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HELMUT KALLMANN, ed. The Canadian Musical Heritage - Le Patrimoine musical canadien Vol. 8. Music for Orchestra I/Mususique pour orchestre I. Ottawa: Canadian Musical Heritage Society, 1990. xxvi, 272 pp. ISBN 0-919883-09-5 A welcome addition to the anthology of early Canadian music published by the Canadian Musical Heritage Society is Music for Orchestra I I Musique pour orchestre I edited by Helmut Kallman. Preceding the scores themselves is a brief account of orchestral composition in Canada from ca. 1790 to ca. 1925 as well as introductory commentary, critical notes, and the "reception history" of the seven works included in the present volume. In response to this reviewer's inquiry Dr. Kallman advised that parts for Rodolphe Mathieu's Trois Preludes (1912-15) and Ernest MacMillan's Overture (1924) are available for rental from the Canadian Music Centre (although copyright restrictions may apply to the former); a set of parts for Guillaume Couture's Reverie (ca. 1873-75) belongs to the CBC Toronto Music Library; parts for Antoine Dessane's Overture en fa (1863), Joseph Vezina's "Ton sourire" (1882), W.O. Forsyth's Romanza (ca. 1886-88) and Clarence Lucas's Overture - "Macbeth" (ca. 1900) are available from CMHS on rental. To present-day ears the most intriguing of these compositions may be Mathieu's Trois Preludes - the contemporaneous and almost identical piano version appears in CMH 6. Composed in his early twenties, the opening movement Sur un nom (1912) is reminiscent of Tristan. The second movement Vague. ..(1914) is less obviously indebted to the past; the third, Une Muse (1915), however, is unmistakably of the twentieth century. (Perhaps an enterprising conductor might program or record the piano and orchestral versions side by side). As Helmut Kallmann observes in his introduction, rather than a "history of orchestral composition" in 19th- and early 20th-century Canada there is instead a "common bond" of "admiration of certain European master composers" (Beethoven, BerUoz, Tchaikovsky, Wagner) - to this, most who peruse this volume would, I surmise, agree although to point out specific instances of motivic resemblance may be little more than the equivalent of name dropping. Kallmann observes forexample that a motive in Dessane's Overture (measures 10-13) is "best known from the finale of Mozart's "Jupiter" Symphony. More interesting however is a comparison with a passage from the first movement of that composer's Symphony in Bb, K. 319 (No. 33)." What this reviewer (not being in a position to judge the extent of Dessane's acquaintance with Mozart's symphonic output, finds most interesting is the fact that Dessane derives the motive in question from the eighth through eleventh counts of the four-measure three quarter time theme which opens his overture. This could lead to interesting speculation! Be that as it may, each listener will likely discover echoes of earlier European music throughout this volume, although when one encounters a certain passage in Couture's Reverie that bears a striking resemblance to Wagner's Tannhauser as well as to Schubert's Auf dem Wasser zu singen, one recaUs R. …

canadian university music review

Helmut Kallman, ed. The Canadian Musical Heritage - Le Patrimoine musical canadien. Vol. 8. Music for Orchestra I / Musique pour orchestre I. Ottawa: Canadian Musical Heritage Society, 1990. xxvi, 272 pp. ISBN 0-919883-09-5