2005, $40.

Sharp, from Australia, brings interesting, flexible, and highly playable musical works for young string orchestras. This work can be played either on or off the string, depending on the group's technical ability and chosen tempo. Scored simply, there are no complex rhythms. The A minor tonality offers a dark and resonant sound. This is an excellent piece to teach accents, dynamic contrast, and various bowings. The driving ostinati with accents on weak beats give energy for both audience and performers. Tambourine and tom-tom add to the flavor but are not mandatory. The scoring is flexible with optional violin parts that offer a counter melody and some third position work for more advanced students; optional third violin doubles viola. Cello/bass parts are scored with both melody and harmony parts, allowing you a variety of ways to perform the work depending on your needs. R.L.C.

GOOD KING WENCESLAS (Gr. 1). Arr. Elliot Del Borgo. FJH Music, 2004, $35. Del Borgo again provides string teachers with playable material for performance with this fairly straightforward arrangement of an old English Christmas tune for beginning string orchestra. Here we find standard string scoring with rehearsal piano included. Viola doubles second violin, while cellos and basses double each other to provide an interesting bass line. A repeated section in the middle of the piece provides the open fifth harmonic structures for the upper voices that are characteristic of Del Borgo's writings, while cellos and basses play the melody in augmentation for a few measures. A brief fugal-like setting follows for eight measures and the section is repeated. Quarter notes and half notes are used throughout, with two measures of repeated eighth notes leading to a fortissimo ending. This is a good piece for a winter holiday concert. Directors should be mindful of a printer's mistake (wrong fingering) in measure 4 of the score, second violin and viola parts. M.D.

LE FROID DE L' HIVER (The Cold of the Winter) (Gr. 2). Soon Hee Newbold. FJH Music, 2005, $40.

A graceful melody that flows over a simple pizzicato figure gives this beautiful piece an impressionistic atmosphere. The arpeggiated piano part complements the string texture, completing the quiet mood. Students are required to perform slurs and smooth bow changes. The rhythms are simple. Dotted quarters are reinforced with even eighth notes, which help keep the rhythmic integrity and aid the students in rhythmic accuracy. The modality is minor, but peaceful repose, rather than sadness, comes to my mind. The orchestra has the opportunity to explore long, beautiful phrases that lead to musical maturity. Newbold offers young players a work with musical integrity— always a fine target. R.L.C.

Chamber Orchestra

TANGO (harp, chamber orchestra). Carlos Salzedo, orchestra arr. Murray Boren. Lyon & Healy Publications, 2004, full score, piano/harp accomp., and orchestra parts, $25. Originally from Salzedo's Suite of Eight Dances for solo harp, Boren has arranged the well-known Tango for harp, flute, oboe, B-flat clarinet, bassoon, percussion (finger cymbal, tambourine), and string orchestra. Just more than two minutes in length, Tango can be a rewarding work to perform for a young harpist (or harpists) and a student orchestra, and offers invaluable experience toward developing the young harpist's musicianship. There is very little repertoire at the intermediate level for solo harp with an ensemble. By arranging well-known solo repertoire for harp with chamber orchestra, Boren has expanded the possibilities so a student harpist may be featured with an ensemble with repertoire that is well written yet not overwhelming. Please note that the solo harp part is not included, and that there are details in Salzedo's original version that are not included in this arrangement, such as the change of Salzedo's expressive marks to tenutos and the omission of Salzedo's performance note that the sixteenth notes in the bass rhythm should be quite short. There are very few dynamics indicated in the arrangement, perhaps to be left to the discretion of the ensemble director. Of minor note, perhaps to be changed in future editions, Salzedo's name has been omitted from the harp and piano reduction, and the double bass part is published as “DB.” Boren's Tango is one of several arrangements of popular intermediate repertoire for young players that are gaining popularity and can be quite satisfying to perform and hear. This version has been recorded by Elizabeth Hainen, principal harp of the Philadelphia Orchestra, for Egan Records. A.Y

Violin

50 TUNES FOR FIDDLE: TRADITIONAL, OLD TIME, BLUEGRASS AND CELTIC SOLOS (vn). Mark Gelison. Mel Bay, 2004, book/three CDs, $29.95.

