To the Dark Wood; Music for Woodwind Quintet by George RochbergReview by: Larry D. TietzeNotes, Second Series, Vol. 44, No. 3 (Mar., 1988), p. 590Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/941558 .

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MLA Notes, March 1988 MLA Notes, March 1988 MLA Notes, March 1988

period, is not binding or reminiscent. Rather, it seems naive and lacking in seri- ous semantic substance.

The final movement propels the listener through the same key centers as in the first movement, but with more bravura and di- rection. Simple off-beat accents and a few syncopations ease the square and often rigid common-time meter. Multiple stops in the strings provide a "bas relief" which stands out from the chord and scale outline found elsewhere in the piece. The skeletal attacks that succeed in driving the movement to a close create the Trio's most effective mo- ments. The final E-major triad, however, sums up the most disappointing aspects of this all-too-predictable assemblage of trite techniques and over-used materials.

DAVID COPE

University of California, Santa Cruz

George Rochberg. To the Dark Wood; music for woodwind quintet. Bryn Mawr: Presser, 1986. [Score, 38 p., and

parts; $20.00.]

To the Dark Wood is George Rochberg's first significant chamber work written ex- clusively for woodwinds (a 1980 Duo for flute and bassoon notwithstanding). The composer states that the title is metaphoric and is intended to indicate the nature of the music in the most general sense. De- claring that it is not program music, he ad- mits to an expressive tone which charac- terizes "the world of nature and the old mythology which still haunts the mind of man." Although such a description might conjure up thoughts of primordial beings, this is first-rate woodwind writing. True to the one-time-modernist-turned-neo-roman- ticist's style, To the Dark Wood is expressive, tonal chamber music.

The French horn, which opens the one- movement (15' 30") work with a melan- choly horn call, has a predominant role throughout. Rochberg describes the sound quality of the horn as adding a sobering darkness to the sustained passages while expressing the quality of nobility. The score includes a specific seating arrangement, with the horn placed directly in the center of the other four players and the flute and oboe (as opposed to the usual flute and clarinet pairing) farthest downstage. Established groups may experience a disconcerting change in the players' aural perception

period, is not binding or reminiscent. Rather, it seems naive and lacking in seri- ous semantic substance.

The final movement propels the listener through the same key centers as in the first movement, but with more bravura and di- rection. Simple off-beat accents and a few syncopations ease the square and often rigid common-time meter. Multiple stops in the strings provide a "bas relief" which stands out from the chord and scale outline found elsewhere in the piece. The skeletal attacks that succeed in driving the movement to a close create the Trio's most effective mo- ments. The final E-major triad, however, sums up the most disappointing aspects of this all-too-predictable assemblage of trite techniques and over-used materials.

DAVID COPE

University of California, Santa Cruz

George Rochberg. To the Dark Wood; music for woodwind quintet. Bryn Mawr: Presser, 1986. [Score, 38 p., and

parts; $20.00.]

To the Dark Wood is George Rochberg's first significant chamber work written ex- clusively for woodwinds (a 1980 Duo for flute and bassoon notwithstanding). The composer states that the title is metaphoric and is intended to indicate the nature of the music in the most general sense. De- claring that it is not program music, he ad- mits to an expressive tone which charac- terizes "the world of nature and the old mythology which still haunts the mind of man." Although such a description might conjure up thoughts of primordial beings, this is first-rate woodwind writing. True to the one-time-modernist-turned-neo-roman- ticist's style, To the Dark Wood is expressive, tonal chamber music.

The French horn, which opens the one- movement (15' 30") work with a melan- choly horn call, has a predominant role throughout. Rochberg describes the sound quality of the horn as adding a sobering darkness to the sustained passages while expressing the quality of nobility. The score includes a specific seating arrangement, with the horn placed directly in the center of the other four players and the flute and oboe (as opposed to the usual flute and clarinet pairing) farthest downstage. Established groups may experience a disconcerting change in the players' aural perception

period, is not binding or reminiscent. Rather, it seems naive and lacking in seri- ous semantic substance.

The final movement propels the listener through the same key centers as in the first movement, but with more bravura and di- rection. Simple off-beat accents and a few syncopations ease the square and often rigid common-time meter. Multiple stops in the strings provide a "bas relief" which stands out from the chord and scale outline found elsewhere in the piece. The skeletal attacks that succeed in driving the movement to a close create the Trio's most effective mo- ments. The final E-major triad, however, sums up the most disappointing aspects of this all-too-predictable assemblage of trite techniques and over-used materials.

DAVID COPE

University of California, Santa Cruz

George Rochberg. To the Dark Wood; music for woodwind quintet. Bryn Mawr: Presser, 1986. [Score, 38 p., and

parts; $20.00.]

To the Dark Wood is George Rochberg's first significant chamber work written ex- clusively for woodwinds (a 1980 Duo for flute and bassoon notwithstanding). The composer states that the title is metaphoric and is intended to indicate the nature of the music in the most general sense. De- claring that it is not program music, he ad- mits to an expressive tone which charac- terizes "the world of nature and the old mythology which still haunts the mind of man." Although such a description might conjure up thoughts of primordial beings, this is first-rate woodwind writing. True to the one-time-modernist-turned-neo-roman- ticist's style, To the Dark Wood is expressive, tonal chamber music.

