Seis Piezas. Six Pieces [for Piano] by José Ardévol Review by: Jeanne Behrend Notes, Second Series, Vol. 13, No. 1 (Dec., 1955), p. 151 Published by: Music Library Association Stable URL: http://www.jstor.org/stable/893598 . Accessed: 15/06/2014 18:31 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 195.78.108.51 on Sun, 15 Jun 2014 18:31:09 PM All use subject to JSTOR Terms and Conditions http://www.jstor.org/action/showPublisher?publisherCode=mulias http://www.jstor.org/stable/893598?origin=JSTOR-pdf http://www.jstor.org/page/info/about/policies/terms.jsp http://www.jstor.org/page/info/about/policies/terms.jsp violins proceed in parallel thirds or play brief motives in alternation. The entire opening Adagio is an unbroken series of parallel thirds played by the solo violins, without continuo. There is a notable lack of genuine polyphony and the organization seems loose-jointed and casual. The concerto is pleasant and easy to play and should be useful to teachers and amateurs. While it can not be considered a masterpiece its publication is welcome. It is a typical example of a common early 18th-century type. Only when we view both the works of the great baroque masters of the concerto and the works of the "pre-classical" symphonists against the background of the common practice of the period does the mid-18th-century style change seem historically plausible. HERBERT LIVINGSTON PIANO MUSIC Arthur Shepherd: Capriccio II. New York: G. Ricordi, 1954. [12 p.; $1.25] Arthur Shepherd's Capriccio 11 is an excellent work, long familiar to a few in manuscript form. Brilliant and pian- istic, it is a real concert piece, admirable for a solid, sonorous close to a recital. Shepherd has other piano works that should be published. Isadore Freed: Sonatina No. 1 for Piano. New York: Southern Music Publishing Co., 1954. [6 p.; $.65] Isadore Freed's Sonatina no. 1 comes under the heading of Teaching Material, Intermediate Grade. The three short movements are pleasant fare, and could relieve the agonizing monotony of the average conservatory pupils' concert. John Weinzweig, editor: Fourteen Piano Pieces by Canadian Com- posers. London: Frederick Harris Music Co., 1955. [87 p.; $1.50] John Weinzweig, as editor of the beau- tifully-published 14 Piano Pieces by Canadian Composers thanks "the com- posers who gave permission to include their music under one cover." They are at a disadvantage, each being repre- sented by one or two snippets of music. It is almost impossible to judge either their individual capabilities or the mu- sical status of their country from such a compilation. The collection opens with attractive "easy" pieces by Robert Fleming, Samuel Dolin, and Maurice Blackburn. There are lively, well-written works by Udo Kase- mets, Oskar Morawetz, an effective Scherzo by Harry Freedman, an Etude de sonorites tone-clustered by Frangois Morel, a nightmarish Waltzling by John Weinzweig, and a satirical Sacrilege by Alexander Brott. Composers with the most invention seem to be John Beckwith (The Music Room) and Jean Coulthard (Devil's Dance). The reviewer questions the omission of Barbara Pentland. Melvyn Powell: Sonatina for Piano. New York: G. Ricordi, 1954. [24 p.; $1.50] Melvyn Powell's Sonatina appears to be a work in which melody and harmony make airy garlandry held in a rigid cage of construction. Quite acceptable. Melvyn Powell is also Mel Powell, phe- nomenal jazz pianist and composer who at sixteen was pianist in Benny Good- man's band. One wishes that some of the luxuriant fantasy of his jazz would spill over into his "legit." Possible in- hibiting factor: five years of study with Hindemith at