This is part of a series, with separate books available for bass, banjo, mandolin, and guitar. While most of the tunes are for intermediate to expert players, there are three tunes in the appendix for beginners. The organization is useful, with tunes arranged in alphabetical order, then numbered as to difficulty (1 being easiest, 2 intermediate, and 3 more difficult). Tree accompaniment CDs are included, recorded at performance speed, with tempo markings and suggestions for practice found in the preface. Fiddle tracks have many ornamental nuances that are not notated, but can be learned by listening to the recordings. All accompaniments are performed by professionals (champions included!) and are clean, uncluttered, and pleasant to hear. Progressions are written above the tunes—and again in the appendix as simple letters without notation. Several helpful chord charts and fiddle fingerboard chord diagrams are included. The appendix includes a suggested listening list of modern fiddlers, and a short explanation of using triads to play “rhythm” on fiddle. A brief explanation of fiddle contests includes a list of the book's tunes in the typical contest categories: Hoedown, Waltz, and Tune of Choice. This would be a good addition to your fiddle music library, particularly if you are seeking chordal accompaniments. MAG.

JEAN-LUC PONTY COLLECTION: LEAD SHEETS FOR 22 COMPOSITIONS (vn). Hal Leonard, $14.95.

This collection provides a door into the rich world of jazz-fusion violin that will delight and inspire any adventurous teenage violinist. The compositions were selected from the full 30-year span of Ponty's pioneering violin jazz-fusion recordings. Six compositions are available on The Very Best of Jean-Luc Ponty, and I found all the others, except one, in online music delivery services, such as iTunes and Rhapsody. Following and playing along with the classic tracks is thrilling. The notation is accurate and easy to read, though only the recording will reveal what instrument plays what part. Most high school level violinists will be able to play and improvise to the recordings following the notation in the book. Many of the tunes' chord progressions are easy to improvise over, such as the vamp in Bowing Bowing, where one scale can be used on all chords. Many lessons can be derived from playing and studying Ponty's music. Students will be excited to discover the prominent role of the violin in the development of jazz-fusion. Playing with the recordings will teach sight-reading, improvisation, rhythm, and intonation in a fun and challenging way. In addition, violin teachers can reinforce the importance of classical studies by referring to Ponty's own background: in 1960, he graduated from the Paris Conservatory with the institution's highest award. M.N.

JOE VENUTI—“NEVER BEFORE … NEVER AGAIN” (vn, gtr). Trans. Aidan Massey, ed. Richard Niles Romano. Joe Venuti with Tony Romano, guitar. Mel Bay, 2005, book/CD $19.95. Anyone interested in jazz violin or jazz history should own this book. British violinist Massey has carefully transcribed seven solos by Venuti from an impromptu 1954 duo recording with guitarist Joe Romano. Included is a CD of the original album, plus an additional track with Romano's reminiscences of the 40 years he played with Venuti (including the story about nailing the drummer's shoe to the floor). Venuti, a brilliant improviser and one of the first great jazz violinists, became famous in the 1920s through his performances with the equally innovative guitarist Eddie Lang. Their duo recordings are highly regarded as “classics of chamber jazz.” After Lang's untimely death in 1933, Venuti did not record again in the violin-guitar format until after 1937, when he began playing with Romano. As a sign of his regard, Venuti gave Lang's Gibson L5 guitar to Romano, who plays it on this recording. The transcriptions and recording illuminate Venuti's spectacular technique and musical inventiveness at the height of his playing. Although the book is geared toward classically trained violinists at an advanced level, there is a great deal here for anyone interested in understanding Venuti's unique style. Massey has included useful performance advice, fingerings and bowings, and a complete description of how to execute Venuti's famous “four string bowing technique.” Just as important, Massey indicates the chords that Romano is playing (often the exact voicings) as well as the guitar's single-line accompaniments. Although the arrangements follow a predictable form—a cadenzalike introduction, a rubato exploration of the melody followed by a fast “hot” chorus, and ending with another cadenza—the music itself is anything but predictable. A version of “Summertime,” as Massey points out, involves flamenco, Rimsky-Korsakov, and wandering off into an A minor invention. Venuti and Romano's joyful collaboration is a tremendous legacy to all musicians, everywhere. P.Z.

