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March 15, 1925 - Image 13

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The Michigan Daily, 1925-03-15

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MATRM 15, 1925





IMusic and Drama




May Festival Glimpses

__.__ .

By Lydia Kahn bell-yet ever - with the continuing
There is no need to introduce the j peel of t hythimic chords. Andante
first soloist of the May Festival con- In ever slowing pace, the sombreI
cert series to an Ann Arbor audience, swaying harmonies recur in softestj
for we have all heard of Ossip Gabril-
owitsch, either as a conductor, or as strings and horn, while the solo voicel
a piano virtuoso. On May 21, in Hill ; sings of the quiet of the tomb. When
auditorium, Mr. Gabrilowitsch is go- tranquil major comes soothing echoes?


. k ,
... ..

ing to play Tchaikovsky's beautiful and the spirits of the bells. . and
B minor concerto, opus 23. This was the former mournful tune sounds;
Tchaikovsky's first concerta for the softly in rapt serenity.
piano. It opens with a theme sung "Bach's B minor mass exhibits, in!
by a blind beggar, whom the composer the most absolute manner and on the
heard at a village fair in Kamendo. i grandest scale, the deep and intimate
"Andante Semplice," the second move- feeling of its creator as a Christian
ment, is introduced by a theme play- and a member of the church. "The
ed by therflute, which is a lullaby; this first selection to >e given is the "Kyrie!
is then repeated1 by the piano. The I Eleison" the prelude to a long instru-#
time changes to "restissimo," and the mental introduction. Notable among
movement takes the character of a the choruses is the "Quonlam Tu
scherzo. Solus Sanctus" a bass solo accom-
A waltz-like tune enters, the re- panied b corno di cac o foggoti
frain of an old French song, which; and continue. "Qui Tollis" is al
Tchaikovsky and his brother, Modeste, chorus of marked pathos. The chorusI
sang as boys. "In remembrance of a "Et Resurrixit" is vigorous and orig-
certain charming singer", he wrote. inal, and also of distiction in the
The third movement is a rondo on general plan is "Ei In Spiritus Sanc-
three themes, the main one being a tmn," accomnpaniedl by two oboi I
Slav dance. Rubenstein, of whom d'amore. In conclusion the "Sancttis"
Tchaikovsky was extremely fond, is a. magnificent six-part chorus, in
strongly condemned this work, say- ; which the voices generally move in
ing that the piece was bad, trivial, triplets. Hilgenfeld hasssaid of this
anpugr..tattems fi mass as a whole: "It is one of the
and vulgar . .that the most of it -
was stolen, and so forth. Tchaikovsky noblest works of art, full of inventive
wrote to a friend, that an impartial genius, depth of feeling, and astonish-
bystander would have thought that he ing artistic power; there is no other
,was a stupid, ignorant, conceited, of the same calibre that can be com-I
note-scratcher, who was so impudent pared to it."
as to show his scribble to a celebrated One of the most interesting numbers
man. The work was originally dedi- 1 to be given at the fourth concert on
cated to Rubenstein, but when he re- F'riday evening is the Suite of Deems
jected it, Tchaikovsky rededicated it Tayler, "Through the Looking-Glass."1
to Hans Von Bulow, who acknow-1 This needIs no extended analysis. It
ledged it warmly. is built on Lewis Carroll's immortal
"T e b a ifairy tale, "Through the Looking
"The Bells," by Rachmaninoff, was i G ass n What Alice Found There."
composed on the poem written byGasnd htAlcFodTer.
'Edgardlln hoe.m wrdittdentobyThe first part deals with a poem----a
Edgar Allan Poe. it is divided into charming poetical fore-word to the
the parts of the poem; the joyous tale, which the music endeavors to ex-
silver sleigh bells, the mellow wedding pes Asileonthm brfy
bells, the loud alarm bells, the mourn- devle A simple stog tthem ed ey
ful iron bells. In the first movement the "Garden of Flowers." Here the
the composer has found an ideal sub- music reflects a brisk chatter of the
ject for modern dissonance, the shim-!.c
mering tong of "parallel fifths" in the brightly swaying denizons of the gar-
high - wood. Lento . . . On a timid den. The second movement is the
phrase the muted violas sing vaguely poem of the "Jabberwosky," which so
in a glowing harmony. In the newI puzzled Alice. Next comes the "Look-
verse the mellow wedding bells strie ing-glass insects," and lastly the
clear, and soft with the former tune in "White Knight"----a toy Don Quixote.
the voices. Meno Mi osso and Ad- The work has a most amusing end. As
agio. The solo tenor sings to the in the story, the knight goes off leav-
d .escenTing melody on an ancient ing Alice behind waving her hander-
theme of human bliss. Softly the kerchief, because he thought it would
strokes are heard between the tender give him more courage if she did so!
harmonies. Once more the chorus At the last concert, Saturday night,
sound the wedding bells with exquisite the opera "La Gioconda" is being
dissonance. Presto . . With the weird presented with an all star cast. The
whistling of tremolo violins "sal pon- composer Ponchielli, is Italian and
ticello" come the first sounds of the naturally we should expect this work
alarm bells with merciless crash of to be in the old Italian style, but in-
sound and rhythm as more color and stead we fnd that he has departed
volume are added, with finally the from all the Italian methods and his
deep gong and shrill piccola.. ......music clearly shows the influence
After a gathering of speed and a ris- of Wagner. The opera is the story
ing of pitch comes a prestissimo of of the love cf a brutal Spy of the in-
choral song on the mournful epilogue. quisition for a fair damsel, iaconda.
A brief lessening of volume and mo- The spy tries to obtain the aid of his
tion precedes the vehement end. The beloved in the illing of an innocent
last movement of the iron bells begins girl, but as befits the villain he is
slowly in a strange swaying of sombre finally baulked by Giaconda, who kills
chards. The motion hurries to Alle- herself. The blot is exciting to say
gro pace . . wilder goes the pace, the least, and full of interest. It is
madder the race of the demon in the a sombre them'? that dominates the

