Konzerte und Sonaten für 2 Violinen, Viola und Basso continuo by Georg Philipp Telemann;Ute Poetzsch; 2 Sonatinen aus den "Neuen Sonatinen" für Altblockflöte (Flöte) und B. c., c-Moll, a-Moll by Georg Philipp Telemann; Nikolaus Delius; 2 Sonatinen aus den "NeuenSonatinen" für Fagott (Violoncello) und B. c., c-Moll, a-Moll by George Philipp Telemann;Nikolaus Delius; 37. Triosonate in D-Dur für zwei Violinen und Basso co ...Review by: Mary OleskiewiczNotes, Second Series, Vol. 56, No. 1 (Sep., 1999), pp. 235-239Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/900523 .

Accessed: 15/06/2014 13:05

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 support@jstor.org.

.

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

http://www.jstor.org

This content downloaded from 188.72.126.182 on Sun, 15 Jun 2014 13:05:54 PMAll use subject to JSTOR Terms and Conditions

Music Reviews Music Reviews

business of composing liturgical music, copying and arranging it for performance, and even notating the names of the very singers responsible for bringing it to life. As such, this facsimile reproduction of Codex 59 forms an invaluable addition to libraries

business of composing liturgical music, copying and arranging it for performance, and even notating the names of the very singers responsible for bringing it to life. As such, this facsimile reproduction of Codex 59 forms an invaluable addition to libraries

and personal collections, and we must be extremely grateful to the Fondazione Gio- vanni Pierluigi da Palestrina for making it available for our study and appreciation.

NOEL O'REGAN University of Edinburgh

and personal collections, and we must be extremely grateful to the Fondazione Gio- vanni Pierluigi da Palestrina for making it available for our study and appreciation.

NOEL O'REGAN University of Edinburgh

INSTRUMENTAL ENSEMBLE MUSIC INSTRUMENTAL ENSEMBLE MUSIC

Georg Philipp Telemann. Konzerte und Sonaten fur 2 Violinen, Viola und Basso continuo. Hrsg. von Ute Poetzsch. (Musikalische Werke, 28.) Kassel: Barenreiter, c1995. [Zur Ausgabe, p. vi; Vorwort, p. vii-xi; krit. Bericht, p. xii-xiv; facsims., p. xv-xvii; score, 177 p.; Incipitverzeichnis, 2 p. Cloth. ISMN M-006-49789-8; BA 5309. DM 260.]

Georg Philipp Telemann. 2 Sonatinen aus den "Neuen Sonatinen" fur Alt- blockflote (Flote) und B.c., c-Moll, a- Moll. Nach Telemanns Erstdruck und zeitgenossischen Abschriften erst- mals neu herausgegeben von Niko- laus Delius; GeneralbaBbearbeitung, Martin Mfller. (Originalmusik fur Blockflote.) Mainz: Schott, c1996. [Pref. in Ger., Eng., Fr., p. 3-5; score, p. 6-20 and 2 parts. ISMN M-001- 11487-5; OFB 191. DM 18.]

George Philipp Telemann. 2 Sona- tinen aus den "Neuen Sonatinen" fur Fagott (Violoncello) und B.c., c-Moll, a-Moll. Nach Telemanns Erstdruck und zeitgen6ssischen Abschriften erst- mals neu herausgegeben von Niko- laus Delius; GeneralbaBbearbeitung, Martin Muller. (Fagott-Bibliothek.) Mainz: Schott, c1996. [Pref. in Ger., Eng., Fr., p. 3-5; score, p. 6-20 and 2 parts. ISMN M-001-11486-8; FAG 26. DM 18.]

