Ten Trios, for Female Voices

Carl Remecke
1872 The Musical Times and Singing Class Circular  
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. This content downloaded from 137.189.171.235 on Thu, 04 Feb 2016 03:43:25 UTC All use subject to JSTOR Terms and Conditions 1. The Deaxning Lcake. 2. Pratse of
more » ... cake. 2. Pratse of Sp} tny. 3. Of oak thy Wt0t6rlbfM1 bter'sprqparedJ 4. 5z6nbeams teD Wt1tter. 5. The awaking of SIorn. 6. The Wisnter hath not a blossom. 7. Thou t;haf Th7yself zxitAb death hast st;rivee. 8. Thve Evening W}zd. 9. As iw thefield goodly frz^zt will grow. 10. The E7>ves. THE words of these Trios, e2rcellently translated fronl the original by Dr. Duleken, are well fitted for music, and those who know Herr Carl Reinecke's compositions need scarcely be told that they haare all recei^red a refined and artistic setting. No. 1 has an exceedingly simple subject, the accompaniinent being but little more than a support to the voices throughout. No. 2 begins with a characteristic little symphony, which is repeated with much effect between the verses. The voices answering each other at the commence-:ent, well express the cheerful character of the poetlxy * and a good point is gained by the holding notes ill the voiceparts at the conclusion, during the progress of the symphony. No. 3 has a sombre theme, in F minor-and No. 4, columencing in E Yninor, has a highly effectiare change into the tonic major, the brightness of the last phrase being in excellent contrast with the pathos of the opening theme. In No. 5, the voices enter in imitation Oll the word " Aloft "and, apart from the attractive nature of the melody, there is much ch&racter in the treatment of the socal parts througllout. The colleluding words, "It comes again," are 1n0St appropriately set. No. 6, the voices in canon, is ill our opinion destined to be the most popular of the set. l'he theme is melodious andl the truly musicianlike mauller in which it is accornpanied will materially aid its effect upon artistic listeners. The coda, too, is extremely beautiful, and if well sunffl, the success of the song may be safely predicted. No. 7 tnay probably frighten amateurs with its arlay of fiats; but the subject is in good sympathy with the words, and thoroughly vocal. No. 8 begins with a solo " Quasi parlando," to a semiqu&ver aceompaniment, the other voices stealing in with good effect to the words7 { How whispers kind the evening wind.7' There is much simDle beauty in this Trio, and the easy flow of the vocal parts will no doubt make it a favourite with amateur singers. No. 9 also begins with a solo for the first voice, to a triplet arLpegS7io acconlpaniment. The melody is highly attractive and well expresses the rolds the passages of imitation giving an artistic &haracter to the composition which lifts it above the ordinary vocal pieces without creating any unnecessary difficulties. No. 10, opening with a brief symphony, has a light and tripping subjeet, starting with the three voices in harmony, this effect being preserved throughout the Trio. A strange oonfusion occurs vVThere the :13 sharp, which belongs to the harmony, is written F llatural for the voices; but we presume that this is ouly done that the singers may read the interval with greater ease, and the accompa:nist therefore had better keep his eye fixed upon his oxvn part. These ten Trios will be a great boon to those in search of good socal part-music for ladies' voices; and we may mention, in conclllsion, that they are a11 published singly. O'ee cr,Zl t7te Mouzilt. Sotlg. Written by H. 9\T. Duleken, Ph. D. The Kizy etd the lllixlst-et. Song. The wolds translated from the German, by H. W. Duicken, Ph. D. March o)twacl. Song. Tr&nslated fronl the French of W. Chantepie, ty H. W. Duleken, Ph. D. Composed by J. Faure. THESE three songs complete the group of vocal compositions by M. Faure, recentlypublished. " O'er all the mountain " has a simple theme, preceded by a short symphony, which admirably expresses Dr. Dnleken's thought-nothingn however, to say in disparagement of the workmanship in the song before us. The chords are thrown together with grammatical acctlracy, and the lnodulations are free and carefully written * but there is no character in the piece a the theme is destitute of life. We cannot too often repeat that writing notes to +rords is not composition and a review upon a song does not necessarily praise it because it can find nothing to censure. We are often as in the present instance, inclined to view with favour a composer whose music is destitute of fault; but as a rule we should earnestly advise every author not to write unless he has something to say. Ten Trws, for Bemale Voices. Composed by Carl iReinecke.
doi:10.2307/3351641 fatcat:bclvwtxk3reffona6qe7zlmjj4