The Seasons (Ballet), Glazounoff
Identifieur interne : 002378 ( Istex/Corpus ); précédent : 002377; suivant : 002379The Seasons (Ballet), Glazounoff
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- Music educators journal [ 0027-4321 ] ; 1931-12.
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DOI: 10.2307/3383407
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Educators Journal</journal-title><issn pub-type="ppub">0027-4321</issn><publisher>
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3383407</article-id><article-id pub-id-type="publisher-id">10.2307_3383407</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>The Seasons (Ballet), Glazounoff</article-title></title-group><pub-date pub-type="ppub"><month>12</month><year>1931</year></pub-date><volume>18</volume><issue>2</issue><fpage>72</fpage><lpage>72</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Reviews</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> B e e t h o v e n, a t times of t h a t of F r a n c k, at t i m e s of t h a t of B r a h m s; b u t still one feels himself a t all t i m e s in t h e p r e s e n c e of a c o m p o s e r w h o is a l w a y s himself, w h o a l w a y s speaks h i s o w n n aTIVE t o n g u e. I n c o m p a r i s o n w i t h t h e First, t h e Second Symphony is a b i t d i s a p p o i n t ing. I t is dull a t t i m e s because of its insistence o n p e r s i s t e n t r h y t h m s. B u t a t o t h e r t i m e s it is really i n t e r e s t i n g a n d p o w e r f u l. T h e finest m e l o d i c p a s s a g e in the w o r k contains an intriguing example of t h e u n u s u a l scale m e n t i o n e d a b o v e (second side of t h e first r e c o r d). T h e r e c o r d i n g of b o t h w o r k s is highly satisfactory. S Y M P H O N Y I N D MINOR. Cesar Franck. o r can't read t h e m u s i c ! “ (F r o m t h a t standpoint, a t least, it is f o r t u n a t e t h a t t h e t h r e e principal A m e r i c a n p h o n o g r a p h duplicating companies a r e frequently each o t h e r in t h e i r r e l e a s e s !) W h e t h e r o n e d o e s o r does n o t c o m pletely a g r e e w i t h S t o k o w s k i's i n t e r p r e tation in t h e p r e s e n t set of r e c o r d s, h e m u s t b e deeply t h a n k f u l f o r their e x istence. F o r t h e r e a d i n g is t r u e t o t h e spirit of F r a n c k, w h i c h is t h e i m p o r t a n t thing–a decidedly mystical a n d devotional a n d spiritual reading. A n d t h e r e c o r d i n g is well-nigh perfect. SYMPHONY NO. 6, I N F MAJOR (“Pas- lish g r o u p, since M o r a l e s h a s f o r some r e c e n t y e a r s been a c t i v e in t h e p r o p a g a t i o n of Spanish m u s i c in G r e a t B r i t ain, especially b y m e a n s of t h e c o n c e r t s arranged and conducted by him. T h e r e c o r d i n g is in several respects n o t of t h e b e s t; b u t o n e f o r g e t s t h a t in listening t o t h e r e c o r d s, because h e is lost in t h e j o y of t h e m u s i c itself a n d a b s o r b e d in i t s m a n y i n t e r e s t i n g f e a t u r e s . M E N U E T A N T I Q U E, Ravel. P l a y e d by t h e O r c h e s t r a d e l'Association d e s Concerts L a m o u r e u x u n d e r t h e d i r e c [Brunswick tion of A l b e r t Wolff. 90099.] T h i s is o n e of R a v e l's earliest w o r k s, w r i t t e n originally f o r piano a n d l a t e r It contains rewritten for orchestra. a l m o s t n o n e of t h e d a r i n g w h i c h c h a r acterizes h i s l a t e r w o r k s; r a t h e r, i t i s built o n classic lines a n d m a d e u p of classic m a t e r i a l s. I t s chief h a r m o n i c int e r e s t arises in t h e u s e of t h e m i n o r m o d e w i t h t h e flatted seventh. I t is vivid music, a n d t h e p l a y i n g a n d r e c o r d i n g h e r e a r e t r e m e n d o u s l y effective. E G M O N T OVERTURE, Beethoven. Played P l a y e d by L e o p o l d S t o k o w s k i a n d the Philadelphia Orchestra. [Vict o r A l b u m M-22.] T h i s is a splendid r e c o r d i n g of a n int e r e s t i n g version of o n e of t h e m o s t a p p e a l i n g a n d p o p u l a r s y m p h o n i e s ever written. F r