MUSIC

Otago Daily Times, Issue 21649, 20 May 1932, Page 2

MUSIC

NOTES AND RECORDS By Allegro. The bicentenary of Hadyn’s birth .serves to bring tins well-loved and sprightly composer freshly to our minds. In his own words “ Anyone can see that I am a good-natured sort of fellow,” we have the clue to our affection for him. His modesty and simplicity of character serve to enhance his genius. One critic says that Hadyn wag blessed with many good gifts to begin with even before his genius was apparent. He had to work for his living, but there was always a living for him; he was a Slav—a Croat, with a wealth of folk-music at his ear, among his own folk, with whom he lived most of his life; and be had a good constitution (he lived to be 77) and < a quiet mind. In the last half of the eighteenth century the time was ripe for the direction of the art of composition into a splendid new channel. For 30 years—from 1761 to 1790 —he worked under happier conditions than have ever fallen to the lot of any composer; his service to the Estcrhazy house was a labour of love, and it is not surprising that he readily returned to it when, in 1795, the Kapelle was resumed. Given an inventive composer, with a body of executants ready to carry out any of his instructions, and the result is not difficult to predict.ln Hadyn’s first year at Eisenstadt he produced the three symphonies known as “ Le Matin,” “Le Midi,” and “ Le Soir,” all of which have coneertante parts. “As conductor of the orchestra (he says) I could make experiments, observe what produced an effect and what weakened it, and was thus in a position to improve, alter, make additions or omissions, and be as bold as I pleased. I was cut off from the world, there was no one to confuse or torment me, and I was forced to become, original.” Thenceforward Hadyn’s symphonic music steadily grew in richness and variety until it comes to its climax in the Salomon Symphonies of 1791-95, which anticipate the orchestra of Beethoven and handle it with almost the same freedom and mastery. As with the symphonies so with the quartets. We can trace them in continuous progress from the early examples. At the time when Hadyn entered upon his office the art of orchestration, in the modern sense, was as yet hardly articulate. Handel uses his orchestra for accompaniment and writes for it on the basis of the four strings with an occasional obbligato for dramatic or pictorial effect. The strings were conventionally doubled by oboes and bassoons —there are 26 of each, as against six flutes, in the Westminster Commemoration of 1791—and they were so taken for granted that he did not trouble to write separate parts for them. Bach uses his orchestra structurally. He has more feeling than Handel 'for the tone of the instruments, and even for the acoustic qualities of-the buildings' for which he composed; but his obbligati run continuously through their respective movements, and are notable rather as counter-subjects to _ the voice * than as separate and intennittent points of colour. The composer’s last sight of a cheering public was at a performance of “ The Creation,” in 1808, the year before he died. He was free from want, though bodily weakness fell upon his last few years, which were passed in the midst of national turmoil. His work has never been under eclipse. Mozart and he appreciated each other’s mettle, and each learnt something from the other. . There was room for both, the short-lived and the long-lived masters; but their paths lay. only partly in the same direction, Hadyn was the pure instrumental thinker; in opera he never shone. Mozart’s genius flashed blindingly upon opera and symphony alike; but it was Haydn who both blazed the symphonic trail, and lived long enough after his friend to refine, with some of the dead man’s fire, his last quartets.