Georg Philipp Telemann. 37. Trio- sonate in D-Dur fur zwei Violinen und Basso continuo. Hrsg. von Bernhard Pauler; Continuo-Aussetzung von Willy Hess. Erstdruck. (Aurea Amadeus, 87.) Winterthur: Amadeus Verlag; Bern- hard Pauler, 1994. [Notes, front cover

Georg Philipp Telemann. Konzerte und Sonaten fur 2 Violinen, Viola und Basso continuo. Hrsg. von Ute Poetzsch. (Musikalische Werke, 28.) Kassel: Barenreiter, c1995. [Zur Ausgabe, p. vi; Vorwort, p. vii-xi; krit. Bericht, p. xii-xiv; facsims., p. xv-xvii; score, 177 p.; Incipitverzeichnis, 2 p. Cloth. ISMN M-006-49789-8; BA 5309. DM 260.]

Georg Philipp Telemann. 2 Sonatinen aus den "Neuen Sonatinen" fur Alt- blockflote (Flote) und B.c., c-Moll, a- Moll. Nach Telemanns Erstdruck und zeitgenossischen Abschriften erst- mals neu herausgegeben von Niko- laus Delius; GeneralbaBbearbeitung, Martin Mfller. (Originalmusik fur Blockflote.) Mainz: Schott, c1996. [Pref. in Ger., Eng., Fr., p. 3-5; score, p. 6-20 and 2 parts. ISMN M-001- 11487-5; OFB 191. DM 18.]

George Philipp Telemann. 2 Sona- tinen aus den "Neuen Sonatinen" fur Fagott (Violoncello) und B.c., c-Moll, a-Moll. Nach Telemanns Erstdruck und zeitgen6ssischen Abschriften erst- mals neu herausgegeben von Niko- laus Delius; GeneralbaBbearbeitung, Martin Muller. (Fagott-Bibliothek.) Mainz: Schott, c1996. [Pref. in Ger., Eng., Fr., p. 3-5; score, p. 6-20 and 2 parts. ISMN M-001-11486-8; FAG 26. DM 18.]

Georg Philipp Telemann. 37. Trio- sonate in D-Dur fur zwei Violinen und Basso continuo. Hrsg. von Bernhard Pauler; Continuo-Aussetzung von Willy Hess. Erstdruck. (Aurea Amadeus, 87.) Winterthur: Amadeus Verlag; Bern- hard Pauler, 1994. [Notes, front cover

verso; score, 9 p. and 3 parts. BP 2318. DM 15.]

Christoph Graupner. Concerti Grossi for Two Violins. Edited by John E. Lindberg. (Recent Researches in the Music of the Baroque Era, 78.) Madison, Wis.: A-R Editions, c1996. [Pref., p. vii-xv; 2 plates; score, 188 p. ISBN 0-89579-334-2. $62.40; perfor- mance parts $52(set).]

Antonio Bononcini. Complete Sonatas for Violoncello and Basso Continuo. Edited by Lowell E. Lindgren. (Recent Researches in the Music of the

Baroque Era, 77.) Madison, Wis.: A-R Editions, c1996. [Abbrs., p. vi; pref., p. vii-xxiii; 3 plates; score, 152 p.; appen- dix (facsim. reprod.), p. 153-57. ISBN 0-89579-333-4. $57.60 (score); $36.00 (parts).]

In recent years, scholarly attention to Georg Philipp Telemann's chamber music has begun to match this repertory's long- standing popularity among performers. A number of studies on early eighteenth- century form, genre, and style have focused heavily on Telemann's chamber music repertory, and performers and scholars alike continue to welcome editions that bring to light this music. Newly available sonatas by members of the Bononcini fam- ily should also find a place in the per- former's repertory.

A recently issued volume of the Telemann Musikalische Werke edited by Ute Poetzsch presents twelve of the composer's twenty-five surviving works for two violins, viola, and continuo, eight of which have not appeared previously in modern edi- tions. Reflecting recent scholarly discus- sions of genre classification, Poetzsch as- signs each work to one of three distinct genres-namely, concerto a quattro (ripieno

verso; score, 9 p. and 3 parts. BP 2318. DM 15.]