--_--_~_-_--__ __ _the name of Norman Hackett stands
for the versatile actor who has con-
sistently refused to age with the years.
The Symphony Concert The Theatre Ascendant Anotn, his close associates, ;Mr.
lacket's versatility is often made
the meat of good-hearted jokes at his
---- ----expense. It is told that at a banquet
1 f of his fraternity recently he was act-
By Arthur Grau 4any in portraying the wild spirit of Norman Hackett, by Rtklert S. Mans- genial men to meet in his profession ing as tostmaster. Several telegrams
In addition to its regular appear-frolic which actuates the carnival j field. today. Without any trace of affectas- as recetvedte n Seera amd
In aditon t it reularappar- * Ilion his greeting puts one at instant had been received on the occasion, and
ance in Hill auditorium Monday seasons of Rome, Paris, and other I ease, and the mere mention of the one of them came from a group of
night the Detroit Symphony orches- European cities. In noise, color, and (Editor's Note: This is the fifth of University of Michigan brings his men living in the south. Mr. Hack-
tra will give a children's concert delirious abandon it is second to a series of six articles on contempor- ett, sensing the opportunity, read the
under the direction of Mr. Kolar on none. ary personalities in the modern world most pleasing personality to the fore e a in t oppoutyead te
Iin full. He is an artist without per- tegrmiadolsohrn ilc.
Monday afternoon. The latter will be After the Beethoven Ninth Sym- theatre. mitting himself to be overwhelmed As he finished he asked: "What do
accompanied by an explanatory le- 1 phony there ensued a period during - with the aristocracy of his art. you think of my southern talk?" only
ture by Miss Retts who has charge I which there was a poverty of great Next week: Edward Gordon Craig, O Mr. Hackett's work his Shakes- to receive an immediate reply of:
of the children's concerts in Detroit. symphonic work. The great genius by Paul Stevenson. pearean roles played with Sothern and Fine-you should go on the stage,
peaeanrols payd wth othrn ndNorn.
Tschaikowsky's "Nutcracked Suite'1 of Brahims was not yet appreciated Marlowe and with Robert Mantell, are N
the principal number on the program, and Tschaikowsky was still a more or To those interested in dramatics at undoubtedly the most famous. It is While his name has never become a
is in a light, fanciful mood quite for. less obscure Russian. Suddenly thethe Uni it ts the the greatest proofs of byword of the general theatre going
eign to its composer's uusal extreme musical world was startled by the Unackett y, teealw as hold a semi- his talent that he can, after portray- public, Norman Hackett is always a
subjectivity and tendency toward appearance of a Symphony in D ' illars old a i g tae tat h caafter otray- welcome name to read on a theatre
melancholy. It is in three parts: an :minor by an almost unknown Belgian poellssional inteUeresityor reacfingthrai carcer f hebrd
I hol It tt'snyears min theyUniversity werewnfillg a turn to the light comedy afforded byX programn. lie invariably fills his roles
overture-cute, piquant; five dances named Cesar Franck. Although in ed with activity in his chosen field "The Town Mouse," and again to the with the pr p-r characterization
full of grace and wit; and the well the late Beethoven we find the real which did much to forward campus more modern melodrama of "Class- ackedby his own inimitable person-
known Valse des Fleurs. While not beginning of greater unity in the dramatics at that time. Among other mates" without losing one whit of the liy. Chief as on thet nlays to which
a great work by any means it is a sonata form by the use of the same things, it was largely due to M.I individual characteristics of his vari- the S hs aentosnadytin -
