Telemusik was composed in 1966 in electronic means (a point which seems a bokusho, taku, or kane. As a result, the studio for electronic music of the to explain the title). The listener is only it is relatively easy for the listener to Japanese Radio in Tokyo. It is Stock - dimly aware of the various sources (Gag - follow the over -all design (much more hausen's first attempt to write what he aku players, folk music from Bali, Spain, so, for example, than in the later calls "a music of the whole world, of Hungary, etc.); their transformed result Hymnen, a work which takes a similar all countries and all races." The idea is, in fact, scarcely distinguishable from point of departure in its conception). was to collect as source material varied the many electronically produced sounds This disc is essential listening for types of folk music from all over the which are also employed. And the end anyone interested in keeping up with world and to transform these electroni- product sounds like pure Stockhausen, a recent compositional trends. The sound cally and (in an idea reminiscent of point which I think indicates the degree is excellent and Stockhausen's notes pro- Mixtur) thereby forge them into a higher of accomplishment in the composition. vide a helpful introduction to both unity. Through the electronic manipula- The five -track tape of the original has pieces. R.P.M. tion the composer attempted to obviate been effectively reduced to two -track the problem of collage: one does not stereo. The piece is organized as a series hear scraps of disparate material pasted of thirty -two "structures" of varying STRAVINSKY: The Rite of Spring. Cleve- together (as in a collage), but rather a length, most of which are clearly artic- land Orchestra. Pierre Boulez, cond.; unified over -all sound-the disparate ele- ulated at their beginning by a sharp at- Los Angeles Philharmonic Orchestra, ments are "brought together" through tack on a percussive instrument such as Zubin Mehta, cond. For a feature review of these recordings, see page 73.

STRAVINSKY: Variations; Abraham and Isaac; Introitus; Requiem Canticles. Linda Anderson, soprano; Elaine Bonaz- zi, alto; Charles Bressler, tenor; Donald Gramm, bass; Ithaca College Concert Choir (in Requiem Canticles); Richard Frisch, baritone (in Abraham and Is- aac); Gregg Smith Singers (in Introitus); Columbia Symphony Orchestra, Igor Stravinsky, cond. (in Introitus); Robert Craft, cond. (in the other works). Co- lumbia MS 7386, $5.98.

Two years ago, reviewing a record mis- named "Recent Stravinsky," I listed four works that should have been included. Now behold, here at last they all are, on a record gallantly named "The New Stra- vinsky" -not quite so new, but still very welcome. These pieces are the most sub- stantial works of Stravinsky's ninth dec- ade- concentrated, elliptical, thorough- ly characteristic, and yet often startlingly original. Abraham and Isaac, a "sacred ballad" for baritone and chamber orchestra (nine winds, six brass, and twenty -one strings), was completed in March 1963, and is dedicated "to the people of the State of Israel." It is a setting of Genesis XXII, in the Hebrew version; Stravinsky's "coach" in this language (which he does not speak) was none other than the philosopher Sir Isaiah Berlin. Unlike Britten's canticle of the same title (which uses a dramatic text from the Chester Miracle Plays), the story is told entirely in the third person. The primary musical continuity is provided by the highly in- Segovia is "so proud "of him. flected vocal line, against which is set a variety of instrumental lines, with chords So are we. reserved for points of emphasis. There is no refrain or similar device of structural repetition; this is a through -composed In 1968, Andrés Segovia singled progressed not by learning but by work, and not easy to grasp without re- Chris Parkening out: He belongs intuition." peated hearings. The performance is to that special group of my disci- In the new spirit of Angel, we reasonably accurate, but a greater degree of smoothness is needed to make the ples of which I am so proud." The have recorded three albums by list was five names long. At 20, Chris Parkening. Hear them. We be- vocal line really coherent; doubtless the Parkening was the only American. lieve his subtlety and his thought- unfamiliar language is also a handicap. After Chris attended his Berkeley fulness and his talent will delight The Variations, completed in October classes, Segovia commented, "He you. Just as they have Segovia. 1964 and subtitled "Aldous Huxley in Memoriam," continue the line of aphor- CMMSTOMU MR[IIIG istic orchestral writing begun in Agon Ant 1101M.4TA and further explored in Movements -a 1AIUf11ING primarily linear, soloistic style marked oLnihu by frequent coloristic disjunctions. The most striking passages are three variations in twelve -part polyphony, the first of

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