Christoph Graupner. Concerti Grossi for Two Violins. Edited by John E. Lindberg. (Recent Researches in the Music of the Baroque Era, 78.) Madison, Wis.: A-R Editions, c1996. [Pref., p. vii-xv; 2 plates; score, 188 p. ISBN 0-89579-334-2. $62.40; perfor- mance parts $52(set).]

Antonio Bononcini. Complete Sonatas for Violoncello and Basso Continuo. Edited by Lowell E. Lindgren. (Recent Researches in the Music of the

Baroque Era, 77.) Madison, Wis.: A-R Editions, c1996. [Abbrs., p. vi; pref., p. vii-xxiii; 3 plates; score, 152 p.; appen- dix (facsim. reprod.), p. 153-57. ISBN 0-89579-333-4. $57.60 (score); $36.00 (parts).]

In recent years, scholarly attention to Georg Philipp Telemann's chamber music has begun to match this repertory's long- standing popularity among performers. A number of studies on early eighteenth- century form, genre, and style have focused heavily on Telemann's chamber music repertory, and performers and scholars alike continue to welcome editions that bring to light this music. Newly available sonatas by members of the Bononcini fam- ily should also find a place in the per- former's repertory.

A recently issued volume of the Telemann Musikalische Werke edited by Ute Poetzsch presents twelve of the composer's twenty-five surviving works for two violins, viola, and continuo, eight of which have not appeared previously in modern edi- tions. Reflecting recent scholarly discus- sions of genre classification, Poetzsch as- signs each work to one of three distinct genres-namely, concerto a quattro (ripieno

235 235

This content downloaded from 188.72.126.182 on Sun, 15 Jun 2014 13:05:54 PMAll use subject to JSTOR Terms and Conditions

NOTES, September 1999

concerto), Sonate auf Concertenart, and sonata a quattro, although the manuscript sources themselves limit the actual desig- nations to "Concerto a 4" or "Sonata a 2 violini, viola e basso." In the edition's preface, Poetzsch argues that these labels correspond to the expectations of contem- poraries for such compositions that the composer sought to honor, while acknowl- edging that the nomenclatures in the sources tend to conflict. Indeed, ten of Poetzsch's twelve classifications clash with those recently proposed by Steven David Zohn in his dissertation "The Ensemble Sonatas of Georg Philipp Telemann: Studies in Style, Genre, and Chronology" (Cornell University, 1995), suggesting that modern notions of eighteenth-century genre (in particular sonata and concerto) do not necessarily mirror the expectations of eighteenth-century composers or their works' original audiences.

Despite an overconfident approach to genre classification, the preface adheres more closely to the definitions of sonata and concerto set forth by eighteenth- cen- tury theorists such as Johann Gottfried Walther (1684-1748) and Johann Adolph Scheibe (1708-1776) than do other exami- nations of genre in Telemann's works. In particular, Poetzsch avoids the usual confla- tion of concerto and ritornello form in this early repertory. On the other hand, it is confusing that, although Poetzsch speaks of the sectional nature of some of the pieces as akin to that of the canzona, she describes the brief adagios of some works (such as the Concerto in B6, TWV 43:B1) as individ- ual movements and identifies works com- prising no more than four full-fledged movements as having up to six.

Originally this volume of the Telemann Musikalische Werke was to include the six works published as the composer's Qua- trieme livre de quatuors a flute, violin, alto viola et basse (Paris: Le Clerc/Boivin, after 1752; dated ca. 1752-60 by Anik Devries and Francois Lesure in Dictionnaire des editeurs de musique francais, vol. 1, bk. 2, Archives de l'edition musicale francaise, 4 [Geneva: Minkoff, 1979], no. 131; and supported by Zohn in "Ensemble Sonatas," p. 282). These quartets, however, are now known to be inauthentic arrangements of Tele- mann's much earlier works for two violins, viola, and continuo published in the pre-

sent volume as TWV 43:D4, A4, Fl, C1, G5, and d2. According to Poetzsch, the remain- ing works (TWV 43:B1, a4, G9, F3, A5, F4) were chosen for their special genres and the prior lack of attention given to them in the literature (they are addressed in Zohn's dissertation). She might have more fully evaluated the quality of the works selected, which, save for a few compositionally awk- ward moments, are well composed, varied, and musically interesting for reasons apart from their form. Their style is predomi- nantly Italian, containing little of the mixed taste that characterizes Telemann's later instrumental music.

