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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes. All use subject to JSTOR Terms and Conditions Music Reviews Music ReviewsThe autography is easily read and the printing excellent. A piano reduction is available as Peters Edition No. 8206.Despite the date of publication given in the score (1971), Alfred Uhl's Konzertante Symphonie first appeared in print in 1979. It was written in 1943, however, and it very clearly bears the imprint of its day. Hindemith's influence pervades the work, for instance, while it otherwise reveals what was even in the early 1940s a relatively conservative and traditional musical approach.Nevertheless, the Konzertante Symphonie conveys a distinctly individual impression, partly owing to Uhl's treatment of the clarinet. He treats it as a solo instrument, of course, but as a solo instrument within the orchestra rather than outside of it. I can easily imagine performances where the soloist is seated with the other woodwind players, for the soloist's role is often no greater than that, for example, of the principal flutist.The soloist's role very clearly seems to be that of primus inter pares, for the focus of attention in the work keeps shifting from instrument to instrument. To put it another way, there are many soloists in the work; the clarinetist is simply the most prominent. This is truly a Konzertante Symphonie and not a concerto.Uhl understands orchestral instruments very well, especially the clarinet. He makes full use of the clarinet's potential, yet the writing always seems natural and even easy. It is not, of course, but neither is it awkward.In three movements lasting approximately eighteen minutes, the work makes a strong impact. It deserves, therefore, the serious attention of clarinetists and conductors everywhere. It is, incidentally, dedicated to Leopold Wlach, a marvelous player and the leading Austrian clarinetist of his day.The present edition serves the work very well. The autography is exceptionally attractive, the printing is first-rate, and the binding (glue and staples) durable. At this price ($42.00) it should be.
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