The French horn, which opens the one- movement (15' 30") work with a melan- choly horn call, has a predominant role throughout. Rochberg describes the sound quality of the horn as adding a sobering darkness to the sustained passages while expressing the quality of nobility. The score includes a specific seating arrangement, with the horn placed directly in the center of the other four players and the flute and oboe (as opposed to the usual flute and clarinet pairing) farthest downstage. Established groups may experience a disconcerting change in the players' aural perception

within the ensemble, and balance and in- tonation problems may need to be ad- dressed accordingly. I wonder if this unique setup is really all that important in achiev- ing the composer's wishes: the sound that filters out into the audience will most likely be perceived just as if the group were seated in a more traditional manner.

An abundance of tempo changes occur throughout the work. Rochberg encour- ages metronomic flexibility in the slower sections while asking for strict adherence to the faster tempos (metronome markings are provided). Within one twenty-three- measure section (bars 100-122) there are eight subito tempo changes, and the resul- tant schizophrenic mood shifts are very ex- citing. Technically demanding passages in which sequential material is traded off be- tween the,various instruments create the effect of a continuous line of crescendoing sixty-fourth notes. One will unmistakably hear Stravinsky in a secco obbligato figure that progresses through several rhythmic permutations. Because of dissonant aug- mented-fourth intervals (bars 72-76), the upper registers of the flute and clarinet will need some careful tuning to minimize overtone "buzzing."

Presser's notation is very clear and never seems crowded. I compliment the pub- lisher for producing very easy page turns in the individual parts. This is a work that will be welcomed by the serious woodwind group. One might compare To the Dark Wood in character with Samuel Barber's Summer Music (1956), although the former is more dissonant and less expansive and lush. Fine idiomatic writing makes To the Dark Wood very accessible to the college-level wood- wind quintet, and yet the "definitive per- formance" may need to come from the professional sector.

LARRY D. TIETZE Virtuosi Woodwind Quintet

Peter Maxwell Davies. March: the Pole Star; for brass quintet. London: Ches- ter (Magnamusic-Baton), 1984. [Score, 6 p., $10.00; parts available on special order.]

Ian MacDonald. Sea Sketches; for brass quintet. London: Boosey, 1986. [Score, 16 p., and parts; $7.50.]

within the ensemble, and balance and in- tonation problems may need to be ad- dressed accordingly. I wonder if this unique setup is really all that important in achiev- ing the composer's wishes: the sound that filters out into the audience will most likely be perceived just as if the group were seated in a more traditional manner.

An abundance of tempo changes occur throughout the work. Rochberg encour- ages metronomic flexibility in the slower sections while asking for strict adherence to the faster tempos (metronome markings are provided). Within one twenty-three- measure section (bars 100-122) there are eight subito tempo changes, and the resul- tant schizophrenic mood shifts are very ex- citing. Technically demanding passages in which sequential material is traded off be- tween the,various instruments create the effect of a continuous line of crescendoing sixty-fourth notes. One will unmistakably hear Stravinsky in a secco obbligato figure that progresses through several rhythmic permutations. Because of dissonant aug- mented-fourth intervals (bars 72-76), the upper registers of the flute and clarinet will need some careful tuning to minimize overtone "buzzing."

Presser's notation is very clear and never seems crowded. I compliment the pub- lisher for producing very easy page turns in the individual parts. This is a work that will be welcomed by the serious woodwind group. One might compare To the Dark Wood in character with Samuel Barber's Summer Music (1956), although the former is more dissonant and less expansive and lush. Fine idiomatic writing makes To the Dark Wood very accessible to the college-level wood- wind quintet, and yet the "definitive per- formance" may need to come from the professional sector.

LARRY D. TIETZE Virtuosi Woodwind Quintet

Peter Maxwell Davies. March: the Pole Star; for brass quintet. London: Ches- ter (Magnamusic-Baton), 1984. [Score, 6 p., $10.00; parts available on special order.]

Ian MacDonald. Sea Sketches; for brass quintet. London: Boosey, 1986. [Score, 16 p., and parts; $7.50.]

within the ensemble, and balance and in- tonation problems may need to be ad- dressed accordingly. I wonder if this unique setup is really all that important in achiev- ing the composer's wishes: the sound that filters out into the audience will most likely be perceived just as if the group were seated in a more traditional manner.

An abundance of tempo changes occur throughout the work. Rochberg encour- ages metronomic flexibility in the slower sections while asking for strict adherence to the faster tempos (metronome markings are provided). Within one twenty-three- measure section (bars 100-122) there are eight subito tempo changes, and the resul- tant schizophrenic mood shifts are very ex- citing. Technically demanding passages in which sequential material is traded off be- tween the,various instruments create the effect of a continuous line of crescendoing sixty-fourth notes. One will unmistakably hear Stravinsky in a secco obbligato figure that progresses through several rhythmic permutations. Because of dissonant aug- mented-fourth intervals (bars 72-76), the upper registers of the flute and clarinet will need some careful tuning to minimize overtone "buzzing."

Presser's notation is very clear and never seems crowded. I compliment the pub- lisher for producing very easy page turns in the individual parts. This is a work that will be welcomed by the serious woodwind group. One might compare To the Dark Wood in character with Samuel Barber's Summer Music (1956), although the former is more dissonant and less expansive and lush. Fine idiomatic writing makes To the Dark Wood very accessible to the college-level wood- wind quintet, and yet the "definitive per- formance" may need to come from the professional sector.

LARRY D. TIETZE Virtuosi Woodwind Quintet

Peter Maxwell Davies. March: the Pole Star; for brass quintet. London: Ches- ter (Magnamusic-Baton), 1984. [Score, 6 p., $10.00; parts available on special order.]

Ian MacDonald. Sea Sketches; for brass quintet. London: Boosey, 1986. [Score, 16 p., and parts; $7.50.]

590 590 590

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