ULTRA-MODERN WORK

New Zealand Herald, Volume LXXI, Issue 21804, 19 May 1934, Page 10 (Supplement)

ULTRA-MODERN WORK

RECENT ENGLISH BROADCAST CRITICS ULTIMATELY IMPRESSED The 13.8.C. symphony concerts have suffered a break in their continuity by reason of Wozzeck," remarks a London correspondent. That may bo a word unfamiliar to readers of this column, but for the 8.8.C. highermusic authorities it is a word bursting with significance. For " Wozzeck " has gravely disturbed those equable 8.8.C. activities which produce for us what is usually an undeviating regularity, a full-dress 8.8.C. symphony concert in every week of tho musical season. There has been a gap in that line, and " Wozzeck " then is a word to bo reckoned with. It is the title of Alban Berg's opera which has had so great a success in Germany and elsewhere on tho Continent that we in London, who have heard only tho scrap of it that was played and sung to us at a 8.8.C. concert last season, are grossly behind the times. Doubtless, too, we should have remained so if tho 8.8.C. had not determined to expend some of its energy, and a good deal of its money, upon the project of removing thiß slur upon London's musical enterprise at least to the extent of presenting tho complete " Wozzeclc " in concert form. A3 to tho money, we are told that this concert has cost tho 8.8.C. £BOO. Rehearsals are said to have been of a number beyond belief —sectional rehearsals of all manner of orchestral combinations, vocal rehearsals, and full orchestra rehearsals. Tho word " Wozzeclc " has become a Broadcasting House shibboleth, and no one in musical authority there has been visible, save in those few end-of-the-night-hours, when tho " Wozzeck " parts, having at last been handed in, all concerned have surcease from tho sorrow of them. Other music there has been as though it need not have been, and, altogether " Wozzeck " has been a first rate excitement for the 8.8.C. musical staff.

Tho opera was heard last month at tho Queen's Hall performance, for which all these preparations had been made, and 110 doubt a vast number of over-the-air listeners ventured upon a part of it, however it may have been as to their ability to stay the course. There is reason for doubt as to that, for, truth to tell, most of the music of Wozzeqk "is suited only to tho elect, and many of tlioso are likely to bes little anxious to take it to their hearts as a possession worth cherishing. Tho interest for musicians of this first performance her 6of tho opera was apparent in tho fact that every English composer of note was at Queen's Hall last month, and a large number of London's musical intelligensia with them. The general public were not so drawn, for many empty seats were visible. That these lastnamed were on safer ground by reason of their absence cannot be doubted, for this was music of the modern, even of tho atonal, kind, and it was soon discovered to be music that demanded the closest attention of tho most expert ear of its weird construction, its wandering tonality, and the bits and pieces and the bursts of sound, together with the conversational music of vocalists, who had nover the semblance of a tune to sing, were to be enjoyed. " Wozzeck's " libretto is a powerful story of a half-wit soldier's eventual murder of his wife, the scenes of tho opera being laid in the sordid surroundings of a slum. There is every opportunity for drama in this story, and its setting, and Alban Berg, writing his music, illustrating that drama in tho modern way, which has evolved a new, realistic music for situations that opera composers once covered by old and melodious means, has certainly mado the most of his chances.

Tho first act proved, in this concert rcom sotting, a disappointment of unrelated scra.ppiness of sound, with the orchestra (at fullest strength) producing tremendous spurts and shoots of sound intended to emphasise tho narrative spoken by tho singers. Tho second act, however, took on a more impressive aspect. Masterly orchestration was a conspicuous feature of its score, and as the opera's story developed, tho accompanying music became more and more understandable, so that by the time the third act was being hoard, most listeners were satisfied that fot- all its atonality and all its utter unlikeness to any opera-music known to them, this " Wozzeck " was, after all, a powerful work, and that its extraordinary popularity on tho Continent is not unreasonable.