The earliest datable sources for the works (all in manuscript) span the period from roughly 1710 to 1732. Poetzsch's decision to base all of the editions on sources lo- cated at the Hessische Landes- und Hoch- schulbibliothek in Darmstadt rests only upon the sheer quantity of these manu- scripts, which are mostly unfigured scores copied by Christoph Graupner. Concor- dances found in Dresden do supplement the edition, however, and in one quartet (TWV 43:G5), the Dresden parts transmit the only reliable source. Conversely, the mostly figured Dresden parts provide the continuo figures tacitly included through- out the edition where such concordances exist, except in TWV 43:A4.

Poetzsch's dates rest upon those set forth in the unpublished study of the paper types and copyist hands in the Darmstadt Tele- mann manuscripts prepared in 1988 and 1989 for the Hessische Landes- und Hoch- schulbibliothek by Oswald Bill and Brian Stewart, as well as the approximate chro- nologv of the Dresden sources by Ortrun Landmann (Die Telemann-Quellen der Sdch- sischen Landesbibliothek: Handschriften und zeitgenossische Druckausgaben seiner Werke, Studien und Materialien zur Musik- geschichte Dresdens, 4 [Dresden: Sach- sische Landesbibliothek, 1983]). Poetzsch might well have incorporated the more precise copying dates now made possible through the numerous handwriting sam- ples offered by Manfred Fechner in his 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, andJ. G. Graun: Untersuchungen an den Quellen und Thematischer Kata-

236

This content downloaded from 188.72.126.182 on Sun, 15 Jun 2014 13:05:54 PMAll use subject to JSTOR Terms and Conditions

Music Reviews

log" (Universitat Rostock, 1991). This and other small problems aside, Poetzsch's edi- tion merits serious consideration by per- formers and scholars alike.

In 1730-31 Telemann published in Hamburg a volume entitled Nouvelles sonatines t clavessin ou violon ou traversiere, dont 2. sont accommodees pour la flute t bec (listed in Telemann's Katalog D of 1731 as Neue Sonatinen furs Clavier, Violine, Flute trav. und Flute a bec) containing six sonatinas for solo instruments and basso continuo (TWV 41:e3, c2, D7, G7, a4, E4). Until recently, the only known source for any of these pieces was a unique copy of the printed melody part from the original edition pre- served in the Royal Library in Copenhagen (Mu 6608.0331), and the sonatinas have re- ceived little scholarly attention. This part indicates Telemann's preferred instrumen- tation for each sonatina, naming the recorder, bassoon, or cello for the sonati- nas in C minor (TWV 41:c2) and A minor (TWV 41:a4)-both of which have ap- peared previously in modern editions for treble recorder with reconstructed figured bass lines (Tzwo Nez Sonatinas for Treble Recorder & Basso Continuo, ed. Claus E. Maynfrank, [London: Musica Rara, 1978]; and Zwei Sonatinen fiir Altblockflote (Querfl6te) und Basso continuo, ed. Winfried Michel, Camera flauto Amadeus, 55 [Winterthur: Amadeus, 1986]). The discovery of a manu- script in the Dresden Sachsische Landes- bibliothek (Mus. ms. 2-R-8.41/2) from the early eighteenth-century repertory of the Dresden Hofkapelle reveals that these two Telemann sonatinas were also transmitted as violin pieces, complete with what is possi- bly their original bass lines, which are much less busy than the reconstructed fig- ured basses by Maynfrank and Michel.

