63 tinatos, sequences, modulations, ton­ ality, triads, regular rhythms and periods, and the like. The emanci­ Henze's "Undine," or pated Henze, who now finds the shackles of serial technique too re­ stricting, mixes his techniques with Tonality Rediscovered an expert hand and thereby achieves a broad spectrum of expressive and By EVERETT HELM musical left wing. dramatic colors. Henze's "retrograde" development Above all, this is music par excel­ . reaches its most extreme point to lence for dancing, not only in its AFTER its world premiere in Lon- date in "Undine." Although disson­ clear rhythmic structure but also in i\ don's Covent Garden Opera ance is used freely, when an expres­ the brilliant orchestration. In its pe­ •^ •*- House last October. Hans Wer­ sive purpose is to be achieved, the culiar synthesis of modern German ner Henze's new three-act ballet score also contains many technical romanticism with Italian clarity and "Undine" was given its first perform­ devices that can (with no depreca­ directness it catches splendidly the ance on the European continent by tion) be termed conventional: os- spirit of Lamotte-Fouque's fairy tale. the here. We did not see the London performance, but we can report that the work had a resounding success in Munich. "Undine" was commissioned by fHE WORLD A stirring selection of the world's most rousing Covent Garden, and Henze doubtless marches In superlative stereo that has to be wrote the score with Margot Fonteyn heard to be believed! Capt. Gerhard Scholz in mind. She danced the title role in conducts the official West German Army Band London, and her partner was no less In marches by Sousa, Elgar, Arnold, Fucllc and a personage than Michael Somes. The Strauss, role of "Undine" overshadows the Uranio's latest releases of interest to all categories of entire piece and demands a very good music listeners include "Jozz at Stereovllle" with ballerina indeed. Munich produced Coleman Hawkins, Rex Stewart, Cootie Williams, Bud such a one in the person of Dulce Freeman and other jazz greats; "Opero Sampler" spot­ Anaya, a new name in ballet, of whom lighting such international artists os Kurt Boehme, more will undoubtedly be heard in Dolores Wilson, Tiano Lemnitz and Erna Berger in the future. She is currently engaged arias from favorite operas in the Urania catolog; at the Stuttgart Opera and appeared "Stereo Sampler" of selections from Uranio stereo discs. in Munich as guest performer. A more perfect water-sprite could hardly be imagined. She is small but unusually supple and graceful and possesses an excellent technique. Her opposite number, the young fisher who spends the evening trying to make up his mind in favor of his terrestrial love or the nymph, was danced most convincingly by Franz Bauer, and the rest of the cast was WRITE FOR FREE URANIA STEREO AND of excellent quality. The stage sets η MONOPHONIC CATALOG No. SR-24 ^^ 509 Fifth Avenue, New York 17, N. Y. were somewhat on the prosaic side, but ballet master Alan Carter's imag­ inative choreography kept things moving most of the evening, with only an occasional dead spot—no mean achievement considering the fact that this is an evening-long piece. The choice of the old-fashioned romantic story of Undine by this young composer will not surprise anyone who has followed Henze's This vibrant and exciting recording of Men­ development in recent years. He delssohn's popular "Italian" Symphony is started out his compositorial career coupled with α new Urania FIRST, the Trumpet immediately after the war as an en­ Overture, In thrilling stereo or high fidelity fant terrible of the most radical, post-Webem tendencies, and for monophonic, a truly exciting addition to any several years he terrorized German collection. audiences with his atonal stridencies. Other distinctive Urania stereo and monophonic clas­ Some seven years ago he moved to sics to keep in mind: "La Grande Duchesse De Gerol- Italy, and since that time his music stein", Offenbach's delightful operetta featuring has gradually become "Mediterrane- Eugenia Zoresko and the Pasdeloup Orchestra under anized." By degrees he withdrew Rene Leibowitz; Highlights from Wogner's "Die Meister- from the serially minded αυαηΐ garde and has long since been excommuni­ singer"; Beethoven's "Misso Solemnis"; Tschaikovsky's cated and consigned to Hades by the Symphony No. 1 ("Winter Dreams"). PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED 64

