Evening star., 1949-01-02
By Hons Kinder

STlQQle tlu was IlrllSneQ only New
weeks ago), is an extraordinarily
vital work, and one which I am
happy and proud to present to the
Washington public as first per-
formance anywhere
The opening movement is based in
part on the sounds of the Javanese
"Gamelang" orchestra. Without be-
ing in any way derivative, the COM
poser has succeeded in capturing
! with great fidelity and through the
medium of our occidental instru-
ments the bell-like acoustical prop
critics and the varying harmonies
and rhythms of the native Javanese
orchestra. But, even more than
this, he has been able to transmute
in our own orchestral language the
innate charm of the Javanese music
in conjunction with his own in
spiration. 1t has an atmosphere
which is wholly captivating and
the composer produces thereby a
new and fascinating idiom in our
own occidental music At the same
time he has retained our classic
symphonic form.
Notwithstanding these seeming
contrasts, the music is so beauti-
fully made that it does not in any
way appear irreconcilable to either
the ordinary listener or to the pro-
fessional, for that matter.
"Tone Clusters" Employed
In the second movement Cowell
has used his own original invention
of tone clusters" Here again a
definitely new sound effect is the
result. But here also everything is
so natural, so heartfelt as to be
once again Immediately and COM
pletely convincing. 1t is another
instance Of Cowell's originality and
mastery in the use of acoustics, as
well as of the inner content Of his
musical message.
The Scherzo, rapid. lightning
like movement, makes an excellent
foil TO the more meditative pre-
cedi1fg one The finale, starting
With q hyranlike simplicity, such
as Cowell has employed In other
works. eventually leads to a climac-
tic return of the music of the initial
movement.
It is remarkable how these diff
ferent elements which have tried to
indicate through the unsatisfactory
medium Of the written word, fuse
perfectly naturally into wholly
convincing entity. thereby proving
il proof were needed, the truth OF a
bromide (Which like other old
fashioned sayings has much of truth
lin it,. namely that music is q
universal Language.
Tschaikowsky's Fourth.
Requests for Tschaikowsky's COM
positions seem to be never-ending
The emotional music of the great
Russian has retained its appeal for
the great public as we'll as for such
an iconoclastic figure as Stravinsky
and other moderns.
The Fourth Symphony, which will
conclude our Wednesday program;
was Tschaikowsky's own favorite,
and rightly so. 1t Is dramatic, yes,
but not so as to become melo-
dramatic. 1t is chock full of inspira-
ton, of melodic invention, much of
1T straight from the Russian soil.
But even in the more melancholy
tunes, the composer never becomes
lacrimose. In fact, it is curious to
consider how the musical material
and its manipulation contrasts with
that Of the Fifth and Sixth SYM
phonles. 1t seems to me finer, nobler,
more artistic, especially because 1t
does not for moment sacrifice the
d'rectness, the go" the irresistible
sweep of the musical inspiration.
Two Moods Introduce Theme.
The first movement, starting with
what the composer called the fate
theme, develops after its introduce
tion two decided moods-one OF
languor, the other slightly more
dramatic and ominous. These two
themes are followed by a singing
melody Of the woodwinds. After q
long development and great climax
there Is sudden return of the
initial fate" theme. Undoubtedly
from symphonic point of view this
Is the greatest movement of the four
The second movement is Russian
throughout in its melancholy, in It's
folk tune quality Often 1t is said
that Tschaikowsky is not really
Russian, that he was too much in
fluenced by Western music. This
movement is certainly a complete
proof to the contrary.
The third movement in turn show.
that Tschaikowsky is not alway.
Sad" 1t is a piece such as no one
until then had dared to attempt
1t is called pizzicato estimate. II
1t the strings are never played BY
bowing, but only by plucking. W.
can imagine what the effect must
have been when this brilliant anc
l inspired piece was played for tht
first time, when 1t must have sur.
prised everybody with the novelty
OF its orchestral sound. 1t is treated
throughout as a Scherzo, with the
initial theme coming back after ar
interlude for the winds in which W.
hear slightly inebriated Russian
peasant song. followed by a quick
and distant soldiers march.
Finale Is Savage, Barbaric.
The finale warrants the saying
Scratch a Russian and you will fine
a Tartar"
1t is savage and barbaric, has AGAR
two contrasting themes-one of tire.
mendous exuberance and the seconc
q Russian folksong of a melancholy
character. Here again the contrasts
become more intense through thu
development of these themes unit
at the climax the initial theme oi
the first movement, the fate" mo.