a n c k w r o t e only this one f o r m a l s y m p h o n y; b u t it is d o u b t e d if a n y s y m p h o n i c w o r k is m o r e freq u e n t l y t o be h e a r d in A m e r i c a, in F r a n c e a n d possibly in o t h e r c o u n t r i e s. T h e r e v i e w e r m u s t confine h i s brief r e m a r k s t o t h e i n t e r p r e t a t i o n, leaving the r e a d e r free t o seek facts a b o u t t h e w o r k e l s e w h e r e. H e h a s v e r y recently h e a r d p e r f o r m a n c e s of this w o r k u n d e r t h e b a t o n s of T o s c a n i n i a n d G a b r i l o w i t s c h; a n d h e is i m p r e s s e d w i t h t h e e x t e n t t o w h i c h a c o n d u c t o r c a n legitim a t e l y a n d h o n e s t l y p u t t h e i m p r e s s of h i s o w n ideas on t h e w o r k of t h e c o m p o s e r; for u n d e r T o s c a n i n i a n d G a b r i l o witsch and Stokowski he hears three completely different pieces of m u s i c ! I n speaking of t h e T o s c a n i n i p e r f o r m a n c e, M r. Olin D o w n e s, t h e disting u i s h e d critic of t h e N e w Y o r k T i m e s, says t h a t “ t h e s y m p h o n y w a s s o m e w h a t e x t e r n a l i z e d – t h e mystical a n d int r o s p e c t i v e F r a n c k became t h e p a s s i o n a t e r h a p s o d i s t, i m p l o r i n g, supplicating, at last t r i u m p h i n g in h i s f a t e ”; h e p u t s t h i s t o t h e credit of T o s c a n i n i's “ m a r v e l o u s f o r m a l instinct a n d impulse t o w a r d clarity combined with dramatic emotion.” F r o m this i n t e r p r e t a t i o n S t o k o w s k i a n d G a b r i l o w i t s c h differ w i d e l y; a n d they differ equally widely f r o m each other. Both have “dramatic emotion” of t h e i r o w n, b u t w i d e differences in t e m p i a n d m o r e subtle b u t equally i m p o r t a n t differences in i n t e r p r e t a t i v e d e tail m a k e t h e i r r e a d i n g s quite distinct f r o m each o t h e r. T h e r e is p r o b a b l y n o living c o n d u c t o r w h o so completely c o l o r s h i s m u s i c w i t h h i s o w n p e r s o n a l i t y a s does S t o k o w s k i; a n d rarely, if ever, does h e t a k e u n w a r r a n t e d liberties in d o i n g this. T h e r e s u l t is, h o w e v e r, t h a t h e frequently u p s e t s classic t r a d i t i o n s (possibly a d e sirable t h i n g t o d o !) a n d s o m e t i m e s c r e a t e s individualistic i m p r e s s i o n s w h i c h m a y b e unacceptable t o m a n y d i s c r i m T h e listener w h o inating musicians. plays a given set of r e c o r d s over m a n y times f o r h i s o w n p l e a s u r e m a y, t h e r e fore, find h i s e a r s closed t o o t h e r equally justifiable i n t e r p r e t a t i o n s. A n other eminent American conductor, a g r e a t a d m i r e r of S t o k o w s k i, recently r e m a r k e d t o u s : “ I s o m e t i m e s wish Stokowski h a d never made a recordi n g; everyone learns his interpretation, a n d t h e n w h e n they listen t o m i n e they think I a m constantly making mistakes t o r a l e “), Beethoven. Played by the Boston S y m p h o n y O r c h e s t r a u n d e r t h e direction of Serge K o u s s e v i t z k y. [Victor, A l b u m M - 5 0.]. Beethoven w a s b o t h t h e last of t h e great classicists a n d t h e first of t h e g r e a t r o m a n t i c i s t s; a n d in n o n e of h i s compositions does h e m o r e forcefully blend h i s classic t r e a t m e n t w i t h t h o s e c h a r a c t e r i s tics w h i c h w e r e l a t e r emphasized a n d elaborated u p o n b y t h e w r i t e r s of t h e r o m a n t i c school. F o r in this s y m p h o n y Beethoven a p p r o a c h e s real p r o g r a m m u s i c; h e gives definite labels t o t h e f o u r m o v e m e n t s, a n d f u r t h e r titles t o a t least t w o passages w i t h i n m o v e m e n t s; a n d h e q u i t e f r a n k l y depicts a t least t w o definite phases of n a t u r e – t h e birds, a n d t h e storm. B u t this is n o t p r o g r a m m u s i c a s w e k n o w t h e t e r m; f o r it t r e a t s t h e g e n e r a l subject of p a s t o r a l n a t u r e in g e n e r a