VIOLIN CONCERTO IN E MINOR, OP. 64 (vn, pno). Felix Mendelssohn-Bartholdy. Henle Ürtext, 2003, $30.95.

This edition is of significant interest because, while it is not a pure ürtext, the fingerings and bowings are from the renowned violinist and pedagogue Igor Ozim, a particularly refined and elegant player. There is also the beautiful printing quality and readability that we have come to expect from Henle. Moreover, the piano reduction is prefaced by a detailed account of the genesis and development of the concerto, including information from Mendelssohn's correspondence with his “consultant” Ferdinand David, who premiered the work and made numerous suggestions and revisions, mainly concerning articulation, fingerings, and bowings. The piano reduction includes a detailed list of sources, an evaluation of those sources, and Igor Ozim's article “Mendelssohn or David?” This fascinating examination of discrepancies between Mendelssohn's autograph score and the first published edition leads us to rethink some of the conventional bowings and articulations we have become accustomed to, but that may not actually best serve Mendelssohn's intentions. I highly recommend this edition to anyone seeking a fresh approach to an old favorite. G.H.

VIOLIN CONCERTO IN G MINOR, OP. 26 (vn, pno). Max Bruch. Henle Ürtext, 2003, $26.95.

This is another beautiful Henle edition with valuable historical commentary on the evolution of the work, and a detailed explanation of the sources. The version we know and love does not represent this concerto's 1866 premiere. It was thoroughly revised after its initial “outing” with the help of Joseph Joachim, who later played a similar role in the final revision of Brahms's concerto. It was Joachim who suggested the elision of the first two movements, among other significant changes in the solo part. The revised version received its “premiere” in 1868, with Joachim as soloist, and embarked upon a “quite fabulous career.” The editor chose not to use bowings and fingerings from sources for the solo part, but provides a completely new set of markings by Kurt Guntner. However, markings deemed necessary by the editor that do not appear in the sources are in parentheses. It would have been interesting to see Joachim's bowings and fingerings. There is a blank page between the first and second movements to facilitate page turns, which is most helpful during the learning process. G.H.

Assorted pieces for cello and piano. Arr. and ed. Werner Thomas-Mifune. Edition Kunzelmann/C.F. Peters: EIN BAYER IN RIO, WEISSBIER- SAMBA. 1998, $6.50.

If you are searching for a fun and flashy encore or showpiece, this is the piece for you, full of dance rhythms and syncopations. I recommend this to your more advanced students, since thumb position and treble clef reading are required. It is less than three minutes long and would make a delightful addition to a Latin cello program. There is also a string quartet arrangement of the piece.

WODKA WALZER. Eduard Lalo. 2002, $11.95.

This is another fun and accessible little ditty from Tomas-Mifune. It is a graceful and humorous piece, occasionally using treble clef, thirds, and sixths. I encourage you to imbibe in this pleasurable morsel.

CELLO BRASIL 2003, $15.95.

This collection of Brasilian tunes includes three pieces by Villa-Lobos, as well as a beautiful “Sweet Sleeping Song” by Lorenzo Fernandez and contemplative “Ponteio Nr. 7” by Carmargo Mozart Guanieri. All the pieces are very lyrical, with the exception of the energetic, rollicking “A Canoa Virou” (The Capsized Canoe). Many of the pieces use treble clef, and the rhythms are very syncopated, with many ties, and subdivisions between sixteenths and triplets. The music is clearly printed and the arrangements are very good. I recommend this collection to all those looking to add some spice to their repertoire. A.C.F.

THE COMPLETE WORKS FOR CELLO (vc, pno, vc II). Domenico Gabrielli, ed. Bettina Hoffmann. Hortus Musicus #279, Bärenreiter, 2001, ¬;26.50.

