Catalogue raisonné de l'œuvre d'Albert Roussel by Nicole LabelleReview by: James William SobaskieNotes, Second Series, Vol. 50, No. 4 (Jun., 1994), pp. 1404-1405Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/898320 .

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NOTES, June 1994 NOTES, June 1994

frequently performed American compos- ers at home and abroad. His orchestral works were actively championed by Arthur Nikisch, Carl Muck, Pierre Monteux, Wal- ter Damrosch, Nikolai Sokoloff, Serge Koussevitzky, Frederick Stock, Howard Hanson, and Leopold Stokowski, and also received performances at the hands of Gustav Mahler, Richard Strauss, Bruno Walter, and Fritz Reiner. It is unfortunate that the more recent generations of foreign-born conductors who continue to control a large portion of the musical life of the United States are not as musically adventuresome as their illustrious prede- cessors. Charles Martin Loeffler: A Life Apart in American Music will undoubtedly spark further interest in the man and his music and should inspire conductors and per- formers to reclaim the beautiful composi- tions he has left us.

BRUCE GBUR University of Georgia

Catalogue raisonne de l'oeuvre d'Al- bert Roussel. By Nicole Labelle. (Pu- blications d'histoire de l'art et d'arche- ologie de l'Universite Catholique de Louvain, 78.) (Musicologica neolova- niensia, Studia 6.) Louvain-La-Neuve: Departement d'Archeologie et d'His- toire de l'Art, College Erasme, 1992. [xii, 159 p. No ISBN. BF2200.]

An exciting resurgence of interest in the music of Albert Roussel (1869-1937) has been underway for nearly two decades. Performances and recordings of such works as Le Festin de l'Araignee, Bacchus et Ariane, and the symphonies have ac- quainted new audiences with the boldly col- ored and energetic style that earned Rous- sel both critical and popular success during his own lifetime and made him the fore- most French composer during the interwar period. In retrospect, the year 1987 rep- resented a real watershed in this revival. Observances commemorating the fiftieth anniversary of Roussel's death provided an opportunity to explore the whole of his oeuvre and an outlet for considerable scholarly activity. Among the important new additions to the literature were a unique treasury of images, articles, remi- niscences, and descriptive sketches of in-

frequently performed American compos- ers at home and abroad. His orchestral works were actively championed by Arthur Nikisch, Carl Muck, Pierre Monteux, Wal- ter Damrosch, Nikolai Sokoloff, Serge Koussevitzky, Frederick Stock, Howard Hanson, and Leopold Stokowski, and also received performances at the hands of Gustav Mahler, Richard Strauss, Bruno Walter, and Fritz Reiner. It is unfortunate that the more recent generations of foreign-born conductors who continue to control a large portion of the musical life of the United States are not as musically adventuresome as their illustrious prede- cessors. Charles Martin Loeffler: A Life Apart in American Music will undoubtedly spark further interest in the man and his music and should inspire conductors and per- formers to reclaim the beautiful composi- tions he has left us.

BRUCE GBUR University of Georgia

Catalogue raisonne de l'oeuvre d'Al- bert Roussel. By Nicole Labelle. (Pu- blications d'histoire de l'art et d'arche- ologie de l'Universite Catholique de Louvain, 78.) (Musicologica neolova- niensia, Studia 6.) Louvain-La-Neuve: Departement d'Archeologie et d'His- toire de l'Art, College Erasme, 1992. [xii, 159 p. No ISBN. BF2200.]

