page 41 note 1
The Time review of Andre Hodéir's Since Debussy, the book that made Barraqué's reputation overnight, has him replying to the question ‘What is your goal in life?’ with ‘To ride the métro and keep from committing suicide’.
page 41 note 2
Bayer, , Francis, , De Schoenberg à Cage (Klinksieck, 1990), p. 66
. All translations in this review by RF.
page 41 note 3
Barraqué, , Jean, , Debussy (Editions Seuil, rev. ed. 1994), p. 148
page 42 note 4
Ibid., p. 169.
page 42 note 5
Ibid., p. 131.
page 42 note 6
Ibid., p. 158.
page 43 note 7
‘It goes ever lower, ever lower, As if with each step she [Andromache] were falling within herself into an ever greater sorrow. Ah, how lovely it is, how lovely! Dear God!’.
Bourges, , Elémire, , Le crépuscule de dieux (Christian Pirot, 1987), p. 240
page 45 note 1
For some reason, Juhani Nuorvala's otherwise accurate CD notes claim that only seven players are required when the disc clearly lists nine (plus conductor); even if Juhani Liimatainen and his console were omitted (and it would be an injustice to do so), eight acoustic performers are needed.
page 46 note 2
The UK première was given on 10 October 1994, in an accomplished reading by the BBCSO conducted by Andrew Davis. It was broadcast live on Radio 3.
page 47 note 3
I would like to have heard Owain Arwel Hughes' premiére performance, which I understand was somewhat quicker.
* Gerard Victory died while this issue was in the press (Ed.).
page 54 note 1
For instance in the composer's own 1957 recording (EMI France, czs7 67279 2) or in Enrique Bátiz's from 1985 (also EMI, CDS 7 47901 8). Mata's recent death is much to be regretted.
page 54 note 2
And re-issues:- e.g. a 1960s recording of the Violin Concerto on the Italian Dynamic label (CDS 110).
page 55 note 3
This disc includes the 12 American Preludes (1944) and the First Sonata (1952) for piano, as well as the Sonata for cello and piano (1979) and Pampeana No.2 (1950).
page 56 note 4
In his otherwise excellent notes, David Nelson makes too much, I feel, of the tonal ambiguities of Nos. 9, 10 and 12, leading one to expect the wrong kind of works. The Ninth in particular is audibly of a less popular cast than No. 5 or the later more Classically poised quartets, especially in the astringency of some of the melodic lines and harmonies, which are unusual in Villa-Lobos's output. In No. 10, only one of the four movements is of uncertain key. When heard alongside the quartets of Schoenberg, Webern, or the Second (1958) by Ginastera, claims of atonality seem insecure if not absurd.