This exemplary ürtext/critical edition presents all Gabrielli's surviving chamber music for cello: seven Ricercares for solo cello, a Canon for two cellos, and two Sonatas for cello and continuo (G major, in two versions, and A major). In her Introduction (in German and English), the editor provides historical setting, a brief biography of the composer, description of the sources, and an explanation of her editorial practice, concluding with a Critical Commentary. Besides the solo cello part, the edition contains a realized keyboard score for the sonatas, an unrealized basso continuo score for a second cello, and a separate part for the Canon. There are no fingerings, and editorial additions are in brackets. An appendix in the solo part has scordatura versions of Ricercares 6 and 7 and the G major Sonata (C-G-d-g—like Bach's 5th Suite—seems to have been Gabrielli's preferred tuning). The Ricercares are perfect precursors to studying the Bach Suites: less challenging technically, they provide an introduction to early baroque style with genuine musical worth. Single-movement works ranging in length from two to six pages, they keep to the neck positions (Ricercar 6 has some tenor clef with harmonic A being the highest note), are mostly in eighth and sixteenth notes, and avoid complicated keys. The Canon and the Sonatas are of a similar technical level (for the keyboard, as well). In the works intended for scordatura tuning, the more awkward double-stops (when played in normal tuning) could easily be eliminated, and Hoffmann provides guidance along these lines in her Performance Suggestions at the end of the solo part. These works that figure so significantly in the history of the cello were most likely intended for home use. Today, aside from baroque specialists, few professional performers will likely choose to program them. However, creativity and the right context could expand the Sonatas' performance possibilities. As the editor notes, “Players in Gabrielli's day were granted maximum license in the choice of continuo instruments … Today's performers, too, are warmly encouraged to make timbral experiments with harpsichord, organ, theorbo, baroque guitar, cello, and other instruments in a very wide range of combinations.” J.S.

DÉPLORATION. Annick Chartreux. Editions Henry Lemoine, 2003, $14.95.

French composer Chartreux has written many solo piano, chamber, vocal, and orchestral works to complement her teaching activity, including jazzy ensemble and piano pieces intended for young players. Déploration comes from the more serious and somber side of her creative world. Written for the prize-winning young cellist Christian-Pierre Lamarca to be premiered at a festival in Bourgogne, it is mostly slow, free, and declamatory with a somewhat jazzy, ostinato-like middle section that provides variety. While there are no rhythmic difficulties, much of the writing is quite high (ranging up to d'''), and some passages will require a bit of time to figure out good fingerings. The music is conveniently laid out with rests allowing for page turns, so memorization is not a necessity. Most American players would probably wish for the inclusion of a short Composer's Note and some performance directions. I had to research the meaning of the title (lamentation in the fashion of an ancient Greek threnody) as well as Chartreux's initial French instruction (the beat remains the same throughout all metric alterations), and in one spot, it is unclear whether a glissando coming out of a separately bowed run is to continue the bowed sixteenths or slide smoothly up to the concluding e''. However, the 10-minute piece is expressive, moody, and evocative and would go over well for the right audience. J.S.

FANTASIA (vc, pno). Samuel Zyman. Merion Music/Presser, 2004, $9.95.

Mexican-born Zyman teaches at his alma mater, the Juilliard School. I became acquainted with his Fantasia when one of my students performed it from a private copy she had obtained from its dedicatee, the distinguished Mexican cellist Carlos Prieto. I am delighted to see it published. Fantasia begins and concludes with Lento sections that frame a central Allegro con brio, somewhat reminiscent of Hindemith in its rhythmic energy and drive. Of only moderate technical difficulty, Fantasias harmonic language is accessibly traditional, and its length is a very programmable seven and a half minutes. I recommend this effective and appealing work. J.S.