An exciting resurgence of interest in the music of Albert Roussel (1869-1937) has been underway for nearly two decades. Performances and recordings of such works as Le Festin de l'Araignee, Bacchus et Ariane, and the symphonies have ac- quainted new audiences with the boldly col- ored and energetic style that earned Rous- sel both critical and popular success during his own lifetime and made him the fore- most French composer during the interwar period. In retrospect, the year 1987 rep- resented a real watershed in this revival. Observances commemorating the fiftieth anniversary of Roussel's death provided an opportunity to explore the whole of his oeuvre and an outlet for considerable scholarly activity. Among the important new additions to the literature were a unique treasury of images, articles, remi- niscences, and descriptive sketches of in-

dividual works (Albert Roussel, ed. Caroline Bouju and Michel Pazdro [Paris: Actes Sud-Papiers, 1987]) and the collected pro- ceedings of the international Roussel con- ference held in Lyon (Albert Roussel: Mu- sique et Esthetique, ed. Manfred Kelkel [Paris: Librarie Philosophique J. Vrin, 1989]). Nicole Labelle has emerged as a leading figure among Roussel scholars, with essays in both of the previously men- tioned anthologies, an excellent edition of the composer's letters (Lettres et Ecrits d'AI- bert Roussel [Paris: Flammarion, 1987]), and a forthcoming biography. Her new the- matic catalogue of Roussel's music will ac- celerate its rediscovery and facilitate re- search.

The Catalogue raisonne de l'ceuvre d'Albert Roussel provides both a comprehensive view of Roussel's music and a remarkably de- tailed profile of each work. Replacing the long out-of-print Catalogue de l'ceuvre d'AI- bert Roussel (Paris: Editor, 1947), the Cata- logue raisonne presents all of the essential information currently available for each of Roussel's compositions in systematic, con- cise, and readily accessible format. At its core is a set of seventy-five entries repre- senting the works personally acknowledged by Roussel, including the woodwind trio left incomplete at his death, arranged in chronological order of composition.

Each of the seventy-five integral works is assigned a unique catalogue number and is identified by the complete title originally conferred by Roussel, including the opus number, tonality, and genre where speci- fied. (Only fifty-nine compositions were ac- tually given opus numbers-the charming operetta Le Testament de la tante Caroline lacks one, as do the unfinished trio and various occasional pieces-and op. 44 is used for both the song "A Flower Given to My Daughter" and the unrelated Deux idylles, so Labelle's system is quite helpful.) Every entry features an incipit of the work's opening measures, as well as incipits for any subsequent movements or major sec- tions, in order to convey a palpable sense of the music's character. Next, a wealth of data is presented in summary form, includ- ing that regarding when and where a work was written, locations and descriptions of manuscripts, dedicatees, specific perform- ing forces required, editions (including type, publisher, catalogue number, date, number of pages), arrangements, tran-

dividual works (Albert Roussel, ed. Caroline Bouju and Michel Pazdro [Paris: Actes Sud-Papiers, 1987]) and the collected pro- ceedings of the international Roussel con- ference held in Lyon (Albert Roussel: Mu- sique et Esthetique, ed. Manfred Kelkel [Paris: Librarie Philosophique J. Vrin, 1989]). Nicole Labelle has emerged as a leading figure among Roussel scholars, with essays in both of the previously men- tioned anthologies, an excellent edition of the composer's letters (Lettres et Ecrits d'AI- bert Roussel [Paris: Flammarion, 1987]), and a forthcoming biography. Her new the- matic catalogue of Roussel's music will ac- celerate its rediscovery and facilitate re- search.

The Catalogue raisonne de l'ceuvre d'Albert Roussel provides both a comprehensive view of Roussel's music and a remarkably de- tailed profile of each work. Replacing the long out-of-print Catalogue de l'ceuvre d'AI- bert Roussel (Paris: Editor, 1947), the Cata- logue raisonne presents all of the essential information currently available for each of Roussel's compositions in systematic, con- cise, and readily accessible format. At its core is a set of seventy-five entries repre- senting the works personally acknowledged by Roussel, including the woodwind trio left incomplete at his death, arranged in chronological order of composition.

