Evening star., 1934-04-01

I'D Oci0ck.
The finale, with its impetuous start,
Is, like most Of Cesar Franck's final
movements, in canon form (the same
theme entering in other Instruments
after part of it has been Played. A
nearly martial theme of victory inter-
rupts. Eventually, after a great climax,
as have pointed out, the main theme
OF the second movement enters with
Its long climax to major. The second
theme Of this last movement then Is
heard, and then the most amazing
thing happens: The music takes
cannot express it differently. the
definite shape Of the arch of a ca
theoral. In the world Of art, moth
ing Is comparable to this unless It be
the mysticism which so nearly tan
gibly emanated from the cathedral at
Chartres. In fact, it is my solemn
conviction that Franck himself must
have had the inspiration OF an archi-
tectural masterpiece of that kind in
mind. 1t is as If one actually hears
the long drawn-out spans and col
umns which reach out In the music.
and through it, into infinity.
Dance Of the Nymphs and Satyrs,"
George Schumann
(First performance in Washington.)
The next number Is a charming and
Nttle-known work by the contempor-
airy composer, George Schumann.
which needs only its title as COM
ment.
1872 Overture solenelle."
Tschaikowsky
Tastes 90 through certain stages.
No man has been more hero-wor-
SHIPPED by former vilifiers than. for In.
stance, Wagner, only to eventually
again be completely denied by GER
tain esthetes of today.
Tschaikowsky has, to a large extent.
escaped this particular change in ap-
probation. Quite recently, in fact,
about seven years ago, even those
whose opinion was that the only es-
cape from music possible was BY be-
ing completely soulless and mathe-
matical, who professed adherence
solely to the system of "Neue Sach-
hchkeit" new matter of -factness),
suddenly, with Stravinsky at the head.
turned about face and proclaimed
Tschaikowsky their god! Be this sud-
den adulation what it may. 1t Ger
tainly Is more tenable than the atti-
tude of musical dyspeptics who now
are (as those things go) seven years
nehind the times when they consider
him no longer de rigueur."
Surely, we all know his faults. We
know he occasionally indulges in self
pity. we know his too-obvious quail
ties. But when we take his works BY
and large and consider the wealth Of
inspiration and craftsmanship OF such
works as the symphonies. the operas,
the concertos for violin and piano and
cello, the different ballets, the piano
trio and countless other works, It does
not seem as if it would be up to US
to sneer derisively and regard him
with lack Of respect for which even
a school boy would be properly
Smacked.
The work Of today was written for
an occasion. If We compare it with
other pieces d'occasion," like, for in
stance. Beethoven's Battle of Prague"
or Wsgner's Centennial March" We
are surprised to find. even here. a
wealth of melody, typical Slav mood.
an Instrumentation such as (except-
ing Wagner. Rimsky and the younger
ones who profited by their example)
no one has been able to improve on,
and a climax which, for nigh on to
fifty years now has by its sheer force
and power enthused audiences every
where.
1t is a canvas on a large scale. de-
scriptive, first of all, of the typical
Russian spirit of faith, indicated by d
religious chant. This Is interrupted
by music depicting oncoming tragedy.
1t is interrupted by horn and trumpet
snatches of the "Marseillaise. Even
tually it subsidies into one of Tschaik-
owsky's finest and real Russian melo-
dies, which, in its turn. is followed by
a typical Cossack dance A return to
the more stormy music follows, with
the "Marseillaise" and Russian tunes
clashing, eventually leading up to the
original chant in great instrumental
splendor. To this is added, among
the sounds Of multitudinous church
bells, the ancient Russian national
hymn. which ends the piece (and let
us hope, our season. in a blaZs Of
glOry