Pisces THE AMEN CORNER

Names and Numbers

NEW HIS department has been so is joined by one old friend, tenor busy recently with general saxophonist Ben Webster, and some ANGEL Tmusical meditations that we of the top-notch modern players: have skimped on the mention of cur­ Frank Rosolino, trombone; Andre rent waxworks. Herewith we try to Previn or Jimmy Rowles, piano; make amends, with something for Barney Kessel, guitar; Leroy Vinne- STEREO almost any jazz taste: gar, bass; and Shelly Manne, drums. 1. TRADITIONAL NEW ORLEANS FUNERAL This blend devote themselves to some RECORDS AND PARADE MUSIC—"Jazz Begins" by elegant blues and a program of time­ the Young Tuxedo Brass Band is an less tunes including "Old Fashioned Love," "Blue Lou," and "Blues My Encores by Russia's greatest violinist... LP by a deeply atavistic outfit whose youngest member is old enough to Naughty Sweetie Gives to Me." It symphony and opera conducted by Beecham is a quietly handsome record, with and Klemperer ... favored selections of the have been born in 1923. After a num­ ber of hymns in the stridently mourn­ several of Carter's delicately inflected Sadler's Wells ballet... among this month's solos (Contemporary C 3555). distinguished performances on ANGEL ful Crescent City manner, led by STEREO. As always, recorded with superb John Casimir's clarinet, the band 5. MODERN JAZZ COMPOSER IN FULL fidelity (musical and stereophonic) and breaks into post-funeral syncopated DRESS—"Benny Golson's New York packaged distinctively in the Angel tradition. marches and is joined by Jim Robin­ Scene" reveals the composer-tenor son, the late Bunk Johnson's cele­ saxophonist Golson in a suave pro­ brated tailgate trombone player. All gram, featuring his own work, which SIBELIUS: SYMPHONY NO. 2 in D Maior these men have preserved their an­ Philharmonia Orchestra, Paul Kletzki, Con­ specially highlights the leader, trum­ ductor. Angel S 35314 cient idiom about as carefully as the peter Art Farmer, and pianist Wynton No players of Japan, and the disc Kelly. This is on the plush side of OISTRAKH ENCORES (Atlantic 1297) stands up well against modern jazz—what might be called David Oistrakh, Violinist; Vladimir Yampolsky, the earlier recordings of clarinetist Pianist. post-Ellingtonian music. It is seldom George Lewis and the Eureka Brass if ever as dramatic as Ellington, but Clair DeLune (Debussy). Valse-Scherzo (Tchaikov­ sky) . Also selections by Falla, Ysaye, Suk, Kodaly, Band (Pax 9001). it is redolent and subtle and beauti­ Wieniawski, Zarzycki. Angel S 35354 2. NEW ORLEANS JAZZ REVIVED—"Oh fully played, both in solo and in Play That Thing!" offers a group of ensemble (Contemporary C 3552). BRAHMS: SONG OF DESTINY (Schicksalslied] classics rendered by Pee Wee Irwin's and ACADEMIC FESTIVAL OVERTURE 6. HIGH MODERN TRUMPET STAR—Art LISZT: PSALM XIII "Lord, How Long?" Dixieland Eight, with the leader on Farmer, also appearing on the record Royal Philharmonic Orchestra, Sir Thomas trumpet and the forthright Lou Mc- above, is surely one of the outstand­ Beecham, Bart., Conductor. Beecham Choral So­ Garrity on trombone. The selections ing modern jazz instrumentalists, a ciety, Denis Vaughan, Chorus Master. include several Jelly Roll Morton Angel S 35400 paragon of warmth, invention and compositions: "Kansas City Stomps," finish. Just how versatile he is— MOZART: SYMPHONY NO. 25 in G Minor and "Black Bottom Stomp," "Grandpa's SYMPHONY NO. 40 in G Minor always within the bounds of musical Spells" and "Georgia Swing." I would Philharmonia Orchestra, , Con­ felicity—^has perhaps never been so ductor. Angel S 35407 still much rather have Morton's loose- evident as it is in "Portrait of Art jointed original recordings, but this Farmer," where he is accompanied MOZART: THE ABDUCTION FROM THE SERAGLIO revivalism is full of pulse and fervor (Die Entfuhrung Aus Dem Serail) only by Hank Jones, piano; Addison (United Artists UAL 4010). Sopranos: Lois Marshall, Use HoUweg. Tenors: Farmer, bass; and Roy Haynes, Leopold Simoneau, Gerhard Unger. Bass: Gottlob 3. SOCIETY BOUNCE, BOSTON DIVISION. drums. I would single out his version Frick; also Hansgeorg Laubenthal. Royal Phil­ Harry Marshard is to Boston debu­ of "The Very Thought of You" for harmonic Orchestra, Sir , Bart., Conductor. Beecham Choral Society, Denis tante parties what Lester Lanin is several reasons: for Farmer's and Vaughan, Chorus Master. Angel S 3555 B/l to New York's and Meyer Davis to Jones's lovely improvisation; for the Philadelphia's (all three, of course, way in which a modern jazz i-hythm SADLER'S WELLS BALLET SILVER JUBILEE work as far around the map as they section can express so much more Excerpts from Cinderella (Prokofiev); Apparitions can get). The sounds of each are than rhythmic impulse and support; (Liszt). Also ballet excerpts by Purcell, Boyce, Couperin, Mendelssohn, Auber, Gavin Gordon, virtually interchangeable, but repre­ and for the lyricism which, I am Lambert, Stein-Berners, Bliss. Royal Opera House sent a modest worth, like the better happy to find, seems to be increas­ Orchestra, Covent Garden. Robert Irving, Con­ California Riesling or New Jersey ingly important among modern jazz ductor. Angel S 35521 beer. Given a ready audience, Mar- musicians, as against their well- PROKOFIEV: CINDERELLA _ Ballet Suite shard can make a fine dancing eve­ known preoccupation with rapid py­ Royal Philharmonic Orchestra, Robert Irving, ning, and he has made thousands. rotechnics. As Farmer says of Conductor. Angel S 35529 There is a nice mixture of tunes on another of his numbers, Benny Gol­ son's "Stablemates": ". . . the melody TCHAIKOVSKY: VIOLIN CONCERTO in D Maior a recent Marshard LP, ranging from MENDELSSOHN: VIOLIN CONCERTO IN Ε Minor "Waiting for the Robert E. Lee" isn't just one of those things with Christian Ferras, Violin. Philharmonia Orchestra, to the latterly sensational "Volare" just a long line of eighth notes. It's Constantin Silvestri, Conductor. Angel S 35606 (Cadence CLP 4011). really a melody; somebody could sing it without singing sixty words 4. SWINGMASTER IN A NEW SETTING— a minute." (Contemporary C 3554). Benny Carter is one of the finest alto saxophonists in jazz history, flu­ 7. CHAMBER JAZZ DE LUXE—The hour, ent, sensitive, graceful. He is also whenever it may be, which calls for •*^ei, STEBI*' a trumpeter of skill. In a new LP he something dulcet but rhythmically in- bANGEL PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED