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Mozart, Haydn and Early Beethoven: 1781-1802
Mozart, Haydn and Early Beethoven: 1781-1802
by Daniel Heartz
Edition: Hardcover
Price: $52.25
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4.0 out of 5 stars Almost the complete follow-up, November 22, 2013
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This tome is intended as the follow-up and completion of the project Daniel Heartz begun with "Haydn, Mozart and the Viennese School – 1740-1780". Together with his other book "Music in European Capitals – 1720-1780" they form a very thorough and extremely impressive survey of the Galant and classical styles. All of these books are uniformly excellent in their content, and I would like to focus on the one unfortunate point which detracts a star from my final rating.

My main gripe with this book, and the reason why I cannot give it five stars, is that it is narrower in scope than its predecessor. The reason for this is that the former gave brief but very interesting surveys of smaller names, such as Reutter, Tuma, Monn, Birck, Wagenseil, Gassmann, Salieri, Dittersdorf, Wanhal, Hofmann, Ordonez, Albrechtsberger and Steffan, as well as a chapter on Gluck's activities in Vienna, which is followed up in "Music in European Capitals", which charts his career after he moved to Paris. Together, these names are a decent introduction to the generation of Haydn, as well as the one immediately preceding it. Even though some details in these presentations have been superseded, they are still very useful, and were my introduction to every one of them, save Gluck.

It is therefore somewhat disappointing to observe that Heartz focuses solely on the three major classics. There are things in the first book that seems to indicate that he had originally planned otherwise: The story of Salieri is ended quickly after 1780, and begs for a continuation, and no music by Wanhal from after ca. 1783 is considered. Both of these men had long enough careers to justify a chapter in this book, and certainly Heartz would have had much interesting to say of their later careers, as well as some of Mozart's contemporaries and pupils, such as Eybler and Süßmayr. Musicology has traditionally been more interested in those preceding the great classics rather than their contemporaries and less advanced followers, which is a shame, since some of them were very fine. Heartz' first book was presented a much-needed corrective for the intelligent lay reader, and I was sorely disappointed to see that this approach had not been followed up here. There are good reasons for this: In general, less has been written about these composers, and the book is about as long as the first one in any case. I still think it is a shame, though.

What is in the book, however, is uniformly excellent. As the title promises, it tracks the careers of Mozart, Haydn and Beethoven through the years 1781-1802, with ample biographical data and discussion of musical details. Some musical skill is needed to appreciate the latter, but it should be well within the grasp of readers with their sight-reading basics in order.

The Farewell Symphony
The Farewell Symphony
by Anna Harwell Celenza
Edition: Hardcover
Price: $15.74
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1 of 1 people found the following review helpful
4.0 out of 5 stars A fitting introduction, September 24, 2011
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This review is from: The Farewell Symphony (Hardcover)
As a budding musicologist with a focus on Haydn, I bought this book as a way both of introducing what I am doing, and hopefully create a spark of interest in classical music, in the youngest members of my extended family. As a scholar, I am thoroughly impressed by Anna Harwell Celenza's work. The book really manages to capture Haydn's position at Esterháza, and her interpretation of the story and the symphony's musical content is as good as anyone's. At the end of the book there is a small text about the classical symphony, which is very nice, although it's instrument section does not mention flutes and timpani, which, to be sure, is not used in the Farewell symphony, but certainly were used often enough to warrant an inclusion even so. (Flutes are also featured in the second symphony on the following cd, no 31)

English is not my main language, but I do consider myself to be sufficiently fluent to have a say on matters of language: It strikes me that this book perhaps uses language that may be a bit too lofty for Amazon's recommended audience of 4-8 years; certainly the lower spectrum probably will not be able to properly grasp it.

The following cd has a recording of the Farewell symphony, as well of the "Horn signal" symphony, no. 31. Both of these recordings are of solid quality, and certainly improves the value of the book for anyone who hasn't already got an exhaustive collection of Haydn's symphonies. A very minor point, however, is that the Horn Signal is put first on the cd. While this is stated on the front of the cd it is a counter-intuitive solution, and it is bound to happen that someone not familiar with the works will be puzzled by why the first movement of the Horn signal symphony is described as "angry".

