THE MUSICAL TIMES THE MUSICAL TIMES THE MUSICAL TIMES THE
MUSICAL TIMES THE MUSICAL TIMES
rough edges they may have, are never insecure and never fail to
present the essence of the work in hand.
' Mlada ' is rightly called an opera-ballet, since the hero is
involved with two women, one of whom sings and the other dances her
part. The first act introduces the characters and is mainly opera
with a little dancing. Act two is almost wholly choral, act three
al- most wholly ballet. Act four rounds off the ramifica- tions of
a generous plot, in which most of the things that can happen to
people in a fairy tale and to people in an opera are piled one on
the other, from a spinning chorus to a witches' sabbath. But though
there is plenty of incident the piece is not so loosely con-
structed as some other Russian operas, and a unifying force is to
be found in the folk-song-like character of much of the music. The
staid Rimsky-Korsakov had more than a streak of the alchemist and
the astrologer in his sober imaginative make-up, and in 'Mlada' he
has missed no chance of exploiting his quasi-mathematical tricks,
pivoting ambiguous har- mony over pedal-points, blowing oriental
scales on flutes, drumming the five-time rhythms, and the rest of
them. The opera demands rather more in stage
rough edges they may have, are never insecure and never fail to
present the essence of the work in hand.
' Mlada ' is rightly called an opera-ballet, since the hero is
involved with two women, one of whom sings and the other dances her
part. The first act introduces the characters and is mainly opera
with a little dancing. Act two is almost wholly choral, act three
al- most wholly ballet. Act four rounds off the ramifica- tions of
a generous plot, in which most of the things that can happen to
people in a fairy tale and to people in an opera are piled one on
the other, from a spinning chorus to a witches' sabbath. But though
there is plenty of incident the piece is not so loosely con-
structed as some other Russian operas, and a unifying force is to
be found in the folk-song-like character of much of the music. The
staid Rimsky-Korsakov had more than a streak of the alchemist and
the astrologer in his sober imaginative make-up, and in 'Mlada' he
has missed no chance of exploiting his quasi-mathematical tricks,
pivoting ambiguous har- mony over pedal-points, blowing oriental
scales on flutes, drumming the five-time rhythms, and the rest of
them. The opera demands rather more in stage
rough edges they may have, are never insecure and never fail to
present the essence of the work in hand.
' Mlada ' is rightly called an opera-ballet, since the hero is
involved with two women, one of whom sings and the other dances her
part. The first act introduces the characters and is mainly opera
with a little dancing. Act two is almost wholly choral, act three
al- most wholly ballet. Act four rounds off the ramifica- tions of
a generous plot, in which most of the things that can happen to
people in a fairy tale and to people in an opera are piled one on
the other, from a spinning chorus to a witches' sabbath. But though
there is plenty of incident the piece is not so loosely con-
structed as some other Russian operas, and a unifying force is to
be found in the folk-song-like character of much of the music. The
staid Rimsky-Korsakov had more than a streak of the alchemist and
the astrologer in his sober imaginative make-up, and in 'Mlada' he
has missed no chance of exploiting his quasi-mathematical tricks,
pivoting ambiguous har- mony over pedal-points, blowing oriental
scales on flutes, drumming the five-time rhythms, and the rest of
them. The opera demands rather more in stage
rough edges they may have, are never insecure and never fail to
present the essence of the work in hand.
' Mlada ' is rightly called an opera-ballet, since the hero is
involved with two women, one of whom sings and the other dances her
part. The first act introduces the characters and is mainly opera
with a little dancing. Act two is almost wholly choral, act three
al- most wholly ballet. Act four rounds off the ramifica- tions of
a generous plot, in which most of the things that can happen to
people in a fairy tale and to people in an opera are piled one on
the other, from a spinning chorus to a witches' sabbath. But though
there is plenty of incident the piece is not so loosely con-
structed as some other Russian operas, and a unifying force is to
be found in the folk-song-like character of much of the music. The
staid Rimsky-Korsakov had more than a streak of the alchemist and
the astrologer in his sober imaginative make-up, and in 'Mlada' he
has missed no chance of exploiting his quasi-mathematical tricks,
pivoting ambiguous har- mony over pedal-points, blowing oriental
scales on flutes, drumming the five-time rhythms, and the rest of
them. The opera demands rather more in stage
rough edges they may have, are never insecure and never fail to
present the essence of the work in hand.
