Sonata for Oboe and Organ by Rayner BrownReview by: Almonte C. Howell, Jr.Notes, Second Series, Vol. 27, No. 3 (Mar., 1971), p. 566Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/896606 .

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May 1967, the Sonata shows little influ- ence of anything that has happened in music since 1940. This is not a fault, to be sure, but it does seem that, to be valid today, a work in an older style must be extraordinary and, above all, truly orig- inal. This may not be said of the Sonata. Its themes are scrappy, short-winded and without individuality, with little rhythmic ingenuity to make them memorable. There is small feeling for the long line and manipulations of the melodic ideas are this and no more, without signifi- cance. Lane's Sonata is a good example of eclectism and the result of a formal com- position course, but not much more. A sonata seems to have been assigned and a sonata got written.

ALBERT SEAY Colorado College

rare. The note E functions as a tonal center in all movements. The thematic material, particularly in the first and third movements, suggests a pentatonic basis, its motion largely stepwise with gaps of thirds here and there. It is neither lyrical nor folklike, however, and its character might be described as abstract. Brown is not venturesome rhythmically: evenly- paced half notes, quarters, and eighths in 4/4 satisfy him throughout the three movements, the only relief consisting of a dotted counter-subject prominent in the second movement, and fairly frequent syncopations and rhythmic shifts of sub- jects relative to the barline. Triple meters are absent, and not even a triplet figure is to be found. For none of the three movements is there any hint of a tempo direction or metronome mark. The re- viewer would suggest a moderately fast 4/4 for the first movement, a slow cut- time for the second, a fast cut-time for the third. If the composer considers these un- suitable, it points up the fact that he should have supplied his own. The work is not technically difficult, though the oboist will find heavy demand on his lip in certain continuous passages. While Brown's Sonata is not likely to generate any great musical excitement, it seems animated enough for the solo recital while at the same time austere enough for the most traditional liturgical service.

ALMONTE C. HOWELL, JR. University of Georgia

Rayner Brown: Sonata for Oboe and )rgan. Los Angeles: Western Inter- iational Music Co., 1970. [Score, 33 P., nd part, $3.50] Church musicians continue to be sup-

,lied with useful contemporary sonatas da -hiesa from the pen of the California rganist and teacher Rayner Brown. This atest example differs little in its main :haracteristics from that for cello and )rgan reviewed in the December 1969 Votes. The work is conceived in an en- :irely linear fashion, and the oboe part ,imply adds a fourth line to the three of he organ part without being in any way listinguished from them in the material tssigned to it. Each of the three move- nents concentrates on a principal subject, ,reating it in imitation, canon, Fortspin- ?ung, and alteration. Only the second novement is rather strictly a fugue, both n its exposition and in its cursive form. Elements of a contrasting middle section ind recapitulation relate the first and :hird movements to sonata form. In none )f the three movements is the structure bntirely clear-cut, however. The harmony night be characterized as pandiatonic. Vhite-note writing is prevalent, but even he black notes seem only to transpose he diatonic material to other pitch levels. ?erfect consonances and dissonances pre- rail over imperfect consonances in the iarmonic combinations, and triads are

Wendal Jones: Three Fantasies for Horn and Piano. New York: Associated Music Publishers, 1969. [Score, 20 p., and part, $2.00]

In his Three Fantasies, Wendal Jones, an excellent bassoonist, demonstrates thor- ough understanding of the capabilities of the horn. Combined, the three movements provide a brief (ca. seven minutes), con- servative, eclectic piece. The first move- ment, Allegro con brio, is reminiscent of Hindemith. The themes are bold and the interval of a fourth in various forms pre- dominates the melodies. The second Fan- tasy (an appropriate title since the forms of each movement are quite free) opens and closes with a lyrical, recitative-like

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