Vocal Score Research Articles

CANTATAS

CANTATAS Alexander Tcherepnin, La Fée et le Cultivateur, Op. 72, for narrator, coloratura soprano and tenor. Vocal score. ( Boosey & Hawkes, London, 1972, £4.50.) T. H. T. H. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LIV, Issue 2, April 1973, Pages 244-a–244, https://doi.org/10.1093/ml/LIV.2.244-a Published: 01 April 1973

OPERA

OPERA Get access Peter Ilyich Tchaikovsky, Pique Dame. New German version by Wolf Ebernann & Manfred Koerth. Vocal score. ( Deutscher Verlag für Musik, Leipzig, 1970, £3.90.) E. G. E. G. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LIII, Issue 1, January 1972, Pages 107-a–107, https://doi.org/10.1093/ml/LIII.1.107-a Published: 01 January 1972

ORATORIO

ORATORIO Get access George Frideric Handel, Semele, ed. by Anthony Lewis & Charles Mackerras. Vocal Score. ( Oxford University Press, 1971, £6.00.) J. A. W. J. A. W. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LIII, Issue 2, April 1972, Pages 230-b–231, https://doi.org/10.1093/ml/LIII.2.230-b Published: 01 April 1972

CANTATAS

Journal Article CANTATAS Get access Haydn, Joseph, Applausus, ed. by H. C. Robbins, Landon. Vocal score. (Doblinger, Vienna & Munich, 1969, £3.85.) J. A. W. J. A. W. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LII, Issue 1, January 1971, Pages 94-a–94, https://doi.org/10.1093/ml/LII.1.94-a Published: 01 January 1971

CHAMBER MUSIC

CHAMBER MUSIC Get access Janson AlfredNocturne, for mixed chorus, cello, harp and percussion. Score. ( HansenCopenhagen 1969, £2.15.) Josephs WilfredMortales, for children's chorus, chorus, S.A.T.B. soli and orchestra. Vocal score. ( ChesterLondon 1969, 85P.) Tavener JohnThe Whale, for mezzo-soprano and baritone soli, chamber choir, speaker and orchestra. Score. ( ChesterLondon 1969 £3.00.) R. T. B R. T. B Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LII, Issue 2, April 1971, Pages 215–217, https://doi.org/10.1093/ml/LII.2.215 Published: 01 April 1971

REVIEWS OF MUSIC

REVIEWS OF MUSIC Blacher, Boris, 200.000 Taler. Vocal score. ( Boosey & Hawkes, London, 1970 £8.40.) R. T. B. R. T. B. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LII, Issue 4, October 1971, Pages 462–463, https://doi.org/10.1093/ml/LII.4.462 Published: 01 October 1971

CHORAL MUSIC

CHORAL MUSIC Get access Walter S. Hartley, They that put their trust, for S.S.A.T.B. and organ ad lib. ( MCA Music, New York, 1968, 2s. 6d.) Johann Adolf Hasse, Miserere, for women's voices and string orchestra, ed. by R. M. Thackray. Vocal score. ( Chappell, London, 1968, 10s.) B. W. G. R. B. W. G. R. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LI, Issue 3, July 1970, Pages 336-a–336, https://doi.org/10.1093/ml/LI.3.336-a Published: 01 July 1970

OPERA

Journal Article OPERA Get access Robin Orr, Full Circle. Vocal score. ( International Music Company, London, 1968, £1 5s.) Richard Strauss, Des Esels Schatten, completed and orchestrated by Karl Haussner. ( Boosey & Hawkes, London, 1968, vocal score, £1 5s.; English libretto, 5s. 6d.) J. A. W. J. A. W. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume L, Issue 3, July 1969, Pages 423–424, https://doi.org/10.1093/ml/L.3.423 Published: 01 July 1969

OPERA

OPERA Get access Richard Rodney Bennett, All the King's Men. Vocal score. ( Universal Edition, London, 1968, 15s.) I. D. B. I. D. B. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume L, Issue 4, October 1969, Pages 541-a–541, https://doi.org/10.1093/ml/L.4.541-a Published: 01 October 1969

Vocal Scoring in the Chansons of Machaut

HE FARTHER WE GO BACK into the history of music, the fewer are the elements controlled by the composer, and the greater the freedom left to the interpreter. That this is not merely an illusion rising from our imperfect knowledge of the past, or from supposed inadequacies in older systems of notation, but reflects a fundamental difference in attitude, is shown by statements of composers themselves.1 Matters of dynamics, tempi, instrumentation, pitch level, even the choice between vocal or instrumental performance, were not part of the structure of a musical work, but were left to the discretion of the performers. It is customary, in reference to 14th-century music, to speak of a fourvoice rondeau, or a three-voice ballade, as if the number of voices were one of the elements defining the nature of the work.2 Yet, in spite of the unusually complete canon of Machaut's works and the authoritative nature of the manuscript tradition, in a considerable number of cases the manuscripts give versions that differ with regard to the number of voices. It seems that in Machaut's time even this feature of a musical work was

