The most important musical event of the past weeks was the first performance in Paris of Stravinsky's Symphonie de Psaumes. The work has made a profound impression in musical circles here and is considered to be one of Stravinsky's finest achievements. He has chosen verses from the Latin version of the Psalms. The work is divided into three movements. The text of the first is from a psalm of supplication, the second of contemplation, and the third of praise (Psalm 150).
The whole work is extremely religious in character, the feeling being deep and yet restrained. From the technical point of view it well repays a careful study - the economy of thematic material is most remarkable throughout; the second movement is a double fugue, and though all the well-known contrapuntal devices are employed it seems extraordinarily new and original. The orchestration too is full of innovations - there are no violins, no violas and no clarinets, but two pianos are added, forming another instance of Stravinsky's predilection for the piano as an orchestral instrument. One feels that this work is the culmination of Stravinsky's third period, which began with such works as the Sonata and Oedipus Rex, and its austerity is tempered by that tremendous ardour and power by which we recognize the composer of The Rite of Spring. The Psalm Symphony expresses the Christian spirit as strongly as the ‘Rite’ expressed the spirit of paganism. If one looks back from this work on the whole of Stravinsky's output, one cannot help being struck by the extraordinary variety of styles that it contains, and one comes to the conclusion that it matters little what style a composer uses so long as he adheres to it consistently during the same work; and not only this, but that the same composer can use a different style for each work without ever losing his own individuality. I suppose this has never been done to such an extent before, and it is a fine thing to see an artist despise the success that is so easily obtained by repeating himself after one successful work, and boldly striking out afresh each time at the risk of being misunderstood by his late admirers.
Two piano recitals given by Walter Gieseking deserve special mention. This magnificent pianist differs so much from the ordinary virtuoso that it would be most difficult to give an idea of his playing to anyone who had not heard him. The utter absence of show and exterior effect and the concentration on the music itself make his art a refreshingly different thing from what one is used to. He played at his first recital twelve Preludes by Chopin and Debussy's Twenty-four Preludes, and at the second, four Beethoven Sonatas. Several times during both concerts one had the feeling of listening for the first time to things that one knew by heart.
Pierre Monteux has given some interesting works with the Paris Symphonic Orchestra, amongst which Beck's Fifth Symphony, Markevitch's Piano Concerto and a portion of Alban Berg's opera Wozzeck are worthy of note - the latter especially containing some very brilliant and original orchestration.
There has also been an orchestral concert of the works of navel, the programme including the early Spanish Rhapsody, the whole of Daphnis and Chloe (a work that is rarely heard in its entirety) and the Bolero. Although the Bolero is a wonderful idea brilliantly executed one feels that such a method of composing is too arbitrary to lead anywhere, and its final paroxysm is so calculated that it can only thrill one once - however, it is better to be thrilled once than not at all. Ravel’s early works are undoubtedly his most original, and this concert made one feel how much modern music owes to him.
Honegger's operetta Les Aventures du Roi Pansole continues to have great success, though it is in some respects disappointing from a purely musical point of view. In his desire to write an ordinary operetta and to avoid any savour of the 'high brow' Honegger seems to have gone too far. The result is that a good deal of it is frankly banal, which is a pity, as it has a deal of life and gaiety, and if only he had managed to be a little more original, it would have yet more.
Various concerts have been given, notably by the Schola Cantorum and the Colonne orchestra, to celebrate - Vincent d'Indy's eightieth birthday (March 27). The composer has been promoted Grand Officer of the Legion of Honour.
Transcribed from The Monthly Musical Record May 1 1931 (with minor edits) With thanks to the Sir Lennox Berkeley Estate for permission to reprint this article.
The whole work is extremely religious in character, the feeling being deep and yet restrained. From the technical point of view it well repays a careful study - the economy of thematic material is most remarkable throughout; the second movement is a double fugue, and though all the well-known contrapuntal devices are employed it seems extraordinarily new and original. The orchestration too is full of innovations - there are no violins, no violas and no clarinets, but two pianos are added, forming another instance of Stravinsky's predilection for the piano as an orchestral instrument. One feels that this work is the culmination of Stravinsky's third period, which began with such works as the Sonata and Oedipus Rex, and its austerity is tempered by that tremendous ardour and power by which we recognize the composer of The Rite of Spring. The Psalm Symphony expresses the Christian spirit as strongly as the ‘Rite’ expressed the spirit of paganism. If one looks back from this work on the whole of Stravinsky's output, one cannot help being struck by the extraordinary variety of styles that it contains, and one comes to the conclusion that it matters little what style a composer uses so long as he adheres to it consistently during the same work; and not only this, but that the same composer can use a different style for each work without ever losing his own individuality. I suppose this has never been done to such an extent before, and it is a fine thing to see an artist despise the success that is so easily obtained by repeating himself after one successful work, and boldly striking out afresh each time at the risk of being misunderstood by his late admirers.
Two piano recitals given by Walter Gieseking deserve special mention. This magnificent pianist differs so much from the ordinary virtuoso that it would be most difficult to give an idea of his playing to anyone who had not heard him. The utter absence of show and exterior effect and the concentration on the music itself make his art a refreshingly different thing from what one is used to. He played at his first recital twelve Preludes by Chopin and Debussy's Twenty-four Preludes, and at the second, four Beethoven Sonatas. Several times during both concerts one had the feeling of listening for the first time to things that one knew by heart.
Pierre Monteux has given some interesting works with the Paris Symphonic Orchestra, amongst which Beck's Fifth Symphony, Markevitch's Piano Concerto and a portion of Alban Berg's opera Wozzeck are worthy of note - the latter especially containing some very brilliant and original orchestration.
There has also been an orchestral concert of the works of navel, the programme including the early Spanish Rhapsody, the whole of Daphnis and Chloe (a work that is rarely heard in its entirety) and the Bolero. Although the Bolero is a wonderful idea brilliantly executed one feels that such a method of composing is too arbitrary to lead anywhere, and its final paroxysm is so calculated that it can only thrill one once - however, it is better to be thrilled once than not at all. Ravel’s early works are undoubtedly his most original, and this concert made one feel how much modern music owes to him.
Honegger's operetta Les Aventures du Roi Pansole continues to have great success, though it is in some respects disappointing from a purely musical point of view. In his desire to write an ordinary operetta and to avoid any savour of the 'high brow' Honegger seems to have gone too far. The result is that a good deal of it is frankly banal, which is a pity, as it has a deal of life and gaiety, and if only he had managed to be a little more original, it would have yet more.
Various concerts have been given, notably by the Schola Cantorum and the Colonne orchestra, to celebrate - Vincent d'Indy's eightieth birthday (March 27). The composer has been promoted Grand Officer of the Legion of Honour.
Transcribed from The Monthly Musical Record May 1 1931 (with minor edits) With thanks to the Sir Lennox Berkeley Estate for permission to reprint this article.
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