polytonality parrott

7/25/2019 Polytonality Parrott

1/3

PolytonalityAuthor(s): Ian ParrottSource: The Musical Times, Vol. 79, No. 1148 (Oct., 1938), pp. 775-776Published by: Musical Times Publications Ltd.Stable URL: http://www.jstor.org/stable/923794.

Accessed: 17/02/2015 23:44

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2/3

THE

MUSICA

HE

MUSICA

of listeners

seem to

derive

satisfaction

from

its

performance;

besides

which

it will

be

said

by

some

that

Bach

belongs

to

a

past

period

and

sentiment

changes

with

time.

There

is, however,

another

reason

why

the standard

established

by

Bach has

not been maintained

or

proportionately

advanced,

and for

this

we

must look

to the

special

circumstances in which the

organ

finds

its

more

usual

employment-in

religious

services.

We cannot blame

organists

for

adjusting

themselves

to

requirements,

for

adjustment

is at the root of

peace.

A

religious

service

is

necessarily

restricted

in

its

emotional

scope,

and since

in

addition

all classes

of

intelligence

have to be considered there

must

also

be a

limit

to

the

complexity

of

any

of

its

adjuncts.

In

other

words,

the

music must

be

easily

com-

prehended,

and

this

naturally

influences

the

organist

both

in the

standard of

performance

and in

the

selection

of

his

repertory.

Specific

tastes

and

flavours

are

certainly

associated with varieties

of

religious

thought,

but

in

emotional

range

and

com-

plexity

of

style

a

limitation

will

always

be

demanded

of

the

musical

adjunct.

Thus until the organ itself developed an enlarged

mechanical

constitution

and the

old

types

of

pipe

received

numerous

attractive additions

there

was

no

incentive

to extend

the

potentialities

of

organ

music

outside

the staid

boundaries

set

by

the

religious

service.

The

organ virtually

suggested

Sunday.

There

were

opportunities,

it is

true,

when

transcriptions

of

Handel

choruses or

the

lighter

class

of

composition

that

crossed

the Channel

from

France

were

readily

and

g'adly

accepted,

but the

use

of

these

was

generally

confined

to occasions

when

congregations

were

making

for

the

doors.

This led

up

to

the

time when

the

rendering

of

familiar

orchestral

pieces

revealed

possibilities

suggesting

for

the

instrument a

destiny

more ambi-

tious

than

had

hitherto been

contemplated,

and

organ

recitals began to attract a wider public.

But

the

unexpected

happened.

When the

silent

film called

for

something

that

would

provide

the

richness

of orchestral

volume,

the flavour of

ordinary-

level

emotions,

and

all

at

a

reasonable

expense

of

running

costs,

the answer

was

what someone

described

as the

'nauseous

degradation'

of the

American

cinema

organ.

Whether

that observation was

wit

or

wisdom,

opinion

or

prejudice,

does not

come

into the

present

subject.

All that concerns

us

is

that a

vast

number

of

people

to-day

would

describe

an

organ

as an

instrument

for

reproducing every

familiar

style

of

tune and

dance

in a

tonal costume

that does

not

oppress

by

its

dignity.

In this con-

nection

it should

be

acknowledged

that

performers

on this

type

of

instrument

do not

claim that

they

are

advancing the natural development

of

organ music;

they

purvey

what

is

obviously

appreciated.

One

may

now ask

what

is

or

may

be the

natural

development

of

organ

music.

In

music

for

the

other

prominent

instruments

development

has

proceeded

by

way

of emotional

expansion,

the

nature of each

instrument

determining

the

range

that

is suitable

to

it.

Every

organist

is

aware

of

the

emotional

expansion

introduced

by

Rheinberger,

and how

with a

basic

adherence

to the

modified

cyclic

forms,

common

property

in

his

day,

he moulded

them to

the

particular

tonal

features characteristic

of the

organ.

This was

undoubtedly

natural

progress.

In the

circumstances

it was not

to

be

expected

that

music

would

show an advance

through

the

organ,

but

at

all events

the

old

reproach

of

stagnation

was

removed.

It

meant

a

great

deal

more

than

extending

the repertory by transplanting the musical style

of other

instruments,

apt

and

happy

as

at times

that can

be.

Hence

the

high

importance

of Rhein-

berger's

contribution.