These are minor quibbles, though. If I am correct that the language used may be a bit too much for Amazon's suggested age group, that shouldn't be a problem for most; children do, as we all know, have a tendency to grow. I highly recommend this book, then, for anyone wanting to expose their own or other's children to the world of classical music. The music of the Farewell symphony I would think is supremely appropriate for this: It is intense, but not overpowering, of appropriate length and proportion, and is, finally, an acclaimed masterwork. And Celenza has certainly done a commendable job describing it for anyone not yet ready to take on James Webster's book on the subject. :)

The Listening Composer
The Listening Composer
by George Perle
Edition: Paperback
Price: $31.95
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1 of 1 people found the following review helpful
4.0 out of 5 stars Challenging but rewarding read, April 11, 2011
This review is from: The Listening Composer (Paperback)
This book is a collection (or, more likely, rewriting) of six lectures originally given to a live audience. You can sum down the basis of it's content to two statements:

1. The so-called "post-tonal" composers of the early 20th Century (Bartok, Berg, Schoenberg, Scriabin, Varese and Webern are the ones treated in any detail), for all their differences, share a common stylistic trait in their reliance of background structures made up of symmetrical constellations, primarily the tritone, the augmented third chord, the diminished seventh chord and the whoe-tone scale. These structures invade late tonal music as a disturbing feature (examples from Mahler and Liszt is shown), eventually replacing tonality as the underlying framework against which the compositions must be intellectually understood.

2. The Pitch Class Analysis method championed by Allen Forte is claimed to be entirely insufficient (as it has been employed traditionally; Perle is explicit in that he doesn't deny it's potential power) due to it's lack of a method to reveal underlying structures as opposed to contrapuntal elaborations and harmonic detours (the terms harmony and counterpoint are, of course, used in the widest possible meaning of the terms).

If this sounds interesting, "The Listening Composer" is probably for you. I do, however, have to warn any potential readers that this is not an easy read. The six lectures are supposed, one figures, to be on different topics, but analyses of different parts of one piece can be given in different chapters, with different foci to boot; Perle expects his reader to be able to follow him through sudden changes of focus through rather long stretches of text, and then to pick up the thread left behind when the time is right. To be sure, all discourse demands this to a certain extent, but I found this book particularly hard to comprehend. For the more advanced chapter I had to make notes of the chief points, something I've never HAD to do to follow the discourse of a book before. One can imagine that many of these points would have been easier to follow in the original live setting, and while there are indeed thoughts so profound that a dense style is required, but looking over my notes I can't help but think that the material could have been presented in an easier style by dropping the lecture chapterisation and reconsider the sequence of thoughts in the book; I am sure it could have been converted to a (admittedly very long) article in itself. We would of course have missed out on a lot of details and interesting anecdotes from Perle.

The cause may be that I am underread on 20th Century musicology texts. In any case, despite my critiques towards Perle's prose style I have become interested enough to plan to buy his other books, and, for the reader interested in the peculiarities of early 20th Century avant-garde music, I cannot do anything but recommend this book heartily.

Secret Lives of Great Composers: What Your Teachers Never Told You about the World's Musical Masters
Secret Lives of Great Composers: What Your Teachers Never Told You about the World's Musical Masters
by Elizabeth Lunday
Edition: Paperback
Price: $12.10
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4 of 4 people found the following review helpful
5.0 out of 5 stars Wonderful, just wonderful, April 10, 2011
As a musicologist I think this book gives a glimpse into the more human side of the composers in question. Too often their lives read like a hero story, and usually not a particularly good one at that. This doesn't do the music any favour, I believe, since most of us are human enough to be more interested in music made by a person whose life story we can identify and, at least to a certain degree, sympathise with (this, I believe, can work the other way around too; Wagner's music is given a fascinating sheen because the character who made it is so utterly repulsive). While perhaps not always pleasurable, these anecdotes show how composers also were men, who, for all of their pockmarks, is far more interesting than the marble statues their mothers would not have been able to recognise.

I would certainly recommend this book to everyone interested in classical music, middle school teachers desperate for something to make the pupils pay attention in music classes, and, perhaps most importantly, as a gift to your local conservative who upholds the classical tradition as a moral alternative to corrupt popular culture.

