polytonality parrott
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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.
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7/25/2019 Polytonality Parrott
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
This content downloaded from 130.126.162.126 on Tue, 17 Feb 2015 23:44:40 PMAll use subject toJSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp -
7/25/2019 Polytonality Parrott
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
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
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
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
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
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.
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
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
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).
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
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
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.
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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