JUDAIC CONCERT SUITE (vc). Aaron Minsky. Oxford University Press, 2004, $10.95. Probably best known for his Ten American Cello Etudes, Minsky has another musical offering for the cello world in this suite. Clearly inspired by spiritual pieces by Ernest Bloch, this piece is in three movements. The first, “The Entrance of the Bride and Groom,” begins in a moderate dance feel but accelerates into a wild hora. It is meant to portray a traditional Jewish wedding. “Spiritually, the bride and groom united are symbolic of the unification of God and mankind, so the dancing is almost a form of prayer, demonstrating the hope that one day God and man will be as one.” It is classical Jewish music at its best, and Minsky has created a lively, wonderful piece with this movement alone. The second movement, Variations on “Adon Olam”, is a set of six variations to one of the most famous sung prayers in Jewish liturgy. The words of the prayer speak of God as the creator, the eternal Awesome one, King of the Universe, and God of all mankind. This movement can't help but have roots in Bruchs Kol Nidrei and Blochs Prayer, but the variation form really makes this movement work as part of a concert piece. The final movement is titled “Sound the Shofar.” Indeed, the cellist imitates the ascending fifth of the ram's horn call in the beginning. The ram's horn is played during Jewish High Holidays, and its sound is supposed to bring the listener closer to the divine. In the middle of this movement, a chorale based on another Jewish prayer, the Sh'ma is heard. Then the ram's horn sounds again and the A section returns. The composer wrote that his intention was to “express this largely unknown, yet wonderful, aspect of Judaism: this concept of oneness, and the belief in the ultimate unfolding of a world of peace and love for all peoples of all nations. Yet there was also the motivation from my childhood to create music to help young Jews who may be confused about their faith, to see the beauty of their tradition; a tradition as beautiful as Bach's tradition and Beethoven's tradition.” I feel that the composer fulfilled these intentions beautifully. This is a well-crafted piece that is very enjoyable to play. A.C.F.

PEACEFUL JOURNEY (vc, pno). Daniel Dorff. Tenuto Publications/Presser, 2004, $9.95.

American composer Dorff's works have been performed by many of America's most distinguished orchestras, including those of Philadelphia, Baltimore, Detroit, Minnesota, and Indianapolis. In his introductory notes, the composer explains that this bittersweet work was inspired by a PBS documentary about Soviet Jews emigrating to New York in the 1890s. Composed in 1987 and revised in 1990, Dorff changed its original title, Hebrew Elegy, to the current, more universal one after a cellist friend dying of AIDS incorporated it into his own funeral. Beautiful and poignant, Peaceful Journey, “a lyrical poetic plaint without much cellist flash,” lasts about eight minutes. J.S.

SONATA IN D MINOR (vc, pno). Glinka, ed. Dmitry Yablonsky and Oxana Yablonskaya. International Music Company, 2005, $22.

Originally written for viola and piano, this is the first transcription of the Russian composer Glinka's unfinished work. The only movement offered here is the Allegro moderato, about 300 measures in length. I find the piece to fit the cello beautifully, and the piano part is extremely well written yet not over powering. It is about the same difficulty as Franck, Strauss, and Prokofiev sonatas. A bit pricey, it is nevertheless a good addition to the existing repertoire of the same genre. S.L.

SUITE FOR UNACCOMPANIED CELLO Richard Wernick. Theodore Presser, 2004, $8.95.

Pulitzer Prize-winning composer Wernick usually writes difficult and rather esoteric works intended for professional performers and sophisticated audiences. This 10-minute Suite, written for the talented young cellist Gwendolyn Krosnick, is somewhat of a departure in that it is accessible for player and audience alike (don't expect melodies, however). While not precisely easy, the four movements—1. Grandly majestical, 2. played With pluck, 3. muscular: Energetic, 4. a little taste of Night music (acronym for Gwen)—generally confine themselves to the lower registers and avoid complicated rhythms. The direction “turn quietly” at the single point requiring a page-turn in the middle of a movement indicates that memorization is not mandatory. The greatest technical challenges are rapid pizzicati in the second movement, barriolage bowing in the third and, in the atmospheric fourth movement, the many artificial harmonics—some with glissandi—and a few high notes (F'', F-sharp') that need to be picked out of the air. Gwen Krosnick told me how it came to be written: “My father [cellist Joel Krosnick] gave two concerts at Juilliard, one of which was a memorial to Ralph Shapey [a close family friend who had recently written a piece for Gwen]. At the reception, I jokingly suggested that Dick write me a piece ‘like Ralph did,’ not anticipating that anything would come of this. But I got home one day to find a package with the Suite inside and a note that read, ‘Ralph started a tradition that I would very much like to continue.’ I ended up premiering both pieces on my senior recital at Juilliard Pre-College and the way in which the audience reacted to the Wernick, especially, was incredibly moving.” J.S.

