Complete Arias and Sinfonias from the Cantatas, Masses and Oratorios for Solo Voice, Oboe,Oboe d'Amore, Oboe da Caccia, Basso Continuo/Piano, in 31 Volumes by Johann Sebastian BachReview by: Benito V. RiveraNotes, Second Series, Vol. 35, No. 3 (Mar., 1979), pp. 708-709Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/939400 .

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made available for the first time. In Febru- ary 1975, Bach's personal copy of the origi- nal edition of this work, laden with impor- tant corrections and additions in his own handwriting, surfaced from the hands of a private owner. The nature of this new material, now incorporated in Wolff's

made available for the first time. In Febru- ary 1975, Bach's personal copy of the origi- nal edition of this work, laden with impor- tant corrections and additions in his own handwriting, surfaced from the hands of a private owner. The nature of this new material, now incorporated in Wolff's

expert edition, is lucidly recounted in his article which appeared in the Summer 1976 issue of the Journal of the American Musico- logical Society 29 (1976): 224-41. There is no need for retelling here. Every Bach performer and every Bach scholar should own a copy of this edition.

expert edition, is lucidly recounted in his article which appeared in the Summer 1976 issue of the Journal of the American Musico- logical Society 29 (1976): 224-41. There is no need for retelling here. Every Bach performer and every Bach scholar should own a copy of this edition.

Johann Sebastian Bach: Complete arias and sinfonias from the cantatas, masses and oratorios for solo voice, oboe, oboe d'amore, oboe da caccia, basso continuo/piano, in 31 volumes. London: Musica Rara, 1977. [Vols. 1-4 for soprano, oboe, basso continuo/piano; vols. 5-7 for alto, oboe, basso continuo/piano; each volume contains prefatory comments and notes, score, and parts; each £8.00].

Johann Sebastian Bach: Complete arias and sinfonias from the cantatas, masses and oratorios for solo voice, oboe, oboe d'amore, oboe da caccia, basso continuo/piano, in 31 volumes. London: Musica Rara, 1977. [Vols. 1-4 for soprano, oboe, basso continuo/piano; vols. 5-7 for alto, oboe, basso continuo/piano; each volume contains prefatory comments and notes, score, and parts; each £8.00].

The editors who conceived this idea of a serialized performing edition of J. S. Bach's arias deserve to be commended. Each volume includes separate part-sheets for each individual performer and a full score with an arranged keyboard accompa- niment based on Bach's figured bass or on his original orchestral accompaniment. For a chamber group wishing to expand its library of performing editions, this is a unique contribution. Of the thirty-one vol- umes projected for the entire series, only the first seven were available for inspection. These seven are all devoted to one specific grouping: solo voice, oboe obbligato, con- tinuo, and keyboard. The first four volumes comprise one sinfonia and nineteen so- prano arias; the next three, one sinfonia and twelve alto arias. Future volumes will provide material for soprano, alto, tenor, or bass, in conjunction with other instru- mental combinations.

The editors disclaim all pretenses of being definitive. The present series, they point out, "is based on the Bach-Gesellschaft . . . and on those volumes of the Neue Bach Ausgabe. . . that are already available. The main purpose of the collection is to promote knowledge of these arias by presenting them in a practical performing edition for concert use by professional and amateur alike, neither offering up its few editorial suggestions as 'eternal truths' nor expecting them to be received as such." Nevertheless, this edition does betray certain scholarly pretentions: it was submitted for review in a scholarly journal; it invokes the authority of the Bach-Gesellschafi and the Neue Bach A usgabe; and it states that editorial additions

The editors who conceived this idea of a serialized performing edition of J. S. Bach's arias deserve to be commended. Each volume includes separate part-sheets for each individual performer and a full score with an arranged keyboard accompa- niment based on Bach's figured bass or on his original orchestral accompaniment. For a chamber group wishing to expand its library of performing editions, this is a unique contribution. Of the thirty-one vol- umes projected for the entire series, only the first seven were available for inspection. These seven are all devoted to one specific grouping: solo voice, oboe obbligato, con- tinuo, and keyboard. The first four volumes comprise one sinfonia and nineteen so- prano arias; the next three, one sinfonia and twelve alto arias. Future volumes will provide material for soprano, alto, tenor, or bass, in conjunction with other instru- mental combinations.

The editors disclaim all pretenses of being definitive. The present series, they point out, "is based on the Bach-Gesellschaft . . . and on those volumes of the Neue Bach Ausgabe. . . that are already available. The main purpose of the collection is to promote knowledge of these arias by presenting them in a practical performing edition for concert use by professional and amateur alike, neither offering up its few editorial suggestions as 'eternal truths' nor expecting them to be received as such." Nevertheless, this edition does betray certain scholarly pretentions: it was submitted for review in a scholarly journal; it invokes the authority of the Bach-Gesellschafi and the Neue Bach A usgabe; and it states that editorial additions

are indicated by the use of square brackets (for accidentals and dynamic marks) and dashed slurs.