l terms rather than from t h e standpoint of specific p o i n t s (w i t h, of c o u r s e, t h e exceptions j u s t n o t e d). T h e spirit of the w h o l e composition lies in t h e w o r d ”feelings“ w h i c h o c c u r s in t w o of t h e subtitles. K o u s s e v i t z k y plays t h e w o r k in fine style a n d w i t h real t e n d e r n e s s a s well as real force. T h e r e c o r d i n g is a splendid o n e f r o m all s t a n d p o i n t s, a n d t h e set should b e in every p h o n o g r a p h library. E L AMOR BRUJO (Love, T h e Magician), by t h e Berlin P h i l h a r m o n i c O r c h e s t r a under t h e direction of Julius Prwer. [B r u n s w i c k 90111.] R e v i e w e r s h a v e literally r a v e d o v e r this recording, u s i n g u p t h e e n t i r e v o c a b u l a r y of superlatives ! I t is, indeed, a m a s t e r l y piece of w o r k in a l m o s t every respect. T h e climaxes a r e t r e m e n d o u s; b o t h t h e r e a n d in t h e m o s t quiet p a s s a g e s t h e r e i s n o clouding, a n d even small details a r e clearly a n d easily n o t e d. O n l y o n e spot m a r s a n o t h e r w i s e well-nigh p e r f e c t piece of w o r k – a place n e a r t h e beginn i n g of t h e o v e r t u r e w h e r e t h e tone is a bit unsteady. SYMPHONY No. 2, IN D MAJOR, Bee- De Falla. Played by Symphony O r c h e s t r a conducted b y P e d r o M o rales. [C o l u m b i a M a s t e r w o r k s S e t 108.] D e F a l l a w r o t e t h i s originally a s a o n e act ballet w i t h c h o r u s, t h e w o r k h a v i n g its first p e r f o r m a n c e in 1915. H e later r e - w r o t e t h e m o r e i m p o r t a n t p a s s a g e s in the f o r m of t h e suite f o r o r c h e s t r a a s recorded h e r e – a g r o u p of eleven m o v e m e n t s, some of w h i c h a r e quite s h o r t a n d all of w h i c h r e q u i r e only s i x record-sides. T h e m u s i c is h i g h l y c o l o r f u l; it contains m a n y heavily r h y t h m i c p a s s a g e s a n d several melodic passages which a r e in t h e S p a n i s h i d i o m; b u t it also cont a i n s a c o n s i d e r a b l e a m o u n t of u n n a tional m a t e r i a l, t h e effect of w h i c h is t o heighten t h e c h a r m of t h e n a t i o n a l when it appears. T h e i d i o m is, of course, a distinctly m o d e r n o n e, a n d t h e descriptive passages (s u c h as t h e bell passage in “ M i d n i g h t ”) a r e realistic in t h e e x t r e m e. T h i s is quite in k e e p i n g w i t h t h e s t o r y of t h e o r i g i n a l ballet–the love of an A n d u l a s i a n gipsy girl f o r a gipsy while h a u n t e d b y t h e ghost of a dead lover, t h e g h o s t b e i n g laid b y a trick a n d all e n d i n g happily. T h e n a m e of t h e o r c h e s t r a is o m i t t e d f r o m t h e r e c o r d; it is probably a n E n g - thoven. P l a y e d by t h e Berlin S t a t e O p e r a O r c h e s t r a u n d e r t h e direction of E r i c h Kleiber. [B r u n s w i c k, A l b u m N o. 27.] C o m i n g from B e e t h o v e n's first “ p e r i o d, this w o r k follows t h e style a n d m a n n e r of H a y d n a n d M o z a r t; b u t it s h o w s a b r e a d t h of conception a n d a depth of emotional c o n t e n t w h i c h c a n n o t be f o u n d in t h e H a y d n s y m p h o n i e s a n d which is a p p r o a c h e d b y M o z a r t in only o n e o r t w o of h i s g r e a t e s t w o r k s. T h e Larghetto (s e c o n d m o v e m e n t) is one of Beethoven's m o s t poetic a n d p e r fect songs f o r o r c h e s t r a, a m o v e m e n t The b r i e f of t r a n s c e n d e n t b e a u t y. Scherzo (t h i r d m o v e m e n t) is g a y a n d playful, a f o r e t a s t e of t h e c o m p o s e r's later unexcelled c o m p o s i t i o n s in t h i s style. Kleiber r e a d s t h e w o r k in a n e n e r getic a n d a t t h e s a m e t i m e r e s t r a i n e d fashion. H e h a s h i s o r c h e s t r a in splendid control, a n d t h e m e c h a n i c s of r e p r o d u c i n g a r e s o nicely c a r r i e d o u t t h a t t h e a l b u m becomes a n invaluable o n e in a n y library of s y m p h o n i c music. BOLERO, Ravel. Played