The new edition of the sonatinas by Nicolaus Delius collates the Dresden violin version with pertinent details from the engraved melody part, tacitly conflating slurs, ornamentation, and ties from the two principal sources. The brief preface might have provided more information about the history of these sonatinas, the two re- constructions, and other basic biblio- graphic details (such as TWV numbers); it is even unclear who rediscovered the violin versions. In fact, these are very good works, especially the A-minor Sonatina, and they are quite substantial compositions

despite their diminutive appellation as sonatinas.

The Dresden violin part is an octave lower than the recorder part engraved by Telemann. However likely it may be that the Dresden bass lines are by Telemann, Delius's assumption that "the figured bass part in the Dresden manuscript corre- sponds to Telemann's original version" (p. 4) may not be entirely warranted. Dresden scribes sometimes copied contemporary prints verbatim, but they often worked from manuscript sources, and their copies contain continuo figures and other perfor- mance indications supplemented by the court concertmaster Johann Georg Pisen- del. Telemann is unlikely to have been re- sponsible for numerous incorrect figures found in the Dresden manuscript.

Aimed at the general performer, this edi- tion is available for solo recorder or solo bassoon, the prefatory matter and basso continuo being the same in both. The recorder edition names the flute as an al- ternate solo instrument, disregarding the headings in the original engraved print for the individual sonatinas, which name only bassoon and cello for these two works; only the four remaining sonatinas are desig- nated for transverse flute and violin. Al- though the range of the present works is practical (despite a rather high tessitura) on the modern flute, most players of the baroque instrument, then and now, would find the recurring f"' and g"' unidiomatic or uncomfortable at best.

The edition for bassoon transposes the original melody part two octaves lower, thereby creating numerous voice crossings with the bass. The second movement of the C-minor Sonatina, for example, concludes with a cadence that requires the bassoon to play the leading tone (B) a sixth below the bass (g). If Telemann was indeed responsi- ble for the indications of alternate instru- mentation, he must have anticipated such anomalies; whether or not they troubled him is another question. A possible solu- tion (suggested by Johann Joachim Quantz in his Versuch einer Anwzeisung die Flote traver- siere zu spielen [Berlin: Johann Friedrich Voss, 1752], chap. 17, sec. 6, par. 21) is to play the bass an octave lower in some pas- sages; another would be to add a violone to the keyboard instrument that realizes the accompaniment.

237

This content downloaded from 188.72.126.182 on Sun, 15 Jun 2014 13:05:54 PMAll use subject to JSTOR Terms and Conditions

NOTES, September 1999

The continuo part, realized predomi- nantly in four parts and in a rather high tessitura by Martin Miiller, is apparently de- signed for piano rather than harpsichord. The separately printed cello part lacks fig- ures, precluding its use by keyboardists who prefer to play from an unrealized part. Muller's realization is identical for both recorder and bassoon editions-a further drawback, since good continuo players will accompany bass and treble instruments dif- ferently. The performing parts are nicely laid out except for the score, which con- tains inconvenient page turns.

Bernhard Pauler edits Telemann's Trio Sonata in D Major (TWV 42:D13) for the first time. Left unexplained is the number 37 included in the title of the edition, which again fails to mention the TWV num- ber; the preface identifies the trio solely by its manuscript number (2392-Q-8) in the Musikabteilung of the Sachsische Landes- bibliothek, Dresden. In fact, this source is a copy made before 1720 by the Dresden court scribe Johann Jacob Lindner. This trio sonata is an interesting work, not lack- ing in the traits that mark Telemann's orig- inality, although the preface on the front cover verso somewhat misleadingly repeats Quantz's praise of "Telemann's Trio [sic] in the French manner, of which he wrote many, more than thirty years ago" and his recommendation that one study trios and duets "written by thorough masters, with fugues in them, for practice" (from the Versuch, chap. 10, par. 14). This sonata is not in the French style, however, nor does it contain fugues. Rather, it is an early Ital- ianate four-movement work with a dance- like final quick movement (an untitled gavotta), probably modeled on the trios of Archangelo Corelli. The continuo realiza- tion by Willy Hess is in a uniform four-part texture, and performers might object to the number of unstylish doublings of the melody parts. Although the two treble parts are laid out with attention to page turns, the basso part (again omitting figures) is bound into the score, requiring that it be photocopied or cut from the binding.