When we consider

what

progress

since

his time has

brought

distinction

to

organ

music,

we

are unfor-

of listeners

seem to

derive

satisfaction

from

its

performance;

besides

which

it will

be

said

by

some

that

Bach

belongs

to

a

past

period

and

sentiment

changes

with

time.

There

is, however,

another

reason

why

the standard

established

by

Bach has

not been maintained

or

proportionately

advanced,

and for

this

we

must look

to the

special

circumstances in which the

organ

finds

its

more

usual

employment-in

religious

services.

We cannot blame

organists

for

adjusting

themselves

to

requirements,

for

adjustment

is at the root of

peace.

A

religious

service

is

necessarily

restricted

in

its

emotional

scope,

and since

in

addition

all classes

of

intelligence

have to be considered there

must

also

be a

limit

to

the

complexity

of

any

of

its

adjuncts.

In

other

words,

the

music must

be

easily

com-

prehended,

and

this

naturally

influences

the

organist

both

in the

standard of

performance

and in

the

selection

of

his

repertory.

Specific

tastes

and

flavours

are

certainly

associated with varieties

of

religious

thought,

but

in

emotional

range

and

com-

plexity

of

style

a

limitation

will

always

be

demanded

of

the

musical

adjunct.

Thus until the organ itself developed an enlarged

mechanical

constitution

and the

old

types

of

pipe

received

numerous

attractive additions

there

was

no

incentive

to extend

the

potentialities

of

organ

music

outside

the staid

boundaries

set

by

the

religious

service.

The

organ virtually

suggested

Sunday.

There

were

opportunities,

it is

true,

when

transcriptions

of

Handel

choruses or

the

lighter

class

of

composition

that

crossed

the Channel

from

France

were

readily

and

g'adly

accepted,

but the

use

of

these

was

generally

confined

to occasions

when

congregations

were

making

for

the

doors.

This led

up

to

the

time when

the

rendering

of

familiar

orchestral

pieces

revealed

possibilities

suggesting

for

the

instrument a

destiny

more ambi-

tious

than

had

hitherto been

contemplated,

and

organ

recitals began to attract a wider public.

But

the

unexpected

happened.

When the

silent

film called

for

something

that

would

provide

the

richness

of orchestral

volume,

the flavour of

ordinary-

level

emotions,

and

all

at

a

reasonable

expense

of

running

costs,

the answer

was

what someone

described

as the

'nauseous

degradation'

of the

American

cinema

organ.

Whether

that observation was

wit

or

wisdom,

opinion

or

prejudice,

does not

come

into the

present

subject.

All that concerns

us

is

that a

vast

number

of

people

to-day

would

describe

an

organ

as an

instrument

for

reproducing every

familiar

style

of

tune and

dance

in a

tonal costume

that does

not

oppress

by

its

dignity.

In this con-

nection

it should

be

acknowledged

that

performers

on this

type

of

instrument

do not

claim that

they

are

advancing the natural development

of

organ music;

they

purvey

what

is

obviously

appreciated.

One

may

now ask

what

is

or

may

be the

natural

development

of

organ

music.

In

music

for

the

other

prominent

instruments

development

has

proceeded

by

way

of emotional

expansion,

the

nature of each

instrument

determining

the

range

that

is suitable

to

it.

Every

organist

is

aware

of

the

emotional

expansion

introduced

by

Rheinberger,

and how

with a

basic

adherence

to the

modified

cyclic

forms,

common

property

in

his

day,

he moulded

them to

the

particular

tonal

features characteristic

of the

organ.

This was

undoubtedly

natural

progress.

In the

circumstances

it was not

to

be

expected

that

music

would

show an advance

through

the

organ,

but

at

all events

the

old

reproach

of

stagnation

was

removed.

It

meant

a

great

deal

more

than

extending

the repertory by transplanting the musical style

of other

instruments,

apt

and

happy

as

at times

that can

be.

Hence

the

high

importance

of Rhein-

berger's

contribution.

When we consider

what

progress

since

his time has

brought

distinction

to

organ

music,

we

are unfor-

L

TIMES

775

tunately

compelled

to

admit that

expansion

has

been

handicapped by

the

conditions

governing

the

use

of

the

instrument

which were

mentioned

at

the

outset. Prominent

composers

have to

a

large

extent

confined their

attention to

Preludes,

Fugues,

Chorals

and

Voluntaries

because

these

appropriately

served

requirements,

whereas works of

wider

appeal

would

possibly

have been held inconsistent. This

brought

with

it the

drawback

that

the

framework

of

such

pieces

relied

on formulae

which facilitated

the

process

of

composition

with

consequent

loss

of

inspiration.