by Mengelberg and the Concertgebouw Orchestra of A m s t e r d a m. [Columbia, 67890-D a n d 67891-D.] T h i s composition h a s recently h a d e n o r m o u s vogue, a n d it is n o w r e c o r d e d b y t h e t h r e e m a j o r p h o n o g r a p h companies. T h e m u s i c is a l m o s t b a r b a r i c in i t s m o n o t o n o u s insistence o n a fixed r h y t h m – a r h y t h m w h i c h M e n g e l b e r g plays i n Music Supervisors Journal Page 70 sistently t h r o u g h f o u r r e c o r d - s i d e s, in contrast to Koussevitzky's somewhat more varied treatment for Victor. But it is this v e r y r h y t h m a n d its e n d l e s s ness, combined with the highly colored w a n d e r i n g s of t h e s t r a n g e m e l o d y itself, w h i c h m a k e s t h e m u s i c so fascinating. M e n g e l b e r g builds u p a t r e m e n d o u s c l i m a x, l e a d i n g t o it g r a d u a l l y f r o m t h e very beginning–a climax which taxes t h e capacities of r e p r o d u c t i o n, b u t which is d o n e h e r e w i t h g r e a t effectiveness. T H E SEASONS (Ballet), Glazounoff. P l a y e d by a s y m p h o n y o r c h e s t r a u n d e r t h e direction of t h e c o m p o s e r. [Columbia, M o d e r n Music Album S e t 5.] T h e inclusion of t h i s ballet suite in a series of r e c o r d i n g s of “ m o d e r n m u s i c d o e s n o t m e a n t h a t it is m o d e r n i s t i c in t h e accepted sense of t h a t t e r m. F o r Glazounoff is s p i r i t u a l l y a n d musically akin to Tschaikowsky a n d Rimsky-Korsakoff r a t h e r t h a n t o S c r i a b i n e a n d o t h e r l a t e r R u s s i a n c o m p o s e r s. H i s m u s i c is m e l o d i o u s a n d a t t i m e s h a s r a t h e r striki n g a n d brilliant effects; b u t it is r a r e l y p r o f o u n d a n d it n o t i n f r e q u e n t l y is dull and banal. T h i s w o r k w a s c o m p o s e d f o r a ballet by M a r i u s P e t i p a, t o w h o m it is d e d i cated. I t c o n s i s t s of m o v e m e n t s w h i c h c a r r y t h e n a m e s of t h e f o u r s e a s o n s, w i t h i n each of w h i c h t h e r e a r e subdivis i o n s : Winter (Introduction a n d four variations representing Frost, Ice, Hail a n d S n o w), Spring, Summer (Rose D a n c e, B i r d D a n c e, W a l t z of t h e C o r n flowers a n d P o p p i e s, B a r c a r o l l e, V a r i a tion, C o d a), a n d Autumn (Bacchanal, P e t i t A d a g i o, F i n a l e). I n several p a r t s there are attempts at realism–attempts w h i c h a r e p a r t i c u l a r l y successful in The Ice a n d The Hail of t h e first m o v e m e n t. T h e u n n a m e d orchestra plays with real p o w e r a n d w i t h fine a t t e n t i o n t o d e tail u n d e r t h e h a n d of t h e c o m p o s e r. T h e r e c o r d i n g is full-toned a n d clear. T h e Delibes P A S DE FLEURS (N a l a) is included a s t h e last r e c o r d of t h i s set, played by t h e L u c e r n e K u r sail O r c h e s t r a. A delicate a n d delightful p l a y i n g of a trifling b u t p o p u l a r c o m p o s i t i o n . R H A P S O D I E ESPAGNOLE, Ravel. P l a y e d by THE FLYING DUTCHMAN, OVERTURE, JEUX D'EAU. Ravel, and F E U D'ARTI- Wagner. P l a y e d by t h e B e r l i n P h i l h a r m o n i c O r c h e s t r a u n d e r t h e direction of R i c h a r d S t r a u s s. [B r u n s wick, 9012O] T h i s o p e r a is i n t e r e s t i n g t o s t u d e n t s of W a g n e r b e c a u s e of t h e fact t h a t it m a r k s a t r a n s i t i o n a l point in h i s w o r k; as h e p u t it himself, “ F r o m this m o m e n t m y c a r e e r b e g a n a s a poet, a n d I m a d e m y f a r e w e l l t o t h e m e r e concocter of o p e r a p l o t s. T h e m u s i c of t h e Overture is s t o r m y, depicting n o t only the r a g i n g seas w h i c h t h e F l y i n g D u t c h m a n sailed b u t a l s o t h e s t o r m of h i s o w n soul. T h e m o o d is relieved, by w a y of c o n t r a s t, b y t h e i n t r o d u c t i o n of S e n t a's l o v e - t h e m e a n d of o n e of t h e familiar c h o r u s e s f r o m t h e b o d y of t h e opera. T h e w o r k is well played, w i t h