' Mlada ' is rightly called an opera-ballet, since the hero is
involved with two women, one of whom sings and the other dances her
part. The first act introduces the characters and is mainly opera
with a little dancing. Act two is almost wholly choral, act three
al- most wholly ballet. Act four rounds off the ramifica- tions of
a generous plot, in which most of the things that can happen to
people in a fairy tale and to people in an opera are piled one on
the other, from a spinning chorus to a witches' sabbath. But though
there is plenty of incident the piece is not so loosely con-
structed as some other Russian operas, and a unifying force is to
be found in the folk-song-like character of much of the music. The
staid Rimsky-Korsakov had more than a streak of the alchemist and
the astrologer in his sober imaginative make-up, and in 'Mlada' he
has missed no chance of exploiting his quasi-mathematical tricks,
pivoting ambiguous har- mony over pedal-points, blowing oriental
scales on flutes, drumming the five-time rhythms, and the rest of
them. The opera demands rather more in stage
mechanics to bring off its visions, supernatural occurrences and
priestly ritual, and also rather more invention in the choreography
than is considerate to amateur resources, but it remains
nevertheless a splendid piece to challenge the ambitions of
amateurs, for the vocal solo work is not impossibly exacting, the
choral work is most satisfying, and the oppor- tunities for
dancing, once the business of a ballet has been faced, as it is
very capably faced in this pro- duction by Mr. Jack Carter, are
ample. The dancer who played the name part, Miss Brenda Minchin,
was not asked for virtuosity, but she sufficiently sustained the
role to make her contest with the really excellent singing of the
other princess, Miss Eileen.Tatnell, a dramatic reality. The young
prince Jaromir found a tenor in Mr. Raymond Hatherall with the
right lyric quality, while the High Priest of Mr. Hugh Smith was
sufficiently sonorous. The orchestra, complete to a harp and three
trombones, local and amateur to a man, found only the most delicate
colours of a very variegated score beyond their assured handling,
and so far from being an anxiety to their conductor were a
consolidating force. F. H.
mechanics to bring off its visions, supernatural occurrences and
priestly ritual, and also rather more invention in the choreography
than is considerate to amateur resources, but it remains
nevertheless a splendid piece to challenge the ambitions of
amateurs, for the vocal solo work is not impossibly exacting, the
choral work is most satisfying, and the oppor- tunities for
dancing, once the business of a ballet has been faced, as it is
very capably faced in this pro- duction by Mr. Jack Carter, are
ample. The dancer who played the name part, Miss Brenda Minchin,
was not asked for virtuosity, but she sufficiently sustained the
role to make her contest with the really excellent singing of the
other princess, Miss Eileen.Tatnell, a dramatic reality. The young
prince Jaromir found a tenor in Mr. Raymond Hatherall with the
right lyric quality, while the High Priest of Mr. Hugh Smith was
sufficiently sonorous. The orchestra, complete to a harp and three
trombones, local and amateur to a man, found only the most delicate
colours of a very variegated score beyond their assured handling,
and so far from being an anxiety to their conductor were a
consolidating force. F. H.
mechanics to bring off its visions, supernatural occurrences and
priestly ritual, and also rather more invention in the choreography
than is considerate to amateur resources, but it remains
nevertheless a splendid piece to challenge the ambitions of
amateurs, for the vocal solo work is not impossibly exacting, the
choral work is most satisfying, and the oppor- tunities for
dancing, once the business of a ballet has been faced, as it is
very capably faced in this pro- duction by Mr. Jack Carter, are
ample. The dancer who played the name part, Miss Brenda Minchin,
was not asked for virtuosity, but she sufficiently sustained the
role to make her contest with the really excellent singing of the
other princess, Miss Eileen.Tatnell, a dramatic reality. The young
prince Jaromir found a tenor in Mr. Raymond Hatherall with the
right lyric quality, while the High Priest of Mr. Hugh Smith was
sufficiently sonorous. The orchestra, complete to a harp and three
trombones, local and amateur to a man, found only the most delicate
colours of a very variegated score beyond their assured handling,
and so far from being an anxiety to their conductor were a
consolidating force. F. H.