Each of the seventy-five integral works is assigned a unique catalogue number and is identified by the complete title originally conferred by Roussel, including the opus number, tonality, and genre where speci- fied. (Only fifty-nine compositions were ac- tually given opus numbers-the charming operetta Le Testament de la tante Caroline lacks one, as do the unfinished trio and various occasional pieces-and op. 44 is used for both the song "A Flower Given to My Daughter" and the unrelated Deux idylles, so Labelle's system is quite helpful.) Every entry features an incipit of the work's opening measures, as well as incipits for any subsequent movements or major sec- tions, in order to convey a palpable sense of the music's character. Next, a wealth of data is presented in summary form, includ- ing that regarding when and where a work was written, locations and descriptions of manuscripts, dedicatees, specific perform- ing forces required, editions (including type, publisher, catalogue number, date, number of pages), arrangements, tran-

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Book Reviews Book Reviews

scriptions, and the composition's premiere (including dates, locations, and partici- pants). Most entries conclude with a commentary on matters of dating or cir- cumstances of composition, and a brief bib- liography. Labelle's meticulous studies of the composer's letters, manuscripts, and other historical sources have uncovered many new details and corrected a number of long-standing errors. Undocumentable or questionable information is presented within brackets and explained, and unre- covered items are duly noted.

For the songs and choral works Labelle specifies the literary sources of the text (in- cluding author, publisher, and date) and the particular voice or voices required. For the operas and ballets she provides infor- mation about textual sources, a summary of the plot, a roster of the main characters, and incipits for each scene. In addition, she relates a range of particulars surrounding their premieres, including the names of di- rectors, conductors, choreographers, set designers, costumers, and performers in leading roles. The Catalogue raisonne also includes three appendixes. The first con- sists of entries for youthful compositions (numbered 76-84), the second reports lost or destroyed works, and the third reviews Roussel's editions of Felix Mendelssohn's chamber music. An extensive discography, inclusive to September 1989, inventories both anthologies and recordings of indi- vidual works, providing specifics concern- ing label, catalogue number, and perform- ers, but regrettably, not the year of issue. There also are several lists of Roussel's works, grouped by title, genre, year of com- position, and publisher.

One feature of the Catalogue of 1947 that is missing in the new Catalogue raisonne is an index of works by instrument. Such a list would communicate something of the great richness and diversity of Roussel's chamber music. For example, a flutist al- ready familiar with Jouers de flute and the Andante et Scherzo, and perhaps acquainted with arrangements of the Vocalises and the Pipeau in Re, could consult the list and find the flute used in a whole range of chamber music, including the Divertisse- ment, Le Marchand de Sable qui passe, Deux poemes de Ronsard, Serenade, the second Trio, and Elpenor. Also absent here is a title index for Roussel's compositions as they are referred to in the catalogue, and the

scriptions, and the composition's premiere (including dates, locations, and partici- pants). Most entries conclude with a commentary on matters of dating or cir- cumstances of composition, and a brief bib- liography. Labelle's meticulous studies of the composer's letters, manuscripts, and other historical sources have uncovered many new details and corrected a number of long-standing errors. Undocumentable or questionable information is presented within brackets and explained, and unre- covered items are duly noted.

For the songs and choral works Labelle specifies the literary sources of the text (in- cluding author, publisher, and date) and the particular voice or voices required. For the operas and ballets she provides infor- mation about textual sources, a summary of the plot, a roster of the main characters, and incipits for each scene. In addition, she relates a range of particulars surrounding their premieres, including the names of di- rectors, conductors, choreographers, set designers, costumers, and performers in leading roles. The Catalogue raisonne also includes three appendixes. The first con- sists of entries for youthful compositions (numbered 76-84), the second reports lost or destroyed works, and the third reviews Roussel's editions of Felix Mendelssohn's chamber music. An extensive discography, inclusive to September 1989, inventories both anthologies and recordings of indi- vidual works, providing specifics concern- ing label, catalogue number, and perform- ers, but regrettably, not the year of issue. There also are several lists of Roussel's works, grouped by title, genre, year of com- position, and publisher.

One feature of the Catalogue of 1947 that is missing in the new Catalogue raisonne is an index of works by instrument. Such a list would communicate something of the great richness and diversity of Roussel's chamber music. For example, a flutist al- ready familiar with Jouers de flute and the Andante et Scherzo, and perhaps acquainted with arrangements of the Vocalises and the Pipeau in Re, could consult the list and find the flute used in a whole range of chamber music, including the Divertisse- ment, Le Marchand de Sable qui passe, Deux poemes de Ronsard, Serenade, the second Trio, and Elpenor. Also absent here is a title index for Roussel's compositions as they are referred to in the catalogue, and the

index of names and institutions (p. 154-58) excludes compositions. Perhaps these flaws should best be considered incentives to browse.

