MAGNUM OPUS SERIES: Bach's St. Matthew Passion by ProQuest


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									Malipiero, whose output covered nearly 70           knowing references to Stravinsky, Respighi and      script by Detmar Huchting in both English
years. His Torneo Notturno is particularly          Verdi? How many readers of this magazine are        and German covering what you may well
striking while his La favola del figlio cambiata    familiar with the teeming complexity of Aldo        agree to be a guide through the composer’s life
is an extremely adventurous piece using a           Clementi’s music or the seemingly almost            and musical masterpieces.
considerable diversity of styles. Malipiero’s       desperate search for new frontiers in Evan-             Tucked into the cover are 4 CDs contain-
final orchestral work, Omaggio a Belmonte           gelista’s 1962 Random or not random for             ing well knitted excerpts from virtually all of
(1971) is a homage to Schoenberg. Also to be        orchestra, to the seemingly mystical Uaxuct-        Puccini’s operas and the rarely-heard Requiem.
mentioned from that time is Ghedini, with a         um (1966) of Giancinto Scelsi?                      The singers include such famous names as
Partita per orchestra (1926) and an especially           Although most people likely to read this       Maria Callas, Guiseppe Di Stefano, Victoria
fine Architetture (1940).                           page regard BBC’s Radio 3 as a national             de Los Angeles, Renata Tebaldi and many more
    In a sense the most imposing figures in this    treasure, the fact is that they give us almost no   under such conductors as Tullio Serafin and
book are Petrassi, whose music is scarcely known    chance of hearing any of this music. It is the      Sir Thomas Beecham.
in Britain, and the slightly less unfamiliar        same with American works. We get quantities             All this for under £30! Under most circum-
Dallapiccola. Petrassi again was concerned          of Gershwin, Bernstein and the centenarian          stances this is a book which has enough
with 16th-century polyphony, as is indicated        Carter, only a few popular works by Copland         goodies to satisfy those, who not only know,
by works like his early setting of Psalm IX         (Rodeo etc), hardly anything by the founding        but delight in the music they love. A bargain
(1934-6) and his Noche Oscura (1950) in             father, Charles Ives, and nothing from such         which can only be recommended for sheer
which, as Webb says, ‘vocal and instrumental        vital figures as Roger Sessions, Carl Ruggles,      enjoyment.                   DENBY RICHARDS
lines mingle to form a single homogeneous           Roy Harris, Wallingford Riegger. Webb’s book
texture.’ Also notable is a magnificent series of   is another indication that we ought not to be       MAGNUM OPUS SERIES
concertos for orchestra, above all the last two     so easily pleased.               MAX HARRISON       Bach’s St. Matthew Passion
(1964, 1972), in which elements of serialism                                                            By: Victor Lederer
are present. Serial too is Dallapiccola’s Canti                                                         The Continuum International Publishing
di Prigionia (1938-42), which indeed is a                                                               Group Ltd
supreme happening in the growth of modern                                                               ISBN: 9780826429407 144pp £9.99
music in Italy. Dallapiccola of course went
further, with the Canti di Liberazione (1953-                                                             must admit to delighting in the 129 pages of
5) and his final opera, Ulisse (1968), which the
composer regarded as his masterpiece yet
                                                                                                        I this extremely readable book whose title
                                                                                                        could all too easily prepare the reader for a
which has not received much attention, even                                                             learned tone.
in Italy.                                                                                                    Early in my career as a music critic, in the
    The Darmstadt summer courses had a great                                                            late 1940’s, I was sent to the Royal Albert Hall
influence on composers in 
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