Phonograph Monthly Review, Vol. 5, No. 9 (1931-06)

June 1931, Vol. V* No* 9 271 The Rusticating Goldmark Karl Goldmark: Landliche Hochzeit {Rustic Wedding Sym- phony), an orchestral suite in symphonic form played by the Vienna Philharmonic Orchestra under the direction of Robert Heger. Victor Masterpiece Set M-103 (6 D12s, Alb., $7.50). This release might aptly be termed an echo from the near past, as it was once much played and had fallen ihto compara- tive disuse of late years. It is, as the heading implies, in real- ity an orchestral suite which gathered together roughly re- solves itself into the conventional symphonic movements without otherwise causing much strain on the approved sona- ta-form. It is gay, hearty music and frequent playings only serve to demonstrate the lusty spirit of many of the thematic ideas and their developments. Critics have had their usual divergence of opinion about the styles that the composer has so obviously incorporated into the symphony. To express it adequately would be to say that it is in the style of Beethov- en, touched with Schubert, and half-way between Meyerbeer and Wagner. Anomaly though this may seem, it will not be difficult to pick out Schubertian flow of melody and the sump- tousness of the Meyerbeerian orchestra, if not the Beethoven grasp of the sonata-form and the unequalled Wagnerian son- orities. The first movement is a Wedding march, which is the cen- tral theme, with a series of variations. The theme itself is stated by the ’cellos and basses in octaves. Variation 1, gives the melody to the first horn, accompanied by other horns and a moving bass in the strings. After the first 8 bars the clarin- ets and then the flutes are added and they in turn sing a fresh melody. Variation 2, brings the first entry of the violins and Variation 3 is scored for full orchestra. (The label is incorrect; side one also comprises the third variation.) Variation 4, is in minor, the melody in the violins, later in the violas, with a florid accompaniment doubled by the second clarinet. Variation 5, is again in major, the theme in the basses reinforced by bassoons and horns. Variation 6, again gives the melody to the bass, the flutes and violins maintain- ing accompaniment. (These three variations form side 2). Variation 7, is humorous, with intricate part-writing and ir- regular accents, the eighth variation divides the violins and does not use the basses and bassoons, but doubles the strings and makes prominent use of the flutes, oboes and clarinets. Variation 9, has the theme suggested in the bass and an in- dependent melody is imitated between the flutes and violins. Variation 10, is the theme indicated by basses and strings pizzicato and there are brilliant rapid figures for the violin throughout. (Side three ends here). The eleventh variation introduces another independent mel- ody, different from any previously heard, using the first vio- lin and oboe, and then the clarinet and violin, with the mel- ody later in the clarinet. Variation 12, in the key of B major, uses an entirely independent theme, a village folk-tune, first in the oboe, accentuated by the bassoons, with separate Agues in the flutes and clarinets. There is also extensive use of two violins and a viola solo. The thirteenth—which on the record label is called a coda—is in the tempo of the original theme and is scored for full orchestra. The second movement is the Bridal song. A solo oboe sug- gests a friendly bridesmaid (one of the chummy kind who may never be a bride herself), who steps forward with a fem- inine admonition to the bride. The march theme again oc- curs in the bass. The third movement is a serenade, equiva- lent in this instance to the scherzo. The slow movement fol- lowing is titled, In the Garden, and suggests an intimate col- loquy between the bride and groom. A new motive appears here after the melody of the movement has been announced in lower strings in syncopated chords. The extremely brilliant finale, a village dance, is written in fugal form, violins leading then violas, ’celli, basses and later first violins, again. Various episodes recur, most important be- ing that of the garden suggesting subtly enough that the hap- piness in the moonlight is not forgotten even in the swirling abandon of the dance. The delightfully expert performance of the music enhances every one of its good points and certainly minimizes its weak ones. Vienna is indubitably the place to hear this music and it will be a pleasure for