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Johann Joachim Quantz: Thematischsystematisches Verzeichnis (QV) by Horst Augsbach Review by: Mary Oleskiewicz Notes, Second Series, Vol. 56, No. 3 (Mar., 2000), pp. 694-697 Published by: Music Library Association Stable URL: http://www.jstor.org/stable/899665 . Accessed: 15/06/2014 06:03 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes. http://www.jstor.org This content downloaded from 195.34.79.253 on Sun, 15 Jun 2014 06:03:13 AM All use subject to JSTOR Terms and Conditions

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Johann Joachim Quantz: Thematischsystematisches Verzeichnis (QV) by Horst AugsbachReview by: Mary OleskiewiczNotes, Second Series, Vol. 56, No. 3 (Mar., 2000), pp. 694-697Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/899665 .

Accessed: 15/06/2014 06:03

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.

http://www.jstor.org

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Page 2: Johann Joachim Quantz: Thematischsystematisches Verzeichnis (QV)by Horst Augsbach

NOTES, March 2000 NOTES, March 2000

and a lean and hasty explanation of mix- ture composition. "The Physics of the Organ," by John Mainstone, is out of place in this book because of its extremely technical content, complete with erudite mathematical formulas and equations. Christopher Kent's "Temperament and Pitch" is one of the collection's best essays, presenting this difficult topic with clarity. Bicknell's chapter about organ cases is like- wise interesting and informative, though his interpretation of medieval organ cases as representing cities housing populations of organ pipes seems fanciful. His essay "Organ Building Today" is marred by his disdain for the practical market demand that made the factory-produced organs of this century a necessity.

In the second section, Kimberly Mar- shall's two essays on organ playing strike a clever balance between modern develop- ments like the Alexander technique and historical approaches to fingering and ornamentation. Edward Higginbottom's

and a lean and hasty explanation of mix- ture composition. "The Physics of the Organ," by John Mainstone, is out of place in this book because of its extremely technical content, complete with erudite mathematical formulas and equations. Christopher Kent's "Temperament and Pitch" is one of the collection's best essays, presenting this difficult topic with clarity. Bicknell's chapter about organ cases is like- wise interesting and informative, though his interpretation of medieval organ cases as representing cities housing populations of organ pipes seems fanciful. His essay "Organ Building Today" is marred by his disdain for the practical market demand that made the factory-produced organs of this century a necessity.

In the second section, Kimberly Mar- shall's two essays on organ playing strike a clever balance between modern develop- ments like the Alexander technique and historical approaches to fingering and ornamentation. Edward Higginbottom's

chapter on the use of the organ in the liturgy presents a solid overview of this of- ten omitted topic.

The third section, which presents eleven essays on various schools of organ composi- tion, is the least successful in providing a "general guide for all those who share Dry- den's enthusiasm for the organ" (p. xiii). Most of the essays are too short to treat their topics adequately, and the reader must rely on previous familiarity with organ literature and historical styles in order to understand the authors' commentary.

Although this volume does not offer a comprehensive guide to the organ and its literature, it is to be recommended to the accomplished organist or organ enthusiast. The essays provide much interesting and accurate information and should provoke much stimulating conversation.

PETER V. PICERNO Arkansas State University

chapter on the use of the organ in the liturgy presents a solid overview of this of- ten omitted topic.

The third section, which presents eleven essays on various schools of organ composi- tion, is the least successful in providing a "general guide for all those who share Dry- den's enthusiasm for the organ" (p. xiii). Most of the essays are too short to treat their topics adequately, and the reader must rely on previous familiarity with organ literature and historical styles in order to understand the authors' commentary.

Although this volume does not offer a comprehensive guide to the organ and its literature, it is to be recommended to the accomplished organist or organ enthusiast. The essays provide much interesting and accurate information and should provoke much stimulating conversation.

PETER V. PICERNO Arkansas State University

REFERENCE REFERENCE

Johann Joachim Quantz: Thematisch-

systematisches Verzeichnis (QV). By Horst Augsbach. Stuttgart: Carus-

Verlag, 1997. [xxxiii, 333 p. ISBN 3- 923053-47-9.]