The Catalogue raisonne will prove to be an indispensable guide to Roussel's manu- scripts. Labelle's descriptions are extraor- dinarily explicit, including information about a manuscript's location, edition type (whether a piano version, full orchestral score, individual parts, or preliminary sketch), library catalogue number, dimen- sions, number of pages, other physical de- scription (including the color of the ink used, principal corrections, erasures, exci- sions, and other significant markings), and any signatures or publisher's stamps. Some of the manuscripts are in Paris at the Bi- bliotheque nationale, a number are in Brussels at the Bibliotheque Royale Albert ler, and a few are in other hands. Remark- ably, a collection of manuscripts represent- ing more than sixty percent of Roussel's works is now in the United States, pre- served in the Harry Ransom Humanities Research Center at the University of Texas at Austin. Obtained from the archives of Roussel's publisher Durand through the ef- forts of Carlton Lake, these valuable doc- uments should yield profound insights into the composer's creative process (see Con- fessions of a Literary Archaeologist, by Carlton Lake [New York: New Directions, 1990], 137-49, for a fascinating account of their acquisition).

The Catalogue raisonne de l'oeuvre d'Albert Roussel is an exceptional resource. It be- longs in the hands of all scholars of twentieth-century French music and on the shelves of all research and conservatory li- braries.

JAMES WILLIAM SOBASKIE

Minneapolis

Andre Messager: A Bio-bibliography. By John Wagstaff. (Bio-bibliographies in Music, 33.) New York: Greenwood Press, 1991. [xv, 188 p. ISBN 0-313- 25736-1. $42.95.]

Henri Sauguet: A Bio-bibliography. By David L. Austin. (Bio-bibliogra- phies in Music, 39.) New York: Green- wood Press, 1991. [xiv, 271 p. ISBN 0-313-26564-X. $45.00.]

index of names and institutions (p. 154-58) excludes compositions. Perhaps these flaws should best be considered incentives to browse.

The Catalogue raisonne will prove to be an indispensable guide to Roussel's manu- scripts. Labelle's descriptions are extraor- dinarily explicit, including information about a manuscript's location, edition type (whether a piano version, full orchestral score, individual parts, or preliminary sketch), library catalogue number, dimen- sions, number of pages, other physical de- scription (including the color of the ink used, principal corrections, erasures, exci- sions, and other significant markings), and any signatures or publisher's stamps. Some of the manuscripts are in Paris at the Bi- bliotheque nationale, a number are in Brussels at the Bibliotheque Royale Albert ler, and a few are in other hands. Remark- ably, a collection of manuscripts represent- ing more than sixty percent of Roussel's works is now in the United States, pre- served in the Harry Ransom Humanities Research Center at the University of Texas at Austin. Obtained from the archives of Roussel's publisher Durand through the ef- forts of Carlton Lake, these valuable doc- uments should yield profound insights into the composer's creative process (see Con- fessions of a Literary Archaeologist, by Carlton Lake [New York: New Directions, 1990], 137-49, for a fascinating account of their acquisition).

The Catalogue raisonne de l'oeuvre d'Albert Roussel is an exceptional resource. It be- longs in the hands of all scholars of twentieth-century French music and on the shelves of all research and conservatory li- braries.

JAMES WILLIAM SOBASKIE

Minneapolis

Andre Messager: A Bio-bibliography. By John Wagstaff. (Bio-bibliographies in Music, 33.) New York: Greenwood Press, 1991. [xv, 188 p. ISBN 0-313- 25736-1. $42.95.]

Henri Sauguet: A Bio-bibliography. By David L. Austin. (Bio-bibliogra- phies in Music, 39.) New York: Green- wood Press, 1991. [xiv, 271 p. ISBN 0-313-26564-X. $45.00.]

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