Only,

or

chiefly,

in

lighter

and

slighter

works

has

the

individuality

of the

organ

been

successfully

unfolded.

The

present

century

is

too close to us to

justify

a final

appraisement

of

what

has

recently

been

produced.

The

worst that

can

with

any justice

be

said

is

that

the

prevailing tendency

to force

the

exploitation

of

complicated

texture

has

not

passed

organ

music

by

without

leaving

an

impression.

It

is

always

tempting

to

find

in

excitement a

substitute

for value.

But there

have been

definitely

encouraging

signs

and the

impetus

behind these does not

seem

to have exhausted itself.

With

regard

to

public

response,

there

is

no

doubt

that the

cinema use

of the

organ

has

lured

away

the

attention of

many

who

might

have become

more

interested

in

the wider

possibilities

of traditional

expansion,

and it is to

be

feared that

this

has also

unfavourably

affected

the outlook

of

some

organists

and disheartened their ambition to follow the

higher

road.

Popularity

often

offers an

easy

gradient

with

plenty

of

elbow

room,

whereas

progress

is

ever a

narrow

path.

If we

must

get away

from the restrictions of the

religious

service,

the

only

alternative

is

the

public

organ

such

as

the

larger

towns are

providing

with

increasing

frequency.

Even here we

may

find

conditions

that

are

dispiriting

and we must live

down the despondency which is inclined to possess

us

when a

large building

is but

sparsely occupied.

The

best effects of

an

adequate

organ

can

only

be

realized

in

a

large

space,

and

we

must

persuade

ourselves that our

enjoyment

does

not

at all

depend

on

the numbers who

sit around us.

The

principle

of

filling

the

building

with

sounds

that

do credit

to

our

purpose

must

not

give way

to

that of

filling

the

seats with

all and

sundry.

With

our

present

wealth

of

capable performers,

in

several instances

exceptional

performers,

we

surely

have a

good

chance of

establish-

ing

the

organ

on an

equality

with

the

other

instru-

ments. But we must

entertain

a wider

outlook

on

the

domain of

expression

in

which

the

organ

can

fitly engage,

and obtain

some

release from

the

many

conventions that

have

almost

encrusted

its

reputation.

This

is

a

task which

will

have

to

be shared by com-

posers

and

executants

alike.-Yours, &c.,

Gerrard's Cross. PERCY

RIDEOUT.

Polytonality

SIR,-If

I

may

further

continue

the

controversy,

is

not

the

difficulty

of

Mr.

Humphrey

Searle

and

myself

in

agreeing

about

polytonality

due to

the

fact that he thinks

harmonically,

whereas

I

think

melodically

? I

did not

say

that several

parts

in

different

keys

can

be combined

on

equal

terms;

I

meant that

different

keys

could be

suggested

melodi-

cally,

the interest

depending

on the movement of

the

music.

Mr.

Searle

seems to

wish to

stop

the music and

analyse

each harmonic

effect,

the

chords

apparently

suggesting

keys.

'The resultant

key,

so to

speak,'

as Mr. Searle puts it, 'may be quite different from

that

in which

any

of the

parts

seem

to

be.' This

may

well be

the

case for

a

short

time,

but

a

satisfactory

polytonal

effect

depends

on the continual

shifting

of

the

(key-)

centre

of

interest,

which is achieved

(melodically)

by

one

part

becoming

in

turn more

L

TIMES

775

tunately

compelled

to

admit that

expansion

has

been

handicapped by

the

conditions

governing

the

use

of

the

instrument

which were

mentioned

at

the

outset. Prominent

composers

have to

a

large

extent

confined their

attention to

Preludes,

Fugues,

Chorals

and

Voluntaries

because

these

appropriately

served

requirements,

whereas works of

wider

appeal

would

possibly

have been held inconsistent. This

brought

with

it the

drawback

that

the

framework

of

such

pieces

relied

on formulae

which facilitated

the

process

of

composition

with

consequent

loss

of

inspiration.

Only,

or

chiefly,

in

lighter

and

slighter

works

has

the

individuality

of the

organ

been

successfully

unfolded.