mechanics to bring off its visions, supernatural occurrences and
priestly ritual, and also rather more invention in the choreography
than is considerate to amateur resources, but it remains
nevertheless a splendid piece to challenge the ambitions of
amateurs, for the vocal solo work is not impossibly exacting, the
choral work is most satisfying, and the oppor- tunities for
dancing, once the business of a ballet has been faced, as it is
very capably faced in this pro- duction by Mr. Jack Carter, are
ample. The dancer who played the name part, Miss Brenda Minchin,
was not asked for virtuosity, but she sufficiently sustained the
role to make her contest with the really excellent singing of the
other princess, Miss Eileen.Tatnell, a dramatic reality. The young
prince Jaromir found a tenor in Mr. Raymond Hatherall with the
right lyric quality, while the High Priest of Mr. Hugh Smith was
sufficiently sonorous. The orchestra, complete to a harp and three
trombones, local and amateur to a man, found only the most delicate
colours of a very variegated score beyond their assured handling,
and so far from being an anxiety to their conductor were a
consolidating force. F. H.
mechanics to bring off its visions, supernatural occurrences and
priestly ritual, and also rather more invention in the choreography
than is considerate to amateur resources, but it remains
nevertheless a splendid piece to challenge the ambitions of
amateurs, for the vocal solo work is not impossibly exacting, the
choral work is most satisfying, and the oppor- tunities for
dancing, once the business of a ballet has been faced, as it is
very capably faced in this pro- duction by Mr. Jack Carter, are
ample. The dancer who played the name part, Miss Brenda Minchin,
was not asked for virtuosity, but she sufficiently sustained the
role to make her contest with the really excellent singing of the
other princess, Miss Eileen.Tatnell, a dramatic reality. The young
prince Jaromir found a tenor in Mr. Raymond Hatherall with the
right lyric quality, while the High Priest of Mr. Hugh Smith was
sufficiently sonorous. The orchestra, complete to a harp and three
trombones, local and amateur to a man, found only the most delicate
colours of a very variegated score beyond their assured handling,
and so far from being an anxiety to their conductor were a
consolidating force. F. H.
Letters to the Editor Letters to the Editor Letters to the
Editor Letters to the Editor Letters to the Editor The Easter
Anthem
This canticle is usually sung to the ' Grand Chant ', whose
treble part consists of two notes, B and C. This is very monotonous
for a congregation. In all verses except the third and sixth, there
is a sharp contrast between the two halves. A single chant in C by
Sir John Stainer admirably enhances this contrast, especially if
the first phrase be sung in unison, except for verses 3 and 6 and
the Gloria.
ARTHUR G. COLBORN. Bristol.
A Mozart Score With regard to the article in your January issue
on
Mozart's works for a mechanical organ: can any of your readers
inform me where I could procure a copy of the original score of
K.594 ? This is published in various forms, I am told; but the
original score (as in K.608 and K.616) does not appear to be
generally known, and all other editions have apparently been made
from a four-handed piano version.
K.608 and K.616 are published by Breitkopf & Hartel, but
K.594 in its original form is not published in Germany at all,
according to Dr. Klotz, a notable North German organist.
I have heard a rumour that the score of K.594 may be published
in America. Does anyone know if this is correct, or has anyone any
information at all, as to the possible whereabouts of the original
?
A. E. BUTTERWORTH. 42 Brown Street,
Failsworth, nr. Manchester.
A Bach Ornament 'Perplexed Student' (Kidderminster) asks for
an
authoritative reading of the ornament in bar five of Bach's F
major fugue. 'A. F.' writes: 'I do not think there can be one.
Editions differ; but Widor and Schweitzer (whom the inquirer has
misread) follow the Bachgesellschaft and agree with Dupr6 in giving
a trill with prefix from above and closing notes. On the organ,
with a long note at this tempo, perhaps the most tolerable solution
is:
rrI. r - I I ; a; = i ..
The Easter Anthem This canticle is usually sung to the ' Grand
Chant ',
whose treble part consists of two notes, B and C. This is very
monotonous for a congregation. In all verses except the third and
sixth, there is a sharp contrast between the two halves. A single
chant in C by Sir John Stainer admirably enhances this contrast,
especially if the first phrase be sung in unison, except for verses
3 and 6 and the Gloria.
ARTHUR G. COLBORN. Bristol.
A Mozart Score With regard to the article in your January issue
on
Mozart's works for a mechanical organ: can any of your readers
inform me where I could procure a copy of the original score of
K.594 ? This is published in various forms, I am told; but the
original score (as in K.608 and K.616) does not appear to be
generally known, and all other editions have apparently been made
from a four-handed piano version.
