WORLD OF MUSIC

Hawera Star, Volume LI, 20 February 1932, Page 15

WORLD OF MUSIC

HAYDN’S “CREATION” The musical organisers for the Jubilee celebrations are in the last phase of their preparations. All is going well and every- section—oratorio, minstrels' and other performances —promises to be among the best ever given by Hawera choruses and orchestra and band. It will be two hundred years on March- 31 next since the birth of Joseph Haydn, the composer of the wonderful oratorio “The Creation,” and therefore its selection for the Hawera jubilee is sigularly fitting. The music of the oratorio aptly pictures the evolution of one form of life after another until the crowning act, the creation of man “in God’s own image.” till he stood “a. man, the Lord and King of nature all.” The “Creation,” the child of Haydn's old age, was at the same time his first Oratorio. The original English had been compiled partly from the” Book of Genesis and partly from Milton’s “Paradise Lost.” Haydn set to work with more than usual enthusiasm. He said. “I spend a great time over it, because 1 intend that it shall last a great time.” At another time he says, “I was never so pious as when engaged upon the ‘Creation’ ; 1 fell on my knees' daily, and prayed earnestly to Goj to grant me the strength to carry out the work, and to praise Him worthily.” The work was performed in London. March i-:3rd. 1300, and at the Worcester Festival later on in the same year. Lt was commenced in 1795, when Haydn was 63 years old and finished in 1798. He combined a wonderful power of genius and industry an<] throughout his whole life was an indefatigable worker. It is evident lie took meticulous care in lis writing of the music for “The Creation ” “No one had a clearer notion,’ .says a critic, “of what he meant to do and no man carried out his programme more rigidly. His ideas were legion but they never tempted him to neglect the lit elaboration of any. He would compose ancl then recompose on.a given theme until the perfect expression was found.” This is plain from an analysis of his music. “Perhaps there is no equally remarkable instance of a man who was permitted to work out all that was in him.”

Probably- never has there been in the realms of music such descriptive work ever written. From the .triking picture of chaos, upon which the spb'it of Gocl moved . . - and there was light—-and darkness.’’ The delineation of the spirits as they view the appearance of the new created world, the series of creations impart—the firmament— the marvellous work which Ihe hierarchy of heaven behold amazed — the waters and bellows and boisterous sea, the limpid brook, flu- clothing of the fields with verdure, the sun rising in splendour bright while ail the time the heavens tell the glory of God. Then comes the second phase, uhicli embraces the waters bringing foith every moving creature, while the eagle soars aloft “on mighty pens” and the cooing dove calls liis mate with soft enchanting lays and the sons of God and the angels celebrate the birth of the fifth day.

Then follows a series of descriptive recitatives such as never did any man conceive better —the forming of the animals, the living creatures that hath breath —the nimble (stag, the tawny lion, the flexible tiger, the ncble steed, the cattle in herds, the fleecy flocks, the hosts pf insects and lastly- “with sinuous trace, the worm.” Each most perfectly is described in the music. There were never such wonderful pictures of sound imitating sense. But all the work was not complete, though Heaven in fullest glory shone, hut there wanted yet that wondrous being and .so Gocl created man, who in native worth and honour clad, he stood, the king of all, and thus achieved is the glorious work. And there it has always seemed to the writer, the work should most fittingly conclude. But the composed added a third part giving a peep into the Garden of Eden, m which the characters of Adam, Evg nnj Uriel are depicted, concluding with the great finale “Sing to the Lprd, Amen.” These few notes on an oratorio which stands on a pinnacle of f ame ancl in many respects is unique, will serve to give readers a brief description of the “Song of Praise” to he sung by the people pf Hawera as a thanksgiving for all that has been given to them during the fifty yeais just elapsed, since the foundation of Hawera as a town. It will ;e in ove:y way a fitting celebration m music without which none seems complete The chorus whicu plays such an im.portant part" in the success of the Gilbert and Sullivan -Opera Company, coming to Hawera on February 29, was selected from 700- applcants, says an exchange, each of whom had a very fine voice. Only' the best survived the" difficult tests -imposed upon them by Mr Gustave Slapoffski and the producer of the operas, Miss Minnie Everett. During the tests it was found that sopranos predominated, while the men included a preponderance of baritones. It was found that a considerable number had previously sung in Gilbert and Sulliean -productions. A noted Russian pianist, Paul ATnogradoff, formerly director of the Imperial Musical School of the Russian Musical Society in Tomsk, Siberia,/is ] in Australa, and may visit New Zealand in the near future.