The musical level of the Telemann con- certos and sonatas copied by the Darmstadt capellmeister Graupner is not matched by Graupner's own works now made available in a new volume of Recent Researches in the Music of the Baroque Era edited by John Lindberg. This volume of five works

for two concertante violins, two ripieno violins, viola, and continuo makes a valu- able contribution to scholarship by open- ing a wider perspective on the eighteenth- century concerto and its transmission in the works of a little-known contemporary and admirer of Telemann. Unfortunately, Lindberg's edition is disappointing in both musical quality and scholarly presen- tation. The pieces, clearly intended to evoke pomp, might have pleased an aristo- cratic patron of little discernment, but the compositional level of some of the works is barely competent. The preface lists Graupner's many unpublished concertos; more interesting than those selected might have been the several works notable for their extremely unusual scorings, including various combinations of viola d'amore, oboe d'amore, flauto d'amore, and bass chalumeau.

Lindberg designates each of the selected works as concerto grosso, but the term ap- parently does not derive from Graupner's autographs (the critical notes do not indi- cate original titles, as we would expect in a scholarly edition). The one facsimile pro- vided bears the title "Concerto a 2 violini. conc. 2 violini, viola e cembalo." As edited, the title of each concerto includes a num- ber, but Lindberg fails to clarify that his numbering sequence for the concertos mir- rors that used in a manuscript of the con- certos compiled by Graupner (Darmstadt, Hessische Landes- und Hochschul- bibliothek, Mus. ms. Codex 411) that is not exclusively limited to Graupner's works (no. 1, for example, is a concerto by Antonio Vivaldi). Hence it would be better to confine these numbers to the critical re- port. Some redundancies and the jejune quality of the discussions of performance practice and musical style mar the prefatory materials, and some lapses in proofreading (both score and parts for Concerto Grosso No. 38, for example, have an important ca- dence resolving to a minor seventh instead of the octave in mvt. 1, m. 10) further con- tribute to a less than superior volume. As in his copies of Telemann's works, Graupner omits figures from the bass part of his auto- graph score, and in keeping the current ed- itorial policy of A-R Editions, there is no re- alization of the continuo in the modern edition-a sensible decision.

Lowell Lindgren's first modern edition of Antonio Bononcini's complete sonatas

238

This content downloaded from 188.72.126.182 on Sun, 15 Jun 2014 13:05:54 PMAll use subject to JSTOR Terms and Conditions

Music Reviews Music Reviews

for cello and continuo is a welcome contri- bution to the early cello repertory and the history of this genre. The title page of the edition implies a secure attribution of these works to Antonio Bononcini, but as Lind- gren notes in the preface (p. ix), the six- teen sonatas may have been composed by several members of the Bononcini family, including Antonio's brother Giovanni and their half-brother Giovanni Maria. Non- specialists may have difficulty sorting out the different members of the family, whose names and dates are never systematically es- tablished by Lindgren. The lengthy and au- thoritative prefatory material is, however, replete with updated biographical informa- tion and detailed remarks on sources, per- formance practice, and instrumentation. Nevertheless, we are left wondering about the quality of both the Bononcini attribu- tions and the musical text as preserved in the sources. The edition contains numer- ous emendations, especially of the bass fig- ures, and in many passages, harmony and voice leading raise questions (in mvt. 4, mm. 14-15 of Sonata 1, for example, the