K.608 and K.616 are published by Breitkopf & Hartel, but
K.594 in its original form is not published in Germany at all,
according to Dr. Klotz, a notable North German organist.
I have heard a rumour that the score of K.594 may be published
in America. Does anyone know if this is correct, or has anyone any
information at all, as to the possible whereabouts of the original
?
A. E. BUTTERWORTH. 42 Brown Street,
Failsworth, nr. Manchester.
A Bach Ornament 'Perplexed Student' (Kidderminster) asks for
an
authoritative reading of the ornament in bar five of Bach's F
major fugue. 'A. F.' writes: 'I do not think there can be one.
Editions differ; but Widor and Schweitzer (whom the inquirer has
misread) follow the Bachgesellschaft and agree with Dupr6 in giving
a trill with prefix from above and closing notes. On the organ,
with a long note at this tempo, perhaps the most tolerable solution
is:
rrI. r - I I ; a; = i ..
The Easter Anthem This canticle is usually sung to the ' Grand
Chant ',
whose treble part consists of two notes, B and C. This is very
monotonous for a congregation. In all verses except the third and
sixth, there is a sharp contrast between the two halves. A single
chant in C by Sir John Stainer admirably enhances this contrast,
especially if the first phrase be sung in unison, except for verses
3 and 6 and the Gloria.
ARTHUR G. COLBORN. Bristol.
A Mozart Score With regard to the article in your January issue
on
Mozart's works for a mechanical organ: can any of your readers
inform me where I could procure a copy of the original score of
K.594 ? This is published in various forms, I am told; but the
original score (as in K.608 and K.616) does not appear to be
generally known, and all other editions have apparently been made
from a four-handed piano version.
K.608 and K.616 are published by Breitkopf & Hartel, but
K.594 in its original form is not published in Germany at all,
according to Dr. Klotz, a notable North German organist.
I have heard a rumour that the score of K.594 may be published
in America. Does anyone know if this is correct, or has anyone any
information at all, as to the possible whereabouts of the original
?
A. E. BUTTERWORTH. 42 Brown Street,
Failsworth, nr. Manchester.
A Bach Ornament 'Perplexed Student' (Kidderminster) asks for
an
authoritative reading of the ornament in bar five of Bach's F
major fugue. 'A. F.' writes: 'I do not think there can be one.
Editions differ; but Widor and Schweitzer (whom the inquirer has
misread) follow the Bachgesellschaft and agree with Dupr6 in giving
a trill with prefix from above and closing notes. On the organ,
with a long note at this tempo, perhaps the most tolerable solution
is:
rrI. r - I I ; a; = i ..
The Easter Anthem This canticle is usually sung to the ' Grand
Chant ',
whose treble part consists of two notes, B and C. This is very
monotonous for a congregation. In all verses except the third and
sixth, there is a sharp contrast between the two halves. A single
chant in C by Sir John Stainer admirably enhances this contrast,
especially if the first phrase be sung in unison, except for verses
3 and 6 and the Gloria.
ARTHUR G. COLBORN. Bristol.
A Mozart Score With regard to the article in your January issue
on
Mozart's works for a mechanical organ: can any of your readers
inform me where I could procure a copy of the original score of
K.594 ? This is published in various forms, I am told; but the
original score (as in K.608 and K.616) does not appear to be
generally known, and all other editions have apparently been made
from a four-handed piano version.
K.608 and K.616 are published by Breitkopf & Hartel, but
K.594 in its original form is not published in Germany at all,
according to Dr. Klotz, a notable North German organist.
I have heard a rumour that the score of K.594 may be published
in America. Does anyone know if this is correct, or has anyone any
information at all, as to the possible whereabouts of the original
?
A. E. BUTTERWORTH. 42 Brown Street,
Failsworth, nr. Manchester.
A Bach Ornament 'Perplexed Student' (Kidderminster) asks for
an
authoritative reading of the ornament in bar five of Bach's F
major fugue. 'A. F.' writes: 'I do not think there can be one.
Editions differ; but Widor and Schweitzer (whom the inquirer has
misread) follow the Bachgesellschaft and agree with Dupr6 in giving
a trill with prefix from above and closing notes. On the organ,
with a long note at this tempo, perhaps the most tolerable solution
is:
rrI. r - I I ; a; = i ..
