Evening star., 1935-03-17

-HE Fourth Symphony Of
S. Tchaikovsky has a curious
history. At certain mo-
ment when Tchaikovsky,
like most composers before
and after him, was having difficult
time in trying to find not only recog-
milton, but the possibility of a liveli-
hood, he received a communication
from q woman by the name Of Ma
dejda Won Meek. In her letter she
expressed her wish to relieve the COM
poser of anxiety by giving him an
annual income sufficient for him to
be able to devote himself exclusively
to the kind of composition that he
would want to do, and take away the
necessity Of the hack" work by
which he had been considerably ham
pered. The only condition which she
made was that she would never meet
him personally as she feared that
personal contact might disrupt the
ideal relationship which she tried to
establish. Tchaikovsky, deeply moved,
accepted, and dedicated his Fourth
Symphony" (the most important one
so far and one of his three great ones)
to her.
Later on, after a number of years,
misunderstanding occurred between
the representative composer and the
ideal patron; but it is well to re-
member that when poor Tchaikovsky
was in the death throes caused by the
dread cholera epidemic Of 1894, the
name Of Nadeida Won Meek was con-
stantly on his lips. even when in the
state of delirium caused by the fatal
disease
The Fourth Symphony" also called
the Fate Symphony" starts with a
recurring fanfare-like theme in minor
key. This theme occurs again and
again all through the symphony, and
is its fate motif" In the first move
ment, after this introduction, the
violins start the main cantabile. or
singing melody, in slow 9-8 time.
This is one of Tchaikovsky's typical
inspirations, full of languorous aban-
don and in contrast with the light
and graceful second theme in trip
ping rhythm and warm and more
joyful third subject in the cellos.
These themes are developed. only to
be interrupted by the fate" motif.
Toward the end the struggle between
the two becomes more and more ex-
citing and ends in passionate out
burst Of the lain singing theme with
the character of the fate" motif
underneath.
The second movement is built on
two Russian folk songs, the first one
melancholy. of fine extended line,
the second one march-like and rhyth-
mically vital. This typically Russian
movement ends with the first motif
in that most mournful of all instru-
ments, the baSsoon.
The next movement takes the place
of the conventional scherzo and is in
complete opposition to what has gone
before. 1t is of the utmost gayety,
and Tchaikovsky himself described it:
mo definite feelings find expression
in the third movement. These are
capricious arabesques, intangible fig
ures which fit through the fancy as
if one had drunk wine and become
slightly intoxicated. We think Of
nothing, but give free rein to the
fancy which humors itself in drafting
the most singular lines" Plucked
strings begin this movement. For a
long time it continues with fantastic
harmonies, filled with passing di3cCrds
such as Tchaikovsky loved. At its end
a lorg-held note of the oboe intro
Guces the middle section. Suddenly
there arises the memory of drunken
peasant and ribald song. Military
music passes by in the distance. Such
are the disconnected images which
fit through the brain as one sinks
lEto slumber." BY and by the mair
plucked movement returns. At the
end the woodwinds initiate them. the
two choirs initiating one another IN
kaleidoscope harmonies. The whirling
theme of the trio returns for wood
winds. gyrating ever more dizzily. un-
til "reminiscences of the march and
puckish return of the scherzo herald
the end.
The last movement is a real finale"
starting of with a wild rush of the
entire orchestra, followed by we'll
known Russian theme which has beer
used by other composers, even by
Stravinsky in his "Petrouchka. The
wild first subject returns, eliminating
now in third march-life figure for
full orchestra. A long development
secticn follows. Suddenly the ominous
fate" theme is heard again, for the
last time. A dramatic pause. And
then, over a roll of the drums, the
march-like third theme begins very
softly-the beginning of an enormous
climax, and one of the most brilliant
codas in all music.
Concerto for Piano and Orchestra"
Ravel
HAROLD BAUER will be instru-
mental in presenting to the
Washington public another of the
novelties of the season, namely, Ravel's
new piano concerto. It will be the
first performance in Washington, and
one Of the first in this country.
The concerto of Ravel is somewhat
like a synthesis Of the different periods
Of development which are part and
parcel OF every creative artist. One
recognizes the brilliant orchestral
palette of the creator Of "Daphnis and
Chloe" and the "Bolero," the acrid
charm of such works as "Scarbo" for
piano. the lovely exoticism of the ma
Mere rOye" suite. the ironical verve.
the wit, the delicious impertinence
which is one of his most irresistible
characteristics. The form is in the
tradition of the classics. The piano
is always in the foreground and does
not follow, like often in twentieth CEN
tury compositions, an obbligato role
within the orchestra.
The first movement is gay and
happy throughout, vivacious in the
extreme. A slightly slower middle
section where the piano is surrounded
by brilliant scales of all the different
woodwinds is followed by cadenza
for the piano alone. after which the
orchestra re-enters and the first gay
mood of the piece returns.
The adagio, which sounds like mod