Harp

CELTIC TUNES, VOLS. I AND II: Scottish and Irish songs and dances for beginning to intermediate players of lap, lever, and pedal harps. Jeannie Kern Chenette. Prairie Harp Music, 2002/2003, $12 each.

Recently discovered, this collection of Celtic tunes is a welcome treat to add to Chenette's book, Progressive Solos for the Harp. The 11 tunes in each volume are from the Gow Collection and O'Carolan selections. Placings and fingerings are clearly marked and quite excellent. Keys include C, F, G, and B-flat major, and G and C minor. Carolan's Quarrel is the most challenging, with a melody that features almost continuous sixteenth notes. The longest tune is two pages, lever changes are clearly marked, and there are also a few grace notes. Chord symbols are not included. These books are excellent for an early intermediate player, as well as for the gig book. D.G.V.

CONCERTSTÜCK FOR HARP AND ORCHESTRA, OP. 39 (harp, string quartet). Gabriel Pierné, quartet reduction Bob D. Litterell. Lyon & Healy Publications, 2004, score and parts $39.

A romantic single-movement work written in 1901, Concertstück has become a favorite showcase for the pedal harp. Litterell's ambitious arrangement creates a more intimate impression of the work, providing harpists with an accompaniment close to the timbre of the original instrumentation for full orchestra. Litterell has helpfully compiled a long list of omissions and errors that are also noted within the score. Some of the corrections are dynamics that have been printed once and then omitted for related musical material, or incorrect octave placement of material that can be musically inferred; however, he also has found several notes from the full score that have been omitted in the solo harp part (errata nos. 12 and 21) that enhance the harmonies notated. I was unable to find other errata (4, 11, 15, 16, 18, 20, citing dynamics and some additional notes to fill out harmonies) when referring to a Kalmus reprint (1980) of the Hamelle edition (n.d.) of the orchestral score. In future editions, it would be good to have more information on the full score provided, for example, whether these particular errata are performance practices that have been codified. Overall, the reduction is laid out clearly with careful attention to page turns in the individual string parts and with reference to the solo harp part as published by J. Hamelle & C^ie. Please note that the solo harp part published is not included and must be purchased separately. Hopefully, more audiences and performers will be exposed to this gem in the harp's repertoire through Litterell's meticulous efforts. This version has been recorded by Elizabeth Hainen, principal harp of the Philadelphia Orchestra, for Egan Records. A.Y

MIDSUMMER MEADOW (lever harp). Pamela Bruner. Afghan Press, 2004, $20.

Bruner's new collection of original tunes provides three arrangements of each composition. The most advanced is for 36 string harp, second is for a harp of 26 or 27 strings, and the simplest one is for lap harp (although any of the three could be played on 36 string harp and the lap harp arrangements could certainly be played on a 26- or 27-string harp). The three individual arrangements can be combined for harp ensemble. In these dozen descriptive tunes (e.g., Dragonfly Waltz, Forest Stroll), lever changes and helpful fingerings are clearly marked (it would be easy to add pedal changes, if needed). Keys used include C, F, G, and D major, as well as E and D minor. Chord symbols are provided (thank you). Rolled chords, glisses, grace notes, and syncopated rhythms add color. Bruner's arrangements lie comfortably in the hand and are pleasant for playing and listening. D.G.V

STRAIGHT FROM THE HARP, VOLS. 1, 2 (1, 2, 3 lever harps). Composed, arr. Barbra Bailey Bradley, ed. Mimi McNeel. McBrad Publishing, beebeebee@erols.com, 2005, each $15. The arrangements are very accessible to intermediate players. Helpful fingerings are provided, and lever changes are clearly indicated. Volume 1 includes an original tune by Bailey Bradley, samplers from four Bach inventions, the traditional Lakes of Pontchartrain, a Clementi sonatina, and Shaker Tune/EnRoulant (solo version or harp trio). Volume 2 includes two sonatinas (Beethoven and Attwood), Tree Baroque Dances (Anna Magdalena), American hymns Chester and Slane/Nettleton, and Huron Carol (solo or three harps). Both volumes include solo and duet arrangements of She's Like the Swallow/I'se the Bye. D.G.V

Guitar

PIONEER SUITE: AMERICAN CLASSICS FOR SOLO GUITAR, VOL. 1. Arr. James Edwards. Mel Bay, $14.95.