The Easter Anthem This canticle is usually sung to the ' Grand
Chant ',
whose treble part consists of two notes, B and C. This is very
monotonous for a congregation. In all verses except the third and
sixth, there is a sharp contrast between the two halves. A single
chant in C by Sir John Stainer admirably enhances this contrast,
especially if the first phrase be sung in unison, except for verses
3 and 6 and the Gloria.
ARTHUR G. COLBORN. Bristol.
A Mozart Score With regard to the article in your January issue
on
Mozart's works for a mechanical organ: can any of your readers
inform me where I could procure a copy of the original score of
K.594 ? This is published in various forms, I am told; but the
original score (as in K.608 and K.616) does not appear to be
generally known, and all other editions have apparently been made
from a four-handed piano version.
K.608 and K.616 are published by Breitkopf & Hartel, but
K.594 in its original form is not published in Germany at all,
according to Dr. Klotz, a notable North German organist.
I have heard a rumour that the score of K.594 may be published
in America. Does anyone know if this is correct, or has anyone any
information at all, as to the possible whereabouts of the original
?
A. E. BUTTERWORTH. 42 Brown Street,
Failsworth, nr. Manchester.
A Bach Ornament 'Perplexed Student' (Kidderminster) asks for
an
authoritative reading of the ornament in bar five of Bach's F
major fugue. 'A. F.' writes: 'I do not think there can be one.
Editions differ; but Widor and Schweitzer (whom the inquirer has
misread) follow the Bachgesellschaft and agree with Dupr6 in giving
a trill with prefix from above and closing notes. On the organ,
with a long note at this tempo, perhaps the most tolerable solution
is:
rrI. r - I I ; a; = i ..
There should be a slight tenuto on the first note, a slight
accelerando (as suggested) at the end, and when it runs into the
unison at the second entry the unison would not be restruck. But
why play any ornament here ? It cannot be carried any farther than
the first two entries, it is not part of the subject, and it is
probably only due to the efforts of some fidgety pupil or copyist
who could not stand a bare long note in this noble fugue. In a
competition for the most inopportune ornaments in Bach I should put
it at the top.'
Points from Letters We again plead with correspondents to be
brief;
and not to be disappointed if a column and a half of round-about
ruminations fail to appear. Point is given to this advice by
letters, too long for insertion, on The Uses of Tonality, iMr.
Harold Truscott's topic in the March issue. The writers tend to be
sceptical of Mr. Truscott's claim (as one of them puts it) to ' see
the light where most of the world, includ- ing Tovey, is in the
dark'. Another says: 'Whether a change of key is a modulation, or
vice versa, or whether either is an extension of a key, depends,
not on what happens, but on what you call it'. This writer also
takes up Mr. Truscott's point (January, p. 32) that Mahler's ending
of the fourth symphony in E major instead of B minor is a ' supreme
struc- tural stroke'; he remarks on the number of com- posers who
have failed to achieve supreme strokes by ending their movements in
their initial keys. Another writer thanks Mr. Truscott for sending
him back to his Schubert scores and to Tovey's admirable and
clear-sighted essay in 'The Heritage of Music'.
The latest date of entry for the Alfred J. Clements Memorial
Fund Chamber Music Competition is October 1. A prize is offered
annually for the best chamber music work composed and submitted by
a British subject. The work may be for any combina- tion of from
three to six instruments, to last not less than twenty minutes nor
more than thirty minutes, and shall not have been publicly
performed. The adjudicators for 1947 are Alan Bush, Howard Fer-
guson and R. H. Walthew. Rules and further in- formation may be had
from the Hon. Secretary of the Fund, Conway Hall, Red Lion Square,
W.C.I.
There should be a slight tenuto on the first note, a slight
accelerando (as suggested) at the end, and when it runs into the
unison at the second entry the unison would not be restruck. But
why play any ornament here ? It cannot be carried any farther than
the first two entries, it is not part of the subject, and it is
probably only due to the efforts of some fidgety pupil or copyist
who could not stand a bare long note in this noble fugue. In a
competition for the most inopportune ornaments in Bach I should put
it at the top.'
Points from Letters We again plead with correspondents to be
brief;
and not to be disappointed if a column and a half of round-about
ruminations fail to appear. Point is given to this advice by
letters, too long for insertion, on The Uses of Tonality, iMr.
