noting cuts made. Hamm decides the 1935 manifestation is the best one and
should be the one given today. He finds no formal design in the work and does
not refer to Starr’s efforts in disclosing one (#860).- Shirley, Wayne D. “Rotating Porgy and Bess.” In The Gershwin Style: New
Looks at the Music of George Gershwin,ed. Wayne Schneider, 21–34 (New
York: Oxford U.P., 1999; xiv, 290p.; ISBN 0-19-509020-0; ML410 .G28
G38).
Shirley’s essay, one of 12 in the volume, is an intriguing and ingenious exami-
nation of a set of four leaves, in Gershwin’s hand, in the Library of Congress.
The leaves show the Porgy motif in different versions. They are explained as
efforts to implement Joseph Schillinger’s “rotation” device for varying a theme;
Gershwin had taken some composition lessons from him. With 33 notes.
Charles-Hubert Gervais (1671–1744)
Hypermnestreis in FO, v.31.
Jean-Claude Gillier (1667–1737)
Amphionis in FO,v.13.
Alberto Ginastera (1916–1983)
- Storni, Eduardo. Ginastera. Madrid: Espasa-Calpe, 1983. 212p. ISBN 8–4239-
5380-7. ML410 .G49 S88.
A straightforward biography, useful for reception accounts of Don Rodrigo
and Bomarzo. No index. - Suárez Urtubey, Pola. Alberto Ginastera. Buenos Aires: Ediciones Culturales
Argentinas, 1972. 162p. No ISBN. ML410 .G36 S9.
A biography, with micro- and macroanalysis of Don Rodrigo.
866.Alberto Ginastera. Ed. Friedrich Stangemacher. Bonn: Boosey & Hawkes, - 122p. ISBN 3-8709-0204-3. ML410 .G49 A5.
Seven essays—in German—by various authors, three by Ginastera himself
(about Don Rodrigoand Bomarzo). Malena Kuss has a fine technical study,
“Symbol und Phantasie in Ginasteras Bomarzo,” giving micro- and macro-
analysis but marred by inscrutable musical examples. The volume has a work-
list, a bibliography of about 30 entries, and no index. - Kuss, Malena. “Type, Derivation, and Use of Folk Idioms in Ginastera’s Don
Rodrigo.” Latin American Music Review1 (1980): 176–195.
Finds this to be “the opera in which assimilation of native idioms of rural folk
extraction takes place at the most basic and structural compositional level.”
The essay focuses on one such idiom, which is integrated into the basic 12-tone
row as its first four-note segment, and on the structural role this segment plays
throughout the work. Parallels to Berg’s Luluare pointed out.
172 Opera