Yale, the intrusion of pencil and paper, the convert's adherence to orthodoxy. At any rate, watch Powell. (Powell has recorded the Sonatina for Vanguard records on VRS8004.) Jose Ard.evol: Seis Piezas. Six Pieces [for Piano]. New York: Southern Music Publishing Co., 1954. [11 p.; $.85] Seis Piezas by Jose Ardevol are a stylization of Cuban folk music, well- contrived piano pieces which do not convey enough the warmth of their source. George Perle: Sonata, Piano, Op. 27. Montevideo: Editorial Cooperativa Interamericana de Compositores, 1952. [8 p.] George Perle is the author of an article ("The Evolution of the Tone Row," The Mu.sic Review, Vol. II, No. 4, 151 This content downloaded from 195.78.108.51 on Sun, 15 Jun 2014 18:31:09 PM All use subject to JSTOR Terms and Conditions http://www.jstor.org/page/info/about/policies/terms.jsp Article Contents p. 151 Issue Table of Contents Notes, Second Series, Vol. 13, No. 1 (Dec., 1955), pp. 1-170 Front Matter [pp. 1-106] A University Approach to the American Musical Theater [pp. 25-32] American Musical History -And Victor Herbert [pp. 33-40] The Fourth International Congress of Music Libraries [pp. 41-45] Notes for NOTES [pp. 46-51] Book Reviews Review: untitled [pp. 52-53] Review: untitled [pp. 53-55] Review: untitled [pp. 55-56] Review: untitled [pp. 56-57] Review: untitled [pp. 57-58] Review: untitled [pp. 58-59] Review: untitled [pp. 59-61] Review: untitled [pp. 61-62] Review: untitled [pp. 62-63] Review: untitled [pp. 63-64] Review: untitled [pp. 64-65] Review: untitled [pp. 65-66] Review: untitled [pp. 66-67] Review: untitled [pp. 67-69] Review: untitled [pp. 69-70] Review: untitled [pp. 70-72] Review: untitled [pp. 72-73] Review: untitled [pp. 73-74] Review: untitled [pp. 74-76] Briefly Noted Review: untitled [pp. 76-77] Review: untitled [pp. 77] Review: untitled [pp. 77-78] Review: untitled [pp. 78] Review: untitled [pp. 78-79] Review: untitled [pp. 79] Review: untitled [pp. 79-80] Review: untitled [pp. 80] Review: untitled [pp. 80-81] Review: untitled [pp. 81] Correction [pp. 81] Other Publications [pp. 82-102] Index of Record Reviews: With Symbols Indicating Opinions of Reviewers [pp. 103-104+107-128] Music Reviews Review: untitled [pp. 129-130] Review: untitled [pp. 130-132] Review: untitled [pp. 132-133] Review: untitled [pp. 133-135] Review: untitled [pp. 135-136] Review: untitled [pp. 136] Choral Music Review: untitled [pp. 137] Review: untitled [pp. 137] Review: untitled [pp. 137] Review: untitled [pp. 137] Review: untitled [pp. 138] Chamber Music Review: untitled [pp. 138-140] Review: untitled [pp. 140-141] Review: untitled [pp. 141-142] Review: untitled [pp. 142-143] Review: untitled [pp. 143] Review: untitled [pp. 143-144] Review: untitled [pp. 144] Review: untitled [pp. 144] Review: untitled [pp. 144-145] Review: untitled [pp. 145] Review: untitled [pp. 145] Orchestral Music Review: untitled [pp. 145-146] Review: untitled [pp. 146] Review: untitled [pp. 146] Review: untitled [pp. 146-147] Review: untitled [pp. 147] Review: untitled [pp. 147] Review: untitled [pp. 147] Review: untitled [pp. 147-148] Review: untitled [pp. 148] Review: untitled [pp. 148-149] Review: untitled [pp. 149] Review: untitled [pp. 149-150] Review: untitled [pp. 150] Review: untitled [pp. 150-151] Piano Music Review: untitled [pp. 151] Review: untitled [pp. 151] Review: untitled [pp. 151] Review: untitled [pp. 151] Review: untitled [pp. 151] Review: untitled [pp. 151-152] Review: untitled [pp. 152] Vocal Music Review: untitled [pp. 152-153] Correction [pp. 153] Selected Current Popular Music [pp. 153-154] Publications Received [pp. 154-164] Back Matter [pp. 165-170]