The

present

century

is

too close to us to

justify

a final

appraisement

of

what

has

recently

been

produced.

The

worst that

can

with

any justice

be

said

is

that

the

prevailing tendency

to force

the

exploitation

of

complicated

texture

has

not

passed

organ

music

by

without

leaving

an

impression.

It

is

always

tempting

to

find

in

excitement a

substitute

for value.

But there

have been

definitely

encouraging

signs

and the

impetus

behind these does not

seem

to have exhausted itself.

With

regard

to

public

response,

there

is

no

doubt

that the

cinema use

of the

organ

has

lured

away

the

attention of

many

who

might

have become

more

interested

in

the wider

possibilities

of traditional

expansion,

and it is to

be

feared that

this

has also

unfavourably

affected

the outlook

of

some

organists

and disheartened their ambition to follow the

higher

road.

Popularity

often

offers an

easy

gradient

with

plenty

of

elbow

room,

whereas

progress

is

ever a

narrow

path.

If we

must

get away

from the restrictions of the

religious

service,

the

only

alternative

is

the

public

organ

such

as

the

larger

towns are

providing

with

increasing

frequency.

Even here we

may

find

conditions

that

are

dispiriting

and we must live

down the despondency which is inclined to possess

us

when a

large building

is but

sparsely occupied.

The

best effects of

an

adequate

organ

can

only

be

realized

in

a

large

space,

and

we

must

persuade

ourselves that our

enjoyment

does

not

at all

depend

on

the numbers who

sit around us.

The

principle

of

filling

the

building

with

sounds

that

do credit

to

our

purpose

must

not

give way

to

that of

filling

the

seats with

all and

sundry.

With

our

present

wealth

of

capable performers,

in

several instances

exceptional

performers,

we

surely

have a

good

chance of

establish-

ing

the

organ

on an

equality

with

the

other

instru-

ments. But we must

entertain

a wider

outlook

on

the

domain of

expression

in

which

the

organ

can

fitly engage,

and obtain

some

release from

the

many

conventions that

have

almost

encrusted

its

reputation.

This

is

a

task which

will

have

to

be shared by com-

posers

and

executants

alike.-Yours, &c.,

Gerrard's Cross. PERCY

RIDEOUT.

Polytonality

SIR,-If

I

may

further

continue

the

controversy,

is

not

the

difficulty

of

Mr.

Humphrey

Searle

and

myself

in

agreeing

about

polytonality

due to

the

fact that he thinks

harmonically,

whereas

I

think

melodically

? I

did not

say

that several

parts

in

different

keys

can

be combined

on

equal

terms;

I

meant that

different

keys

could be

suggested

melodi-

cally,

the interest

depending

on the movement of

the

music.

Mr.

Searle

seems to

wish to

stop

the music and

analyse

each harmonic

effect,

the

chords

apparently

suggesting

keys.

'The resultant

key,

so to

speak,'

as Mr. Searle puts it, 'may be quite different from

that

in which

any

of the

parts

seem

to

be.' This

may

well be

the

case for

a

short

time,

but

a

satisfactory

polytonal

effect

depends

on the continual

shifting

of

the

(key-)

centre

of

interest,

which is achieved

(melodically)

by

one

part

becoming

in

turn more

October

1938

ctober

1938

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3/3

THE

MUSICAL TIMES

HE

MUSICAL TIMES

HE

MUSICAL TIMES

important

than

another. Mr.

Searle

has

only

to

listen

to

a

series of

diminished sevenths to realize

that

not

all

chords

suggest keys.

I

agree

that there is a

great

deal

of music

(even by

Bart6k)

which is

polytonal

only

on

paper;

I

am

defending

that which

appeals

to the

ear.-Yours,

&c.,

IAN PARROTT.

Great Malvern.

Pianists'

Tone

Control: Also Conductors'

Time Control

SIR,-There

is a

general

opinion

among

pianists

that

they

control

tone,

and

among

sailors

that weather

depends

on the

phases

of the

moon;

but

opinion

is

not

proof.

There

is,

so

far,

no evidence

of

tone-

control.

Until some

exists,

Mr.

Wearman's elaborate

experiments

seem

premature.

Some

hearers

with

their backs turned

might

listen

to

notes

of

all loudnesses

played by

a

pianist

with

one

artistic

finger,

and

by

someone else

with a

poker.