JohannJoachim Quantz (1697-1773) has long been recognized for his Versuch einer Anweisung die Flote traversiere zu spielen (Berlin, 1752), one of the fundamental treatises on eighteenth-century perfor- mance practice. Court flutist at Dresden and later flute tutor to King Frederick the Great of Prussia, Quantz was also an inno- vator in flute making and a pathbreaking composer for the transverse flute, for which he wrote some five hundred sonatas and concertos as well as a substantial number of trio sonatas and other works.

A composer seemingly so one-sided might not appear worthy of a thematic cata- log, especially in light of the reputed lack of originality or variety in his works. Recent performances and scholarly investigations, however, have revealed the inaccuracy of this view. Only a tiny fraction of Quantz's music has ever been published, and printed editions have tended to favor pieces in-

Johann Joachim Quantz: Thematisch-

systematisches Verzeichnis (QV). By Horst Augsbach. Stuttgart: Carus-

Verlag, 1997. [xxxiii, 333 p. ISBN 3- 923053-47-9.]

JohannJoachim Quantz (1697-1773) has long been recognized for his Versuch einer Anweisung die Flote traversiere zu spielen (Berlin, 1752), one of the fundamental treatises on eighteenth-century perfor- mance practice. Court flutist at Dresden and later flute tutor to King Frederick the Great of Prussia, Quantz was also an inno- vator in flute making and a pathbreaking composer for the transverse flute, for which he wrote some five hundred sonatas and concertos as well as a substantial number of trio sonatas and other works.

A composer seemingly so one-sided might not appear worthy of a thematic cata- log, especially in light of the reputed lack of originality or variety in his works. Recent performances and scholarly investigations, however, have revealed the inaccuracy of this view. Only a tiny fraction of Quantz's music has ever been published, and printed editions have tended to favor pieces in-

tended for amateurs, written in easy keys and revealing little of either the technical or expressive mastery for which Quantz's music and playing were admired in his own day.

King Frederick's library, containing the majority of Quantz's solo sonatas and solo concertos in multiple copies, has been pre- served essentially intact. A substantial por- tion of the remaining works-chiefly trio sonatas and group concertos-is preserved in the Sachsische Landesbibliothek in Dres- den. Eighteenth-century printed editions make up a third major group of sources.

There are, nevertheless, many additional sources, including an alleged autograph in Brussels, identified too recently for a unicum therein to be included in the cata- log (see Thomas Synofzik, "Unbekannte Quantz-Autograph in Brissel," Concerto 14, no. 125 [1997]: 23-33). This fact and the sheer number of similarly scored works make the publication of Horst Augsbach's thematic catalog of the complete works of Quantz a most welcome event, coinciding with the tricentennial anniversary of the composer's birth. The catalog has long been anticipated-Augsbach previously

tended for amateurs, written in easy keys and revealing little of either the technical or expressive mastery for which Quantz's music and playing were admired in his own day.

King Frederick's library, containing the majority of Quantz's solo sonatas and solo concertos in multiple copies, has been pre- served essentially intact. A substantial por- tion of the remaining works-chiefly trio sonatas and group concertos-is preserved in the Sachsische Landesbibliothek in Dres- den. Eighteenth-century printed editions make up a third major group of sources.

There are, nevertheless, many additional sources, including an alleged autograph in Brussels, identified too recently for a unicum therein to be included in the cata- log (see Thomas Synofzik, "Unbekannte Quantz-Autograph in Brissel," Concerto 14, no. 125 [1997]: 23-33). This fact and the sheer number of similarly scored works make the publication of Horst Augsbach's thematic catalog of the complete works of Quantz a most welcome event, coinciding with the tricentennial anniversary of the composer's birth. The catalog has long been anticipated-Augsbach previously

694 694

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Page 3: Johann Joachim Quantz: Thematischsystematisches Verzeichnis (QV)by Horst Augsbach

Book Reviews

published a preliminary version of two "work groups" (Johann Joachim Quantz: Thematisches Verzeichnis der musikalischen Werke: Werkgruppen QV 2 und QV 3 [Dres- den: Sachsische Landesbibliothek, 1984]) -and in many respects, it fulfills every ex- pectation for a scholarly thematic catalog.

