y OVERTURE TO “ANACREON” by CHERUBINI: Of the varied works of the Italian master two above all remain unforgotten: The Overtures to the operas “The Water-Carrier” and “Anacreon.” The story of the .last-named opera, in the centre of which stands the Greek pact of joy-qf-life, gives its character to the work which is ■being performed to-night. With its slow introduction and the Allegro which follows immediately, it is written in the style of the so-called “French Overture.” The festive chords of the opening breathe the very spirit of Gluck. The principal part is dominated by a charming theme which-skips about in spritely fashion. Its development is worked out most artistically in counterpoint and motives. Through the rich contrasts and the dramatic intensification of its conclusion Cherubini shows himself in this work as a connoisseur of the most refined musical effects and a master of form. HAROLD IN ITALY by BERLIOZ: This work, like the “Fantastic -Symphony” which is well-known to the Palestinian public through repeated performances by the ■Orchestra, is biographical in character. Berlioz was. strongly influenced by Byron’s poem “Childe Harold” which was at that time fashionably popular. He felt a spiritual kinship with the hero, a fantastic, nature-loving knight. As winner of the.. Prix •de Rome Berlioz spent a year in Italy. Although he did not feel too happy in the City of the Seven Hills as all his longings were towards Paris where the woman he then loved lived, he found a certain consolation and relief in wandering over the Abruzzi hills and talking to the simple country-folk. These personal experiences were mingled with the contents of the. poem. With his delicate realisation of the nuances of each individual instrument, Berlioz felt that the up- to-then neglected viola was'especially suited to express the mournful character of the hero. And thus in this work (which by the introduction of a solo- instrument may be termed a “concert-symphony”) Berlioz came not only to the “leit-motif” which he had already arrived at in principle but more than that to a “leading instrumest.” The viola is the personification in sound of “Childe Harold.” The work is divided into four parts with the titles indicating the hero’s emotions and his surroundings. The first movement (Harold in the Mountains. Scenes of melancholy, happiness and joy) begins with a slow introduction, rich in counterpoint, which depicts the depressed state of the hero’s feelings. The solo-viola with the accompaniment of the harp gives forth an expressive, light theme. The ..Allegro which follows, ■written in the traditional sonata-form, shows the hero filled with newly-awakened joy of life. The second movement is headed “Procession of pilgrims singing the evening hymn.” Harold follows the pilgrims' song with his viola and its strains mingle with their prayers. The pilgrims recede from sight, and contemplatively the knight listens to their fading voices. This’movement is filled with poetic and religious feeling and is so effective that it is often performed by itself. Now Berlioz surprises us with a charming “Serenade of a Mountaineer,” using in typical punctuated 6—8 rhythm melodies resembling Italian folksongs. The love-melody is played by- the English Horn which is .accompanied pizzicato on the strings. Harold joins in this jolly, unconstrained music with the reflective sounds of the violatheme. Now the village musicians have departed but still the Knight plays' his dream-lost motif■ of the Serenade. “The Brigands’ Orgies (Reminiscences of the preceding scenes) is the concluding-movement, headed Allegro frenético. With daemonical clang, similar to the Witches’ Sabbath, the Finale of the Fantastic Symphony, Berlioz lets loose a world of terror. Harold is captured by a band of brigands. Wild orgies commence. The sound of lewd and insolent drinking songs is heard. Close־ to death Harold remembers his former life
RkJQdWJsaXNoZXIy NDUxMg==