If

they

could

tell which

notes

had

special

tones,

there would

be

something

to

investigate.

A

conductor settles

the

time

at

starting,

but,

unless a

change

of time at some

point

is

expected

important

than

another. Mr.

Searle

has

only

to

listen

to

a

series of


that

not

all

chords

suggest keys.

I

agree

that there is a

great

deal

of music

(even by

Bart6k)

which is

polytonal

only

on

paper;

I

am

defending

that which

appeals

to the

ear.-Yours,

&c.,

IAN PARROTT.

Great Malvern.

Pianists'

Tone


Time Control

SIR,-There

is a

general

opinion

among

pianists

that

they

control

tone,

and

among

sailors

that weather

depends

on the

phases

of the

moon;

but

opinion

is

not

proof.

There

is,

so

far,

no evidence

of

tone-

control.

Until some

exists,

Mr.

Wearman's elaborate

experiments

seem

premature.

Some

hearers

with

their backs turned

might

listen

to

notes

of

all loudnesses

played by

a

pianist

with

one

artistic

finger,

and

by

someone else

with a

poker.

If

they

could

tell which

notes

had

special

tones,

there would

be

something

to

investigate.

A

conductor settles

the

time

at

starting,

but,

unless a

change

of time at some

point

is

expected

important

than

another. Mr.

Searle

has

only

to

listen

to

a

series of


that

not

all

chords

suggest keys.

I

agree

that there is a

great

deal

of music

(even by

Bart6k)

which is

polytonal

only

on

paper;

I

am

defending

that which

appeals

to the

ear.-Yours,

&c.,

IAN PARROTT.

Great Malvern.

Pianists'

Tone


Time Control

SIR,-There

is a

general

opinion

among

pianists

that

they

control

tone,

and

among

sailors

that weather

depends

on the

phases

of the

moon;

but

opinion

is

not

proof.

There

is,

so

far,

no evidence

of

tone-

control.

Until some

exists,

Mr.

Wearman's elaborate

experiments

seem

premature.

Some

hearers

with

their backs turned

might

listen

to

notes

of

all loudnesses

played by

a

pianist

with

one

artistic

finger,

and

by

someone else

with a

poker.

If

they

could

tell which

notes

had

special

tones,

there would

be

something

to

investigate.

A

conductor settles

the

time

at

starting,

but,

unless a

change

of time at some

point

is

expected

by

the

players,

it is

difficult

to

see how he can

get

it.

The

players

are dominated

as a

body

by

the

swing

of

the

rhythm,

and,

unless

they play

by

heart,

have

to

keep

their

eyes

on

their

parts.

If the conductor

unexpectedly

quickens

his

beat,

it

must

get

per-

ceptibly

out of

step

before

the

players

can

notice

it;

and

in

order to

get

into

step

with

it

they

must

play

actually faster than the beat. But the players do

not

keep

their

eyes

on the baton bar

by

bar;

and

the

eye,

unlike the

ear,

has no sense

of

rhythm.

In

France,

the conductor

makes

a

very

long

pause

after Fate's

fourth knock

at

the

door-almost

long

enough

to

go

to

sleep

again-but

the

players

expect

it,

and

watch

him

at that

point.

On the other

hand,

it is

wonderful

that an orchestra

can

accompany

a

solo

singer.

When

a

circus-horse

dances

to

music,

success

is due

to

the

members

of

the band

watching

the artist's

feet.

Perhaps

orchestral

players

follow the

singer

in

a

similar

way

without

the intermediation

of

the conductor.

Mr.

Shore

has told

us

odd

facts

about the

orchestra;

perhaps

some conductor

will

explain

authoritatively

the

secrets

of

his

telepathy.-Yours,

&c.,

J. SWINBURNE.

by

the

players,

it is

difficult

to

see how he can

get

it.

The

players

are dominated

as a

body

by

the

swing

of

the

rhythm,

and,

unless

they play

by

heart,

have

to

keep

their

eyes

on

their

parts.

If the conductor

unexpectedly

quickens

his

beat,

it

must

get

per-

ceptibly

out of

step

before

the

players

can

notice

it;

and

in

order to

get

into

step

with

it

they

must

play


not

keep

their

eyes

on the baton bar

by

bar;

and

the

eye,

unlike the

ear,

has no sense

of

rhythm.

