52 Music Composer: Carl Friedrich Christian Fasch Title: Complete Keyboard Works, Volumes 2 and 3, Editor: Christopher Hogwood Publisher: Edition HH: HH 300SOL Website: httpr]/wwweditionhh.co.uk Reviewed by Jahn Collins ‘The two volumes reviewed here complete the new edition by Christopher Hogwood in three volumes of the surviving keyboard works of Fasch the Younger (1736-1800), pupil and colleague of CP.E. Bach in Hamburg, who left only a few key- board works for posterity since, on his deathbed, he asked his pupil Zelter to burn the contents of his music cabinet. ‘Volume Two contains two further sonatas and some sixteen character pieces. The sonatas, apparently never printed by Fasch's pupil Rellstab, are each in three move- ments, with fast virtuoso outer movements enclosing a stow, lyrical central movement. The first sonata is in the rarely encountered key of Bb minor, the second one is in C major and has crossed-hand passages in the first movement. The final movement makes much of lengthy singlenote writing, Perhaps itis not surprising that insufficient subscribers were found for a projected print. ‘The character pieces, fourteen of which, like those by PE. Bach, carry French-style names, are nearly all bipartite, although there are also several rondeaux with varied number of couplets: La Gutsch is the most extended. The Chaconne | Corni di San Martino is most effective in its relatively simple writing, Far more accessible than the very demanding so- natas, these delightful pieces contain plenty of stylistic and textural variety, with most being cast in the galant style, even if La Louise fs full of Sturm und Drang arama, Volume three contains four sets of variations and four miscellaneous pieces. The first two sets of variations in pat- ticular contain some highly demanding and varied virtuoso writing, with hand crossings, sweeping arpeggios, lefthand thumb pivoting, and extended figuration, The far more ap- proachable miscellaneous pieces consist of Polonaise and Trio with much use of Alberti bass, a short study for the left hand that offers scarcely any technical challenge (!), short, through-composed Allegro in C and, finally, three Marches, which were probably not intended as keyboard pieces, since the third contains suggestions of orchestration. ‘Awide range of ornaments (the trill with prefix or suffix is frequently indicated) and articulation signs is used, the performance of which is covered in a table in the introduc- tion to each volume. Although there is not as wide a range of dynamic markings as in the first volume, there are further instances of widely spaced writing, and all of the pieces in these two volumes are still particularly suited to the clavi- chord.The composer's skill was attested to by experts such as Burney, Kimnberger, and Reichardt, and this is evidenced in several movements. Perseverance with the trickier pas- sages will reap dividends. Four facsimiles are a useful addition to each volume. ‘The printing is of the usual clarity associated with Edition HE, and the volume is in the familiar spiral binding with a wrapover cover. There isa discussion of the pieces contained ineach volume, and an extensive critical commentary. The tireless efforts of Christopher Hogwood and his team of as- sistants, and the publisher Per Hartman, in making this com- poser’s works available in such excellent editions, deserve our thanks and appreciation, These pieces will give much pleasure to player and listener, and most are well worthy of inclusion in recitals. Music Composer: Gonzalo de Baena Arte novamente inventda pera aprender a tiger Editor: Bruno Forst Publisher: Dairea Ediciones, Madrid Price: 20€ Website: _http:||wwwdaireaediciones.es} Reviewed by john Collins This is the first modern edition of the book published in Lisbon in 1540 in which Gonzalo de Baena, at the age of around sixty, set out the principles for learning to playkeyboard instruments without the assistance of a teacher. It uses a system not of numbers, which became so popu- lar in Spain, but of letters with various diacritical marks identifying the pitch. Rhythmic determinants are rather more difficult to notate, which may well explain the lack of fantasias, although such pieces would be, technically, beyond the reach of the beginners for whom the book was intended. There is even the expectation that the beginner will cut out these letters and glue them to the keys of his or her instrument. Bruno Forst’s introduction covers the history of this long- forgotten volume (the object of an