Theory of Harmony
Theory of Harmony
by Arnold Schoenberg
Edition: Paperback
Price: $30.91
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19 of 20 people found the following review helpful
3.0 out of 5 stars First and foremost about Schoenberg, April 8, 2011
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This review is from: Theory of Harmony (Paperback)
Walter Frisch writes in the new foreword to Schoenberg's Theory of Harmony that it "should be required reading for everyone interested in Schoenberg, in the history of harmonic theory and practice, or in the Austro-German culture of the first decades of the twentieth century". It is hard to disagree with such a statement, but it also delineates clearly who such a book should be relevant for.

I have to agree with the many writers who have already pointed out that this book, while not entirely unsuitable as a harmony textbook even today, is eclipsed by newer textbooks. I used Piston's Harmony book for learning purposes, but even that one is to be considered almost as old as Schoenberg's book these days; I don't know how the newer books are, but judging from the number of releases during the last decades there has probably been quite a bit of innovation even in such a field. The harmonic language described may not have changed much, but pedagogy definitely have. I therefore cannot wholeheartedly recommend this as a theory book for novices.

What is left, then, is an enormous amount of philosophising about the nature of the rules of tonality, and how they came to rise. Schoenberg himself says that he is a composer, not a scholar, and many of his ideas do, indeed, seem to be taken out of thin air. His thoughts on parallelisms seems particularly pitiable today, but historical benevolence must be granted: In the hundred years since the release of this book an enormous amount of information regarding medieval and renaissance composition and performance practice has been uncovered, things Schoenberg could not have known. For a mere mortal it is of course consoling to see that even a giant like Schoenberg could be so wrong when he acted on his intuition. The book is therefore somewhat flawed when it comes to explaining the philosophy behind common practice harmony, which is the field where this book seems to get the most respect.

In the end, the book's value comes from the fact that it is written by one of the pivotal composers in music history, and gives us a window into his thoughts. I realize that many reviewers state that the book had ignited their interest in harmony, or even composition, an interest previously dulled by more succinct and to-the-point textbooks. I can definitely sympathise with this view, as the book gives a lot more food for thought than your average harmony book does. On the other hand, it has always been my opinion that people who are easily bored by textbooks are so because they are unable to think of it's larger implications and possibilities. Unused is probably a better word that unable, because it certainly is possible to learn. And while one should not scoff at this book in that respect, there are many roads to Rome, after all, it is in a way dangerous due to the fact that Schoenberg's opinions may be taken as fact. Of course, it is a good and thought provoking read, but it must be read as a hundred year old book, that is, with the benefit of hindsight.

In that respect I would have wanted (and sceptically hoped for) a new edition where we were explained, in linear notes, where Schoenberg goes wrong in his musings on the history of theory, and, to the degree it is possible, which contemporary sources (in the broadest sense of the term) made him do so. Alas, such a thing was not to come for the 100th anniversary, and one is therefore left wondering whether it will ever come. Frisch's foreword is interesting, but not exciting enough to warrant buying the new edition, and I can't find any noticeable differences in content between this edition and the earlier one from my university library, save the introduction by Frisch. So while the book is primarily for those interested in Schoenberg it could have been made more useful by a thorough questioning of Schoenberg's claims, but unfortunately it doesn't look like anything like it is in the horizon.

I feel a bit bad about giving three stars, especially since the new binding, though paperback, is very nice, and the print is as good as anything out there. But the bottom line is that this book is useful, but for fewer people than one might presume. For the present day reader I find it first and foremost about Schoenberg, like Frisch.

Joseph Haydn and the Eighteenth Century: Collected Essays of Karl Geiringer (Detroit Monographs in Musicology)
Joseph Haydn and the Eighteenth Century: Collected Essays of Karl Geiringer (Detroit Monographs in Musicology)
by Karl Geiringer
Edition: Hardcover

2 of 2 people found the following review helpful
3.0 out of 5 stars 3,5 stars: Important musicologist, but I'm not quite sure where this is heading..., April 7, 2011
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The musicologist know how to value article compilations. Even though he has to pay for articles that for the most part have been published in journals freely available in most university libraries, there is just something about having it all within rigid covers, collected in one place and ready for your enjoyment; it is certainly a help when used in citations, both for the writer and the reader.

It is with this frame of mind (that of the academic musicologist) I write the following review; I believe most readers and potential purchasers will belong to this category as well, if not the point of view it is written from should be kept in mind.

First of all the good parts: Geiringer is indeed one of the chief voices in the revaluation of Haydn by post-war musicology, along with names such as Georg Feder, Jens Peter Larssen and H.C. Robbins Landon. A collection of his essays on Haydn is bound to contain a lot of interest, and indeed it does. Secondly, it is presented in a very nice hardcover edition, very attractive for the price. The pages have a good thickness to them, and the print of both text and music is impeccable.

