14
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SATURDAY, MAY 1, 1937.
SMITH listens
to
This Noisy
modern
stuff
What, call that music? Yes, Mr. lovely tunes.
Smith, and this is what means; most forgotten altogether. Ills most
and it grows on you.
(One
of
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the exclusion of melody. He wrote Stravinsky (Russian, born 1882)
Via Manila, Singapore, Penang, developed this was al-
Colombo, Bombay, Suez Canal, Naples, Genoa and Marsellies. work. "The Re of Pres. Plerce 8.00 a.m. May Pres. McKinley, is. a ballet, and though Pres. Van Buren 8.00 a.m. May 23 Pres. Pierce without tune is all right to
Pres. Garfield dance to, it is a great strain on the
Pres. Hayes Jistener.
Another school also abandoned the
four music articles in the SMITH straight-and-birow of musle. Schon-
INTO SUPERMAN
Series.)
THEN Smith tries modern music he comes up against the hardest problem of all his listening career so far.
berg (Austrian, born 1874) gathered together a number of pupils and to- gether they decided that keys no Jonger mattered,
Tis means they considered all twelve notes between. say, "middle C" on the piano and the octave above to be equal.
This sort of musicnt Communism means that according to Schonberg there is no reason why "God Save the King", should end on the note with which it begins.
whose
The professional musician,
can still see whether or not the re- sult is good music.
Smith, naturally,
has some dif-
Modern music, he will discover, lans, eighteen composers and twenty-three not only drifted miles away from the lyrte writers to its making, "grand" -in-the-street, but ty nuke things opera remains unaffected by the more duelt. It has become ""light" composers.
Tales of Hoffmann" and "Fleder Honalist" conscious,
The nineteenth century started na-maus" are in the regular "gkand” re-
music. Com-pertory, but they show no sign of re-ear is trained to this sort of thing. "schools" of posers, Instead of just writing music, piaclng the "popular favourites." began to write Bohrmlin, Russhim. French, German, Hungarian music, with the result that Smith is not only Faced with musle already lacking the
Singapore, Part Swettenhamn. knowledge of local dialect as
Wagner (1013-1883) was the worst offender in Penang, Rangoon & Calcutta.
this respect; and in many made ways
himself a great nuisance in music. But if the nine- teenth century was dominated 311 for muste by the figure of Wagner, who succeeded in taking all the fun out of opera by, among other things, expect ing his audience in the theatre soon after lunch Instead of after dinner, Smith will and that there were many composers who still wrote music as entertainment.
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"common" touch, but tell
On the contrary, the last culty. In time, however, his car will years of the nineteenth so accustomed to "dissonance," Just century produced our of the most seventeenth-century Florence got popular grand" opern composers in used to the "new" harmonics of the history-Puccini, in whose operas singers die off like files.
Arst
is
operas.
Things to-day are not so difficult they were twenty years ago. Music tulting a step bacic.
Smith probably remembers, with horror the broadcast of Alban Berg's
Well, this was opera, "Wozzeck, step back-along the road made by
If nothing exciting has happened
Puccini's death, Smith; opera since mustn't blame opera. It just happens that modern composers have either! not had the inclination or lacked the opportualty to write for the theatre.
Barred from the opera house by one! Unfortunately, Smith is unfamiliar thing and another, modern music has with the road anyway, but that is not been having a line old time else-Smith's fault so much as musie's for
where.
into the open It come
now and then in the guise of "contemporary music" on the radio.
Smith deem't fit that. He prob ably calls it contemptible musle, not always without justification,
CHIEF among them is Verdi CHI
(1813-1981), who alone of composers in the last rentury never
But modern music, which retired lost touch with the "ordinary" listen- behind closed doors at the beginning
CT.
voice.
Schienberg.
getting behind those closed doors.
had been
TE Berg's monner I
developed in the open-in the opera house-Smith would have arrived at "
• "Wozzeck" without tears, and enjoyed it as a great and moving
of this century, emerges or these work, just as he can stomach
rate
on
the but none the less ac-
Without resorting to tricks, Verdi represented human emotions through occasions almost unrecognisable. Or Puccini's last work, "Trandot," which (81 any bearing little resemblance is an almost unrecognisable "advance" the human
If Smith will to music of the late nineties. listen carefully to the famous quartet
The change started with "Rizoletto" ha will hear. Frenchman Debussy (1882-1018). He
The present retreat of music is through the glorious sound of the revolutionised harmony, and he in-mainly due to one man, a Finnish voices, that each character is perfect-vented many strange and lovely composer called Sibelius, who has ly and carefully drawn.
sat since 1805 in his home town writ- ing music and taking no nolice of the upheaval in Europe.
orchestral noises.
