Swing (Jan-Dec 1945)

60 SEVENTH SUBSCRIPTION CONCERT, January 16-17, David Van Vactor, Assistant Conductor, conducting; Assisting Artists, ALEXANDER MURRAY, Violinist; ZARRA NELSOVA, Violoncellist Overture to "The Merry Wives OF Windsor" Otto Nicolai Composed on a libretto by Mosenthal from the Shakespeare comedy, "The Merry Wives of Windsor" was produced in Berlin only two days before the composer's death. The overture, which remains the most popular portion of the work, is in the Italian potpourri style, built on fragments of themes in the opera, intended to be suggestive of amusing episodes that form the play. Symphonie Espagnole for Violin and Orchestra, D Minor, opus 21 La\o Alexander Murray Here the violin, named first in the title, takes definite place as the solo instrument in what is for practical purposes a concerto in the modern sense. The title is' probably justified by the larger and more significant role played by the orchestra than in the usual accompaniments to concertos of Lalo's time (1823-1892). Lalo was one of the first of a long line of French composers who interested themselves in the music of Spain; the late M. Ravel is perhaps the most recent notable example. Like Ravel, Lalo was predisposed to an interest in the subject of Spanish ancestry. Melodic idioms, rhythms, and even harmonies typical of Spanish folkmusic are heard throughout the work. JOYEUSE Marche Chahfier Variations on a Rococo Theme for Violoncello and Orchestra. .. Tschai?(oi».s)(v These variations were written about December, 1876, and dedicated to the composer's friend. Wilhelm Karl Fricdrich Fitzenhagen, an instructor in 'cello at the Conservatory of Moscow, and first 'cellist in the orchestra of the Imperial Musical Society. The scheme of the composition is direct and simple. The rococo theme is announced in A major by the violoncello and is followed by ,<;even variations. Tschaikovsky uses the term "rococo" January, J 945 rather in the sense of "old fashioned." E. Markham Lee, in a study of the music of this Russian master, says: "The term 'Rococo,' together with its companions, 'Zopf and 'Baroque,' refers to manner, and it is a term borrowed from architecture, where it refers to a highly ornamental period, denoting a certain impress derived from the study of a school of thought foreign to that of the artist's natural groove. One would therefore not expect the theme of this set of variations, though original, to be in Tschaikovsky's own distinctive style; nor is it really so. exhibiting rather a dainty MozartiahJ grace and simplicity, together with a certain rhythmic charm." Symphonie No. 4 in F Minor, opus .^6 1 schai\ovs\y Beethoven and Tschaikovsky might be called the tragic poets of the symphony. But how different is their view of tragedy! Beethoven is essentially an optimist; Tschaikovsky is the poet of despair. The tragic fnbric of Beethoven's Ninth Symphony, conceived after the composer's complete loss of hearing, is yet a setting for a hymn to joy. If Fate knocks at the door in the opening raps of the Beethoven Fifth, the finale hymns man's triumph over fate. In the Tschaikovsky Fourth, the fate motive, blared out by sinister brasses intermittently through the symphony, appears still at the close, even after the composer's avowed attempts to show where joy may be found, still impudently mocking all of man's striving for happiness . . . The Fourth Symphony reflects the emotional shocks of a peculiarly tragic period in the life of the composer. In the summer of 1877 he made an unfortunate marriage, probably through pity, with a young woman (later found to be .subnormal mentally) who had admired him from a distance and had written to him telling of her love. The shock of this unnatural and undesired marriage brought about a complete nervous collap.sc: within two weeks he had fled from his bride and lay unconscious for two days. When the doctors ordered the composer abroad for a complete rest, the means were provided by a wealthy patron. Nadejda von Meek, the widow of a Ru.s