Phonograph Monthly Review, Vol. 3, No. 11 (1929-08)

366 The Phonograph Monthly Review August, 1929 ^31 gy The score bears as its epigraph the lines of Racine:— “Ce n’est plus une ardeur dans mes veines cachee, C’est Venus tout entiere a sa proie attachee. In mythology we read that Phaedra (Phedre) the daughter of Minos and Pasiphae, rulers of the island of Crete, became the wife of Theseus. That hero had previously married Antiope, and by her had a son, Hippolytus. Phaedra subsequently became enamored of her step-son and when the latter rejected her love, slandered him to his father, which resulted in the death of Hippolytus. Phaedra, desperate in the consciousness of the wrong she had done, killed herself. Upon this fable Racine constructed his drama, “Phedre”, and Massenet’s overture is intended as an introduction to Racine’s play. Mr. Hubbard Harris, the editor of the pro- gramme books of the Chicago Symphony Orches- tra, has prepared a lengthy programmatic explan- ation of the work, without stating, however, whether the “story” had been approved by the composer. At no time has Massenet indicated anything of the sort. It is evident that he never intended his overture to be regarded as a sym- phonic poem—programme-music, whose action might be followed note by note in the score. Prom the purely symphonic point of view, the overture is based upon two motives which alter- nate—an andante, sad, melodious and strong, of singularly impressive beauty; it almost sounds, barring the instrumentation, like Mendelssohn; and an impassioned allegro, of decidedly more modern facture, which is designed to character- ize the amorous fury of Phedre. It has been urged—and with some show of truth—that the music is as much Oriental in thought as it is antique, but this savors rather of hypercriticism. The Overture is very beautiful and very im- pressive, and the finale works up to a climax of passion in a manner that reflects the highest credit on the great composer’s command over the multitudinous resources of the modern orchestra. The “Phedre overture, superbly played by the San Francisco Symphony Orchestra, under the directon of that eminent conductor, Alfred Hertz, is fortunately, available on a 12-inch Victor rec- ord, Parts 1 and 2, No. 6539. This disk should be in the collection of everyone who loves the best in the domain of recorded music. Soon after the production of “Les Erinnyes”, Massenet finished his three-act “sacred tragedy”, “Marie Magdeleine”, with the celebrated Pauline Viardor in the leading role. The success of this “sacred opera” was enormous. The composer has purposely avoided the term “oratorio”. A loyal and admiring biographer, M. Arthur Pougin, says:—“M. Massenet has not adopted, and did not desire to adopt, on this occasion, the broad, noble and pompous style of oratorios. A painter and a poet, he endeavored in this novel and tender work to give prominence to reverie and land- scape; further, he has introduced the tones of a genuinely human passion, a somewhat earthly tenderness, which would have opened the door to adverse criticism if it could be supposed that he wished to follow upon the traces of Handel, Bach, and Mendelssohn.” So, instead of dry and arid stretches of formal recitative, we find melodies of melting sweetness; suave, and impregnated with a perfume of youth and poetry. The orches- tra is handled with the utmost refinement of mod- ern skill. “Marie Magdeleine” bears a close re- semblance to Rubinstein’s “sacred” operas—the character of its music is conditioned upon scen- ery and action, which, if not presented, must at least be imagined. In fact, thirteen years later “Marie Magdeleine” was actually produced as a music-drama with scenery and costumes, at the Opera-Comique in Paris. The first scene is un- qualifiedly charming—a delicious pastoral move- ment surcharged with Eastern color. This scene shows the Magdalen at a fountain near the gates of Magdala. The French Gramophone Co. offers a very beautiful record of this cantilene:—“C’est ici Meme ... A Cette Place”, which is considered to be the finest sustained air of the entire score. It is recorded upon a 12-inch disk, and sung with much charm by Mile. Yvonne Brothier, a lyric soprano of the Opera-Comique, (W. 490). Next came his first grand opera, “Le Roi de Lahore,” a spectacular opera, eminently suited to the vast stage of the Academie Nationale de Musique. The scene of the opera is at the time of the Mussulman invision of India led by the Sultan Mahmond. It was produced on a grand scale, and obtained a great success. The opera’s fine overture is conceived in the classic form, and is of distinguished beauty. It opens with a sym- phonic description of the tumult of the battle in the desert of Thol. This is followed by a long- breathed phrase of the love-music—languorous and caressing. One of the most delicate of these amorous adagios of which Massenet is the su- preme master is here sung by the violins. The overture is firm in its symphonic texture, admir- ably worked out, the finale being of an extra- ordinary effect in its dizzying whirl and rush. The closing allegro is remarkable for its daring modu- lations. It is entirely in character, however, and is fully entitled to rank among the finest modern overtures. The Columbia Gramophone Co. of London, offers a magnificent recording of the “Roi de Lahore” overture. It is played by? the Garde Republicaine Band of France; recorded on a 12- inch disk, No. 635; Parts 1 and 2. It may be that none but French musicians could interpret French music with such superb artistry. However that may be, this record is a noteworthy one, and would be an important addition to any collection of phonograph disks. Admittedly a spectacular opera, especial inter- est centered in the gorgeous spectacle of the Indian Paradise of the 3rd act. There is an opening “Marche Celeste”, and Pantomime music which accompanies the posturing of the Hindu apsaras. The first air de ballet is of extreme originality and finesse. This Adagio is a slow melody in 6-8 time, sung by the saxophone, and of a truly Oriental languor. The twittering of