The catalog (QV) divides Quantz's works into seven numbered groups: (1) solo sonatas for flute and continuo; (2) trio sonatas; (3) solos, duos, and trios for flutes without continuo; (4) solo concertos for flute, two violins, and continuo; (5) solo concertos for flute, two violins, viola, and continuo; (6) concertos with various solo- ists; and (7) vocal works. The two largest groups are 1 and 5, which together have more than five hundred entries. Within each category, works are listed by key, be- ginning with C major and ending with B minor. An appendix at the end of each group lists works whose attribution is ques- tioned.

In its organization based on tonality, QV follows a manuscript index of works col- lected by Frederick the Great; the volume includes a facsimile of one of the two sur- viving versions. This organization had a practical raison d'etre: Frederick per- formed Quantz's works at his private court concerts in a regular rotating sequence based on key. The arrangement remains useful, since each key presents specific technical and expressive possibilities on the eighteenth-century instruments for which Quantz was writing. Moreover, despite re- cent advances in the dating of Quantz's works, an accurate chronological listing of his compositions remains beyond present capabilities.

A significant difficulty in using the cata- log must be noted. Frederick's numbering system contains important clues to chro- nology, and QVs entry for each sonata or concerto cites the original heading in each of Frederick's manuscript copies, including the king's catalog number. But it would have been helpful to have provided a con- cordance with these numbers, such as the one Meike ten Brink included for the con- certos in her book Die Flotenkonzerte von Johann Joachim Quantz: Untersuchungen zu ihrer Uberlieferung und Form (2 vols. [Hildes- heim: Olms, 1995]) and I included for the sonatas and concertos in "Quantz and the Flute at Dresden: His Instruments, His

Repertory, and Their Significance for the Versuch and the Bach Circle" (Ph.D. diss., Duke University, 1998). QVgives Frederick's numbers only under individual entries, making it difficult to find works without first knowing their (less familiar) QVnum- bers. On the other hand, QV's provisional chronology and identification of auto- graphs, as well as other prefatory matter (pp. xxiv-xxvi), refer primarily to Frede- rick's catalog numbers or to present-day manuscript shelfmarks, without citing QV numbers.

Entries for individual works include stan- dard information such as printed and man- uscript concordances and bibliographic ci- tations (mostly references to the works in catalogs of the Berlin and Dresden collec- tions). In most cases, the information given is complete and correct, but there are some inaccuracies. For example, the entry for QV l:Anh.15b omits a concordance with a Walsh print from 1730; the concordance is listed instead under the entry for l:Anh. 15c, whereas a list of contents for the Walsh print (p. 90) cites the sonata as 1:Anh.15b. Especially problematic are works with mul- tiple versions and works whose catalog numbers evidently were reassigned during the preparation of the volume; this has led to inconsistencies in the treatment of alter- nate and spurious compositions. Some of these are relegated to the appendix, while others are dignified with regular numbers to which letter suffixes are attached. The most confusing case involves the sonatas designated as 1:108a, 1:108b, and 1:180. These three catalog numbers are assigned to two versions of one sonata that share their first three movements. (QV 1:108b shares all four movements with 1:180-al- beit transposed-and would more sensibly be labeled 1:180b.) On pages 89-90, 1:180 is identified as the version published by the Amsterdam printer Witvogel as op. 1, no. 6; but on page 39, 1:108a is named in- stead as Witvogel's op. 1, no. 6 and also as op. 2, no. 4 in Walsh's 1732 London edi- tion. On page 90, however, the fourth sonata in Walsh's opus 2 is identified as 1:182, an unrelated work. QV 1:108a shares its final movement with still another sonata with a distinct catalog number, not cross- referenced: 1:Anh.29. Finally, a list of the contents of Walsh's opus 2 (p. 90) mistak- enly substitutes 1:98 for the sixth sonata,

695

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Page 4: Johann Joachim Quantz: Thematischsystematisches Verzeichnis (QV)by Horst Augsbach

NOTES, March 2000

1:182; indeed, nearly all of the lists of contents of eighteenth-century editions

(pp. 89-91) contain mistakes. Such confu- sions cloud the discussion of attribution

(pp. x, 67-69), sending several authentic works to the appendix.