In

France,

the conductor

makes

a

very

long

pause

after Fate's

fourth knock

at

the

door-almost

long

enough

to

go

to

sleep

again-but

the

players

expect

it,

and

watch

him

at that

point.

On the other

hand,

it is

wonderful

that an orchestra

can

accompany

a

solo

singer.

When

a

circus-horse

dances

to

music,

success

is due

to

the

members

of

the band

watching

the artist's

feet.

Perhaps

orchestral

players

follow the

singer

in

a

similar

way

without

the intermediation

of

the conductor.

Mr.

Shore

has told

us

odd

facts

about the

orchestra;

perhaps

some conductor

will

explain

authoritatively

the

secrets

of

his

telepathy.-Yours,

&c.,

J. SWINBURNE.

by

the

players,

it is

difficult

to

see how he can

get

it.

The

players

are dominated

as a

body

by

the

swing

of

the

rhythm,

and,

unless

they play

by

heart,

have

to

keep

their

eyes

on

their

parts.

If the conductor

unexpectedly

quickens

his

beat,

it

must

get

per-

ceptibly

out of

step

before

the

players

can

notice

it;

and

in

order to

get

into

step

with

it

they

must

play


not

keep

their

eyes

on the baton bar

by

bar;

and

the

eye,

unlike the

ear,

has no sense

of

rhythm.

In

France,

the conductor

makes

a

very

long

pause

after Fate's

fourth knock

at

the

door-almost

long

enough

to

go

to

sleep

again-but

the

players

expect

it,

and

watch

him

at that

point.

On the other

hand,

it is

wonderful

that an orchestra

can

accompany

a

solo

singer.

When

a

circus-horse

dances

to

music,

success

is due

to

the

members

of

the band

watching

the artist's

feet.

Perhaps

orchestral

players

follow the

singer

in

a

similar

way

without

the intermediation

of

the conductor.

Mr.

Shore

has told

us

odd

facts

about the

orchestra;

perhaps

some conductor

will

explain

authoritatively

the

secrets

of

his

telepathy.-Yours,

&c.,

J. SWINBURNE.

o t e s n d

e w s

o t e s n d

e w s

o t e s n d

e w s

St. Michael's

Singers

The

Annual

Festival

will take

place

at St.

Michael's,

Cornhill,

on November

14-19,

the

five-days

scheme

being

as follows:

Haydn's

Te Deum and Mozart's

Mass

in C

minor;

a

Bach

organ

recital

by

Harold

Darke;

Magnificat

from

Byrd's

'Great'

Service,

Tomkins's

'

When David

heard,'

Purcell's

'

Bene-

dicite,'

Carissimi's

'

Jephtha,' Kodaly's

'

Jesus

and

the

Traders,'

Bach's 'The

Spirit

also

helpeth

us '

;

Faur6's

Requiem,

Rootham's

'Brown

Earth,'

Bax's

'

St.

Patrick's

Breastplate';

'

Samson'

(at

St.

Martin-in-the-Fields).

The soloists

include

Elsie

Suddaby,

Isobel

Baillie,

Grace

Bodey, Jan

van der

Gucht,

Edward

Reach,

and Norman

Walker;

organists:

G.

Thalben-Ball and

W. H.

Harris;

conductor,

Harold

Darke.

The hour is

6,

except

for

'Samson'

(5.30).

St. Michael's

Singers

The

Annual

Festival

will take

place

at St.

Michael's,

Cornhill,

on November

14-19,

the

five-days

scheme

being

as follows:

Haydn's


Mass

in C

minor;

a

Bach

organ

recital

by

Harold

Darke;

Magnificat

from

Byrd's

'Great'

Service,

Tomkins's

'

When David

heard,'

Purcell's

'

Bene-

dicite,'

Carissimi's

'

Jephtha,' Kodaly's

'

Jesus

and

the

Traders,'

Bach's 'The

Spirit

also

helpeth

us '

;

Faur6's

Requiem,

Rootham's

'Brown

Earth,'

Bax's

'

St.

Patrick's

Breastplate';

'

Samson'

(at

St.


The soloists

include

Elsie

Suddaby,

Isobel

Baillie,

Grace

Bodey, Jan

van der

Gucht,

Edward

Reach,

and Norman

Walker;

organists:

G.

Thalben-Ball and

W. H.

Harris;

conductor,

Harold

Darke.

The hour is

6,

except

for

'Samson'

(5.30).

