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Six Canons, Op. 142, for Piano by Mario Castelnuovo-TedescoReview by: Blanche WinogronNotes, Second Series, Vol. 11, No. 3 (Jun., 1954), p. 447Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/892605.

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and

facilitybeyond the needs

of

the de-

scriptivepieces

and

dance forms ypical

of the literature for the earlier grades.

Mario

Castelnuovo-Tedesco: Six

Can-

ons,

Op. 142,

for

piano. New York:

Leeds Music Corp., 1953. [24 p.; $1.50]

The

composer has

always been

very

much

at

home with old

forms both in

music and

poetry. The

Canons,

Op.

142,

should

prove

nteresting

or

the

advanced

student

well

acquainted

with counter-

point

and with

various

phrasing tech-

niques.

Although hepieces

are

grateful

for

the instrument

nd

effective,

hey till

sound

somehow

contrived.

The Bur-

lesca and

Alla

Marcia

Funebre are, I

believe, the best works in the set.

Marion

Bauer:

Summertime uite

(8

pieces for

students), for

piano.

New

York:

Leeds Music

Corp.,

1953.

[20

p.;

$1.25]

Here

is

a

charming

ittle

set

of

pieces

for

youingsters

n

the

early

grades. Not

too

easy,

they

are

graphic, varied

in

mood,

in

pianistic

and

musical

styles,

and in

the

problems

theypresent.

Most

of

the

basic

techniques

are

covered,

including good chord passages, both

quick and

slow,

staccato

and

legato.

A

piece

like

the

Waterwheel

moves

over

the

whole

keyboard;

the

Whippet

Race

is

good for

mastering

imultaneous

use of

different

hrasings

n

both

hands;

Fire-

fliesfor

clean,

quick

little

fingers.

hese

are

obviously he

work of

one

who

knows

intimately

nd

enjoys

working

out

with

imagination

a

variety of

teaching

prob-

lems.

Mothers,

teachers, and

children

will appreciate the

widely-spaced

taves

and

large

notes.

Alfred

Mirovitch,

compiler:

A

Music

Box of

22

Student

Pieces

in

Early

Grades

for

Piano.

New

York:

Leeds

Music

Corp.,

1953.

[33

p.;

$1.25]

Although

a

very

few of

the

pieces

are

rather

ordinary,

his

is

a

nice

collection

of

material

mostly

f

the

Russian

school

from

the

late

nineteenth

entury o

the

present day. The best ones in the

volume

are

those

of

Tchaikovsky,

Gret-

chaninoff-the

familiar

ones

from

their

children's

albums-and

Maykapar,

Gnes-

sina,

and

Miaskovsky. hose

of

the

latter

composer

re

lovely

fragments.

The student hould not

only

be de-

lightedwiththeenjoyable ittle

Etude

ofGoedicke,

chaikovsky'sweet

Dreams

-that perfect

tudy

for

cantabilewith

double

ouch-Maykapar'solka and the

GnessinaMarch-a stunningittlework

and

a goodaddition

o

the

recital eper-

toire-but, in

working hem

out, he

should

go

far in

developing

com-

mandof the

keyboard.

One criticismf

Mr.Mirovitch'sxcel-

lent

ob

of

selection

nd editing: ome

of

the pedal

markingsre

unnecessary,

some

questionable, thers

impossible.

Any child

withgoodenough

o-ordina-

tion to do

thesepieces can

change he

pedal cleanlyand withtasteas often

as is

necessary,nd

can learnto phrase

gracefully ith

the foot s well as the

hand.

Dmitri

Shostakovich: Dances of

the

Dolls,

seven

pieces for

piano.

New York:

Leeds

Music

Corp.,

1953.

[20

p.;

$1.25]

These

dances

were

taken

from

ballet

suites

written s

recently s

1949-50

nd,

although

in

certain

respects

somewhat

reminiscent

f the

ballet

music of

Offen-

bach, Delibes, and Tchaikovsky, they

must

be

delightful n

their

orchestral

setting.

The

miniatures

are

character-

istic

of

the

composer's

style,

harmony,

rhythm,

nd

humor.

The

Dance,

Polka,

Hurdy-Gurdy,

nd

the

Petite

Ballerina

have

charm

and

should

be

fun for

the

student

earning

to

explore and to

play

with

the

keyboard.

W. A. Mozart:

Kammerkonzert,

.

V.

449, fuirKlavier und Streichorchester

(zwei

Oboen

und

zwei

Horner

ad

libitum),

hrsg.

von

Bruno

Hinze-Rein-

hold.

Ausgabe fur

zwei

Klaviere.

New

York:

C. F.

Peters,

1953.

[2-piano

score,

38

p.;

$2.00]

This

concerto

was

the

first

omposition

Mozart

listed in

his

little

notebook

of

completed

works n

1784,

when

he

began

the

small

catalogue

he

kept up

until

his

death.

It

stands

alone,

between

the

pieces in this formwritten n his early

youth

and

the

last

group of

great con-

certos for

the

piano

and

orchestra.

Mozart

himself

says,

It is

one

of

a

quite

peculiar

kind,

composed

rather

for

a small

orchestra han

a

large

one

. .

.

447

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