Review: [untitled] Author(s): Hans T. David Source: Notes, Second Series, Vol. 9, No. 2 (Mar., 1952), p.

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Lehrbuch des Kontrapunktes.

Von

Heinrich Lemacher und Hermann Schroeder. Mainz: B. Schott's Sihne [dist. in America by Associated Music Pub[119 p., music, lishers, NYC, 1950]. 8vo; paper, $2.40] Every thinking teacher of harmony or counterpoint will feel the desire to write his own textbooks. Here is a new introduction to counterpoint, an intelligent and musical book with few rules and many references to compositions in divers styles. The authors aim at a combination of elements of the "vocal" counterpoint teaching, according to Palestrina and Fux, and the "instrumental" one according to Bach, to which the treatment of folk songs is added as a "contemporary triplum." They deliberately take up an intermediary position-kindness prevents us from rendering Vermittlungsstellung as a form of "compromise"between K. Jeppesen's Palestrina-based Counterpoint, Ernst Kurth's Grundlagen des linearen Kontrapunkts, and Hindemith's Craft of Musical Composition. Holding that counterpoint instruction should accomplish an introduction to the study of distinct styles, this reviewer advocates a stricter separation of historical situations than that offered by Lemacher and Schroeder. Without the composer's concurrence, however, the musicologist is perhaps not privileged to determine how far the teaching of counterpoint should rely on historical principles. HANS T. DAVID

composite items) are taken up separately. The author shows a certain predilection for slow measured execution. In the case of the mordent this is in direct contradiction to Bach's single chart of ornaments (from the Clavierbiichlein fiir Wilhelm Friedemann Bach, which is here misdated 1770). While the larger library and the mature organist may want the book, it is hardly suited for a student who has not mastered the precarious skill of disagreeing with opinions presented in print. Perhaps this was in the mind of author and publisher when they supplemented the material with three blank pages, headed NOTES. HANST. DAVID

Johann Sebastian Bach: Documenta.

Herausgegeben durch die Niedersachsische Staats- und Universititsbibliothek von Wilhelm Martin Luther zum Bachfest 1950 in Goittingen. Kassel und Basel: [150 p., Barenreiter-Verlag [1950]. illus., 8vo; DM 2.40] The bicentenary of Bach's death found his memory cheerfully astir. The present catalog records in exemplary fashion what must have been a spectacular exhibit of Bach items. W. M. Luther, who in the memorial year also saw through the press a splendid facsimile edition of Bach's Sei Solo [sic] for unaccompanied violin (Barenreiter-Verlag), took great pains to cover the entire field of Bachiana, including chiefly holographs by Bach and his sons, early manuscript copies, and original editions of Bach works, documents, and portraits. The informative catalog descriptions are carefully worked out. The former Preussische Staatsbibliothek in Berlin (now called Offentliche wissenschaftliche Bibliothek) had been the foremost repository of Bach material. The part of t'he collection evacuated to southern Germany during the war was entrusted under the occupation to the Universititsbibliothek Tiibingen (UBT) and the Westdeutsche Bibliothek in Marburg (WB). The information is rounded out by a pamphlet, Westdeutsche Bibliothek (Sammlungen der ehemaligen Preussischen Staatsbibliothek), BachAusstellung 1950, Katalog [xi p., illus.,

Ornamentation in J. S. Bach's Organ Works. By PutnamAldrich. New York:

Coleman-Ross Co., 1950. [iv, 61 (5) p., music, 8vo; $2.00] Putnam Aldrich is the author of a monumental study (originally a Harvard dissertation) of ornamentation in the 17th and 18th centuries, which has been announced for publication this spring or summer. While awaiting the important larger publication we are served this hors d'oeuvre, a smallish book that seems to suggest omission of essential material for lack of space. After a short general introduction, the basic forms of ornaments (trill, mordent, appoggiatura, turn, and

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