MUSIC IN RUSSIA

Taranaki Daily News, 6 August 1934, Page 3

MUSIC IN RUSSIA

THE FIVE “INVINCIBLES” TALK BY MISS VINNIE ROSS. SUPPLEMENTARY PROGRAMME. A programme of Russian music arranged by Miss Constance Leatham for the monthly gathering of the New Plymouth Music Teachers’ Association in the Y.W.C.A. hall bn Saturday night’was supplemented by a brief historical survey of that nation’s music by Miss Vinnie Ross and an account of what is known as the “new Russian school.” Miss E. Dowling, who presided over a good attendance, thanked those responsible for a delightful and instructive recital. Miss Ross said that Rubenstein and Tschaikowsky were the pioneers of one of the most remarkable developments of modem art—the music of the Russian school. It astonished the world by its dazzling colour, its barbaric extravagance and its gorgeous pictures of the East. In Russia music as an art went back only to 1836, and to understand how such an art came into existence it was necessary to go back to its origin. The true music of Russia came primarily from the people. Illiterate and oppressed, they suffered endlessly without help and without complaint. For centuries their simple and wonderful melodies were ignored, as they themselves were ignored, by the aristocrats and by professional musicians imported from Europe. Finally, however, in the epoch that was ushered in by the freeing of the serfs, there came to Russian musicians a realisation of all that the folk-lore of their own country might mean to the development of a representative national art.

In Russia, as everywhere else, vocal music preceded instrumental. The first great Russian composer to feel the beauty of the peasant songs and to respond to their influence in his music was Michael Glinka, born on June 1, 1804. His opera “A Life for the Czar” was composed in 1836 and created a new precedent in Russian music. It expressed in a thrilling manner the spirit of the Russian people. Among Glinka’s finest compositions was his setting of one of the best-loved melodies of the Russian people, the “Kararinskaja,” an air sung and danced at peasant weddings and popular throughout Russia. Glinka was followed by Dorgomizsky, author of “The Stone Guest” opera and other compositions of a highly original and realistic character. SUPERB MOVEMENT ARISES. Upon the solid foundations of Glinka and Dorgomizsky, there soon rose a superb movement, a Russian school of opera, through the simultaneous appearance of a group of Russian composers of great talent: Balakirev, Borodine, Moussorgsky, Rimsky-Korsakov and Tschaikowsky. These five young men were all of the upper classes of society and were known and made fun of by several names such as “The Invincibles” or “The Cabinet.” The leader was Mili Balakirev, the only one who had at the beginning any serious and extensive knowledge of his art. It devolved on him to counsel and inspire the others. Cesar Cui wrote as follows about the origin of the group: “In 1856, when still a young man, I had the good fortune to meet Balakirev. Both of us were passionately fond of music, and we came together daily and spent long hours in reading and discussion. Ere long our Circle widened. Borodine, professor of ■ chemistry at the Academy of Medicine, Moussorgsky, an officer in the Army, and Korsakov, an officer in the Navy, joined us. We five constituted what was then called the new Russian school. Tschaikowsky always held aloof and dwelt chiefly in Moscow. Our meetings and discussions continued. Of the quintet Balakirev was unquestionably the best musician. He exerted great influence on the musical developments of each of us, without modifying our individuality.” Borodine, bom in 1834, was a chemist by profession and a composer in the intervals of a laborious and fruitful career. He wrote but one opera, “Prince Igor.” The composer died before completing the work and his friends, RimskyKorsakov and Glazounov, gave it the finishing touches. It enjoyed great popularity in Russia, said Miss Ross. The career of modest Moussorgsky, whose genius was so audacious and original that of all “The Five” he was the longest in being recognised at his true value, was that of an uncompromising idealist. Moussorgsky embodied the social and intellectual movement then sweeping Russia, of which the refrain was “back to the people.” This was his 'creed. These people, good, bad, wise and foolish, he put just as they were into his music. An example of his distinctive character in music was his “Song of the Flea.” FIRST RUSSIAN SYMPHONY. Nicholas Rimsky-Korsakov commenced life as a. naval officer. He , loved nature and the. Russian legends that nature inspired. To-have composed the first Russian symphony—in a strictserise—was an honour that one must accord - Korsakov, even though he was very young when he wrote the work. It lacked maturity, but bore the unmistakable stamp of talent. Cesar Cui was the least important member of the “glorious five.” He was more conspicuous for literary propaganda on their behalf than for the support given by his music. He was at his best in small pieces and songs. The Russian composer whose compositions are best known was Tschaikowsky. He was a man of great and unquestionable talent, a master of all the resources of his art, and he possessed, furthermore, the true gift of melody. An air of melancholy predominated in his work owing to the fact that he himself suffered at the latter part of his life from acute melancholia. His symphonies and instrumental music were among the msst beautiful expressions of a noble mind. Anton Rubinstein enjoyed great popularity as a pianist and composer of talent. He was the founder of the Russian Imperial Musical Society and Conservatory, and worked hard for the development of music in Russia.

One of the most prominent, if not the most prominent, of Russian composers to-day was Rachmaninoff. Those who had not heard his piano concertos had a treat in store. About as original as any other Russian composer, he conveyed, perhaps, a greater impression of strength and dignity than any of them. His songs were delightful. Arensky, Gretchaninov, Toneiff, Glazovrov, and Stravinsky all were composers of prominence. Dealing with music in Russia to-day, Miss Ross said that Maurice Hindus in his book “The Great Offensive,” referred to the position of art and music under the Soviet tyranny. Artists and composers alike were refused recognition unless they wrote or composed on a subject like “The Rivetters” or a “Blast Furnace.” But towards the close of the five-years’ plan the ban was lifted. The censorship still prevailed, but it was no longer petty and formalistic. Rachmaninoff, for example, was under ban as his music was regarded as counterrevolutionary. However, he had been restored to good fellowship on the concert stage. Gypsy music was likewise banned, but this prohibition, too, had been lifted. Happily music was being readmitted to its one-time prominent place in the lives of the Russian people. The following was the programme:— Prelude in G minor (Rachmaninoff), Mr. J. Dobson, songs, “Gathering Mushrooms” (Moussorgsky), and “Before My Window” (Rachmaninoff), Miss Cocker, in-

strumental trio, Mazurka Russe (Glinka) and Dance caracteristique (Debikoff), the Misses Elliott, Ross and Leatham; songs, “A Ball Room Meeting” (Tschaikowsky) and “Song of the Sleigh Driver” (Lazareff), Miss Avis Pauli; violin solo, “Canzonetta,” from Concerto in D (Tschaikowsky), Miss Vinnie Ross; songs, “The Dreary Steppe” and “Palm Branches” (Gretchaninoff), Miss Frances Nicholson; trio, “Gopak” (Moussorgsky)' Misses E. Elliott, V. Ross and C. Leatham; songs, “To the Children” (Rachmaninoff) and Maori song, “Longing” (Vassitenko), Miss Rene Gilbert; songs, “Spring Waters” (Rachmaninoff) and “Hopak” (Moussorgsky), Miss Greenwood; pianoforte solos, “Bydlo” and “Tuilleries” (from “Pictures at an Exhibition” by Moussorgsky), Mr. Harold Morey. Supper was served at the conclusion of the programme. Schumarin will be the composer to be studied at the next meeting of the association.