The Indianapolis times. [volume] (Indianapolis [Ind.]) 1922-1965, 1926-09-09
New Musical Adventure a Week Good
Policy for Members of Every Family
By Observer

mo Entrance'-That was at one
Meaning before the days Of the
photograph. the radio, the player
piano there was no entrance to
having music in your home unless
you could do it.
Today everything is different. The
masters of the concert stage come
in the form of a record or a roll.
Ones musical experience is no
longer limited by musical training.
What we need more today than ever
is to have the capacity to receive
great music.
know that the photograph
record today is a medium which is
open TO all. So let us take an ex-
perience.
Have before me the 1925 Co
lumbia Records catalogue. I want
musical opportunity to get a little
better acquainted with big music.
No reason at all for this adven-
ture, but l do want a romance of
music. l want to get better ac-
quainted with melody.
just Romance
I know that Columbia in it's MAS
terworks' Series" have recorded the
work Of the masters. But 1 want
romance.
So we will take a chance. / will
open the list book at any point
which is devoted to the Masterworks.
This have done.
Page 25 falls open. Here I have
my adventure. He is listed as Lalo.
His work is listed as Symphonic
Espagnogle, Opus 81" 1t is for
violin and orchestra.
So let us take the printed page
and find out about Lalo.
The Columbia list of 1926 tells US
as follows:
Edourd Lalo, born in Lille, 1923,
enriched the musical literature of
France by many Of the most grace.
full, piquant and expressive works
of an that have been added to 1t in
the past century. Especially felici-
tous in the realms of ballet, panto-
mine and chamber music, Lalo ex-
celled in those lighter forms of COM
position of which the Arabesque is
typical. and a leaning toward the
bizarre Is observable in much Of his
work; In all of 1t there is found
originality of the highest order.
Lalo is an eminent example of
creative musician whose talent was
developed by direct individual re-
search and analysis of the work of
the great masters Of the past, such
as Beethoven and Schumann (who
were his especial guides), rather
than by the rules and precepts of
the pedagogue.
Lalo's early training as a player
Of the viola made him peculiarly
sensitive TO values in the creation
of music for the solo strings. His
faculty in this respect rises TO great
ness in the Symphonic Espagnole,
which is in effect a concerto for
violin and orchestra, built upon
what is manifestly a deep and sym
pathetic study of Castilian themes.
In his elaboration Of these rhythms
so instinct with vivacity and charm
he worked with peculiar dizziness
and understanding. The result is a
work Of striking power and beauty.
It's first playing was by the great
Sarasate, in Madrid.
The work is recorded in four
movements, the opening one taking
both sides of the first record. 1t
opens vigorously and establishes
early in its course the general char
acter Of the composition. A scher-
zando of the most playful and fasci-
mating description follows, and in
turn gives place to an andante in
the most dignihed Spanish style.
The series closes with a vivacious
rondo.
So we have our musical OPP
portunity at romance. Write me If
you take it.