St. Michael's

Singers

The

Annual

Festival

will take

place

at St.

Michael's,

Cornhill,

on November

14-19,

the

five-days

scheme

being

as follows:

Haydn's


Mass

in C

minor;

a

Bach

organ

recital

by

Harold

Darke;

Magnificat

from

Byrd's

'Great'

Service,

Tomkins's

'

When David

heard,'

Purcell's

'

Bene-

dicite,'

Carissimi's

'

Jephtha,' Kodaly's

'

Jesus

and

the

Traders,'

Bach's 'The

Spirit

also

helpeth

us '

;

Faur6's

Requiem,

Rootham's

'Brown

Earth,'

Bax's

'

St.

Patrick's

Breastplate';

'

Samson'

(at

St.


The soloists

include

Elsie

Suddaby,

Isobel

Baillie,

Grace

Bodey, Jan

van der

Gucht,

Edward

Reach,

and Norman

Walker;

organists:

G.

Thalben-Ball and

W. H.

Harris;

conductor,

Harold

Darke.

The hour is

6,

except

for

'Samson'

(5.30).

Dutch Honour

for

English

Journalist

Mr. Herbert

Antcliffe's

friends

will

be

glad

to hear

that his work

for

music

in Holland

has been

recognized

in

the Honours

List issued

in connection

with the

fortieth

anniversary

of

Queen

Wilhelmina's

reign.

He

has been

made

a

Ridder

of

the

Order

of

Orange

Nassau-a

title

equivalent

to

an

English knighthood.

It

is

rarely

conferred

on

foreigners,

and

the

only

other

non-Dutch

recipient

on this occasion was Dr. F. M.

Huebner,

a well-known

German writer

on

philosophy.

Mr. Stewart

Macpherson

will

lecture

at

the

Royal

Institution of

Great

Britain

(21

Albemarle

Street,

W.1)

on the four

Saturday

afternoons

in

November

at

3,

his

subject

being

the

music

of

Brahms,

Tchaikov-

sky

and Dvofrk.

Tickets

(single

lecture,

3s.;

the

course,

10s.)

from

the

General

Secretary.

Dutch Honour

for

English

Journalist

Mr. Herbert

Antcliffe's

friends

will

be

glad

to hear

that his work

for

music

in Holland

has been

recognized

in

the Honours

List issued

in connection

with the

fortieth

anniversary

of

Queen

Wilhelmina's

reign.

He

has been

made

a

Ridder

of

the

Order

of

Orange

Nassau-a

title

equivalent

to

an

English knighthood.

It

is

rarely

conferred

on

foreigners,

and

the

only

other

non-Dutch

recipient


Huebner,

a well-known

German writer

on

philosophy.

Mr. Stewart

Macpherson

will

lecture

at

the

Royal

Institution of

Great

Britain

(21

Albemarle

Street,

W.1)

on the four

Saturday

afternoons

in

November

at

3,

his

subject

being

the

music

of

Brahms,

Tchaikov-

sky

and Dvofrk.

Tickets

(single

lecture,

3s.;

the

course,

10s.)

from

the

General

Secretary.

Dutch Honour

for

English

Journalist

Mr. Herbert

Antcliffe's

friends

will

be

glad

to hear

that his work

for

music

in Holland

has been

recognized

in

the Honours

List issued

in connection

with the

fortieth

anniversary

of

Queen

Wilhelmina's

reign.

He

has been

made

a

Ridder

of

the

Order

of

Orange

Nassau-a

title

equivalent

to

an

English knighthood.

It

is

rarely

conferred

on

foreigners,

and

the

only

other

non-Dutch

recipient


Huebner,

a well-known

German writer

on

philosophy.

Mr. Stewart

Macpherson

will

lecture

at

the

Royal

Institution of

Great

Britain

(21

Albemarle

Street,

W.1)

on the four

Saturday

afternoons

in

November

at

3,

his

subject

being

the

music

of

Brahms,

Tchaikov-

sky

and Dvofrk.

Tickets

(single

lecture,

3s.;

the

course,

10s.)

from

the

General

Secretary.

Suppose

I had

been

a

flautist --Koralle

(Berlin)

Suppose

I had

been

a

flautist --Koralle

(Berlin)

Suppose

I had

been

a

flautist --Koralle

(Berlin)

7767676

October

1938

ctober

1938

ctober

1938

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