A CHAMBER ORCHESTRA, under the direction of ERNEST ANSERMET
MANY listeners have already heard some of Schonberg's earlier music, his Sextet, Resplendent Night (VerklÃ¤rte Nacht) having been broadcast a few months ago.
This Chamber Symphony, his Op. 9, dates from 1906 (when he was just over thirty), and goes a little farther in modernism than does that tuneful and romantic work.
The Symphony requires fifteen solo instruments - Flute (changing at times to Piccolo), Oboe, Cor Anglais (the Alto Oboe), two Clarinets, Bass Clarinet, Bassoon, Double Bassoon, two Horns, and the five Strings. When the music is played in largo halls, the composer directs that the Strings shall be doubled.
The work is in one Movement, as are several other extended pieces of Schonberg (e.g., the Quartet in D Minor played a few weeks ago, and Resplendent Night). It is in five sections, the second and fourth of which roughly correspond to the Scherzo and Slow Movement of the older String Quartet. This is closely woven music, made out of a great many themes (a thematic analysis gives no fewer than twenty-three of these), so, obviously, one hearing will not enable anyone to follow its development at all closely. All that one can expect to get at one sitting is some sense of the music's moods, perhaps a hint or two of its logical bases, and an idea as to the composer's power of persuading us that he has his goal clearly in sight all the timeâand that it is worth the journey to it.
SOME of Schulhoff's music was hsard at one of tho B.B.C.'s Chenil Chamber Concerts a year ago, on the evening devoted to Czechoslovak composers.
The two divisions of his Pianoforte Concerto (it is in ono unbroken Movement) are respectively marked Slow and Quick. ' a la Jazz.' Another work of Schulhoff is his Five Jazz Studies, ono of which bears the title, Toccata ott the shimmy, The Kitten on the Keys.'
IN tho eighteenth century the Creation was deemed fit subject for a full-dress Oratorio.
It is clearly in accord with tho spirit of these stirring times that the twentieth should celebrate the ultimate marvel in the dance.
Milhaud has shown his liking for the Ballet more than once-notably in writing The Blue Train, which Diaghilev's Russian dancers first interpreted a few seasons ago. This is the first English performance of his music for The Creation of the World.
SCHULHOFF and Orchestra Concerto for Pianoforte and Small Orchestra - Schulhoff
ORCHESTRA 'The Creation of tho World' Ballet Music Milhaud Octet for Wind Instruments - Stravinsky