Phonograph Monthly Review, Vol. 3, No. 10 (1929-07)

330 The Phonograph Monthly Review July, 1929 Like all winners of the “Prix de Rome,” he was expected, after the year in Italy, to visit Germany and Austria-Hungary, and remain there another year. After this sojourn he could follow his own inclination in either returning to Rome or France to complete the third year of his scholarship. A keen eye and a retentive memory made the pas- sage through the principal cities of the countries indicated, full of interest to the young musician. Austria-Hungary appears to have especially im- pressed him. At Pesth he wrote the first of his Suites for Orchestra—there are seven of them— the graceful but rather superficial “Scenes de Bal”, and jotted down the preliminary sketches for the rather more robust and vigorous “Scenes Hongroises,” Suite No. 2. Its opening move- ment, “Entree en forme de danse,” is a mazurka of much dash and brilliancy. The third Suite, “Scenes Dramatiques,” are inspired by the plays of Shakespeare. No. 1, Ariel and the Spirits, a vaporous and delicate Scene de Ballet (from “The Tempest”), and No. 2, a gracious Nocturne, “The Slumber of Desdemona”, (from “Othello”), won much admiration. “Scenes Pittoresques”, No. 4 of these Orchestral Suites, has attained the greatest popularity. It is a set of four move- ments. No. 1 is a gypsy march and the infectious gayety of its crisp rhythms is most happily con- trasted with the captivating languors of the “Air de Ballet,” a voluptuous Spanish waltz. This number is especially noteworthy. Its melodic line is clearly defined, but its rhythmic and har- monic treatment is of a fantastic and unaccount- able character. It is distinctly music for the Con- cert-Hall, although a rather sinister allure would offer splendid opportunities for a great interpre- tative dancer. The third number of the Suite is the “Angelus,” inspired, as is well-known, by Millet’s famous painting. In the early twilight two peasants in the field, cease their labors and bow reverently in prayer. In a charming musical figure, frequently woven into the tonal background, we hear the chiming bells from a distant.church tower, which greatly enhances the devotional atmosphere of this beautiful tone-poem,—a symphony in minia- ture. The “Fete Boheme”, No. 4, is a gypsy Rhapsody, which paints in glowing colors a festal day in sunny, care-free Bohemia. It is an or- chestral picture of vivid intensity. The beautiful phrase sung by the violincellos, and the truly diabolical rush and plunge of the “Polonaise” section, produces a contrast that must inevitably engage the attention of even the most indiffer- ent listener. Massenet has a special gift for or- chestrating his works in a striking and showy fashion, and for being able to convey a highly picturesque effect is his music. That gift is dis- played to great advantage here in the closing number of the suite, ending it in a whirl of ex- citement. I am greatly indebted to Mr. Tyler, of the Gramophone Shop, in New York City, for bring- ing to my attention a wonderful recording of the “Scenes Pittoresques.” It is played by the Orchestre du Gramophone, and is given complete on two 12-inch records, Nos. 644 and 645. There are other recordings of the “Picturesque Scenes,” but this one is far superior to them all. The “Scenes Napolitaines”, or “Pictures from Naples”, a composition of the composer’s youth— the date is 1863, if my memory serves correctly— is a tremendously showy affair, and was always one of the “sure-fire hits” on the programmes of Sousa’s Band. The suite comprised three num- bers: 1, “La Danse” (Tarantelle) : 2, “La Pro- cession . . . L’lmprovisateur,” (Theme with vari- ations), and 3, “La Fete.” The first number is probably the finest. In the episode entitled L’lm- provisateur, Massenet has made use of an Italian peasant song, which, in its general character, is not unlike the well-known “Carnival of Venice.” The variations upon this air are replete with im- agination and fancy, and offer well-nigh endless opportunities for the players. The “Fete” has been criticized as flashy, and, even, a little vulgar. Perhaps so ... I only know that it makes a fine effect, and it fairly radiates the warm air and the brilliant colors of the South, and, with it, the sheer joy of living. I would like to see the entire suite recorded; it would prove to be immensely popular, I think! It was after this suite was completed that Massenet gave to the world one of his most delicate inspirations. Truly the music of reverie, and of confidences in the twilight hour, the master has always held it as one of his most personal utterances. This morceau is played de- lightfully by “The Venetian Trio,” (Victor, 17784). “Twilight” (Crepuscule), has long been a favorite concert piece. The “Scenes de Feerie” need not detain us long. This suite is among the least successful of the Frenchman’s compositions, although it boasts at least half a dozen pages that are rather good Massenet. The opening “Cortege” is a procession of elves and fairies, and No. 3, a so-called “Ap- parition,” played by the horn and muted strings, is very pretty, though, to my mind, it rather lacks character. In the “Scenes Alsaciennes,” the 7th and last of the series, Massenet scored a great and lasting success. The idea of writing the “Alsatian Scenes” was suggested to the composer by the story, “Alsace: Alsace!”, by Alphonse Daudet. Massenet served in the Franco-Prussian war, and this suite pictures scenes in the (at that time) last province of Alsace. The titles of the four movements are:— 1. “Sunday morning.” 2. “At the Tavern.” 3. “Under the Linden-tree.” 4. “Sunday Evening.” This is the explanation of these titles, which Massenet has caused to be printed upon the fly- leaf of his score:— 1. “Alsace! oh Alsace! . . . how clearly do all my youthful impressions of this dear lost country return to me! That which I recall with the great- est happiness is the quaint Alsatian village, the Sunday morning at the hour of service; the de- serted streets, the empty house with some old people sunning themselves before their door . . . the filled church . . . and the stately old Protes-