Don Pasquale (nocturne). (Woodwinds).

Don Pasquale (nocturne), by Gaetano Donizetti and arranged by Francois Nerini. Editions Henry Lemoine, distributed by Theodore Presser Co., (588 N. Gulph Rd., King of Prussia, PA 19406), 2000. 3 pp. flute, 2 pp. piano; $10.95. Intermediate.

Francois Nerini has cleverly captured the essence of the touching duet between Norina and Ernesto from the Third Act of Donizetti's Don Pasquale in a lovely duet for flutes with piano accompaniment published by Theodore Presser. Many flutists are familiar with this version of the duet that was included in Tone Development Through Interpretation by Marcel Moyse. His arrangement is similar to Nerini's in that the original vocal lines are transcribed almost verbatim; however, Moyse placed his transcription down a half step from the original A major and switched the vocal lines to place the higher sounding voice in the first flute part, while Nerini retained the original key and voicing structure.

When evaluating the varied teaching possibilities of this duet, several ideas are considered. The range of the duet is excellent for intermediate flutists (first octave G sharp to second octave A). The time signature and rhythms may be confusing at first; however, the repetitive nature of this aria lends itself to the practice of previously unknown rhythms. The voicing may at first be confusing for intermediate flute students because beginning and early intermediate flute duets invariably voice the second flute below the first flute. An explanation of the original voicing (tenor sounding an octave below the soprano) will provide sufficient rationale, as well as perhaps the opportunity for a short discussion of vocal technique.

When comparing the transcription to the original score, a few inconsistencies are noted. Some of these editorial decisions are helpful to young flutists, who often need assistance performing the more musical elements of duets. For example, the dynamic range in the original score is pianissimo to piano; however, Nerini has provided a more realistic set of dynamic markings for intermediate flutists. Other editorial changes seem somewhat careless. These many editorial changes include alterations in dynamic contrasts, tempo indications and rhythm. The omission of two of Donizetti's rallantando markings is puzzling. The most noticeable discrepancies are measure 19, where a ritardando is in the transcription with no fermata on beats eight to nine; however, in the original score, a rallentando is indicated and a fermata is placed on beats eight to nine in the vocal parts. This also differs from the piano part in the transcription as the piano part indicates the fermata. At measure 27, forte is in the transcription, while fortepiano is indicated in the original score; in measure 34, the final measure of the piece, the flutists are performing a dotted quarter note, while the piano performs a quarter note. The original score shows all parts performing a quarter note.

Some items as noted in the transcription may confuse intermediate flutists. In the original score, a definite sense of movement is begun at measure 13 through the addition of pulsing eighth notes in the woodwinds. This is not in the piano reduction of the transcription. This may make a difference in the ability of young flutists to project the energy of the middle section of the duet. There is a double sharp in the first flute part at measure 19; intermediate flutists may not have encountered this before. The piano simulation of the string arco in measure 27 creates a vast difference in the texture of the accompaniment that may perhaps require an explanation of the orchestral reduction. At measure 31, a cadenza is marked in the flute parts; however, it is not noted in the piano part or the original score. This section, as performed in the aria, is not a traditional cadenza, and the thirty-second notes, which are included exactly as noted in the original score, may disorient young flutists who tend to perform this figure as grace notes.

The value of this transcription greatly outweighs any inconsistencies between parts or scores. It is accessible to intermediate flutists in that the parts are clear and scored so that no page turns are required. Both flute parts are included on each flutist's copy--very helpful to young flutists who may not be accustomed to the individual responsibilities of chamber music. I recommend that flutists listen to a recording of the aria, which is drawn from the second half of the Serenata E Notturno in Act III, Scene VI, to gather ideas about performance practice and vocal style. This concrete example of "singing style" can provide invaluable assistance to the tone development of intermediate flutists.

Alice M. Hammel, Richmond, Virginia.