for cello and continuo is a welcome contri- bution to the early cello repertory and the history of this genre. The title page of the edition implies a secure attribution of these works to Antonio Bononcini, but as Lind- gren notes in the preface (p. ix), the six- teen sonatas may have been composed by several members of the Bononcini family, including Antonio's brother Giovanni and their half-brother Giovanni Maria. Non- specialists may have difficulty sorting out the different members of the family, whose names and dates are never systematically es- tablished by Lindgren. The lengthy and au- thoritative prefatory material is, however, replete with updated biographical informa- tion and detailed remarks on sources, per- formance practice, and instrumentation. Nevertheless, we are left wondering about the quality of both the Bononcini attribu- tions and the musical text as preserved in the sources. The edition contains numer- ous emendations, especially of the bass fig- ures, and in many passages, harmony and voice leading raise questions (in mvt. 4, mm. 14-15 of Sonata 1, for example, the

cello part forms a sequence, but not the continuo, and the editorial figures 4 imply a suspension-the fourth-that is neither prepared nor resolved). Performers may find irksome the unexpected inconve- nience of many of the page turns in the score as well as the parts for solo cello and basso continuo, which the edition leaves unfigured.

The Bononcini cello sonatas figure among the earliest of their kind, and some were composed possibly as early as the 1690s. They are youthful works, character- ized by virtuosity and brilliance, although sometimes at the expense of sound compo- sitional technique, as the editor admits. It remains uncertain for exactly what type of cello they were intended (the instrument's size and number of strings are in question); most of the sonatas are nevertheless fully playable on the modern four-stringed in- strument.

MARY OLESKIEWICZ America's Shrine to Music Museum,

University of South Dakota

cello part forms a sequence, but not the continuo, and the editorial figures 4 imply a suspension-the fourth-that is neither prepared nor resolved). Performers may find irksome the unexpected inconve- nience of many of the page turns in the score as well as the parts for solo cello and basso continuo, which the edition leaves unfigured.

The Bononcini cello sonatas figure among the earliest of their kind, and some were composed possibly as early as the 1690s. They are youthful works, character- ized by virtuosity and brilliance, although sometimes at the expense of sound compo- sitional technique, as the editor admits. It remains uncertain for exactly what type of cello they were intended (the instrument's size and number of strings are in question); most of the sonatas are nevertheless fully playable on the modern four-stringed in- strument.

MARY OLESKIEWICZ America's Shrine to Music Museum,

University of South Dakota

KEYBOARD MUSIC KEYBOARD MUSIC

Carl Philipp Emanuel Bach. Sonaten fur Orgel. Nach Autographen, Ab- schriften und Erstdrucken heraus-

gegeben von Peter Hauschild; Hin- weise zur Interpretation von Gerhard

Weinberger. (Samtliche Orgelwerke, 1.) Vienna: Wiener Urtext Edition, c1995. [Pref. in Ger., Eng., p. 4-7; score, p. 8-102; notes on interpreta- tion, p. 103-15; facsims., p. 116; crit. notes, p. 117-35. UT 50148; ISMN M- 50057-131-5. DM 38.]

Carl Philipp Emanuel Bach. Keyboard Sonatas: H. 40 (W.62/6), H. 43 (W. 65/15), H. 46 (W. 65/16), H. 47 (W. 65/17), H. 48 (W. 65/18), H. 49 (W. 65/19), H. 51 (W. 65/20). Edited by David Schulenberg. (Carl Philipp Emanuel Bach Edition. Ser. I: Solo

Keyboard Music, vol. 18.) Oxford: Music Department, Oxford University Press, c1995. [Prefaces, abbrs. in Eng., Ger., p. ix-xxi; score, 57 p.; crit. com-

mentary in Eng., p. 59-142. Cloth. ISBN 0-19-324018-1. £60.]