indispensable article by Tess Knighton published in 1996 in Plainsong and Medieval Music). There follows an extensive introduction to the let ter notation, the criteria for the commentaries, reasons for choosing Juan Bermudo for advice on interpretation, comments on modality, semitonal inflections, tactus and tempo, glosas and ornamentation. (The latter was covered only scantily in the original, paraphrased as “it remains for every one to add whichever grace or glasa seems best.”) Baena describes only the one figure in the Prélego, which equates to Santa Maria’s redoble. Although far from the highly complex system described by Santa Maria, the mod- em player need not doubt that his or her sixteenth-century predecessor was most certainly expected to add ornaments. Finally, there is a brief discussion about instruments on which these pieces could have been played. Bruno Forst gives the complete Prélogo to the original (albeit with a few orthographical changes) and provides copious footnotes to explain further some of the problematic passages and difficulties, The music comprises sixty-six pieces in a graduated or- der of complexity suited to the beginner's need to make progress, Named French and Franco-Flemish composers include Josquin (represented by fourteen pieces), Compere (six) Ockeghem and Obrecht (three each), Brumel, Agricola, Caton, Fevin, and Gascon with one each. Iberian compos- ers represented include Antonio de Baena (Gonzalo's son), Pefalosa, Escobar, Urreda, Anchieta, Badajoz, Basurto, Morales, and Gonzalo himself. The final piece, by Antonio de Baena, is set out in one voice only. but with the in- struction that itis to be completed as a four-voice work: a solution is given in the critical notes. The great majority are settings of sections from the Mass or of motets, with only four two-voice pieces having no title; such a reper «ore looks old fashioned, even for the time of compilation. The smallest note value used is a quarter note. giving the pieces a somewhat austere look. With the appropriate or- mentation, however, these pieces will come to life. The »riginal score has been transcribed into a two-stave format that retains the original note values. Barlines are placed between the staves based on the whole note as unit, the notes being held until the succeeding note, regardless of collocation of other moving parts. This layout might take awhile to get used to. ‘The critical commentary is extensive and gives details ‘of composers when possible, the title of the piece, the tone in which it is written, suggestions for tactus, sources of the vocal originals that have been consulted together with the vocal line, and suggestions for editorial amendments. There are several tables. including a list of publications of instrumental music in the Iberian Peninsula during the sixteenth century, and a list of instramental works pub- lished in Europe from 1500-1540. A third table provides comparative data about Baena, the composers whose works are included in the Arte, and developments in Iberian and European keyboard music 1440-1541. The publications pro- vides several indexes, allowing one to search by title, loca- tion in the Arte, composer, specific sections of the Mass or motet and, finally, tone. Bruno Forst has provided us with a remarkably detailed ‘work, which is intended primarily for practical performance. All of the above is in Spanish, but there is a brief summary in English available as a download from the publisher's web- site, The printing, with six systems to the page, is clear, although rather small. At almost 250 pages for the modest outlay of 20 Euros, this volume is a real bargain, Bruno Forst and Dairea Ediciones deserve our fullest thanks for making it available at such a reasonable price. cD Title: J.S. Bach, Goldberg Variations Performer: Michael Tsalka label: Paladino PMR 0032 Website; Naxosdirekt.de Price: W795 E Reviewed by Christa Rakich Everyone wants to play the Goldberg Variations. Pianists play them on the piano because that is the instrument they play. Kudos to them for managing it on one keyboard. Harpsichordists lay the most compelling claim to them be- cause that is the instrument for which they were written. Tl have a double. Why play them on the clavichord? For that matter, why play them with viol consort, string quartet, string trio, string otchestra, marimba, cello and organ (Yo-Yo Ma and Ton Koopman), harp. jazz ensemble (Loussier), guitar, brass quintet (Canadian), and oh, let's not forget the Baby Einstein Music Box Orchestra?