--"t. d d'o44 and ,R'eco,'d4 in ,g'eo& THE AMERICANS: A New History of the People of the United States, by Oscar Handlin, Little, Brown and Company, New York $6.95, 416 pages. IN HIS CLASSIC WORK, "The Revolt of the Masses," Jose Ortega y Gasset speaks of the "rise of the historical level" -the elevation of the common man to the stage of history. In times past-Or- tega says-history was the plaything of kings and nobles; generals and ministers. Today, it is the story of the average man. Thus if we accept the sort of argument which Ortega employs, the writing of so- cial history becomes the task of the his- torian in modern times. Handlin, apparently, subscribes to this thesis. In introducing his book, he speaks of the necessity for the creation of a view of history which tries "to tell the whole story" of the experiences of peo- ple "of all kinds-exceptional and ordi- nary," a task of no mean proportions. In keeping with his subject matter. Handlin has geared both his scholarship and his style to that elusive animal-the common man (Common Man?). The result of this remarkable scholastic procedure is neither remarkable nor scholastic: Handlin doesn't do what he sets out to do Much of what he portrays as "social history" is really a more inclusive sort of high-school-civicsese. At times - and this condition seems to be more general- ly the case than one might be led to expect by Handlin's ostensible goals- the author seems to forget his sphere of interest entirely, and lapses into pseudo- diplomatic history. Roosevelt said this, Stalin said that and the effects on the flow of all human history were astound- ing. Handlin's style is absurdly pretentious. The experience involved in reading 416 pages of Handlin's sweetest prose, can only be likened to that of bathing in chocolate syrup-both as to its syste- matic effects and esthetics. Handlin's conclusions are neither new nor exciting. His views are undocument- ed-and largely unsupported by internal evidence. His is neither a book of history nor of commentary-it is a book of opin- ion. His views range from the mundane to the conventional. His detestation for everything that's "out" and his love for everything that's "in," is rivaled only by that of Fulton Sheen. Many of things one looks for-or at least I look for-in a social history-in- sights into the mechanisms of social change, some understanding of the schisms and their resolutions or non- resolutions within society-are totaly missing. His treatment of more recent history is especially spotty: Things happen and no one-least of all Handlin-knows why. One might say, then, that in his Pan- gloss of history, Handlin should be en- couraged to Pan more and Gloss less. -Stephen Berkowitz BEETHOVEN: Symphony No. 6, "Pastor- al," in F, Op. 68. Chicago Symphony Orchestra, Fritz Reiner conducting. RCA VICTOR monaural LM-2614, $4.98 (stereo, $5.98). BEETHOVEN'S nine symphonies, it is only the sixth that contains extra- anusical suggestions made by the com- poser himself. One may be taught that the motive of the fifth symphony repre- sents fate knocking at the door, or vic- tory, but there is no proof of Beethoven's ever intending any of these meanings. In the sixth, however, we are sure of his intentions. But he does not want us to view this work as program music-i.e., tone painting. The key to its meaning lies in the preface to the manuscript of this work in which the composer wrote that this symphony: is "more the expres- sion of feeling than painting." Thus Beethoven, a man who loved nature and one who -got much musical inspiration from it, desired to share his love for na- ture and gave the movements suggestive titles to help achieve his end. Its realism lies not in the evocation of images of specific natural phenomena, but rather in the creation of moods inspired by na- ture. It is for its ability to create these moods that I highly favor this new re- lease of the .symphony by Fritz Reiner and the Chicago Symphony Orchestra. Reiner's concept of this work borders on the romantic, with the occasional inser- tion, with discretion, of a ritardando and luftpause. The addition is not distract- ing; for me this remains Beethoven's most "romantic" symphony. Reiner brings to this work a clarity of line and balance which shows the sensi- tivity of a man who has been studying music all his life. Reiner says of conduct- ing: "The best conducting technique is that which achieves the maximum results with the minimum of (physical) effort . . The conductor must have a stimulat- ing personality . .. and a'thorough musi- cal, artistic, literary, historical back- ground . . . (it is indispensable) to study and restudy scores . . . I do not believe a conductor can be accomplished under 50." CESAR FRANCK: Four Symphonic Poems (Le Chasseur Maudit, Les Eolides, Les Djinns, Redemption). Andre Cluytens conducting the Orchestre National de Belgigue. ANGEL stereo S-36151, $5.98 (monaural 36151, $4.98). THERE ARE MORE than enough re- cordings of Cesar Franck's D Minor Symphony, but this is the only available recording of "Les Djinns," ""Les Eolides" and "Redemption." Together with "Le Chasseur Maudit," they make an attrac- tive set. Despite the fact that there is a preferable version of the "Chasseur Maudit" by Munch on RCA Victor, no- body with a fondness for symphonic poems in general or Franck in particular should consider his musical library com- plete if he does not have this disc. The three other works on the disc are consistently interesting, and consistently well performed as well. Aldo Ciccolini handles the piano part of "Les Djinns" with suitable elan, and Angel has com- pleted the happy picture by providing fine sound. This record fills an impor- tant gap in the catalogue, and as such it can be recommended without reserva- tion-but especially to those who know Franck only from his symphony. --Steven Haller monies. He does not fight Schubert, he joins him. Schubert wrote the Sonata when he was twenty-two, the year when he wrote to his brother: "At the house where I lodge there are eight girls,nearlyeall pretty. Plenty to do, you see." This