The edition contains a disturbing number of infidelities to the sources acknowledged by its editors. For instance, in one aria alone (BWV 84, "Ich bin vergniigt mit meinem Gliicke"), the bass in measure 4 has a G instead of A, an eighth note and eighth rest instead of a quarter note that should be tied over to the next measure; the first beat of measure 13 has an A-minor chord instead of C major; the first beat of measure 30 has a B-dominant seventh instead of D#-diminished seventh; the second beat of measure 34 has an A-major chord instead of F# minor; the first beat of measure 70 has an E-dominant seventh instead of G# diminished seventh; the first beat of mea- sure 71 has a chord that consists of five notes: ABCDE-the C does not occur in the original. In this aria the keyboard part is supposed to be a reduction of the original orchestral accompaniment. The arranger was either too indiscriminate in his use of seventh chords, or he sometimes read the Neue Bach Ausgabe (NBA) viola clef wrong- ly. The interested reader might examine measures 54, 68, 70, 89, and 140. At other times, where the NBA does spell out seventh chords or complete triads, the present ar- rangement omits the crucial notes. Here one might examine measures 65, 67, 74, 77, 135, and 151.

The use of dashed slurs to indicate edi- torial additions is pointless besides being unsightly, since the policy is frequently violated, particularly in the oboe and voice parts and sometimes in the continuo. Many

are indicated by the use of square brackets (for accidentals and dynamic marks) and dashed slurs.

The edition contains a disturbing number of infidelities to the sources acknowledged by its editors. For instance, in one aria alone (BWV 84, "Ich bin vergniigt mit meinem Gliicke"), the bass in measure 4 has a G instead of A, an eighth note and eighth rest instead of a quarter note that should be tied over to the next measure; the first beat of measure 13 has an A-minor chord instead of C major; the first beat of measure 30 has a B-dominant seventh instead of D#-diminished seventh; the second beat of measure 34 has an A-major chord instead of F# minor; the first beat of measure 70 has an E-dominant seventh instead of G# diminished seventh; the first beat of mea- sure 71 has a chord that consists of five notes: ABCDE-the C does not occur in the original. In this aria the keyboard part is supposed to be a reduction of the original orchestral accompaniment. The arranger was either too indiscriminate in his use of seventh chords, or he sometimes read the Neue Bach Ausgabe (NBA) viola clef wrong- ly. The interested reader might examine measures 54, 68, 70, 89, and 140. At other times, where the NBA does spell out seventh chords or complete triads, the present ar- rangement omits the crucial notes. Here one might examine measures 65, 67, 74, 77, 135, and 151.

The use of dashed slurs to indicate edi- torial additions is pointless besides being unsightly, since the policy is frequently violated, particularly in the oboe and voice parts and sometimes in the continuo. Many

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Music Reviews Music Reviews

times authentic slurs are absent, and un- authentic ones are not acknowledged; sometimes even authentic slurs are dashed. The aria just discussed provides again many instances of such carelessness, but one might also examine BWV 89, "Gerechter Gott, ach, rechnest du?": measures 3, 5, 6, 7, 9, 10, 15, 16, 17, etc. In addition, all the terraced dynamics in this aria, which were carefully indicated in the Bach-Gesell- schaft (BGA) edition, are missing in the present version.

Since this series is still the only one of

times authentic slurs are absent, and un- authentic ones are not acknowledged; sometimes even authentic slurs are dashed. The aria just discussed provides again many instances of such carelessness, but one might also examine BWV 89, "Gerechter Gott, ach, rechnest du?": measures 3, 5, 6, 7, 9, 10, 15, 16, 17, etc. In addition, all the terraced dynamics in this aria, which were carefully indicated in the Bach-Gesell- schaft (BGA) edition, are missing in the present version.

Since this series is still the only one of

its kind and is moderately priced, it retains a certain value. In due fairness, it should be pointed out that many of the arias in the collection were not ridden with as many errors. But hardly any of the many that were examined escaped the reviewer's red ink. Prospective users are urged to compare each piece with the corresponding version in the BGA or NBA and make the necessary corrections.

BENITO V. RIVERA University of Richmond

its kind and is moderately priced, it retains a certain value. In due fairness, it should be pointed out that many of the arias in the collection were not ridden with as many errors. But hardly any of the many that were examined escaped the reviewer's red ink. Prospective users are urged to compare each piece with the corresponding version in the BGA or NBA and make the necessary corrections.

BENITO V. RIVERA University of Richmond

J. Bunker Clark, ed.: Anthology of early American keyboard music, 1787-1830, Parts I and II. (Recent researches in American music, 1, 2). Madison: A-R Editions, 1977. [Part I: intro., 20 p., score, 131 p.; Part II: score, 124 p.; $12.95 per vol.]