many to recapture in this music some of the ineffable joy and lightheartedness of this gayest, most brilliant of cities. Richardson Brown ORCHESTRA Satie: Trois Petites Pieces Montees, played by a Symphony Orchestra conducted by Pierre Chagnon, and Quinet : Char - ade, played by the Trio of the Court of Belgium (Dubois, Dambois, Bosquet). Columbia 50292-D (D12, $1.25). Columbia gives us a delightful surprise. One had hardly ex- pected this comparatively unknown Satie recording to be re- leased in this country. To find it not only oul^ but now hap- pily divorced from the Massenet trifle that adorned the re- verse side and mated to a novelty, is a heartening indication of progressive and considered thought. There is all too little of Satie on discs. Mr. Blackmur discussed the main items in his review, “Three Men in a Tub,” in the July 1930, P.M.R.; “Satie was a comic in chords and a wit in scales: some of his music brings up a burden of self-applause and then, suddenly, crackles, with self-mockery which is at once the destruction and the bitter apotheosis of the subject in the music. Here we have the Trois Piece Montees, the snickering, the grossly snickering ballet bits from Rabelais. (The first, by the way, represents L’Enfance de Pantagruel; the second, Marche de Cocagne; and the third, Jeunesse de Gargantua.) It is not Rabelais, it is Satie thinking of Rabelais in petto, done with care, with delicacy, with malice; it is a little Rabelais, which exposes Rabelais.” Quinet is a new name; I am unable to find it in any of the available reference books. His Charade consists of several brief pieces. I presume the work as a whole is a gen- uine charade and that its meaning is to be guessed from the various episodic pieces. If so, the solution is not apparent to me. Perhaps someone greater familiarity with the music can provide a clue. As music it is scarcely significant, bearing some resemblances, except for its harmnic idiom, to the “sus- pense,” “chase,” and “storm” music of the old-time movie pianist. The Belgian Trio plays neatly, but the piano tone records with more glitter than sonority. At any rate the disc is important by virtue of the Satie pieces; interesting by the Quinet. R.D.D. Debussy: Nocturnes— No. 1, Nuages; No. 2, Fetes, (two sides each), played by the Orchestre de l’Association des Concerts Lamoureux, conducted by Albert Wolff. Bruns- wick 90158-9, (2 D12s, $1.50 each). This is the sort of music in which one would prognosticate a triumph for Wolff and he achieves it. It is unfortunate however, that the opportunity should not have been taken to give also those “Sirenes,” which, were it not for the existing of a recording by Gabriel Pierne, one w’ould believe existed only in print. In the purposely amorphous and continually changing “Nuages” one must, paradoxically enough, admire especially the precision and care with which each phrase as it appears in the various instruments is treated. The conductor’s happy treatment of wood-winds is known and here he is given full scope. The result, aided by a lucid and carefully balanced re- cording, is an exact rendering of the desired impressionistic picture. The record of “Fetes” is in every way a masterpiece. Wolff is evidently determined from the outset to draw from it the utmost in glittering brilliance and by his vivacious tempi and sharp accents, he certainly attains a glowing effect. In awarding credit, however, the electrifying playing of the or- chestra and still more, the rich and exciting realism of the recording must certainly not be forgotten. From all these standpoints the two discs may be ranked among Wolff’s most successful, and, considering the music, most popular releases. Chabrier: Marche Jayeuse, and Le Roi Malgre lui—Danse Slave, played by the Victor Symphony Orchestra, conduct- ed by Rosario Bourdon. Victor 36037, (D12, $1.25). These two pieces are played in a manner which is best de- scribed by the words “flashy” and “slick.” The cheap na- ture of the music itself and the obvious and startling show- iness of the recording all combine to give the record a very definite, and I should imagine, restricted appeal. The March is decidedly superior to the “Danse slave” and possesses a certain interest because of its ingenious instrumentation, but it requires a performance which shall try to cover up rather than to emphasize its cheapness. One can, find in it all the orchestral and rhythmic tricks which go to make up the appeal of Espana without its sheer irresistibleness.