THOUGHTS ABOUT MUSIC

Evening Star, Issue 22248, 28 January 1936, Page 13

THOUGHTS ABOUT MUSIC

[By L.D.A.]

Music gives tone to the universe, wings to the mind, flight to the imagination, a charm to sadness, gaiety and life to everything.—Plato.

The death of the Sovereign turns the thoughts of musicians naturally in the direction of funeral music, of which the supply is rather limited. For many years the stock piece performed at obsequies was restricted to the Dead March in ‘ Saul.’ This famous excerpt is all that remains of this now forgotten oratorio, composed by Handel almost exactly two centuries ago. It would be interesting to know when the practice began of playing the march at funerals. I managed, by dint of much inquiry and research, involving a lengthy visit to the British Museum, to unearth the origin of the custom of playing Mendelssohn’s Wedding March at nuptial ceremonies—even to the extent of the name of the happy couple first united to its strains.

The history ,of Handel’s Dead March is, however, too much “ wrap in myst’ry ” for me to unravel, so I shall leave its solution to more learned antiquarians. This composition has one peculiarity which marks it out from all works of its class; it is the sole piece of funeral music written in the major key. From time immemorial the portrayal of grief and sorrow through musical agency has been associated with what is known as the “ minor ” in music. The difference between major and minor is only half a tone in the scale, but what a world of difference in the harmonic atmosphere! An exact definition of this difference in musical harmony is, I make bold to assert, beyond the power of the most erudite professor. It- may be explained in terms of science, but not of emotion; and it is emotion which counts chiefly under the influence of sorrow. The average layman who knows nothing, and cares less, about musical grammar is, nevertheless, susceptible to the power of the “ diminished third,” as, when wishing to he deliciously harrowed, _he says: “ Oh,' do play me something in a minor key!” J * * * *

It is true that two other standard funeral -marches—namely, those by Beethoven and Chopin, have a middle section in the major mode, but* this change only provides welcome relief from the lugubrious character of the main theme; in the case of Beethoven one might almost say that the middle section is in the nature of comic relief. I fancy I have referred, in a previous article, to Bernard Shaw’s comparison of this composition with the hypocrisy of a typical Irish funeral ceremony, the first part depicting the slow, solemn tread of the mourners, thenlong faces and longer upper lips, and dry eyes partially concealed by handkerchiefs for the edification of the sympathetic passer-by, then, having reached the outskirts of the town, and beyond critical observation, the driver whips tip his horses, and the cortege breaks into an unseemly and incongruous gallop, what time the mourners drop their handkerchiefs and their masks of woe until the cemetery gates appear. This boisterous change is represented by the lively and almost jolly middle part of the march, and, for once. Bernard Shaw hits the nail on the head—and a coffin nail at that.

It is a moot point, and entirely a matter of taste as to which, among the recognised repertory of _ burial music, is actually the best piece of composition. We all have our preferences, and not infrequently these are founded upon some cherished memory. But, as I have already indicated, the choice is limited to six or seven numbers at most. In addition to the fragment from ‘ Saul,’ we have the funeral music of Chopin, Beethoven, Mendelssohn, Wagner, Grieg, and Schumann. There is also the wonderfully beautiful and moving final section of Tschaikowsky’s ‘ Pathetic Symphony ’ — as we call it in English, although “ pathetique probably had a different meaning in the composer’s mind. My personal preference, among all these noble compositions, is for Grieg’s haunting lament, ‘ The Death of Ase ’ from ‘ Peer Gynt ’; and I also have a strong affection for a piece by-Schu-mann not usually classed officially among dead marches, and of which I cannot for the moment recall the title. However, during the period of State mourning there will be provided sufficient scope for the gratification -of all tastes in funeral music. » * * « Amongst all the great pianists whom I heard during my recent visit to England, Iso Elinson, the young Russian master, takes very high rank. I have already described _ the series of Bach recitals he gave in London _ last year, at which he played the entire 48 preludes and fugues—a stupendous undertaking which, if I remember rightly, has only twice been accomplished previously in London concert annals.* A few days ago 1 received a letter from the wife of this splendid pianist, giving me some details of his present activities. Madame Elinson, a most charming woman, who is devoted to her husband and his work, and acts as his secretary because he knows very little English, tells me that the artist is giving three recitals this season in London, and is also playing at Queen’s Hall on March 8 with the Philharmonic Orchestra, conducted by Sir Thomas Beecham, after which he embarks on a long tour through England, Denmark, and Sweden. This will carry him to the end of this year, and Madame Elinson says she hopes there may be a possibility later on of her husband paying a visit to Australia and New Zealand. We can but echo this hope and sincerely trust it may be fulfilled.

Dunedin music lovers are just now being honoured by the presence in their midst of the renowned Spivakovsky brothers, accompanied by Edmund Kurtz, the eminent ’cellist. It was my privilege to meet this superb combination of artists at New Plymouth three years *ago, being introduced to them by their very courteous manager, Mr Mandeville. My opinion then was that their concerted playing was the finest I had heard since the days of Busoni. Ysaye, and Becker, and 1 have found no reason to change that opinion, notwithstanding the many famous ensembles I listened to whilst abroad recently. Local concertgocrs will be foolish indeed if they do not seize the present opportunity of hearing chamber music—not to mention individual solo numbers—presented in a fashion which almost defies criticism.