J. Bunker Clark, ed.: Anthology of early American keyboard music, 1787-1830, Parts I and II. (Recent researches in American music, 1, 2). Madison: A-R Editions, 1977. [Part I: intro., 20 p., score, 131 p.; Part II: score, 124 p.; $12.95 per vol.]

This anthology presents a collection of thirty-six keyboard pieces (thirty-five works for piano or harpsichord, and one for organ) written and, for the most part, published in the United States by composers living and working there between 1787 and 1830. Only four of the thirty-six composi- tions are available in other modern editions. The editor, a professor of music history at the University of Kansas, has selected a group of works emphasizing both variety and quality in American keyboard music before 1830. Well edited according to high scholarly standards, this anthology should prove useful to the student, the teacher, and the performer alike.

Thanks to the United States Bicentennial there is no longer a conspicuous lack of early American music in reliable editions. Unlike earlier editors of eighteenth- and nineteenth-century American music, (such as John Tasker Howard, Carl Engel, and Oliver Strunk), more recent editors display at least a respect for their material, which they present unabridged and with few obtrusive editorial additions. Bunker Clark's two-volume anthology stands at the head of the current list of recent editions. This scholarly work, with editorial emenda- tions clearly marked, shows the editor's understanding of the musical milieu and the society which produced it. As such, the anthology is an important, successful, and useful addition to the keyboard repertory and American music history.

Sacred music in America, at least between

This anthology presents a collection of thirty-six keyboard pieces (thirty-five works for piano or harpsichord, and one for organ) written and, for the most part, published in the United States by composers living and working there between 1787 and 1830. Only four of the thirty-six composi- tions are available in other modern editions. The editor, a professor of music history at the University of Kansas, has selected a group of works emphasizing both variety and quality in American keyboard music before 1830. Well edited according to high scholarly standards, this anthology should prove useful to the student, the teacher, and the performer alike.

Thanks to the United States Bicentennial there is no longer a conspicuous lack of early American music in reliable editions. Unlike earlier editors of eighteenth- and nineteenth-century American music, (such as John Tasker Howard, Carl Engel, and Oliver Strunk), more recent editors display at least a respect for their material, which they present unabridged and with few obtrusive editorial additions. Bunker Clark's two-volume anthology stands at the head of the current list of recent editions. This scholarly work, with editorial emenda- tions clearly marked, shows the editor's understanding of the musical milieu and the society which produced it. As such, the anthology is an important, successful, and useful addition to the keyboard repertory and American music history.

Sacred music in America, at least between

1770 and 1810, was dominated by native- born composers. The tunebooks of the time abound with psalm-tunes and anthems by Billings, Holden, Read, and a host of less well-known composers born in America, products of the singing school. Not so the secular music of the day, as this anthology clearly demonstrates. Of the twenty-three composers represented, only three were born in America; the rest were immigrants, trained abroad. However, all the composers lived a substantial part of their lives in America, both influencing American tastes and being themselves influenced by the developing American society. They were well-trained, competent musicians who knew their craft. There were no geniuses among them, and the performer searching for the forgotten masterpiece will go away from this collection disappointed. Never- theless, the music is well-written, if occa- sionally somewhat bland in melody and harmony, and for the most part deserves to be heard occasionally outside the college classroom.

Most of the important keyboard styles of the day are well represented by substan- tial pieces. While the extended keyboard sonata apparently found little favor among American amateur performers, four exam- ples of the short, didactic sonata, such as those of Just, Wolf, and Clementi, are included. The rondo, march, and medley are well represented. Twelve examples of the most popular keyboard form of the time, the theme and variations-or more

1770 and 1810, was dominated by native- born composers. The tunebooks of the time abound with psalm-tunes and anthems by Billings, Holden, Read, and a host of less well-known composers born in America, products of the singing school. Not so the secular music of the day, as this anthology clearly demonstrates. Of the twenty-three composers represented, only three were born in America; the rest were immigrants, trained abroad. However, all the composers lived a substantial part of their lives in America, both influencing American tastes and being themselves influenced by the developing American society. They were well-trained, competent musicians who knew their craft. There were no geniuses among them, and the performer searching for the forgotten masterpiece will go away from this collection disappointed. Never- theless, the music is well-written, if occa- sionally somewhat bland in melody and harmony, and for the most part deserves to be heard occasionally outside the college classroom.

Most of the important keyboard styles of the day are well represented by substan- tial pieces. While the extended keyboard sonata apparently found little favor among American amateur performers, four exam- ples of the short, didactic sonata, such as those of Just, Wolf, and Clementi, are included. The rondo, march, and medley are well represented. Twelve examples of the most popular keyboard form of the time, the theme and variations-or more

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