Harold Truscott's topic in the March issue. The writers tend to be
sceptical of Mr. Truscott's claim (as one of them puts it) to ' see
the light where most of the world, includ- ing Tovey, is in the
dark'. Another says: 'Whether a change of key is a modulation, or
vice versa, or whether either is an extension of a key, depends,
not on what happens, but on what you call it'. This writer also
takes up Mr. Truscott's point (January, p. 32) that Mahler's ending
of the fourth symphony in E major instead of B minor is a ' supreme
struc- tural stroke'; he remarks on the number of com- posers who
have failed to achieve supreme strokes by ending their movements in
their initial keys. Another writer thanks Mr. Truscott for sending
him back to his Schubert scores and to Tovey's admirable and
clear-sighted essay in 'The Heritage of Music'.
The latest date of entry for the Alfred J. Clements Memorial
Fund Chamber Music Competition is October 1. A prize is offered
annually for the best chamber music work composed and submitted by
a British subject. The work may be for any combina- tion of from
three to six instruments, to last not less than twenty minutes nor
more than thirty minutes, and shall not have been publicly
performed. The adjudicators for 1947 are Alan Bush, Howard Fer-
guson and R. H. Walthew. Rules and further in- formation may be had
from the Hon. Secretary of the Fund, Conway Hall, Red Lion Square,
W.C.I.
There should be a slight tenuto on the first note, a slight
accelerando (as suggested) at the end, and when it runs into the
unison at the second entry the unison would not be restruck. But
why play any ornament here ? It cannot be carried any farther than
the first two entries, it is not part of the subject, and it is
probably only due to the efforts of some fidgety pupil or copyist
who could not stand a bare long note in this noble fugue. In a
competition for the most inopportune ornaments in Bach I should put
it at the top.'
Points from Letters We again plead with correspondents to be
brief;
and not to be disappointed if a column and a half of round-about
ruminations fail to appear. Point is given to this advice by
letters, too long for insertion, on The Uses of Tonality, iMr.
Harold Truscott's topic in the March issue. The writers tend to be
sceptical of Mr. Truscott's claim (as one of them puts it) to ' see
the light where most of the world, includ- ing Tovey, is in the
dark'. Another says: 'Whether a change of key is a modulation, or
vice versa, or whether either is an extension of a key, depends,
not on what happens, but on what you call it'. This writer also
takes up Mr. Truscott's point (January, p. 32) that Mahler's ending
of the fourth symphony in E major instead of B minor is a ' supreme
struc- tural stroke'; he remarks on the number of com- posers who
have failed to achieve supreme strokes by ending their movements in
their initial keys. Another writer thanks Mr. Truscott for sending
him back to his Schubert scores and to Tovey's admirable and
clear-sighted essay in 'The Heritage of Music'.
The latest date of entry for the Alfred J. Clements Memorial
Fund Chamber Music Competition is October 1. A prize is offered
annually for the best chamber music work composed and submitted by
a British subject. The work may be for any combina- tion of from
three to six instruments, to last not less than twenty minutes nor
more than thirty minutes, and shall not have been publicly
performed. The adjudicators for 1947 are Alan Bush, Howard Fer-
guson and R. H. Walthew. Rules and further in- formation may be had
from the Hon. Secretary of the Fund, Conway Hall, Red Lion Square,
W.C.I.
There should be a slight tenuto on the first note, a slight
accelerando (as suggested) at the end, and when it runs into the
unison at the second entry the unison would not be restruck. But
why play any ornament here ? It cannot be carried any farther than
the first two entries, it is not part of the subject, and it is
probably only due to the efforts of some fidgety pupil or copyist
who could not stand a bare long note in this noble fugue. In a
competition for the most inopportune ornaments in Bach I should put
it at the top.'
Points from Letters We again plead with correspondents to be
brief;
and not to be disappointed if a column and a half of round-about
ruminations fail to appear. Point is given to this advice by
letters, too long for insertion, on The Uses of Tonality, iMr.
