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. Invention-Toccata-Fugue; II. Theme and Cadenzas; III. Chorale (Lass, 0 Herr, dein Ohr sich neigen); IV. Variation and Cadenzas. The second movement may be omitted; in any case, it is to be prerecorded and the tape played "during the performance of the fourth movement." The performing problems are exigiousthe composer thanks the Aeolian Players "who made it work"-and performers may hesitate to undertake this work on that account.Mixed Quintet employs a variety of notations ranging from spatial to ordinary metrical notation. There are a number of special instrumental effects. Some of these are very pretty, especially the harmonics obtained by vigorously rotating a bottle on the piano strings.The music itself is of only tepid interest. The inane mock-baroque counterpoint of the first movement, beginning with a five-part canon at the unison and moving on to textures suggested by the movement's subtitles, is not accomplished enough to be either witty or generative of larger-scale movement. Although there are some nice effects in the cadenzas of the second and fourth movements, these are not enough to make those movements cohere. Of the chorale, it could be said that if the Lord does incline his ear, er neiget zu Erkdltungen. Subotnick's Serenade No. 3 for flute, clarinet, violin, piano and tape is another story. The Serenade is a single movement in which significant interval and pitch relations, timbral articulation, rhythmic and textural contrasts develop a densely allusive musical structure. The movement subdivides into three long sections. In the first, unisons, fifths and thirds are prominent against a texture of seconds; the first section cadences on fifths which are arranged to make its open-ended character clear to the listener. The second section emphasizes octaves and fifths; in the flurried, broken phrasing of its cadence, fifths and seconds become the crucial intervals. The final section inverts the fifths to fourths with thirds/sixths, already present
Serenade No. 3 by Morton Subotnick is