special a t t e n t i o n being g i v e n t o t h e forceful c o n t r a s t s of t h e score. T h e r e c o r d i n g is splendid, b r i n g i n g o u t t h e v a r i o u s t o n e - c o l o r i n g s in a fine w a y . FICE. Debussy. P l a y e d by M a r i a Theresa Brazeau. [Brunswick, 90113.] H e r e a r e t w o i m p r e s s i o n i s t i c bits, well coupled w i t h each o t h e r. Feu d'Artifice is j u s t w h a t i t s title indicates,– fireworks; t h e label of t h e r e c o r d c r e d its R a v e l with this w o r k, b u t it w a s written by D e b u s s y – s e c o n d set of Preludes, Number 12. Jeux d'Eau c a r ries a subtitle q u o t e d from H e n r i d e Rgnier which reads “ T h e Water-God l a u g h i n g a t t h e w a t e r s w h i c h tickle his fancy.” B o t h pieces a r e played r a t h e r b r i l liantly, a l t h o u g h M m e. B r a z e a u s t u m bles t w o o r t h r e e t i m e s in t h e R a v e l. A n d in t h e b e g i n n i n g of t h i s piece h e r e x a g g e r a t e d p h r a s i n g s a r e disturbing, inasmuch as Ravel shortens his measu r e s deliberately, w i t h n o indication of p a u s e s a s h e r e played, b u t r a t h e r with a h e i g h t e n e d effect of h u r r i e d m o t i o n. T h e r e c o r d i n g of t h e w o r k s is splendid. RECESS By MARK TIME T H E R E be some musicians w e could n a m e w h o w o u l d say t h a t t h e f o l l o w i n g d e s c r i p t i o n s of w h a t h a p p e n s in S t r a v i n s k y's Petrouchka Ballet a r e a s g o o d a s t h e music. T h e y a r e t h e w r i t t e n r e p o r t s of t h e r e a c t i o n s of t w o j u n i o r high school s t u d e n t s t o t h e ballet. Marie: T h e y fall in love–an o r g a n a n d a monkey a r e present. James: (1) Bells r i n g i n g. (2) D a n c e r s. T h e m u s i c gets faster faster a n d is gayer a n d gayer. (3) O n e d a n c e r c o m e s o u t a n d dances herself. (4) Every while feeling. he gets a lonely a symphony orchestra under the dir e c t i o n of P i e r o Coppola. [V i c t o r, 9700 a n d 9701.] T h i s w o r k w a s w r i t t e n in 1907. I t h a s f o u r m o v e m e n t s : Prelude a la Nuit, Malaguena, Habanera, Feria. T h e scoring is f o r a l a r g e o r c h e s t r a, in w h i c h b r a s s and woodwind a r e somewhat supplemented, a n d to which a r e added xylop h o n e, celesta a n d several p e r c u s s i o n instruments. A f o u r - n o t e figure m a d e of f o u r d o w n w a r d s e c o n d s s e e m s t o b e t h e central g e r m of t h e w h o l e w o r k; it is p r o m i n e n t in t h e Prelude, a p p e a r s in t h e Habanera a n d a g a i n is p r o m i n e n t in t h e final m o v e ment. T h e t w o middle movements are in t h e i r typical d a n c e - r h y t h m s. T h e first a n d f o u r t h m o v e m e n t s a r e u t t e r l y free in r h y t h m, a s in o t h e r p a r t i c u l a r s. T h e w h o l e w o r k is vivid, w i t h s p l a s h i n g colors, intriguing movement, fascinating t o nal combinations. R e c o r d e d in F r a n c e, t h e p r e s s i n g s r e leased in t h i s c o u n t r y a r e v e r y good o n e s; t h e y a r e c l e a r - t o n e d a n d full-toned, a n d especially in t h e Feria t h e y reach great heights. Page 72 I d o n't fully g r a s p t h e r e a s o n s f o r such a change, b u t t h e r e seems t o b e a feeling t h a t w e will live longer, b e happier, m a k e m o r e m o n e y, o r s o m e thing, if t h e p r e s e n t s o m e w h a t miscell a n e o u s a n d h a p h a z a r d a s s o r t m e n t of m o n t h s w i t h w h i c h w e keep t r a c k of the periods between birthdays, were replaced by e i t h e r twelve o r t h i r t e e n m o n t h s of e x a c t l y t h e s a m e length. B y one system, each m o n t h w o u l d b e a n e x a c t duplicate of t h e o t h e r s, so t h a t o n e could u s e t h e s a m e c a l e n d a r p a g e month after month. T h e saving t h u s effected is a b o u t t h e m o s t p o t e n t a r g u m e n t in f a v o r of t h e c a l e n d a r r e v i sion, so f a r as I p e r s o n a l l y a m c o n c e r n e d. Y o u c a n't b e a t t i m e by c h