charming work reveals the caprice of youth realizing that life is not all fun games, and pretty girls. Whereas the Fantasia yearns for the large concert hall, the sonata prefers a much smaller gathering. Richter tones down the technique into an ease of flow- ing, lyric melodies and youthful ponder- ances. In addition to the fine pianism display- ed on this disc, its back cover contains an interesting character observation of Richter at a recording session-in addi- tion to information about the works played. MAGAZ IN E Vol. VI, No.2 Sunday, October I 1, 1964 Both sonically and musically works as played really score. these F THAT IS WHAT I SHALL TELL THEM a I ask myself: why talk to them? They buy knowledge in order to sell it. They want to hear where there is cheap knowledge That can be sold at a profit. Why Should they want to know what Can be said against buying and selling? They want to be the winners They don't want arguments against winning. They don't want to be oppressed They want to oppress. They don't want man's advancement They want their advantage. They obey everybody Who tells them they can command. They sacrifice themselves To keep the sacrificial altar standing. What am I to tell them, I wondered. That Is what I shall tell them, I decided. -Bertolt Brecht --Translated by Ingo E. Seidler es m n me mea -Jeffrey Chase BEETHOVEN: Concerto in C Major for Piano, Violin, and Cello-and Orches- tra, Op. 56 ("Triple"). Rudolf Serkin, piano. Jaime Laredo, violin. Leslie Parnas, cello. Alexander Schneider conducting the Marlboro Festival Or- chestra. Columbia Monaural ML 5964, $4.98. (Stereo MS 6564, $4.98.) THIS IS AN EXCITING performance of Beethoven's 'Triple" Concerto. But an even more exciting reading results when the performers strive for greater accuracy of articulation than is displayed here. The first movement is full of scale runs and trills and has to move fast to retain listening interest. Many times it seems that the cello in this performance tries to slow the others down a little, especial- ly in its solo entrances. The piano, on the other hand, is suc- cessful in maintaining a vigorous pace and, although it has the far from domi- neering part, really jells the whole effort. The violin is willing to follow either debator, but really seems to side with the piano. In the second and third movements, the cello not only has relinquished its de- sire to lag, but also produces a richer, more pleasing tone. The cello's best re- sults come in the expressive slow move- ment, Largo. Inconsistently throughout, the orches- tra's execution of the important .motive involving dotted sixteenth notes and eighth notes is rhythmically sloppy. Strict rhythmic differentiation is called for. Among the soloists, parallelism is lack- ing. For instance, a staccato run in the cello imitated by the violin will have a different kind of staccato in each instru- ment. It is doubtful that Beethoven wanted this. Imitation is all that the name implies. It is frustrating to hear a melodic line beautifully begun in one instrument drowned out by the entrance of another or by its "accompaniment"; or to know that a catchy accompanimental figure or an important harmonic signpost here is played too softly to be heard. Balance- a major aspect of a musical perform- ance-is too frequently lacking in this one. The saving factors of this performance are the approach the musicians take and their spirit of playing. They view the work as large-scale chamber. music, jus- tifiably so, and let themselves go in the spirit of an informal chamber musicget-' together. The total result is satisfactory, but by no means definitive. With his death in New York last year, the world lost not only a truly great con- ductor, of both opera and symphony or- chestra, but also a very fine musician. An example of his dynamic leadership can be found in the fourth movement (Thunderstorm) of this performance of Beethoven's symphony. His great sense of dynamics, especially vital in this por- tion, as it is in this whole symphony of sudden dynamic contrasts, and his un- derstanding of the tympani, of which he himself was a player, are evidenced. The second movement (By the brook side) is noteworthy for the clarinet tone, which is full and rich; the "bird calls" at its end are articulated with precision. The fifth ( Shepherd's song: happy and thankful feelings after the storm) and third movements reveal the fine horn tone of the orchestra. The sound, that of RCA Victor's new Dynagroove technique, is most realistic except for pizzicato double bass notes which sound over-emphasized at times. The. late Sir Donald Francis Tovey' noted musicale scholar, writes that "the Pastoral Symphony has the enormous strength of .some one' who knows how to relax." This Reiner. recording is a very, fine one with which to relax with Beet- hoven in the enjoyment of nature. -Jeffrey K. Chase SCHUBERT: Fantasia in C Major ("Wan- derer"), Sonata in A Major, Op. 120. Sviatoslav Richter, pianist. Angel Ster- eo S 36150, $5.98. (Monaural 36150, $4.98.) A COUPLING of- the "Wanderer" Fan- tasia 'and the Sonata in A Major on one record shows both the extroverted virtuosic and the introverted, contempla- tive sides of their composer. It also gives the performer a chance to demonstrate what he can do with different moods of music by the same nomposer. Schubert's compositions are worthy of the hearing, and Richter, the pianist, makes them worth the listening. The Fantasia is. onerof those works which. has been altered *many times throughout the course of its history. Pianist-scholar Paul Badura - S k o d a knows of almost a hundred different ver- sions. For this record Richter chose, the one revised from the original manscript by Badura-Skoda, a version hopefully eliminating the "corrected erers" which were carefully inserted by "knowing" scholars throughout the years. Richter, squeezes every- inch out of the virtuosity, of this Fantasia with his. fine technique. He produces dazzling sonori- ties, accurate runs and enlivened har- SHAKESPEARE' IN THE QUATERCENTENN The Schoolof Music The New Poets --Jeffrey Chase