This publication offers a set of 10 arrangements of works such as “Beautiful Dreamer,” “The Water is Wide,” and “Jeanie with the Light Brown Hair.” I personally liked the arrangements, but I was bogged down by obvious and numerous errors in fingering, especially in the first medley. The enclosed CD was unplayable on the two systems I tried. However, if one is willing to get past these problems, the arrangements are musical and would be well suited for performance in an acoustic café environment. M.C.

RAGTIME GUITAR. Arr. Allan Jaffe. Hal Leonard, 2004, $19.95.

This set of 14 works includes fully notated arrangements with tablature, and a CD recording by the arranger performed on a steel string guitar. Biographical information and performance suggestions are included, as well. The primary technical challenges include extensive barring and maintaining the clarity of the bass part. This collection is a good value for anyone interested in exploring this rich musical heritage. M.C.

Chamber Music

MICHEL LEGRAND ALBUM FOR STRING QUARTET. Michel Legrand, arr. Bert Ligon. Latham Music, 2005, parts $21.95, score $8.95.

Legrand, who began writing film scores in the 1950s, is also well known as a singer, jazz and classical pianist, songwriter, and conductor, and his compositions have become pop and jazz standards. Ligon, who writes interesting parts for everyone, has taken seven of Legrand's most beloved songs and created a set of beautiful arrangements for string quartet. The first two pieces, “The Windmills of Your Mind” (in G) and “How Do You Keep the Music Playing” (in E-flat) are well within the reach of intermediate players (few syncopated rhythms, all in first position). Most of the other arrangements (“A Piece of Sky,” “What Are You Doing the Rest of Your Life,” “Little Boy Lost,” “The Way He Makes Me Feel,” “You Must Believe in Spring,” and “The Summer Knows”) include frequent key and meter changes, more challenging rhythms, and up to sixth position, so they are better suited for advanced and professional players. All will enjoy the gorgeous harmonies and rhythmic surprises so characteristic of Ligon's arrangements for strings. P.Z.

CDs

ERNÖ DOHNÁNYI: CONCERTINO FOR HARP AND CHAMBER ORCHESTRA, OP. 45. Bridge Records., 2004, $16.99.

Sarah Cutler performs the Concertino for Harp and Chamber Orchestra by Ernö von Dohnanyi, with the American Symphony Orchestra, conducted by Leon Botstein. This is an authentic performance, capturing vividly the piece's ever-changing moods. Cutler's tone is by turns voluptuous, silken, soaring, scintillating, and dynamic. This is the finest recording of any harp concerto I have ever heard, except for Ed Druzinsky's recording of Ravel's Introduction and Allegro with the Chicago Symphony Orchestra under Jean Martinon. The harp is in a true relationship with the orchestra, leading with melody, passion, and color. An outstanding piece in our sometimes frustrating repertoire, Concertino is sweeping, lyrical, and romantic in style, yet modern in conception and use of the harp. Continuous in form, with its three interconnected movements, it does not always feature strong melody, or any of the other trappings of romantic concerti. It does feature unique passagework, sweeping arpeggios of dramatic and melodic character, rhythmically charged allegro, idiomatic effects, and largeness of scale within its modest scope of length (15 minutes) and instrumentation. In many ways, this makes the Concertino an ideal harp concerto. It is playable by a very advanced college-level student and fosters clarity, expression, and singing tone. It is rhythmically challenging and needs nimble facility but rich tone in large chords. This recording will make it much easier to learn the piece, as hearing the orchestral accompaniment makes it easier to conceive. (Editor's Note: This CD also features Sextet in C Major, Op. 37, and Six Pieces for Piano, Op. 41.) S.D.Z.