Though the quartet presents a His inßuence was not so much one homogeneous whole, none of the of matter as of manner or technique. characters sings a phrase out of keep-
Sibellus has gone back to the Smith has probably seen plctures -ing with his or her individual drama-of Venice by Turner-and Canaletto: classies in his music-not to minucis
tic part.
the subject is the same but the and gard
but to karabands,
the classic The second half of the nineteenth method and result are quite different. manner of thinking clearly, unsenii- century produced a fair number of Debussy brought a new "colour" to mentally. good composers who niso became music.
He has streamlined music by hack- popular,
(Smith, will ʼnnd that the jargons ing away all superfluities, all ear- After the self-isolation of the of art are interchangeable. Music resistance. carlier romantics something had to can have "colour," a picture has Some may think Sibelius the last be done. The private patronage of "rhythm." and authors "paint pic-of great symphonists. Smith Ilsten- music ceased to exist und the only }tures.“ "
ing around may be nearer to it if he way a composer could live was by
the patronage of the public.
TUE public, us ever demanded
entertainment: it, found:
little in the concert hall.
The early romanties had given up any idea of entertaining their listen- ers in the way the great classical masters had done, and so music went into the theatre in a big way,
The first operas had been Itallan; Jacopo Perl's "Dafne" was produced in Florence in 1597. The great operatic revival of the nineteenth century also started in Italy; Doni- zetti, Belilnl, Rossini led the way with music that entertained.
Besides, there was more material reward in opera. Opera houses held more than the concert halls and pro- ple went to the opera as they now go to the movies.
Smith's own country, and oddly enough, Vienna, home of the great classics, were almost the only two places in Europe where no national school of opera arose,
Offenbach and
Johann
VIENNA and Paris, however, took to light opera. "Opera comique" "was a further guarantee that the public should be entertained In the most pleasant possible way. Strauss, though they wrote the "Tales of Hoff- mann" and "The Bat" ("Die Fleder- maus"), by
by no means kept the publle, away from the heavier stuff, any more than a liking for P. G. Wode house delers Smith from reading a detective story.
But Offenbach and Strauss are Im-| portant, Inasmuch as they were the founders of modern musical comedy.
The form of modern musical comedy, though it has degenerated in 'quality_since Offenbach, Strauss, Suppe, Gilbert and Sullivan and the Bourishing English school of Sydney Jones and Co., is not really so new.
Spoken dialogue wos used by -Mozart in his arst opern and in his Inst, by Beethoven in his "Fidelo," and by Schubert. ·
But whereas light opera seems to have come to a full stop with Lehor and Oscar Strous, and now takes
As Debussy's Idea caught on, colour thinks of Sibelius as the first of a new and rhythm became more important, line the line that leads into the though, in Debussy's music, not to future.
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14
16-
136
24
ACROSS
1 Do spare seed (anag.).
9 The metamorphosis of the char,
10 Sorry for the shop-girl.
11 The prophet is always securer
the ends.
13 Turn down.
15 Does the lawyer carry this as a protection against stings? (two words, 4, 37.
first choice in 16 The peasants* vegetables.
17 This preceded many a fight at
school
19 When this is on there's no more
to be said.
20 Something you may guess has
holes in it.
how a busset may
121 Showing.
23 If you want a holiday get time
from the office. thus
24 To talk in public may be beyond
your reach.
27 More like a rake than a hoe, 20 What the Scout did to the poor
ident
20 Year
32 Lady of high degree from Iran, 33 Is in a ring going up-and
down.
34 Don't let this catch your look
out for a blow.
35 Zine on cogès anag.).
DOWN
does with
2 Time, gentlemen, time. 3 What them.
the cyclist
4 Talked wildly before being
taken in.
Might we consider this to be the cause of the grouse discare?
6 Severe internally.
7 Cut for deal
I
8 A notorious wrongdoer
acquiited is said to be this-but it is not noticeable.
13 Cooking hints may be precise. 14 Thieves do, and, of course, it's
entirely suitable.
15 Of string; of brass; of hope? 18 German boot that our soldiers
found useful at Waterlop.
22 Booted, so to speak.
25 The ultimate lug intended increase affection-for Wordst
to
cross-
20 A mineral of which you can't drink the quantity it suggucats. 27 This is only sense as regards a
male child, anyway.
30 Wall decoration.
B
91 Cone prepared for sections?
„Teaterday's Solution IDO DRAFT O BETORTIN HORACE
LONA ARA||[A] BEDLAM TRIPPER B
TNPTOPLE|||||C|
S EVERN MOLASSE 8
CONSULT BHAVIN K▬▬▬8 HEA STONDAGE BUNKER HABE ABGX MARIGOLD INURED MLAF D. AU METEORU ERRAND 8 D DOLLS DET
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