THE WEEK’S RADIO Schubert’s Greatest Song-Cycle

Press, Volume C, Issue 29520, 23 May 1961, Page 12

THE WEEK’S RADIO Schubert’s Greatest Song-Cycle

Schubert’s “The Winter Journey,” which is considered by many to be the greatest song-cycle ever written, is sung by Gerard Souzay, accompanied by Dalton Baldwin, in a recording to be broadcast from 3YC at 8.28 p.m. on Sunday.

Like the “Die Schoene MueUerin," “Die Winterreise” is a cycle of poems by the Austrian poet. Wilhelm Mueller, but its mood is darker than that of the earlier cycle. The "Winterreise” poems tell of the wanderings and growing despair of a rejected lover. They clearly reflect Schuberts state of mind at the time of their composition and it is easy to read autobiographical significance in them. They are clouded with shadows of death and it seems that in them Schubert foresaw his approaching death. He began writing the “Winterreise” songs early in 1827. In March that year he was one of the torch-bearers at Beethoven's funeral. At a gathering after the funeral. Schubert lifted his glass and drank a toast “To him we have just buried”; and then another "To him who will be next.” Did the clairvoyance, in which his singer friend, Vogl, said that he composed his music, show him that his own life had but another 20 months to run? At any rate, these songs stand alone in Schubert's entire output not only in mood but in their symbolic elements. The hero is. as in the earlier cycle, a disappointed lover. He bids a hopeless farewell to his beloved in the first song <“Gute Nacht”) and thereafter travels a lonely winter road, surrounded by images of unfaithfulness. despair and death—a weathercock, frozen tears, dead flowers, a frozen

brook, a will-o’-the-wisp, a postman who brings no letters, and a hurdy-gurdy man into whose plate no-one ever drops a coin—the composer must have seen himself in this, the last song, for in the direst poverty he sold his “Winterreise” songs for a few pence each. The music, of course, is not in a uniform mood of despair. Many of the songs do convey sorrow and resignation, but others, such as "Fruhlingstraum” and “Die Post.” are outbursts of hope. In any case, the force and variety of Schubert's invention triumphantly overrides the poet’s tendency to monotonous self-pity. Renaissance Masters The “Missa Papae Marcelli” is the most famous of all the hundreds of Masses composed by the great Italian 16th Century composer, Gio-

vanni Pierluigi da Palestrina. Palestrina was a favourite of Pope Julius 111, who appointed him in 1355 to the Pontifical Choir without any sort of examination —and he is said to have had a poor voice—and without the assent of the other singers, to their considerable annoyance. When Julius died three months later, he was succeeded by Marcellus 11. who reigned only three weeks. Marcellus was elected in Holy Week and was apparently greatly displeased by the performance of the choir on Good Friday, for he summoned the singers to his presence and reprimanded them. He gave instructions that the services must be sung in a seemly manner and in such a way that the words could be clearly heard and understood. It is said that Palestrina was so profoundly impressed by these injunctions that he began composing a Mass that would carry them out. There is some argument whether the “Missa Papae Marcelli” is actually that Mass, but it is nevertheless a work of great individuality and beauty, which is often enjoyed by those who do not normally find 16th Century polyphony congenial. It may be heard from 3YC at 10.20 p.m. tomorrow, sung by the Roger Wagner Chorale. Smetana Epic “Vitava” or “Moldau” is one of the best loved of all Smetana’s works, but it is merely one of a magnificent epic cycle of six symphonic' poems composed by the deaf Smetana under the general title of “Ma Vlast” (My Country). Four of the poems may be heard tonight (3YC, 7 p.m.) in a recording made at the Czech Philharmonic Orchestra’s Wellington concert in 1959. The Czech Philharmonic is unequalled in the music of Smetana, to which it brings a native felicity of accent that eludes non-Czech orchestras. Monodrania

Jean Cocteau's play. “The Human Voice,” is a true monodrama—a tour de force for a single actress in which the action consists of a series of telephone conversations. A nameless young woman is saying goodbye to her lover. The conversation at first is taken up with chitchat, but returning insistently to nos-

talgic references to events they have shared. Several times the conversation is interrupted by cutting of the line; each time he calls back. Slowly the anguish of the woman's loneliness and the desperate nature of her need for the man are made apparent. When “The Human Voice” is broadcast in Maximilian flying’s English translation from the ZBs at 9.16 p.m., the part of the anonymous woman will be played by the famous film and stage actress, Ingrid Bergmann. Hybrid Opera Mussorgsky began writing bis opera. "The Marriage,” a setting of a comedy by Gogol, a few months before starting work on his masterpiece, “Boris Godunov.” At this time he was much influenced by Dargomizhky’s experiments in realistic recitative in the operas, “The Stone Guest” and “Russalka,” and in the one act he composed before setting “The Marriage” aside he showed a great sense of musical characterisation and dialogue. Mussorgsky never returned to the work and the second and third acts were supplied by Ippolitov-Ivanov. The hybrid work may' be heard from 3YC at 8 p.m. on Thursday, performed by Russian soloists and the State Radio Orchestra of the U.S.S.R. conducted by Alexei Kovaley. Curnow Play * Allen Curnow's latest play. “The Overseas Expert” (YCs, 8 p.m.. Saturday) is a satire on the materialistic aspects of the New Zealand way of life. Adapted and produced by William Austin in the Wellington studios of the N.Z.8.5., it tells of Bill and Mona Soper, their daughter, Gillian, and son, Bob, who make a typical upper-crust New Zealand family. Bill makes tomato sauce and lives in Remuera. Into the family comes Sir George Mandragora. who agrees on a'rather hazy sort of deal with Bill. Bob'has a suspicion that Sir George is not all he should be and proceeds to act on it. against the religion of the Soper household—the worship of material things. Mr Curnow, who is one of New Zealand’s best known writers, was born in Timaru and educated in Christchurch and Auekland. His other plays are

“The Axe.” first produced in Christchurch, and “Moon Section,” which was toured by the C.A.S. throughout the North Island 19-Part Motet

Although Wales is famed as a land of song, no Welsh composers have achieved lasting fame. One Welsh composer who attained eminence in his time was Philip ap Rhys, who was at St Paul's Cathedral in London at the beginning of the sixteenth century. An example of his music, and organ Offertory written for Trinity Sunday, played by Ralph Downes, may be heard from 3YC at 9.10 p.m. on Monday in a recording made at last year's Aldeburgh Festival The programme also contains a work by a Scottish composer, Robert Carver. Little is known about Carver save that he was a canon of Scone Abbey and a member of the Chapel Royal of King James IV of Scotland. He was also a man of great learning and intellectual powers for his choral works show amazing ability in handling many parts. A motet, “O Bone Jesu.” to be heard in this programme, is a good example. It is written for 19 solo voices and achieves a wonderful sonority in its rapt contemplation of the name of Jesus. “The Press” Is 100 On Thursday. May 25. “The Press” will complete its first 100 years of publication. The occasion will be marked by 3YA at 7.45 p.m. with a special documentary programme which has been prepared by G. C. A. Wall, talks officer at 3YA. The programme begins with the nolitical background which led to the founding of the paper—including the comments of its older rival, the "Lyttelton Times.” This background is discussed by W. J. Gardner, of the history department of Canterbury University. Other speakers include past and present members of the staff of “The Press,” and the programme will end with a direct broadcast from the newsroom.