Then we go onward to my gripes. First of all, this book is called "Collected essays", not "complete essays". Such a thing as the "complete essays" of such a prolific musicologist would probably have been an enormous endavour, considering size, copyrights etc.; such extravagances are reserved for the like of Carl Dahlhaus, apparently. Getting the Haydn essays of Geiringer together would probably be hard as well, and indeed, titles such as "The Small Sacred Works of Haydn in the Eszterhazy Archives at Eisenstadt" is absent. On the other hand, notes on the London symphonies from an album booklet is included. Perhaps I am deluded, but I would believe that anyone interested in a book containing exclusively articles on Haydn would be familiar enough with the London Symphonies that such a cursory explanation would not be needed. Granted, they may find use, such as being copied out to those less familiar with the works (students perhaps), but to include such a piece while leaving genuinely important articles does, at least on the face of it, betray a somewhat cock-eyed judgement from the editor (who also happened to be a very fine musicologist, as well as a student of Geiringer).

Still, even though it may not be complete this volume contains a wealth of information on both Haydn and Geiringer, and even though some of the material in here today will be most interesting from a "Haydn reception history" point of view, there are nevertheless still quite a bit of material in here that is just as relevant as when it was written. The 3,5 star score may seem harsh, then, but the book is a potpurri of genuinely interesting articles and relative travesties; of timeless and dated material. In some cases it will take a skilled reader to see the difference, and here the editing could perhaps have been more helpful. For the discerning eye and mind, however, Geiringer will continue to be a treasure trove for a long time.

Musical Form, Forms, and Formenlehre: Three Methodological Reflections
Musical Form, Forms, and Formenlehre: Three Methodological Reflections
by William Earl Caplin
Edition: Hardcover
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3 of 3 people found the following review helpful
5.0 out of 5 stars Highy recommended for anyone interested in modern-day Formenlehre, October 28, 2010
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Few times do I feel like writing a truly glowing review. There is always SOMETHING that should have been done differently, or could have been improved one way or the other. Therefore, when there are no obvious warts (or, like in this book, they are turned into something positive; more on that below) I have to avoid writing a pure panegyric eulogy. But in this case I have no choice: Pieter Berge has managed to create a brilliant tome, whose innovative angle will hopefully serve as a model for later publications.

On the surface, I can understand some scepticism: It only contains three essays, yet is sold as a hardcover book for a rather hefty price compared to its size. The brilliance of the project, however, is in the choice of participants and the form of discourse chosen. The article authors, first, are William E. Caplin, famous for his Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, James Hepokoski, of Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata fame, and lastly, James Webster, famous for his scholarly work on Haydn and all things related, but perhaps especially through his book Haydn's 'Farewell' Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in his Instrumental Music (Cambridge Studies in Music Theory and Analysis). Given the three article limit (and as we'll see there is a good reason for it) the cast couldn't have been better: all three are at the cutting edge of modern day Formenlehre; in fact, the first two are the chief exponents of the Formenlehre tradition in the last decade or two, and for anyone even passingly familiar with the field, Webster's works should speak for themselves as to his relevancy.

Just as important is the form the book has been given. After each essay, each writer is given an opportunity to criticise the content of the previous article. Everyone who has been to musicology symposiums or the like know how interesting such exchanges between the finest minds of the field can be, yet they are always limited by time schedules and the nature of verbal discourse. This book gives each writer an extended opportunity to critique far beyond what one could do during a seminar or the like. After the two replies, the original author is given the opportunity to reply to his colleagues. As the back of the book says the nature of these replies varies from the gently critical to the overtly polemical; one really get the sense of the different personalities of the writers. Neither are the blemishes in the arguments softened out; some comments that probably weren't well enough thought through are chastised thoroughly. The result is a highly enlightening text that nevertheless may point towards faults in all the authors, both in their own thoughts and their understanding of other writer's ideas.

All things considered, I highly recommend this book on all accounts for the reader interested in modern Formenlehre.

Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven
Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven
by William Earl Caplin
Edition: Paperback
Price: $41.47
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12 of 12 people found the following review helpful
4.0 out of 5 stars Five stars to Caplin, two stars to Oxford University Press, February 19, 2010
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For anyone interested in the music of the Viennese Classicism, this book is a godsend. It basically follows a two-part plan: (1) Teach a new, highly detailed sonata construction terminology, from the smallest parts to parts of whole movements and (2) show how these interrelate most of the time, and why certain instances break the supposed norms (based on the styles of Haydn, Mozart and Beethoven, which are very much alike and MOSTLY complimentary). It starts with showing how various types of opening phrases are built, and how these relate and differ to later phrases or themes introduced (all the various kinds are gone through thoroughly). This then leads into a discussion of the nature of the development and recapitulation, and ends up discussing each of the normal "sonata-style" movement forms separately.

I think this is a wonderful book both for musicologists and would-be composers (you'll probably need to develop your own exercises on the way, but when you are ready to deal with a book like this, you should handle that). It can probably be read by the enlightened dilettante, but unless you are willing to spend the amount of time needed to recognize each element while listening, I think the book is most useful for people who are actually working with music on paper. Performers who are not put off by theoretical discussions could probably benefit from it as well.

The book uses functional harmonic theory in the vein of Schoenberg and Riemann. In my native Norway this method is a lot more widely used than Schenkerian analysis, so I haven't had any problems with it; I've understood that some American readers may have to spend a little time adapting, though. My only gripe with the book is that the terminological material presented is vast and, while I am in no position to suggest improvements, feels like it could have been simplified. This is a minor inconvenience, but the rewards of the book are so great that it's definitely worth the time to go through it that extra time just to get it all down.

Any other caveats? There's two, both minor ones. First of all, all referential notes are printed in the back of the book. I usually like to read all of these, so I prefer that they are printed on the page where they are relevant; Saves me a lot of page flipping. The other point is that this book leaves out a large part of sonata theory: Texture. Although some very general observations are made, such as the fact that Alberti Bass and similar procedures usually are first introduced in transition passages (p. 125), texture isn't mentioned much. This book is primarily about melody and it's harmonic foundation. Which, of course, is fine. For what it is, it is a wonderful book, and one would be deluded to think that you could cram everything there is to know about sonata theory into 250 pages.

For the interested reader I'd also like to add Charles Rosen's Sonata Forms as a complimentary read: While this is a book very focused on terminology and isolation and fragmentation of sonata elements, Rosen's book take a much more prosaic road, in the vein of D. F. Tovey. I am just about to start on Hepokoski/Darcy's book Elements of Sonata Theory; Hopefully I will soon be able to add it to my recommended list.

However, I have to withhold one star. Why? Before I bought the book from Amazon, I borrowed it from the library. Comparing the two versions, the newer versions have significantly worse print quality than the older prints. The font is thicker, heavier and slightly less pleasing, but this isn't much of a problem. What IS annoying though is the quality of the note examples. I don't want to believe it, but it honestly look like OUP decided they needed to reprint this book, but had lost the original digital version, so they simply photocopied an earlier book and copied the scans. Both the stems and the bar lines are of varying thickness, and sometimes look slightly bent, and the whole score looks more blurred, and harder on the eye. I don't know why it came to be that way, but it appears totally meaningless, since the earlier print looked perfect. As far as I can see there's been no changes whatsoever in content.
Comment Comments (6) | Permalink | Most recent comment: Nov 22, 2013 11:19 AM PST

Brahms: Symphony No. 3, Ich schwing mein Horn ins Jammertal Op. 4/1, Es tont ein Voller Harflenklang Op. 17/1, Nachtwache I Op. 104/1, Einformig ist der Liebe Gram Op. 113/13, Gesang der Parzen Op. 89, Nanie Op. 82
Brahms: Symphony No. 3, Ich schwing mein Horn ins Jammertal Op. 4/1, Es tont ein Voller Harflenklang Op. 17/1, Nachtwache I Op. 104/1, Einformig ist der Liebe Gram Op. 113/13, Gesang der Parzen Op. 89, Nanie Op. 82
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3 of 5 people found the following review helpful
4.0 out of 5 stars A spectacular performance, December 14, 2009
Since this is a recording featuring Sir John Eliot Gardiner (and his two armies of generals, the Monteverdi Choir and the Orchestre Révolutionnaire et Romantique), people will probably already know a lot of what is to be expected: Fast tempi, period-correct orchestration and a flawless performance.

