Evening star., 1933-10-15


Transcribed from the organ by Edgar
T. Paul.
DRANSCRIPTIONS are justihab!e
for only two reasons: Either
because they improve the orig
i inal or because they save from
oblivion works of great musical
value. A work like the Bach "Passa-
caglia" was alas, too rarely played
made their transcriptions for the mod
ern orchestra Of this superb work.
PuriSts who contend that to touch
original works is sacriligiouS can be
referred to nearly every great composer,
who made transcriptions of his own
and other composers works, starting
with Bach himself!
Bach wrote a number Of his own
compositions for different combinations
Of instruments; he also used for that
purpose works by Vivaldi and others: SO
did Mozart and Beethoven. The varia-
tions on a theme Of Paganini. by List
and by Brahms 1.-TWO such contrasting
figures in the world of music), are but
another instance. The Liszt piano
transcriptions of Bach and Schubert's
works. "Tausigs of the D Minor
Toccata and Fugue," by Bach. are
still other instances of legitimate
transcription, There is no doubt that
If Bach could have known the modern
orchestra he would have wept tears of
enthusiasm because Of its limitless pos
sibilities. The present arrangement Of
the marvellous and rarely heard &C
Minor Prelude and Fugue" fulfills both
of the two conditions I have above
mentioned.
This particular prelude and fugue is
but rarely played on the organ, and. In
consequence. is little known to the
average concertgoer. The orchestra
brings out certain shadingS which even
the most perfect organ would not be
capable of bringing out to sufficient
degree. What l mean is, for instance,
the start of the fugue, where the
human quality of the strings is SO
deeply moving, SO appropriate to the
devout and intimate and melancholy
character of the main theme, that no
instrument except the strings can give
it the peculiar poignancy which 1t
needs. To my mind. it is one OF the
greatest Of all the fugues, and I am
borne out in this statement by
Schweitzer, the eminent authority, on
Bach. His Bach biography, which Is
more an analysis of the works than a
description Of the actual life (although
both 60 hand in hand) is by all odds
among the greatest of all biographies,
and certainly the greatest ever written
Of Bach.
Concerto No. rThe Emperor in
Flat" for Piano and Orchestra.
Beethoven
Allegro.
Adagio un POGO mosso
Rondo; allegro.
1t is needless to comment at length
on the beauties of the Emperor Con-
certo," by Beethoven. Its very name
shows the grandeur of the impression
which Is always made on the listener.
I would like to point out. however. the
wonderful beauty Of the second theme
in the first movement. 1t Is written
like the main theme, in a kind Of glori-
fed march rhythm, appearing now in
the orchestra, then again in the piano,
sometimes in minor. at other moments
an all-reconciling major. I never can
hear this theme. but what feel 1t to be
one of the most moving passages in all
music.
The Adagio." deeply devout, pray
erful, is one Of Beethovens finest; at
the end he introduces. hesitatingly. as
though he could not make up his mind
hind. slowly, the first notes Of the final
movement This last movement in
ropdo form has as its particular bright
quality superb main theme. which is
not always the case with Beethoven'S
themes for his other last movements
The jubilant gayety of this movement is
absolutely irresistible; and, played by
a master, and an authority as well. like
Ernest Hutcheson, one cannot imagine
a more felicitous combination than this
work and its interpreter.
Suite Symphonique "Scheherazade"
Rimsky- Korsakov
The Sea and Sindbad's Vessel.
The Story Of the Prince Kalandar.
The Young Prince and the Young
Princess.
Feast in Bagdad.
The Sea.
The Vessel Is Wrecked on Rock on
Which Is Mounted q Warrior Of Brass.
Conclusion.
Rimsky- -Korsakov, the grandfather OF
modern music, the musical Santa Claus
Of colored picture books, a man who
knew better than any one how to
illustrate musically all kinds of marvel
er Rooster" "Snegoroutchka" and
other fantastic works! Never before
nor since has the particular kind OF
fantasy which is so typical Of Rimsky
been expressed in music
Has any one ever imagined love-
lier theme than the "Scheherazade"
theme for the violin solo in the begin
ring? Doesn't it sound, musically, like
"once upon a time? Has ever the
sea been more gloriously depicted than
during the entire rest of this first
movement? Have ever instruments
sounded so gorgeously with such di-
versity. with such splendor as in this
particular work? The second move
ment. with all the different instruments
coming in with their solos, seems to
want to give every individual player
chance to show his virtuosity to the
full, and succeeds in doing SO. The
third consists of the two contrasting
motives of loveliest song and gayest
dance with a magnificent climax, and
charming. graceful, delicate finish.
The last movement seems to comprise
all that has gone before and more be-
sides! After frenetic start, and two
PIANO PEDAGOGY