a n g ing the calendar. O. E. W . (5) B u t t h e dancers cheer him up. (6) H e keeps o n g e t t i n g lonely ings. H e feels awful. (8) Another lonely feeling. o u t fast once feel- (7) H e h e a r s d a n c i n g o n t h e street. (9) T h e music more. (10) H e is a g a i n bursts g a y a n d cheerful. M. T. K. [A very T i m e l y c o m m e n t. Neither d o w e k n o w a n y t h i n g a b o u t it, b u t if t h e r e c a n be i n c l u d e d in t h e revision s o m e sort of s c h e m e t o p r o v i d e m o r e h o u r s between m i d n i g h t a n d b r e a k f a s t time f o r sleeping a f t e r w e h a v e r e a d in b e d a s long a s w e w a n t to, w e w o u l d v o t e f o r it h e a r t i l y. – M A R K.] Dear Mark T i m e : I t is i n t e r e s t i n g t o observe t h a t a q u e s t i o n n a i r e r e c e n t l y sent o u t by t h e University Association for the Study of C a l e n d a r R e f o r m, divulges t h e fact t h a t a b o u t 90 p e r cent of t h e e d u c a t o r s r e p l y i n g f a v o r e d c a l e n d a r revision of s o m e k i n d. J u d g i n g b y y o u r n a m e t h i s is s o m e t h i n g t h a t comes w i t h i n t h e j u r i s d i c t i o n of y o u r d e p a r t m e n t . M a r k Time, M U S I C SUPERVISORS JOURNAL. D e a r S i r : I h a v e been o b s e r v i n g t h e R e c e s s antics of v a r i o u s p e r s o n s (w h o m I suspect t o b e C o n f e r e n c e m e m b e r s, if t h e initialed s i g n a t u r e s a r e a u t h e n t i c), a n d I n e v e r w o u l d h a v e t h o u g h t it of t h e m. I s n't it s h o c k i n g ? S o m e of t h e m certainly o u g h t t o h a v e t o stay a f t e r school. Y o u r s f o r a l o n g e r Recess. H. C. L. Music Supervisors Journal sistently t h r o u g h f o u r r e c o r d - s i d e s, in contrast to Koussevitzky's somewhat more varied treatment for Victor. But it is this v e r y r h y t h m a n d its e n d l e s s ness, combined with the highly colored w a n d e r i n g s of t h e s t r a n g e m e l o d y itself, w h i c h m a k e s t h e m u s i c so fascinating. M e n g e l b e r g builds u p a t r e m e n d o u s c l i m a x, l e a d i n g t o it g r a d u a l l y f r o m t h e very beginning–a climax which taxes t h e capacities of r e p r o d u c t i o n, b u t which is d o n e h e r e w i t h g r e a t effectiveness. T H E SEASONS (Ballet), Glazounoff. P l a y e d by a s y m p h o n y o r c h e s t r a u n d e r t h e direction of t h e c o m p o s e r. [Columbia, M o d e r n Music Album Set 5.] T h e inclusion of t h i s ballet suite in a series of r e c o r d i n g s of “ m o d e r n m u s i c d o e s n o t m e a n t h a t it is m o d e r n i s t i c in t h e accepted sense of t h a t t e r m. F o r Glazounoff is s p i r i t u a l l y a n d musically akin to Tschaikowsky and Rimsky-Korsakoff r a t h e r t h a n t o S c r i a b i n e a n d o t h e r l a t e r R u s s i a n c o m p o s e r s. H i s m u s i c is m e l o d i o u s a n d a t t i m e s h a s r a t h e r striki n g a n d brilliant effects; b u t it is r a r e l y p r o f o u n d a n d it n o t i n f r e q u e n t l y is dull and banal. T h i s w o r k w a s c o m p o s e d f o r a ballet by M a r i u s P e t i p a, t o w h o m it is d e d i cated. I t c o n s i s t s of m o v e m e n t s w h i c h c a r r y t h e n a m e s of t h e f o u r s e a s o n s, w i t h i n each of w h i c h t h e r e a r e subdivis i o n s : Winter (Introduction a n d four variations representing Frost, Ice, Hail a n d S n o w), Spring, Summer (Rose D a n c e, B i r d D a n c e, W a l t z of t h e C o r n flowers a n d P o p p i e s, B a r c a r o l l e, V a r i a (Bacchanal, tion, C o d a), a n d Autumn P e t i t A d a g i o, F i n a l e). I n several p a r t s there are attempts at realism–attempts w h i c h a r e p a r t i c u l a r l y successful in The Ice a n d The Hail of t h e first m o v e m e n t. T h e u n n a m e d orchestra plays with real p o w e r a n d w i t h fine a t t e n t i o n t o d e tail u n d e r t h e h a n d of t h e c o m p o s e r. T h e r e c o r d i n g is full-toned a n d clear. T h e Delibes P A S DE FLEURS (N a l a) is included a s t