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Music for brass

horn player, conductor and composer. Concerning technique he has much good advice to offer, but he is at his best when relating such matters to the fundamental musical and interpretative issues which underpin them. An example of this is his illustration of how not to play the opening of Sibelius's Fifth Symphony, which deals admirably with a frequently neglected aspect of instrumental playing the way a player can sometimes impede the line of a phrase by 'bulging' on individual notes when striving for expressive intensity. However, despite the continuing validity of Schuller's message, it is a great pity that the opportunity was not taken for a more thorough updating in this second edition. In the new preface, for example, Schuller enthuses about the work of a number of American jazz horn players, while remaining virtually silent on a much more significant development of the last thirty years, the resurgence of the natural horn. This is, however, merely an error of omission. More serious are the numerous errors of commission in the repertoire list. It really is a shame that the list should have been expanded without any effort apparently being made to correct it, or to present it in a more systematic and useable format. As it stands it is frankly shambolic. Most composers are listed with date of birth, but some, apparently haphazardly, are not. There are misspellings: 'Persichletti', 'Serenato Invano'. The Spohr Nonet and the Beethoven Piano and Wind Quintets are given with incorrect instrumentation. Many works are listed without any opus or other catalogue number to aid identification. Some works are mysteriously omitted; Schumann's five part songs for male voices and horn quartet are included, but not Schubert's Nachtgesang im Walde, which inspired them; the Strauss Symphony for Wind (the socalled ' Happy Workshop' Sonatina) is included, but there is no mention of its companion work, the Sonatina in F. We are asked to believe that JeanBaptiste Senaille (who died in 1730) had horn and piano in mind when he composed his familiar Allegro Spiritoso. And the problems are not entirely confined to the repertoire list: as early as the second sentence of the new preface there is a startling proof-reading howler, whereby the horn player Ifor James is rendered, complete with inverted commas, as 'for James'.