Writing on ‘'-Favourite Composers” in the “Australasian,” Dr. A. E. Floml, a leading music critic, says that an ingenious person, -Mr Donald Malins, collected the programmes of 170 pianoforte recitals given in New A'ork in a certain season, tabulated me results, and gave them to the world in the “Musical -Courier.” -Specially' interesting is the list in which he shows in how many' programmes certain composers’ names appear. The list showed that -Chopin was easily' first with 127. Bach followed with S 7 -and then Liszt 75, Beethoven 65, .Schumann 62, Brahms 62. The highest of the real moderns was Debussy 51.

“As far ns Sydney is concerned, ’' said a recent visitor to AVellington, “.the ,biggest, -musical movement at present is the preparation being made for a grand opera -season which is to coincide with .the opening of the harbour bridge.” All the best trained singers in .Sydney were hard at work. Arrangements were being made .for the selection of 12 Italian principals.

RECORDED MUSIC. Charm of Beethoven.—-The Vienna Philharmonic Orchestra, conducted by Clemens Krauss, is heard in a new recording of Beethoven's Second Symphony in 1> -Major, Op. 3d. This oaily work of the great composer is full of charm. The Larghetto is particularly pleasing, and the whole symphony j.s quite free from dramatic outbursts, being rather dominated by brightness and joy. The complete popular record ing is available on four records, with an album at extra cost. (TT.M.'V., C 2030-31-32-33.) Phenomenal Boy.—Laszlp Szentgyorgi, a Hungarian boy violinist, gives a nuncommonly good interpretation of ••“Malaguena,” distinguish-

ed for his expressive and tonal innge. Technically Jus performance is flaiviess, the harmonics, flageolets, and pizzicatos being all above reproach. His playing of the delightful Schubert Hondo arranged by Friedberg is most spirited and animated. It really matters little whether Szentgyorgi’s ago is 12 or 14, for his playing is of astonishing spontaneity and virility. The accompaniments are played by Clemens Sehmalstich. (H.M.Y., C 2001).

Music for the Children.—Those who have heard Sir Edward Elgar’s “Wand of Youth Suite’’ will be eager to hear his “Nursery Suite.” which was dedicated to the Princesses Elizabeth and Margaret Rose. This delightful work has been recorded bv the London Symphony Orchestra under the composer himself, and it is full of enchanting tone pictures which will not only appeal to the mind of a child hut to the adult as well. There is no doubt that Elgar took- Ins inspiration for the suite from the nursery, and he gives us pictures of childhood seen through kindly, smiling eyes. The suite opens with a piece entitled “Au-. bade” (“Awake”), and It depicts the first stirrings in the nursery. Tt is followed bv “The Serious Doll,’’ a quaint little piece of fancy through which runs the liquid notes of the flute. “Busy-ness!” is a merry bustle, and “I'he Sad Doll” has many beautiful touches. The “Wagon Passes.” which is said to he a. great favourite with {lie Duchess of York, has a fascinating rhythm. “The l Merry Doll” is an animated piece, and the closing number, “Dreaming. Envoy,” lavs infinite charm. The orchestra, is first-rate. The whole work is recorded on two records, which should make ideal purchase's for :inv school. (H.M.Y., 1)1998).