Vocal Scoring in the Chansons of Machaut

Vocal Scoring in the Chansons of Machaut

OPERA

OPERA Get access Bush Geoffrey, The Equation (X=0). Vocal score. ( Elkin, London, 1967, 15s.) Cole Huge, Fonah. Vocal score. ( Novello, London, 1967, 14s. 6d.) Goehr Alexander, Arden muss sterben (Arden must die), Op. 21 Vocal score. ( Schott, London, 1967, £4 10s.) R. T. B. R. T. B. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume XLIX, Issue 3, July 1968, Pages 288-b–290, https://doi.org/10.1093/ml/XLIX.3.288-b Published: 01 July 1968

CHORAL MUSIC

Journal Article CHORAL MUSIC Get access Halffter Cristobal, In exspectatione resurrectionis Domini, for baritone solo, male-voice chorus and orchestra. Score. ( Universal Edition, London, 1967, £1 8s.) Joubert John, The Choir Invisible. Choral symphony for baritone solo, S.A.T.B. chorus and orchestra, Op. 54. Vocal score. ( Novello, London, 1968.) Ward-Steinman David, The Song of Moses, for narrator, soprano, 2 tenors, and baritone soli, chorus and orchestra. Vocal score. ( San Diego State College Press, 1968, $6.50.) P. le H. P. le H. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume XLIX, Issue 4, October 1968, Pages 404–405, https://doi.org/10.1093/ml/XLIX.4.404 Published: 01 October 1968

REVIEWS OF MUSIC

REVIEWS OF MUSIC Get access Hewitt-Jones Tony, The Divine Image, for unaccompanied mixed choir. (Lengnick, South Croydon, 1967, 6s.) Still Robert, Elegy, for baritone solo and chorus. Vocal score. (Lengnick, South Croydon, 1966, 5s. 6d.) E. P. E. P. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume XLVIII, Issue 4, October 1967, Page 394, https://doi.org/10.1093/ml/XLVIII.4.394 Published: 01 October 1967

REVIEWS OF MUSIC

REVIEWS OF MUSIC: ORATORIO Get access Handel, Athalia, ed. by Anthony Lewis . Vocal score. ( Oxford University Press, 1967, £1 15s.) J. A. W. J. A. W. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume XLVIII, Issue 3, July 1967, Pages 300–301, https://doi.org/10.1093/ml/XLVIII.3.300 Published: 01 July 1967

OPERA

OPERA Get access Britten Benjamin, The Turn of the Screw, Op. 54. Octavo score. ( Boosey & Hawkes, London, 1966.) Monteverdi Claudio, L'incoronazione di Poppea, ed. by Raymond Leppard. Vocal score. ( Faber Music, London, 1966, £2 10s.) J. A. W. J. A. W. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume XLVIII, Issue 1, January 1967, Pages 94–95, https://doi.org/10.1093/ml/XLVIII.1.94 Published: 01 January 1967

‘RAYMOND AND AGNES’

Raymond and Agnes will be staged at the Arts Theatre, Cambridge, May 2-7 at 8 pm every evening (Saturday 2.30 and 8.15); seats at 25s, 17s 6d, 12s 6d, and 7s 6d. Artistic director Nicholas Temperley, conductor David Grant, producer Max Miradin, designer Michael Aubrey. Cast: Ronald Lowis/ Simon Vaughan (Baron); Jennifer Cox/Jillian Barstow (Agnes), Edmund Bohan (Raymond); Diane Guinness/June McCall (Madelina); Malcolm Singer/ Robert Key (Theodore). Tickets from 'Raymond and Agnes', Clare College, Cambridge. A vocal score of the revised version, complete with spoken dialogue and stage directions, is available from the same address at 25s post free (publication date: April 15).

REVIEWS OF MUSIC

Journal Article REVIEWS OF MUSIC: OPERA Get access Bach Johann Christian, Temistocle, ed. by Edward O. D. Downes& H. C. RobbinsLandon. Vocal score. ( Universal Edition, Vienna, 1965, £4.) J. A. W J. A. W Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 47, Issue 2, April 1966, Pages 182-b–183, https://doi.org/10.1093/ml/47.2.182-b Published: 01 April 1966

REVIEWS OF MUSIC

Journal Article REVIEWS OF MUSIC: OPERA Get access Delibes Léo, Der Kömg hat's gesagt (Le Roi l'a dit), ed. with German text by Karlheinz Gutheim. Vocal score. ( Universal Edition, Zürich, 1965. £3 15s.) M. T. M. T. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 47, Issue 1, January 1966, Pages 81–82, https://doi.org/10.1093/ml/47.1.81 Published: 01 January 1966

The Problem of Pitch in sixteenth-Century English Vocal Music

In sixteenth-century choral music there are two problems of performance that prove most vexing to sensitive choirmasters and to those musicologists who are hot tone deaf: they are the twin problems of pitch and vocal scoring. There are, of course, those ostriches who cannot see such difficulties, having a touching belief in the absolute quality of the written pitch. Such a fundamentalist faith is not exceeded by the claims of the Jehovah's Witnesses or by the dear old lady who protested against a new translation of the New Testament with the words: ‘The Authorized Version was good enough for St. Paul, and it's good enough for me’. Assuming the present gathering to be rather more scientific, I shall illustrate these problems by concentrating on English music of the period, not because of parochialism, but because of the limitation of time and my belief that our prophets deserve honour even in their own country.