QV identifies the autographs and the chief scribes of the Dresden and Berlin

manuscripts following Manfred Fechner's dissertation "Studien zur Dresdner Uber-

lieferung der Instrumentalkonzerte von G. Ph. Telemann, J. D. Heinichen, J. G. Pisendel, J. F. Fasch, G. H. Stolzel, J. J. Quantz und J. G. Graun: Untersuchungen an den Quellen und Thematischer Kata-

log" (University of Rostock, 1991). A hand- ful of QVs identifications of scribes for the concertos conflict with Fechner's; in each such case examined by the reviewer, Fech- ner remains reliable. But in some cases, such as the Concerto 6:6, neither account is entirely correct (see my "Quantz and the Flute," 269-75). Scribal identifications for

manuscripts of the trio sonatas are incom-

plete: QV lists the sources for several trios

copied by Dresden scribe A (British Library, R.M.21b.7) simply as "Kopie," over-

looking two autograph title pages. QV indi- cates that the latter source gives the instru- mentation of the Trio 2:42 as flute, violin, and continuo, but the parts and the title

page call for two flutes. Elsewhere conflicts occur: on page xix, the Berlin manuscript KH M. 3592 is assigned to scribe A, but the

corresponding entry for the Concerto 5:40 lists this scribe among those for KH M. 3593.

Watermarks are identified only for auto-

graphs but, as the author admits, these per- mit few conclusions about chronology. Therefore one must wonder how QV can

provide such precise dating of the com-

poser's autographs as Augsbach asserts in the captions for a series of facsimiles (pp. 288-95). Without a systematic considera- tion of the development and dating of a

composer's handwriting, such a chronology is provisional at best. Equally questionable are the many unsubstantiated assertions

regarding the chronology and dating of

specific works. A more serious issue is that of attribu-

tion. Those familiar with one of Quantz's few published trio sonatas, the work in C

major for flute, recorder, and continuo, will be disappointed to find that Augsbach

assigns it to an appendix, together with nu- merous other trios. With these assignments, he repudiates many of the decisions re- flected in his earlier catalog of the trio sonatas, with the result that many of these works now bear revised catalog numbers. Thus the C-major trio, formerly 2:2, is now 2:Anh.3. (In the present catalog, the older numbers are helpfully cross-listed with the newer ones; wisely, no older numbers have been reassigned to new works.)

What is the basis for these reassign- ments? Most entries for these works bear

only laconic statements like "Zuweisung nicht gesichert," even in the absence of sources with conflicting attributions. The reattribution of 2:2 to Georg Philipp Tele- mann is based on the latter's voluminous

output for the recorder and the assertion that "Quantz himself never composed for recorder, viola d'amore, or oboe d'amore"

(p. xi; my translation). Such circular rea-

soning is clearly inadequate, and the work's occasional stylistic resemblances to Tele- mann's music are not surprising in light of Quantz's admiration for the older

composer. Another area of disagreement among

Quantz scholars is the bibliography of his

published works. Although the latter form only a small fraction of his output, sorting out authorized from unauthorized editions and authentic from misattributed works has been a necessary preoccupation. In the avertimento to his opus 1 (Dresden, 1734), transcribed in QV (p. 67), Quantz mentions two unauthorized books of sonatas, indicat-

ing that the third sonata in one of the books and the fourth, fifth, and sixth in the other are spurious. QV identifies these vol- umes as Walsh's opus 2 and Witvogel's opus 1 (pp. x-xi). But the only solution that fully accords with Quantz's account, concor- dances between the prints, and stylistic fea- tures of the works in question is to identify the second book as Walsh's Solos of 1730, reprinted by Witvogel as opus 2 ("Quantz and the Flute," pp. 223-28; since then I have affirmed the hypothesis presented there through examination of Walsh's Solos). Although QV relegates the entire contents of Walsh's Solos to the appendix, its first three sonatas (1:Anh.14a, 1:Anh.34a, and 1:Anh.16b) can be considered authentic.