h e last r e c o r d of t h i s set, played by t h e L u c e r n e K u r sail O r c h e s t r a. A delicate a n d delightful p l a y i n g of a trifling b u t p o p u l a r c o m p o s i t i o n . R H A P S O D I E ESPAGNOLE, Ravel. P l a y e d by THE FLYING DUTCHMAN, OVERTURE, JEUX D'EAU. Ravel, and F E U D'ARTI- Wagner. P l a y e d by t h e B e r l i n P h i l h a r m o n i c O r c h e s t r a u n d e r t h e direction of R i c h a r d S t r a u s s. [B r u n s wick, 90120.] FICE. Debussy. P l a y e d by M a r i a Theresa Brazeau. [Brunswick, 90113.] T h i s o p e r a is i n t e r e s t i n g t o s t u d e n t s of W a g n e r b e c a u s e of t h e fact t h a t it m a r k s a t r a n s i t i o n a l point in h i s w o r k; as h e p u t it himself, “ F r o m this m o m e n t m y c a r e e r b e g a n a s a poet, a n d I m a d e m y f a r e w e l l t o t h e m e r e concocter T h e m u s i c of t h e of o p e r a p l o t s. Overture is s t o r m y, depicting n o t only the r a g i n g seas w h i c h t h e F l y i n g D u t c h m a n sailed b u t a l s o t h e s t o r m of h i s o w n soul. T h e m o o d is relieved, by w a y of c o n t r a s t, b y t h e i n t r o d u c t i o n of S e n t a's l o v e - t h e m e a n d of o n e of t h e familiar c h o r u s e s f r o m t h e b o d y of t h e opera. T h e w o r k is well played, w i t h special a t t e n t i o n being g i v e n to t h e forceful c o n t r a s t s of t h e score. T h e r e c o r d i n g is splendid, b r i n g i n g o u t t h e v a r i o u s t o n e - c o l o r i n g s in a fine w a y . H e r e a r e t w o i m p r e s s i o n i s t i c bits, well Feu d'Arcoupled w i t h each o t h e r. tifice is j u s t w h a t i t s title indicates,– fireworks; t h e label of t h e r e c o r d c r e d its R a v e l with this w o r k, b u t it w a s written by D e b u s s y – s e c o n d set of Preludes, Number 12. Jeux d'Eau c a r ries a subtitle q u o t e d from H e n r i de Rgnier which reads “ T h e Water-God l a u g h i n g a t t h e w a t e r s w h i c h tickle his fancy.” B o t h pieces a r e played r a t h e r b r i l liantly, a l t h o u g h M m e. B r a z e a u s t u m bles t w o o r t h r e e t i m e s in t h e R a v e l. A n d in t h e b e g i n n i n g of t h i s piece h e r e x a g g e r a t e d p h r a s i n g s a r e disturbing, i n a s m u c h as R a v e l s h o r t e n s h i s m e a s u r e s deliberately, w i t h n o indication of p a u s e s a s h e r e played, b u t r a t h e r with a h e i g h t e n e d effect of h u r r i e d m o t i o n. T h e r e c o r d i n g of t h e w o r k s is splendid. RECESS By MARK TIME T H E R E be s o m e m u s i c i a n s w e could n a m e w h o w o u l d say t h a t t h e f o l l o w i n g d e s c r i p t i o n s of w h a t h a p p e n s in S t r a v i n s k y's Petrouchka Ballet a r e a s g o o d a s t h e music. T h e y a r e t h e w r i t t e n r e p o r t s of t h e r e a c t i o n s of t w o j u n i o r high school s t u d e n t s to t h e ballet. Marie: T h e y fall in love–an o r g a n a n d a monkey a r e present. (1) James: Bells r i n g i n g . (2) D a n c e r s. T h e m u s i c gets faster faster a n d is gayer a n d gayer. (3) O n e d a n c e r c o m e s o u t a n d dances herself. he gets a lonely a symphony orchestra under the dir e c t i o n of P i e r o Coppola. [V i c t o r, 9 7 0 0 and 9 7 0 1.] (4) Every while feeling. (5) (6) (7) (8) I d o n't fully g r a s p t h e r e a s o n s f o r such a change, b u t t h e r e seems t o b e a feeling t h a t w e will live longer, b e happier, m a k e m o r e m o n e y, o r s o m e thing, if t h e p r e s e n t s o m e w h a t miscell a n e o u s a n d h a p h a z a r d a s s o r t m e n t of m o n t h s w i t h w h i c h w e keep t r a c k of the periods between birthdays, were replaced by e i t h e r twelve o r t h i r t e e n m o n t h s of e x a c t l y t h e s a m e length. B y one system, each m o n t h w o u l d be a n e x a c t duplicate of t h e o t h e r s, so t h a t o n e could u s e t h e s a m e c a l e n d a r p a g e month after month. T h e saving t h u s effected is a b o u t t h e m o s t p o t e n t a r g u m e n t in f a v o r of t h