SEYMOUR WHINYATES (Violin)
THE WIRELESS SYMPHONY ORCHESTRA
(Leader, S. KNEALE KELLEY )
Conducted by PIERRE SECHIARI
THIS is surely one of the most exhilarating pieces of music ever written. Its themes are taken from Berlioz' Opera,
Benvenuto Cellini , which was produced in 183S, but was not a groat success as a whole.
At the opening we find ourselves in the midst of Carnival jollity.
In a moment, however, there comes a lovely slow tune, given to Cor Anglais, with but a slight accompaniment, mainly with plucked Strings.
Then the Violin takes up the slow tune, Flutes weaving another one in with it. Further treatment of this tune follows.
All this is introductory-an Overture to an Overture, so to speak. At last comes a quick passage, with a change to six-in-a-bar time (beginning with Muted Strings) and with this we dash into the Overture proper-a lively and brilliant thing, full of fine orchestral effects.
9.45 SEYMOUR WHINYATES and Orchestra
ERNEST CHAUSSON was a French composer
(1855.99), a pupil first of Massenet and then of Franck. The lighter mind and more formal style of Massenet were much less congenial to him than the serious aims and more vigorous style of Franek.
Chausson was not dependent on his art, as he had considerable means, but he gave himself whole-heartedly to his study and creative work. Those who knew him best
(such as, for instance, Vincent d'Indy, his fellow-pupil under Franck) assert that a great development in his genius might have been expected had not his life come to a sudden end in early middle-life-through a cycling accident.
This (the only) Symphony of Chausson comprises three Movements. Its key is B Flat, its opus number 20 (his latest opus number being 38).
The FIRST MOVEMENT has a slow Introduction, in which is heard a line that assumes importance in the last part of the work. The First Movement proper is quick and vigorous.
The SECOND MOVEMENT (Very slow) begins with one of its chief tunes, solemnly, at a low pitch and in a minor key. Then various instruments pass a little time in a sort of gentle dialogue, until the first tune returns (a little changed). Then the speed quickens. and over a restless arpeggio motion in some of the Strings, and a continuous soft drum roll, the second chief tune enters. Next this is taken over and worked to an imposing climax, and the first tune returns. This Movement is sometimes joined on to the last, and sometimes separated from it by a brief interval.
The LAST MOVEMENT is animated. The
Trumpets, and then the Horns, blare out a forecast of the first main tune, and soon we dash upon it, at first played rather softly in the lower Strings. Yet more lively is the second tune, which moves in solid blocks of harmony, very loudly, on almost the full orchestra. The developing life of these tunes forms the body. of the Movement.
At the end, slowly, we hear a reference to the first tune of the whole Symphony.