Carl Philipp Emanuel Bach. Sonaten fur Orgel. Nach Autographen, Ab- schriften und Erstdrucken heraus-

gegeben von Peter Hauschild; Hin- weise zur Interpretation von Gerhard

Weinberger. (Samtliche Orgelwerke, 1.) Vienna: Wiener Urtext Edition, c1995. [Pref. in Ger., Eng., p. 4-7; score, p. 8-102; notes on interpreta- tion, p. 103-15; facsims., p. 116; crit. notes, p. 117-35. UT 50148; ISMN M- 50057-131-5. DM 38.]

Carl Philipp Emanuel Bach. Keyboard Sonatas: H. 40 (W.62/6), H. 43 (W. 65/15), H. 46 (W. 65/16), H. 47 (W. 65/17), H. 48 (W. 65/18), H. 49 (W. 65/19), H. 51 (W. 65/20). Edited by David Schulenberg. (Carl Philipp Emanuel Bach Edition. Ser. I: Solo

Keyboard Music, vol. 18.) Oxford: Music Department, Oxford University Press, c1995. [Prefaces, abbrs. in Eng., Ger., p. ix-xxi; score, 57 p.; crit. com-

mentary in Eng., p. 59-142. Cloth. ISBN 0-19-324018-1. £60.]

Carl Philipp Emanuel Bach. 75 Cadenzas (H. 264/W. 120) for key- board. Facsimile edition with an intro- duction by E. Eugene Helm. Utrecht: STIMU, 1997. [Introd., p. iii-viii; fac- sim. reprod. (b & w), 23 p. NLG 20.]

Since the bicentennial of Carl Philipp Emanuel Bach's death in 1988, there has been renewed and widespread interest in his music. Three of the most recent edi- tions of his works represent the collabora- tion of editors and publishers from Austria, Germany, the Netherlands, the United Kingdom, and the United States.

The Wiener Urtext edition of Bach's organ sonatas and single organ prelude, which fall under the grouping W. 70/1-7 in the Wotquenne catalog (Alfred Wot- quenne, Thematisches Verzeichnis der Werke von Carl Philipp Emanuel Bach, 1714-1788 [Leipzig: Breitkopf & Hartel, 1905; repr. 1964]) and are assigned the numbers 133/135, 134, 84, 85, 86, 87, and 107 by E. Eugene Helm (Thematic Catalogue of the Works of Carl Philipp Emanuel Bach [New Haven: Yale University Press, 1989]), is at- tractively printed in oblong format and

Carl Philipp Emanuel Bach. 75 Cadenzas (H. 264/W. 120) for key- board. Facsimile edition with an intro- duction by E. Eugene Helm. Utrecht: STIMU, 1997. [Introd., p. iii-viii; fac- sim. reprod. (b & w), 23 p. NLG 20.]

Since the bicentennial of Carl Philipp Emanuel Bach's death in 1988, there has been renewed and widespread interest in his music. Three of the most recent edi- tions of his works represent the collabora- tion of editors and publishers from Austria, Germany, the Netherlands, the United Kingdom, and the United States.

The Wiener Urtext edition of Bach's organ sonatas and single organ prelude, which fall under the grouping W. 70/1-7 in the Wotquenne catalog (Alfred Wot- quenne, Thematisches Verzeichnis der Werke von Carl Philipp Emanuel Bach, 1714-1788 [Leipzig: Breitkopf & Hartel, 1905; repr. 1964]) and are assigned the numbers 133/135, 134, 84, 85, 86, 87, and 107 by E. Eugene Helm (Thematic Catalogue of the Works of Carl Philipp Emanuel Bach [New Haven: Yale University Press, 1989]), is at- tractively printed in oblong format and

239 239

This content downloaded from 188.72.126.182 on Sun, 15 Jun 2014 13:05:54 PMAll use subject to JSTOR Terms and Conditions