composition well fitted, because of its theme in all movements, it remained Hackett's efforts that Comedy club, ous roles. He has held leading parts thakespearean roles already men-
charm and buoyancy of spirit and for Franck with Brahms, Liszt, and most ancient of existing dramatic in productions with James O'Neil, ioned are: "The Ton Mouse," "The
its clever, colorful orchestration, to Tschaikowsky to carry this idea to a societies, was founded. swith ModjekA wi Loie Jhs, atrnd i"Beau ," "The ern. "eTyphoon,"and
quicken any young person's interest clearly distinguishable point. In the Mr. Hackett is one of the most con- to vaudeville stage with a troupe A Dcuble Deceiver.
in music. find sthetheme of the slow movement of his own, and everywhere through-
Ippolitov-Ivanov, considered i his find the theme of the s oeen passion in it which is almost un- out the world of the American stage P TRONIZE DAILY ADVERTISERS
student days to be more promising u wtie ain t me flte e understandable by inhabitants of this
thanStrvinky y teirteaherbut with a different time value. In
than Stravinsky by their teacher, . world-as if Franck had communed --_----_-_---..--_----.._--_---.----_-_-_---_---
Rimsky-Korsakov, died at an early u s inhyll theme s w with a higher power when he wrote it.
age in the Caucasus. One of the few! used in all the movements withoutIEverything in this man's music points
compositions left by this composer is sanychange whatsoever. The lovely,I to the fact that he was one of the There's AR eason
motsneemscaswoee the "Caucasian Sketches," the second passionate second theme of the first EryhnT e es \. R a o .\hY
the aucaian ketces, he scondmost sincere musicians who ever
movement is to be found in 1bth the
part of which will be the next num-i final thee lived, a. quality so scarce in this age
ber on Monday afternoon's program. other movements. In the of poses and hypocrisies.toac
The piece is entitled "In the Village" is a parade of all the themes of the tokEat;at
and is, of course, purely descriptive. symphony which, to my mind, has a Mr. Schkolnik will be heard in the
somewhat weakening and cheapening solo violin part of Lalo s Symphony
The other numbers of the program effect on the work as a whole. Espagnol," a work well adapted to
are then Mendelssohn "Spring Song" untying the violinist's bag of tricks.
and "Spinning Eong," Skilton's "War The melodic beauty of the piece In accordance with the good old cus- ..
Dance" and Victor Herbert's 'Ameri- shows strong affinities with both Bach tom the program will end with
can Fantasy." and Beethoven.sTake the opening Georges Enesco's "Roumanian Rhap-LU N CH R O
Many musical picturizations of sody," a display piece built on Rou-
carnivals have been written but of could be more Beethovenian than this manian folk tunes which contains a 318 Maynard
those for orchestra the Dvorak "Car- fateful phrase? The beautiful second climax big enough to bring the
nival Overture" which will open the theme of the Allegretto is like Bee- audience to its feet. ,, -.-
evening concert succeeds as well as thoven in one of his most lyric moods.
TenucoBhsue_,__________il_____________l_______________________ he influence of Bach is quite ap-
shaprsthonatreofanthe ibretto, parent in the first theme of the last.^
chapter of horrors and the movement. All this is sufficient evi- 1=
shares, the nature of the libretto. Still' eneofFanks.ov ndamia
the score contains many attractive tion of these two musical giants
scenes and there are passages for thet
voice of much brilliancy as well as' The keynote of this symphony is 1
power. mysticism. There is a pure, spiritual 1 PflMn 0'o fl h



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