Books

DANGEROUS HARMONIES: THE MEMOIR OF HAROLD COLETTA. Martin Goldman. Martin Goldman/Booksurge, 2004, $20 (CD included).

I continually search for autobiographies of musicians who were successful professionals but not major historical figures. Born in the Bronx in 1917 into an Italian immigrant family, Coletta seemed headed downhill toward juvenile delinquency when his kindergarten teachers gift of her own child-sized violin and lessons changed his life. He switched to viola while playing with the Bridgeport Symphony during the depression, won a place in Stokowski's All American Youth Symphony, then—after aborted studies at Juilliard—played with the New York Philharmonic and the NBC Symphony under Toscanini. Coletta also toured as a soloist, played in the Casals Festival Orchestra, toured with the American String Quartet, and played other chamber music (including the Heifetz-Piatigorsky Concerts), but most of his career was spent gigging as a commercial musician to support his real love—teaching. Goldman, Coletta's friend and student, explains that “the book was taken from hours of taped interviews … and pretty much reads as if you are having a conversation with [him].” This strength also proves to be the book's weakness, as Coletta's recollections jump from one subject to another and back and forth in time. Self-publishing would have been more successful had Goldman both hired a professional editor and had a knowledgeable musician proofread (in spite of Coletta's approval of the text). Misspelled names abound: Fracton and Fructon (Fred Fradkin); Dipasquale (Joe De Pasquale); Czell (George Szell); Symon (Szymon Goldberg); Carl Flesh (Flesch); Isadore Baker (Isidore Cohen merged with Israel Baker); Theronen (Theremin). Coletta's slips also remain uncorrected: “bass-bar crack in the back” (soundpost crack); Casals performing scales in a Brahms Quintet (Sextet); his failure to recall the names of violinist Pina Carmirelli and pianist Vladimir de Pachman. Finally, the relevance of the title eludes me! But there is much to recommend this book—not the least being Colettas terrific playing on the CD, most of which is from live performances (including the complete Bartok Concerto). Colettas anecdotes and comments are fascinating, and remembrances by violinist Elmar Oliviera, violist Jesse Levine, cellists Gabriel Morales and Avron Coleman, and many New York musical personalities add additional perspectives to Colettas life and the East Coast professional world. One important caution to potential buyers and readers: if Dangerous Harmonies were a movie, it would be R-rated for language and sexual content. J.S.

PLAYING IT BY HEART, WONDERFUL THINGS CAN HAPPEN ANY DAY Robert Gerle. Xlibris Corporation, 2005, $22.50.

This autobiography of the remarkable Hungarian violinist and teacher Robert Gerle traces his life from his 1924 birth in Abbazia, Italy, to his eventual death in Maryland in 2005. It is an incredible journey filled with adventure and music. Gerle had the privilege of knowing and working with such musical giants as Zoltan Kodály, Ernst von Dohnanyi, Aaron Copland, Samuel Barber, Serge Koussevitsky, Leonard Bernstein, Herbert von Karajan, Hermann Scherchen, Jan Kubelik, George Enesco, Jacques Tibaud, Carl Flesch, Gregor Piatigorsky, Robert Shaw, Dame Eva Turner, Lotte Lenya, and many others. His studies at the Franz Liszt Academy of Music are described in detail, as is his association with fellow student cellist Janos Starker. Gerle compares life to a sight-reading test where “one has to keep going without stopping or looking back to dwell on a mistake.” His own life was filled with suspense as a result of World War II and living under communism. He takes his reader with him into the inner workings of the schools where he worked (University of Oklahoma, Peabody, Catholic University, Mannes College of Music, and UMBC in Maryland). Insights are given into the teachings of the great Hungarian teachers in the art of violin playing, as well as the life of a traveling concert artist and the violin world of performing, auditioning, and being a student. Gerle wrote two other books worth noting for all violinists, The Art of Practising the Violin and The Art of Bowing Practice. Playing it by Heart is a very warm book, written from the soul of this great teacher, conductor, and violinist. P.M.H.