Psalm 57. In Three Movements. SATB with Piano, Organ or Brass Quartet by Jean BergerReview by: F. Mark SiebertNotes, Second Series, Vol. 22, No. 2 (Winter, 1965 - Winter, 1966), p. 972Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/895001 .

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church choirs or for academic groups. Accompaniment by organ would probably not diminish the effect, but piano accom- paniment would. The voices are well- handled, and the parts are not unusually difficult. The style is basically diatonic and tonal, with a judicious balance of linear and chordal writing. Jean Berger: Psalm 57. In three movements. SATB with piano, organ or brass quartet. Mryn Mawr, Pa.: Theodore Presser Co., 1964. [32 p., $1.25; brass pts. for rent]

Berger's setting of Psalm 57 is perhaps a bit more complex than many of the anthems that have recently come from his pen. A competent chorus will be required to bring it off successfully. There are some rather difficult leaps in exposed spots, some unaccompanied dissonant passages that contain pitfalls, and some rhythmic complexities that require con- centration.

All three movements might stand as separate anthems, but as a cycle they are convincing. The corner movements are brilliant and vigorous, marked by shifting metric patterns. The first movement has a slower, more contemplative middle sec-

church choirs or for academic groups. Accompaniment by organ would probably not diminish the effect, but piano accom- paniment would. The voices are well- handled, and the parts are not unusually difficult. The style is basically diatonic and tonal, with a judicious balance of linear and chordal writing. Jean Berger: Psalm 57. In three movements. SATB with piano, organ or brass quartet. Mryn Mawr, Pa.: Theodore Presser Co., 1964. [32 p., $1.25; brass pts. for rent]

Berger's setting of Psalm 57 is perhaps a bit more complex than many of the anthems that have recently come from his pen. A competent chorus will be required to bring it off successfully. There are some rather difficult leaps in exposed spots, some unaccompanied dissonant passages that contain pitfalls, and some rhythmic complexities that require con- centration.

All three movements might stand as separate anthems, but as a cycle they are convincing. The corner movements are brilliant and vigorous, marked by shifting metric patterns. The first movement has a slower, more contemplative middle sec-

church choirs or for academic groups. Accompaniment by organ would probably not diminish the effect, but piano accom- paniment would. The voices are well- handled, and the parts are not unusually difficult. The style is basically diatonic and tonal, with a judicious balance of linear and chordal writing. Jean Berger: Psalm 57. In three movements. SATB with piano, organ or brass quartet. Mryn Mawr, Pa.: Theodore Presser Co., 1964. [32 p., $1.25; brass pts. for rent]

Berger's setting of Psalm 57 is perhaps a bit more complex than many of the anthems that have recently come from his pen. A competent chorus will be required to bring it off successfully. There are some rather difficult leaps in exposed spots, some unaccompanied dissonant passages that contain pitfalls, and some rhythmic complexities that require con- centration.

All three movements might stand as separate anthems, but as a cycle they are convincing. The corner movements are brilliant and vigorous, marked by shifting metric patterns. The first movement has a slower, more contemplative middle sec-

tion. The second movement is perhaps the most striking of the three. Certainly its vivid text (vss. 4 and 6 of the Psalm) is more challenging to musical expression than the garden-variety material of the other movements (vss. 1-3, 5, 7-11). The easily-moving, frequently quiet second movement provides a moving setting of such striking lines as "My soul is among lions, and I lie even among them that are set on fire, even the sons of men who teeth are spears and arrows."

Apparently the accompaniment is re- garded as optionally for piano, organ, or brass quartet. The brass ensemble would appear admirably suited for the corner movements, but the greater flexibility of the organ seems made to order for the second movement.

In general the style balances linear and chordal writing, sometimes becoming vigorously declamatory. Chromatic and diatonic writing is also in balance. There is dissonance throughout, sometimes with rubbing adjacent seconds that almost group into small clusters. Berger's fine understanding of choral writing is every- where in evidence.

F. MARK SIEBERT

tion. The second movement is perhaps the most striking of the three. Certainly its vivid text (vss. 4 and 6 of the Psalm) is more challenging to musical expression than the garden-variety material of the other movements (vss. 1-3, 5, 7-11). The easily-moving, frequently quiet second movement provides a moving setting of such striking lines as "My soul is among lions, and I lie even among them that are set on fire, even the sons of men who teeth are spears and arrows."

Apparently the accompaniment is re- garded as optionally for piano, organ, or brass quartet. The brass ensemble would appear admirably suited for the corner movements, but the greater flexibility of the organ seems made to order for the second movement.

In general the style balances linear and chordal writing, sometimes becoming vigorously declamatory. Chromatic and diatonic writing is also in balance. There is dissonance throughout, sometimes with rubbing adjacent seconds that almost group into small clusters. Berger's fine understanding of choral writing is every- where in evidence.

F. MARK SIEBERT

tion. The second movement is perhaps the most striking of the three. Certainly its vivid text (vss. 4 and 6 of the Psalm) is more challenging to musical expression than the garden-variety material of the other movements (vss. 1-3, 5, 7-11). The easily-moving, frequently quiet second movement provides a moving setting of such striking lines as "My soul is among lions, and I lie even among them that are set on fire, even the sons of men who teeth are spears and arrows."

Apparently the accompaniment is re- garded as optionally for piano, organ, or brass quartet. The brass ensemble would appear admirably suited for the corner movements, but the greater flexibility of the organ seems made to order for the second movement.