e c a l e n d a r r e v i sion, so f a r as I p e r s o n a l l y a m c o n c e r n e d. Y o u c a n't b e a t t i m e by c h a n g ing the calendar. O. E. W . T h i s w o r k w a s w r i t t e n in 1 9 0 7. I t h a s f o u r m o v e m e n t s : Prelude a la Nuit, Malaguena, Habanera, Feria. T h e scoring is f o r a l a r g e o r c h e s t r a, in w h i c h b r a s s and woodwind a r e somewhat supplemented, a n d to which a r e added xylop h o n e, celesta a n d several p e r c u s s i o n instruments. A f o u r - n o t e figure m a d e of f o u r d o w n w a r d s e c o n d s s e e m s t o b e t h e central g e r m of t h e w h o l e w o r k; it is p r o m i n e n t in t h e Prelude, a p p e a r s in t h e Habanera a n d a g a i n is p r o m i n e n t in t h e final m o v e ment. T h e two middle movements are in t h e i r typical d a n c e - r h y t h m s. T h e first a n d f o u r t h m o v e m e n t s a r e u t t e r l y free in r h y t h m, a s in o t h e r p a r t i c u l a r s. The w h o l e w o r k is vivid, w i t h s p l a s h i n g colors, intriguing movement, fascinating tonal combinations. R e c o r d e d in F r a n c e, t h e p r e s s i n g s r e leased in t h i s c o u n t r y a r e v e r y good o n e s; t h e y a r e c l e a r - t o n e d a n d full-toned, a n d especially in t h e Feria t h e y reach great heights. Page 72 B u t t h e dancers cheer him up. H e keeps o n g e t t i n g lonely ings. H e feels awful. Another lonely feeling. o u t fast once feel- H e h e a r s d a n c i n g o n t h e street. bursts (9) T h e music more. (10) H e is a g a i n g a y a n d cheerful. M. T. K. [A very T i m e l y c o m m e n t. Neither d o w e k n o w a n y t h i n g a b o u t it, b u t if t h e r e c a n be i n c l u d e d in t h e revision s o m e sort of s c h e m e t o p r o v i d e m o r e h o u r s between m i d n i g h t a n d b r e a k f a s t time f o r sleeping a f t e r w e h a v e r e a d in b e d as long a s w e w a n t to, w e w o u l d v o t e f o r it h e a r t i l y. – M A R K.] Dear Mark T i m e : I t is i n t e r e s t i n g to observe t h a t a q u e s t i o n n a i r e r e c e n t l y sent o u t by t h e University Association for the Study of C a l e n d a r R e f o r m, divulges t h e fact t h a t a b o u t 9 0 p e r cent of t h e e d u c a t o r s r e p l y i n g f a v o r e d c a l e n d a r revision of s o m e k i n d. J u d g i n g b y y o u r n a m e t h i s is s o m e t h i n g t h a t comes w i t h i n t h e j u r i s d i c t i o n of y o u r d e p a r t m e n t . M a r k Time, M U S I C SUPERVISORS JOURNAL. D e a r S i r : I h a v e been o b s e r v i n g t h e R e c e s s antics of v a r i o u s p e r s o n s (w h o m I suspect t o b e C o n f e r e n c e m e m b e r s, if t h e initialed s i g n a t u r e s a r e a u t h e n t i c), a n d I n e v e r w o u l d h a v e t h o u g h t it of t h e m. I s n't it s h o c k i n g ? S o m e of t h e m certainly o u g h t t o h a v e t o stay a f t e r school. Y o u r s f o r a l o n g e r Recess. H. C. L. Music Supervisors Journal </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The Seasons (Ballet), Glazounoff</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>The Seasons (Ballet), Glazounoff</title></titleInfo><typeOfResource>text</typeOfResource><genre type="review-article" displayLabel="review-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1931-12</dateIssued><copyrightDate encoding="w3cdtf">1931</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1931</date><detail type="volume"><caption>vol.</caption><number>18</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>72</start><end>72</end></extent></part></relatedItem><identifier type="istex">074D6D469F6056F3BB9D34241EFF2FFD32DF41E7</identifier><identifier type="ark">ark:/67375/M70-9V34NV6V-W</identifier><identifier type="DOI">10.2307/3383407</identifier><identifier type="ArticleID">10.2307_3383407</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/074D6D469F6056F3BB9D34241EFF2FFD32DF41E7/metadata/json</uri></json:item></metadata><author></author><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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