Harold Truscott's topic in the March issue. The writers tend to be
sceptical of Mr. Truscott's claim (as one of them puts it) to ' see
the light where most of the world, includ- ing Tovey, is in the
dark'. Another says: 'Whether a change of key is a modulation, or
vice versa, or whether either is an extension of a key, depends,
not on what happens, but on what you call it'. This writer also
takes up Mr. Truscott's point (January, p. 32) that Mahler's ending
of the fourth symphony in E major instead of B minor is a ' supreme
struc- tural stroke'; he remarks on the number of com- posers who
have failed to achieve supreme strokes by ending their movements in
their initial keys. Another writer thanks Mr. Truscott for sending
him back to his Schubert scores and to Tovey's admirable and
clear-sighted essay in 'The Heritage of Music'.
The latest date of entry for the Alfred J. Clements Memorial
Fund Chamber Music Competition is October 1. A prize is offered
annually for the best chamber music work composed and submitted by
a British subject. The work may be for any combina- tion of from
three to six instruments, to last not less than twenty minutes nor
more than thirty minutes, and shall not have been publicly
performed. The adjudicators for 1947 are Alan Bush, Howard Fer-
guson and R. H. Walthew. Rules and further in- formation may be had
from the Hon. Secretary of the Fund, Conway Hall, Red Lion Square,
W.C.I.
There should be a slight tenuto on the first note, a slight
accelerando (as suggested) at the end, and when it runs into the
unison at the second entry the unison would not be restruck. But
why play any ornament here ? It cannot be carried any farther than
the first two entries, it is not part of the subject, and it is
probably only due to the efforts of some fidgety pupil or copyist
who could not stand a bare long note in this noble fugue. In a
competition for the most inopportune ornaments in Bach I should put
it at the top.'
Points from Letters We again plead with correspondents to be
brief;
and not to be disappointed if a column and a half of round-about
ruminations fail to appear. Point is given to this advice by
letters, too long for insertion, on The Uses of Tonality, iMr.
Harold Truscott's topic in the March issue. The writers tend to be
sceptical of Mr. Truscott's claim (as one of them puts it) to ' see
the light where most of the world, includ- ing Tovey, is in the
dark'. Another says: 'Whether a change of key is a modulation, or
vice versa, or whether either is an extension of a key, depends,
not on what happens, but on what you call it'. This writer also
takes up Mr. Truscott's point (January, p. 32) that Mahler's ending
of the fourth symphony in E major instead of B minor is a ' supreme
struc- tural stroke'; he remarks on the number of com- posers who
have failed to achieve supreme strokes by ending their movements in
their initial keys. Another writer thanks Mr. Truscott for sending
him back to his Schubert scores and to Tovey's admirable and
clear-sighted essay in 'The Heritage of Music'.
The latest date of entry for the Alfred J. Clements Memorial
Fund Chamber Music Competition is October 1. A prize is offered
annually for the best chamber music work composed and submitted by
a British subject. The work may be for any combina- tion of from
three to six instruments, to last not less than twenty minutes nor
more than thirty minutes, and shall not have been publicly
performed. The adjudicators for 1947 are Alan Bush, Howard Fer-
guson and R. H. Walthew. Rules and further in- formation may be had
from the Hon. Secretary of the Fund, Conway Hall, Red Lion Square,
W.C.I.
136 136 136 136 136 April 1947 April 1947 April 1947 April 1947
April 1947
Article Contentsp.136
Issue Table of ContentsThe Musical Times, Vol. 88, No. 1250
(Apr., 1947), pp. 113-144Front Matter [pp.113-120]The Mozart Shelf
[pp.121-123]Music-Making and Music-Loving [pp.123-124]A New Swiss
Life of Bach [pp.124-126]The Musician's Bookshelfuntitled
[pp.126-127]untitled [p.127]Books Received [p.127]
Gramophone Notes [pp.127-131]MusicBe Present, O Merciful God
[pp.129-130]
Round about Radio [pp.131-132]New Music [p.133]Church and Organ
MusicRoyal College of Organists [p.133]Organ Recital Notes
[p.134]Miscellaneous [p.135]Recitals [p.135]
Opera in Swindon [pp.135-136]Letters to the EditorThe Easter
Anthem [p.136]A Mozart Score [p.136]A Bach Ornament [p.136]Points
from Letters [p.136]
Notes and News [pp.137-138]Rural Music Schools [p.138]The
Amateurs' Exchange [p.138]Holst's Choral Symphony [p.139]London
Concerts [p.139]Music in the Provinces [pp.140-141]ObituaryAlfredo
Casella [p.141]David Bach [p.141]Victor Hely-Hutchinson [p.142]
Back Matter [pp.143-144]