First, let's have a look at the content aside from the symphony. Like the other cds in Gardiner's Brahms cycle this cd features choral works; Brahms' works for choir and accompaniment actually make up a rather large part of his oeuvre, most of which is sadly neglected today (The Requiem and the Alto Rhapsody are the exceptions).

I had not heard Gesang der Parzen before I got this cd, and I was in for a real surprise. This work is a wonderful piece, and why it isn't heard more often baffles me. It has all the characteristic Brahmsian elements: The dynamic flexibility, the incredibly angry crescendi, and all the weltschmerz one could wish for. Nänie is probably a more famous work, and is given full justice here. My only gripe with Gardiner is that, for all the musical worth of him and his ensembles, sometimes his tempi are so high that the pieces lose some of their monumentality. This is not the case here; these pieces are, to my ears, played at an optimal tempo. There are a few other, smaller choral pieces from early in Brahms' carreer on here. These works are pleasant, but I think most people won't give them too many listens. Unlike the other cds in the Brahms cycle, there's no choral music by other composers on this cd. Given Gardiners' reasoning for including these piece (illuminate the debts Brahms owed to earlier masters) this may be considered both a strength and a weakness. I do not know the reason for this, but Brahms certainly have enough excellent choral music that stands on it's own.

Now, onward to the symphony itself. Whether Gardiner's sonic approach to these pieces are historical or not is a question I can't answer, and in all honesty don't think is that interesting; What really matters is how the result sounds. From a timbral perspective, this version of Brahms' third is quite unique. Mostly all versions of it feature a rather heavy string vibrato that may have been in the vogue around the turn of the century, but apparently this is not how Brahms himself intended these pieces to sound. The idea has some merit to it, because there are quite a few melodic ideas that are audiable in this version that is washed away in a wall of sound on just about every other recording I've heard. At the time when this symphony was written Brahms was 50 years old, and I have a hard time imagining that he would write in countrapuntal lines into the texture that were not meant to be heard.

Now, onto the speed issue. The outer movements are played at a rather high speed, perhaps too high for the finale, where some of the intensity seems to go away. My other speed related issue (and the only one I find really bothering) is the speed change in the third movement; the trio part of the movement is played at a significantly higher speed than the rest of the movement. I have the Dover Publications score of all of Brahms' symphonies, and while his tempo change notations during a piece is rather scarce, I am convinced that if he intended such a large change in tempo he would have notated it. I can only describe this effect as manneristic, which is a shame, especially because the timbre of Gardiner's ensemble suits the movement perfectly. These two combined points gives me no choice but remove a star from the review.

Some final points: The cd cover is made out of cardboard, and the booklet is glued onto the inside. This solution is far more sturdy than a standard cd cover, my only gripe with it is that the cd is contained in a cardboard pocket, a solution that tends to damage the cds unnecessarily over time. The cd covers in this series show paintings of abstract modernist Sir Howard Hogdkin. These paintings may not be to everyones taste, but I share Gardiner's love for his works. The booklet on the inside contains a short interview with Gardiner, where he explains some of the choices he made for this publication, as well as the lyrics to all the choral works. All text is reproduced in English, French and German.

So, what is the final verdict? I wouldn't recommend this as someone's first peak at Brahms' third. On the other hand, for the returning listener this is a very fresh take on one of the masterpiece of post-Beethovinian symphonic writing. And I suppose everyone enjoys a little choral music as an extra bonus.

German Requiem in Full Score
German Requiem in Full Score
by Johannes Brahms
Edition: Paperback
Price: $12.20
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1 of 1 people found the following review helpful
5.0 out of 5 stars Superb deal, November 13, 2009
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Dover Publications scores are the best value-for-money scores you can find out there, but the features of their scores are a bit hit and miss. This is one of the few orchestral scores they have which appears to have everything.

This particular edition is from Britkopf & Härtel's edition from 1926. I have no issues on the choice of format. It is not a condensed score, but features all present parts, even when they are silent for the entire page. For myself, I actually find this to be an advantage, as it means more space for analytical notes. One advantage this score has that many other Dover editions don't is the presence of bar numbers; very convenient in such a large scale piece!

The paper quality and printing quality is good; heavy rubber use is not a problem and there are no noteworthy blemishes in the print.

Unless someone can point out major errors in the print, this is everything the lay person, analyst, or pretty much anyone who isn't going to play an instrument in a performance could ever wish.
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