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Mario Castelnuovo-TedescoAuthor(s): J. C. G. WaterhouseSource: The Musical Times, Vol. 109, No. 1503 (May, 1968), p. 467Published by: Musical Times Publications Ltd.Stable URL: http://www.jstor.org/stable/952421 .Accessed: 07/10/2014 09:14

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I also wonder whether or these grand polychoralpieces the very arge and beautifully lear Schirmerprint, which allows only two or three bars on eachpage, does not cut up the music ust a shade toomuch to give the performers feeling f continuity.To be constantly urning hepage is as disturbing osingers s to the audience-not to mention puttingup the price. Perhaps for arge-scalemusic a little

less opulence in production would be a positivehelp. Not that t matters or four-part music, suchas Hans Leo Hassler's Dixit Maria Mass in thePenn State edition, which s the height f elegance.Built on the material of one of his previously pub-lished motets, t shows Hassler taking up the missabrevis, surely after the knowledge of such Italiancomposers as Giovanni Croce, whose style s verysimilar. This is attractive music, easy to sing withits diatonic harmony and madrigalian rhythms.Again a little more nformation bout transposition(if any) and original note values would have beenwelcome.

Equally attractive s the short motet Mach dichauf, werde Licht by Johann Schein, made into apractical version by Dietrich

Kriiger,who has

taken his text from he collected edition of the com-poser's music. Like many motets of the early 17thcentury, t has solo sections, with he voices accom-panied by strings and continuo, given shape bytutti passages in triple time, in which the instru-ments double the voices. This would be an espec-ially useful companion piece to something likePraetorius's readily vailable Wiesch6n euchtet erMorgenstern.

Finally, three numbers from a series called'German Songs of the Renaissance'. This couldclearly be an extremely seful series, for the Eng-lishman's knowledgeof foreign ecular music of theElizabethan and early Jacobean period is verysketchy ndeed. These pieces by Johann Steffens

(who Italianized his name to Stephani just asCooper did to Coperario) show the influence f theGastoldi balletto and the north talian canzonetta,in much the same way as do the secular works ofWeelkes and Tomkins. A bird on the hedge-row idsit will not seem at all strange to anyone whoknows Weelkes's The Nightingale r Lady the birdsright airly, nor will the tricky hythms f Let himwho would not smart urprise hose who have beencaught out by See, see the shepherd's ueen. Justthe stuff or an enterprising madrigal group, andedited sensibly, with quite adequate informationgiven by Marlin Merrill. DENISARNOLD

On p.361 last month it is stated that Danzi's Variations on a

theme from Don Giovanni is published by Schott;in

fact thepublishers are Breitkopf/British Continental-our apologiesto both, and to misled readers.

OBITUARYMARIO CASTELNUOVO-TEDESCO died inHollywood on March 16, aged 72. Though not themost mportant talian composer born n the 1890s,he was the best known outside taly, thanks mainlyto the success of his early songs and of his guitarmusicwritten or egovia. His talent was slender but

genuine, een at its best in smaller works-notablyin some of his many songs from Shakespeare plays(1921-5). Several of these, like some other earlysongs, deserve asting places in the repertory: heirmelodic freshness nd harmonic nd textural efine-ment re often eautifully uited o the texts nd theyinvite ntriguing omparison with the Shakespearesongs of British ontemporaries. His larger works,by contrast, are seldom inspired throughout:pleasant deas are all too readily diluted.

A pupil of Pizzetti, he was for time nterested nthe more advanced' Italian trends associated withCasella; but the fact that I Raggio Verde 1916) atfirst roused violent opposition reflects he extremeconservatism f talian taste rather han any markedmodernity n the piece. He soon lost contact withmodern tendencies, hough the well known GuitarConcerto 1939)shows that he was receptive o neo-classical ideals at a light weight evel. After hisemigration o America in 1939 (he was a Jew) hewon success n a field orwhich his talents minentlysuited him: film music. J. C. G. WATERHOUSE

SCORES RECEIVEDJ. N. DAVID Variationen uiber ein Thema von Josquin des

Pr6s, for flute, horn, and string orchestra. Breitkopf/BritishContinental, Ils 6d

ANTHONY GILBERT Sinfonia for chamber orchestra, op 5.Schott 12s 6d

NICHOLAS MAW Chamber Music, for oboe, clarinet, horn,bassoon, and piano (see Susan Bradshaw's article on Maw,MT Sept 1962,p.608). Chester, 2s6d

MOZART Serenade in D, K203, and March, K237, ed Sadie.Eulenburg, 12s 6d

SHOSTAKOVICH String Quartet No 9. Boosey, 12s 6dROGER SMALLEY Missa brevis (see Stephen Walsh's

article on Smalley, MT Feb 1968, p.131). Faber, 30s

TIPPETT Symphony No 2. Schott, 28sTHOMAS WILSON Touchstone, portrait for orchestra, op 27

(see Wilson's article, MT Aug 1967, pp.697-8; review of thefirst performance, Oct 1967, p.920). International MusicCo, 17s 6d

ANDREA DELLA CORTE, the Italian critic andmusicologist, ied in Turin on March 13; he was 84.He was critic f La Stampa from 919 until ast May,and was professor t the Conservatorio G. Verdi andthe University f Turin. His books cover a widerange: on composers from Paisiello, Piccini, andGluck to Paganini, Bellini, Verdi, and Alfano;studies on baroque opera and on interpretation; ndbooks and articles on

manyother musical

topics.KATHLEEN LONG, the English pianist, died inCambridge on March 20; she was 71. She went tothe RCM on an open scholarship n 1910,and soonmade a name for herself s a fine Mozart player.Endowed with a rich sense of humour, perhaps shenever took her own gifts eriously nough to reachthe highest peaks of the profession; or perhaps shemade music with uch evident delight hat he couldnot bring herself o specializeexclusively n any oneaspect of the piano repertory. hus, apart from herMozart, her Faurt Debussy, and Ravel wereequally accomplished; and many an English com-poser has been grateful orher championing f newmusic. From 1920 until recently he taught t the

RCM and in 1957 she was awarded the CBE.BORIS A. MOKROUSOV, the Russian composerof songs, operatic, ymphonic, nd incidental music,and winner f a Stalin prize n 1948,has died; he was59.ELLY NEY, the German pianist, died in Tutzing onMarch 31; she was 85. She was born n Diisseldorf,studied in Cologne, and was widely known inter-nationally between the wars; she had a robust,masculine style and was particularly oted for herplaying of Beethoven and Brahms.DEREK OLDHAM, principaltenor n the D'OylyCarte Opera Company between he two world wars,died n March;he was 75.

THOMAS SIDEBOTTOM, the violinist, died inMarch; he was 83. He had been awarded the HalleConcerts Society Gold Medal for 20 years' servicein the orchestra.

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