Pierrot Lunaire

Author(s): R. A. Wheeler
Reviewed work(s):
Source: Music & Letters, Vol. 33, No. 4 (Oct., 1952), p. 376
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/729783 .
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AND LETTERS

MUSIC

376

AND THE GRAMOPHONE

TOVEY
Sir,

In the interests of absolute accuracy it may be as well to correct the

statement made in Dr. Grierson's book on Tovey and repeated in Dr.
Dickson's review of it in Music & LETTERS,that no gramophone record of
Tovey's piano playing exists. There is on the last side of the ten records
of the Roth Quartet's performance of' The Art of Fugue' a recording
of Tovey's playing of his conjectural ending of that work (Columbia
Record Ref. No. ROX 145). It is true that this record is in rather a
special category, but I think it gives a fair impression of Tovey's Bach
playing generally, and it at least deserves to be regarded as an historical
document of some interest. I confess I have listened to it oftener than
I have to the rest of the set to which it belongs. But that, I tell myself,
has nothing to do with Bach, although it may have something to do with
the fact that Tovey always maintained that 'The Art of Fugue' was
keyboard music. It certainly is not string quartet music.
STEWART DEAS.

University of Sheffield.
LUNAIRE

PIERROT
Sir,

In your review of 'Bel Canto in the Golden Age' you state that
"with the exception of such eccentric productions as Schonberg's
'Pierrot', all vocal music requires beautiful rather than ugly singing ".
I should like to point out that ' Pierrot' is a work for reciter, not singer,
and that your two references to it are therefore not relevant.
R. A. WHEELER.

West Wickham.

REVIEWERS
B. W. G. R.
E. J.
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P. A. T.
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R. C.
T. D .

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Bernard Rose
Evan John
Peter Tranchell
Editor
Thurston Dart