The deep gloom, profound melancholy, and insatiable unrest of an oppressed people are to be heard in practically all Russian music, but (in the words of a critic) in the works of Tschaikowsky this nationalism is found linked with the personality of the man so closely that the sombre, rugged eloquence of his composition stirs every hearer. His Sixth Symphony in B minor (“ Pathetique ”), which has been effectively recorded by the Boston Symphony Orchestra, under a brilliant Russian conductor, Serge Koussevitsky, is characteristic of (,he composer’s great overwhelming temperament. The first movement follows tue general contour of the sonata form. The first subject, “ adagio,” has vigour and accent, and the second, “ allegro non troppo,” given by the clarinet, is charged with romantic Russian melancholy. In the second movement, “ allegro con grazia,” there is a remarkable rhythmic, composition. Tschaikowsky here used the 5-4 rhythm, which is q popular tempo of the Russian folk. It is piquant, almost Oriental in its char.actef, and the broad, swinging theme, so melodious and singable, soon captivates the ear. Rushing, impetuous, tumultious is the “allegro” that follows—a scherzo, though not so in name. There is a quiet opening of delicate but extremely rapid triplet figures, but the motif of a march soon breaks through. . As yet only the barest sugggestion of this stirring tune is heard, and for long the triplet figure is worked with increasing power and energy. Charmingly continued with it are some ligit dropping passages for the wood-wind. This is only an interlude, and the movement is shaped to lead to a climax in the march theme, which soon bursts forth. Once reached this march theme never flags, but goes on with a boundless vigour piling tip climax upon climax and ending with an amazing volume of sound. Although the main note of finale is one of profound gloom, it contains a hope-conveying theme which breaks in upon the darkness. The opening chords, rising now, falling now, come to a soft silence before the entry of .this devotional melody. There is melancholy in the following passage of trombones which are used with rare knowledge of effect. They reintroduce the second subject now in B minor and on a tonic pedal which lasts to the end of the movement, where with low notes, ’cellos and bassoons with divided double basses, utter final, almost inaudible sounds. Thus concludes the work, and with it concludes Tschaikowsky’s symphonic achievements. Koussevitsky’s reading of the score is eloquent, and the recording throughout is equal to the highest standards.

Stuart Robinson has provided n very good recording of “The Lincolnshire Poacher ’’ and “ The Vicar of Bray.” With the male quartet and a piano as accompaniment, the result is stirring and the rhythmic treatment of the songs is most satisfacory.

The Light Opera Company appear again with vocal gems from Gounod’s “ Faust,” including “ Kerniesse,” “ The Calf of Gold,” “ Highborn and Lovely Maid," “ Waltz,” ‘‘Soldiers’ Chorus,” Garden Scene. “ Then Leave Her ” and “ Finale.” “ Gounod," one writer states, “ was picturesque, superficial, and while he played with the fringe of great things, was clever enough to avoid swimming in deep water.” His opera, “ Faust,” has always been successful.

“Scots Wha Hae'wi’ Wallace Bled” and “ The Lea Rig ” have been sung by Sandy MacFarlane, baritone. We welcome another pair of Scottish folk tunes from Sandy MacFarlane —a pleasant change from his usual more comical vein. The stirring “ Scots Wha Hae ” is given a rousing rendition, and both this and its companion song are really suited to MacFarlane’s voice.

“ Florodora,” vocal gems sung by the Light Opera Company, show the splendid singing which can be put on In .* packed 12m disc. This is no d"ubt responsilde for its popularity. The most enchanting of the “Florodoia” numbers arc chosen.

“Siegfried Idyll,” by Wagner, played by Bruno Walter and Symphony Orchestra, forms a record. Siegfried himself, it will be remembered, died last year at the age of (51, a month or two after the death of his mother, Cosima. This “ Idyll ” is one of the loveliest of occasional pieces, and this recording by Bruno Walter and the Symphony Orchestra does it rich justice.

From Verdi’s “Kigoletto,” the quartet, “ Bella figlia dell’amore,” and from Donizetti’s “ Lucia di Lammermoor,” the sextet, “ Chi me frena,” have been recorded. This disc is indeed an interesting comparison with the other famous ones of opera already issued. The “ Kigoletto ” quartet, sung by Maria Gentile, Ebe Stignani. Alessamlo Granda, and Carlo Galeth, and the equally famous sextet from “ Lucia ” sung by Gentile, Borgioli, Vanelli. Baccaloni. Ncssi, Mannanni, and the La Scale Chorus, are both on one 12in standard price record. The singing, as one would expect from brilliant stars, is of a fine standard. The recording is alike clear and recommended.