In general the style balances linear and chordal writing, sometimes becoming vigorously declamatory. Chromatic and diatonic writing is also in balance. There is dissonance throughout, sometimes with rubbing adjacent seconds that almost group into small clusters. Berger's fine understanding of choral writing is every- where in evidence.

F. MARK SIEBERT

ORCHESTRAL MUSIC ORCHESTRAL MUSIC ORCHESTRAL MUSIC

W. A. Mozart: Concerto in D, for Piano and Orchestra, K. V. 175. Ed. for 2 pianos, 4 hands by Soulima Stravinsky. (Ed. Peters, No. 6391.) New York: C. F. Peters, 1964. [Score, 38 p., $2.00] W. A. Mozart: Concerto in B flat, for Piano and Orchestra, K. V. 238. Ed. for 2 pianos, 4 hands by Soulima Stravinsky. (Ed. Peters, No. 6392.) New York: C. F. Peters, 1964. [Score, 41 p., $2.00]

The attentive observer of our concert life has undoubtedly noticed the neglect of Mozart's output in the field of the piano concerto. Most performers of pres- tige limit themselves to the performance of the Concertos in D minor, K. 466, and C minor, K. 491. The reasons for this attitude are impossible to discover, be- cause as great as these two works are, their musical values do not exceed those

W. A. Mozart: Concerto in D, for Piano and Orchestra, K. V. 175. Ed. for 2 pianos, 4 hands by Soulima Stravinsky. (Ed. Peters, No. 6391.) New York: C. F. Peters, 1964. [Score, 38 p., $2.00] W. A. Mozart: Concerto in B flat, for Piano and Orchestra, K. V. 238. Ed. for 2 pianos, 4 hands by Soulima Stravinsky. (Ed. Peters, No. 6392.) New York: C. F. Peters, 1964. [Score, 41 p., $2.00]

The attentive observer of our concert life has undoubtedly noticed the neglect of Mozart's output in the field of the piano concerto. Most performers of pres- tige limit themselves to the performance of the Concertos in D minor, K. 466, and C minor, K. 491. The reasons for this attitude are impossible to discover, be- cause as great as these two works are, their musical values do not exceed those

W. A. Mozart: Concerto in D, for Piano and Orchestra, K. V. 175. Ed. for 2 pianos, 4 hands by Soulima Stravinsky. (Ed. Peters, No. 6391.) New York: C. F. Peters, 1964. [Score, 38 p., $2.00] W. A. Mozart: Concerto in B flat, for Piano and Orchestra, K. V. 238. Ed. for 2 pianos, 4 hands by Soulima Stravinsky. (Ed. Peters, No. 6392.) New York: C. F. Peters, 1964. [Score, 41 p., $2.00]

The attentive observer of our concert life has undoubtedly noticed the neglect of Mozart's output in the field of the piano concerto. Most performers of pres- tige limit themselves to the performance of the Concertos in D minor, K. 466, and C minor, K. 491. The reasons for this attitude are impossible to discover, be- cause as great as these two works are, their musical values do not exceed those

of the concertos in C major, K. 467, E flat, K. 482, A major, K. 488 and C major, K. 503. In singling out these works this reviewer does not intend to establish a quality rating. Rather, since the other concertos of Mozart's Viennese periods are not minor works, their neglect is very deplorable. As far as this re- viewer's knowledge goes, only two of the outstanding pianists include all Mozart concertos in their repertory-Dame Myra Hess and Mieczyslaw Horszowski.

Since most of Mozart's 17 Viennese piano concertos are neglected we should not wonder that the same treatment is accorded his earlier essays in this field, the Salzburg concertos. For these reasons the appearance of two items of this period, the D major concerto, K. 175, and the Bb piece, K. 238, in an arrangement for two pianos should be welcomed. The former is actually Mozart's first creation

of the concertos in C major, K. 467, E flat, K. 482, A major, K. 488 and C major, K. 503. In singling out these works this reviewer does not intend to establish a quality rating. Rather, since the other concertos of Mozart's Viennese periods are not minor works, their neglect is very deplorable. As far as this re- viewer's knowledge goes, only two of the outstanding pianists include all Mozart concertos in their repertory-Dame Myra Hess and Mieczyslaw Horszowski.

Since most of Mozart's 17 Viennese piano concertos are neglected we should not wonder that the same treatment is accorded his earlier essays in this field, the Salzburg concertos. For these reasons the appearance of two items of this period, the D major concerto, K. 175, and the Bb piece, K. 238, in an arrangement for two pianos should be welcomed. The former is actually Mozart's first creation

of the concertos in C major, K. 467, E flat, K. 482, A major, K. 488 and C major, K. 503. In singling out these works this reviewer does not intend to establish a quality rating. Rather, since the other concertos of Mozart's Viennese periods are not minor works, their neglect is very deplorable. As far as this re- viewer's knowledge goes, only two of the outstanding pianists include all Mozart concertos in their repertory-Dame Myra Hess and Mieczyslaw Horszowski.

Since most of Mozart's 17 Viennese piano concertos are neglected we should not wonder that the same treatment is accorded his earlier essays in this field, the Salzburg concertos. For these reasons the appearance of two items of this period, the D major concerto, K. 175, and the Bb piece, K. 238, in an arrangement for two pianos should be welcomed. The former is actually Mozart's first creation

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