Analytical Aotes, SECOND CONCERT (continued). tribute to the sea, «La Mer», which was to be one of his most important orchestral composi- lions. Critics have differed very much about the merits of this work and in this! connection the words of the late Philip Hale, well-known American writer on music, are of value that ׳as a matter of fact these sketches are frankly ini- pressionistic and that the enjoyment of the hea- rer depends largely on his susceptibility and i- magination. The׳ ocean that Debussy knows is wild and many-faced, « now exulting in Aeschylean laughter, now spasmodic, sinister, terrible, and never so terrible as when calm, or inviting mortals to sport with it, and smi- ling_as though it were forgetful of rotting ships and sunken treasure and the drowned far down that were for a time regarded cu- riously by monsters of the deep.» RHAPSODIE ESPAGNOLE HAVEL. The Rhapsodic espagnole, which is ׳really a suite in four movements, was written in 1907 and published and performed in the ,following year. Movement I. Prelude a la Nuit. — This mo- vement (tres modere, 3-4 time) is a nocturne of which the instrumentation! evinces tne mosr subte skill.Colourful interruptions are a caden- za for two clarinets, another for two bassoons, the latter accompanied by arpeggios in harmo- nics for a solo viof.in and trills for three other violins. The movements ends with a chord in harmonics for divided cellos and basses. Movement II. Malaguena (Assez vif, 34) — This along with the fandango, is a dance in three time, of moderate movement with accom- paniment of guitar and castanets. It is perfor- med between rhymed verses, during the sip- ging of which the dance׳ stops. With his ex- pert use of the orchestra, Ravel manages to suggest the song and sinuous dance, the ishou- ting crowd and the heady atmosphere of some Andalusian cellar. Movement III. Habanera (Assez lent et d’un rythme las, 24). — About twelve years before Ravel had written a Habanera for two pianos, four hands. It reappears in this orchestral mo- vement. This dance, as its name might imply, is of Cuban origin; slaves are supposed to ha- ve brought it to that island! from their African villages and Spanish colonials to have taken it thence to their homeland. For modern ears the infectious rhythm is an inescapable remin- der of the seductive Carmen. Movement IV. Feria — «The Fain (Assez anime, 6-8). — The. first of the three sections of this movement has for its material a brief passage for flute, another for three muted trumpets rhythmed by a tambourine. Oboes and English horn then repeat the figure with the xylophone for ׳pulse. The full orchestra then deals with it. The second has a •solo for English horn which is taken up by the cla- rinet. There is then a return to the opening part of the movement. Les plaisirs de Kouie ne doivent pas faire oublier ceux du palais GOUT DELICIEUX AROME EXQUIS du CAFE BRESILIEN the BRAZILIAN COFFEE STORES ... ~ - ״ - a 1 c =־ 1 i
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