QVwill nevertheless prove to be an indis-

pensable tool for the serious student of

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Page 5: Johann Joachim Quantz: Thematischsystematisches Verzeichnis (QV)by Horst Augsbach

Book Reviews Book Reviews

Quantz's music, when used in conjunction with other recent scholarship. Already it has become accepted as the standard means of identifying Quantz's works, and it has opened up new areas for investigation. One hopes that the decisions about attribu- tion, dating, and other matters will con- tinue to be reevaluated and that in due course there will be a revised edition.

MARY OLESKIEWICZ America's Shrine to Music Museum

Isaac Albeniz: A Guide to Research. By Walter A. Clark. (Composer Resource Manuals, 45.) New York: Garland

Publishing, 1998. [xii, 256 p. ISBN 0- 8153-2095-7. $60.]

Manuel de Falla: A Bio-bibliography. By Nancy Lee Harper. (Bio-bibliographies in Music, 68.) Westport, Conn.: Green- wood Press, 1998. [280 p. ISBN 0-313- 30292-8. $65.]

Among the many interrelated problems nineteenth- and twentieth-century Spanish music offers the prospective researcher, the most salient and provocative revolve around national identity. Whether studying Goyescas by Enrique Granados or El amor brujo by Manuel de Falla, one invariably meets critics, past and present, whose cen- tral concern is assessing these works in terms of some deeply felt ideal of "Spanish- ness." Opinion here may vary according to nationality, for Spaniards' constructions of "Spanishness" often differ from those of the international community. It may also hinge on one's assessment of how authenti- cally a composer has adapted Spanish folk music for concert consumption, a judg- ment that requires familiarity with the repertory and its social significance. The re- searcher must also recognize that, despite current interest in the musical nationalism of "peripheral" countries (in Carl Dahl- haus's nonpejorative sense of the term), nineteenth- and twentieth-century Spanish music has not commanded sustained schol- arly attention, in Spain or elsewhere. In short, the field must be brought up-to-date: exploration of aesthetic, political, and so- cial contexts must proceed in tandem with nuts-and-bolts data gathering (uneasily re- garded in some North American musico-

Quantz's music, when used in conjunction with other recent scholarship. Already it has become accepted as the standard means of identifying Quantz's works, and it has opened up new areas for investigation. One hopes that the decisions about attribu- tion, dating, and other matters will con- tinue to be reevaluated and that in due course there will be a revised edition.

MARY OLESKIEWICZ America's Shrine to Music Museum

Isaac Albeniz: A Guide to Research. By Walter A. Clark. (Composer Resource Manuals, 45.) New York: Garland

Publishing, 1998. [xii, 256 p. ISBN 0- 8153-2095-7. $60.]

Manuel de Falla: A Bio-bibliography. By Nancy Lee Harper. (Bio-bibliographies in Music, 68.) Westport, Conn.: Green- wood Press, 1998. [280 p. ISBN 0-313- 30292-8. $65.]

Among the many interrelated problems nineteenth- and twentieth-century Spanish music offers the prospective researcher, the most salient and provocative revolve around national identity. Whether studying Goyescas by Enrique Granados or El amor brujo by Manuel de Falla, one invariably meets critics, past and present, whose cen- tral concern is assessing these works in terms of some deeply felt ideal of "Spanish- ness." Opinion here may vary according to nationality, for Spaniards' constructions of "Spanishness" often differ from those of the international community. It may also hinge on one's assessment of how authenti- cally a composer has adapted Spanish folk music for concert consumption, a judg- ment that requires familiarity with the repertory and its social significance. The re- searcher must also recognize that, despite current interest in the musical nationalism of "peripheral" countries (in Carl Dahl- haus's nonpejorative sense of the term), nineteenth- and twentieth-century Spanish music has not commanded sustained schol- arly attention, in Spain or elsewhere. In short, the field must be brought up-to-date: exploration of aesthetic, political, and so- cial contexts must proceed in tandem with nuts-and-bolts data gathering (uneasily re- garded in some North American musico-

logical circles as "positivistic") and serious analysis of the music.

