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have been included because they have introduced new techniques and sounds into the repertoire.

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A technique simply being possible gives it a valid place in such a text without a supporting citation and certainly without comment regarding the authors view of success on the part of the composer. Verification of a technique by citing music of any taste is not necessary. Moreover, the assumption inherent in the above quotation, that methods need to be verified by musical examples, disregards the possibility of including methods in a handbook that have not yet been used in a score, which is extremely limiting.

The inclusion of extracts from scores seems to have the added purpose of pointing performers to new repertoire. Indeed, repertoire recommendations are popular, particularly in the most recently written handbooks. In the second edition of his book, Rehfeldt includes a fifty-page compilation of repertoire lists of various specialist performers.79 Sharon Mabry goes a step further by including recommended concert programmes.80 Both Sharon Mabry and Allen and Patricia Strange include a long list of unpublished works in their bibliographies, which, being largely unobtainable cant possibly be thought of as supporting a musical point. Creating an unbiased list of contemporary scores is a daunting task and cellists are fortunate to have two books (by Homuth and Markevitch)81 and several websites dedicated to this purpose (such as the online database compiled by Matthias Lorenz).82

Musical examples that do work well in such books are exercises and short studies written for the purpose of technical training. Bartolozzi considers those in his book as illustrations of all the technical possibilities discussed to allow the immediate use of the resulting new sounds.83 Douglass Hill also includes
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Schneider, The Contemporary Guitar, 208. Rehfeldt, New Directions for Clarinet, 2nd edn., 145-94. 80 Sharon Mabry, Exploring Twentieth-Century Vocal Music: A Practical Guide to Innovations in Performance and Repertoire (New York: Oxford University Press, 2002), 141-80. 81 Donald Homuth, Cello Music Since 1960: A Biography of Solo, Chamber and Orchestral Works for the Solo Cellist (Berkeley: Fallen Leaf Press, 1994). Dimitry Markevitch, The Solo Cello: A Biography of the Unaccompanied Violincello literature (Berkeley: Fallen Leaf Press, 1989). 82 <http://www.matlorenz.de/Datenbank/index.htm> (accessed 1st October, 2009). 83 Bartolozzi, New Sounds for Woodwind, 5-6.

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