Both of the authors discussed here re- spond in varying degrees to these issues. Walter A. Clark lists several shortcomings in previous research on Isaac Albeniz: exces- sive reliance on secondary sources (p. 3), superficial knowledge of Spanish "musical folklore," a dearth of meaningful analysis of Albeniz's singular harmonic language, and failure to relate his music to broader social and cultural contexts (pp. 32-33). To these problems, Clark applies rigor and a broad perspective. His research guide is the offspring of several related projects, includ- ing his dissertation ("'Spanish Music with a Universal Accent': Isaac Albeniz's Opera Pepita Jimenez" [University of California at Los Angeles, 1992]), numerous articles, and an impressive life-and-works study, Isaac Albeniz: Portrait of a Romantic (Oxford: Clarendon Press, 1998). Even in the re- stricted format of the research guide, Clark addresses several of the more problematic discrepancies in his subject's biography. Albeniz is hardly the first composer to em- bellish his own resume, although unlike, say, Igor Stravinsky, his motivation seems to have stemmed less from ideological pres- sures than from a desire to cultivate a color- ful, romantic image that would appeal to his public (p. 3). The often repeated no- tion that he studied with Franz Liszt seems to be an elaborate fabrication (p. 7); nor is it clear that Alb6niz ran away from home as a child to give concert tours, as Clark demonstrates through meticulously tracing the Albeniz family's whereabouts (p. 6). As in his other studies, Clark takes pains to relate Albeniz's accomplishments to European music before the First World War, thus counteracting the approach taken by many Franco-period Spanish musi- cologists and critics, who tended to con- sider Albeniz (indeed, Granados and Falla as well) almost solely from the standpoint of local impact. Emphasizing the com- poser's long residences in Paris and London, Clark notes the Wagnerian bent of much of Alb6niz's stage music (see espe- cially the comments on the opera Merlin, pp. 21 and 23); his associations with Gabriel Faure, Vincent d'Indy, Deodat de Severac, and other Paris-based composers; the influence of Paul Dukas (p. 22); Alb6niz's admiration for Claude Debussy;

logical circles as "positivistic") and serious analysis of the music.

Both of the authors discussed here re- spond in varying degrees to these issues. Walter A. Clark lists several shortcomings in previous research on Isaac Albeniz: exces- sive reliance on secondary sources (p. 3), superficial knowledge of Spanish "musical folklore," a dearth of meaningful analysis of Albeniz's singular harmonic language, and failure to relate his music to broader social and cultural contexts (pp. 32-33). To these problems, Clark applies rigor and a broad perspective. His research guide is the offspring of several related projects, includ- ing his dissertation ("'Spanish Music with a Universal Accent': Isaac Albeniz's Opera Pepita Jimenez" [University of California at Los Angeles, 1992]), numerous articles, and an impressive life-and-works study, Isaac Albeniz: Portrait of a Romantic (Oxford: Clarendon Press, 1998). Even in the re- stricted format of the research guide, Clark addresses several of the more problematic discrepancies in his subject's biography. Albeniz is hardly the first composer to em- bellish his own resume, although unlike, say, Igor Stravinsky, his motivation seems to have stemmed less from ideological pres- sures than from a desire to cultivate a color- ful, romantic image that would appeal to his public (p. 3). The often repeated no- tion that he studied with Franz Liszt seems to be an elaborate fabrication (p. 7); nor is it clear that Alb6niz ran away from home as a child to give concert tours, as Clark demonstrates through meticulously tracing the Albeniz family's whereabouts (p. 6). As in his other studies, Clark takes pains to relate Albeniz's accomplishments to European music before the First World War, thus counteracting the approach taken by many Franco-period Spanish musi- cologists and critics, who tended to con- sider Albeniz (indeed, Granados and Falla as well) almost solely from the standpoint of local impact. Emphasizing the com- poser's long residences in Paris and London, Clark notes the Wagnerian bent of much of Alb6niz's stage music (see espe- cially the comments on the opera Merlin, pp. 21 and 23); his associations with Gabriel Faure, Vincent d'Indy, Deodat de Severac, and other Paris-based composers; the influence of Paul Dukas (p. 22); Alb6niz's admiration for Claude Debussy;

697 697

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