Analytical (Rotes, Second Concert SYMPHONY IN C MAJOR «JUPITER» MOZART. Even for Mozart, a creature of marvels all his life, the summer of 1788 was extraordinary, in little more than ■six weeks he gave to the v ord his last three symphonies, which were also his greatest, the so-called «Jupiter» bearing the date August 10. Nobody quite knows why it got the label «J up i ter* although some believe il is through the «calm, godlike beauty* of the music. The supreme glory 0!f the symphony is the Finale (Allegro molto). Eric Bloom writes of it in the Master Musicians’ Series: « They are five subjects... Mozart does not work any of them into a fu- gure, but all of them into a sonata movement with a fugal'. texture of incredible elaboration, combining now any two of the subjects, now a ■single one in canon, and again mixing both procedures together. The dizzy culmination comes in the coda, where all five themes ap- !)ear together in various juxtapositions ». FANTASIA ON «GREENSLEEVES» VAUGHAN WILLIAMS The ■short and charming orchestra fantasia on the folk-tune «Greensleeve;s» for flute, harp and strings, is taken from the Falstaff opera, «Sir John in Loves written about 1927. « Greensleeves » is an old English folk song or better, ,street song, which enjoyed great popu- larity about 1600 and has been mentioned by Shakespeare in his *Merry Wives of Windsor*. SYMPHONIC VARIATIONS FOR PIANOFORTE AND ORCHESTRA FRANK It can be easily understood that a com- poser like ■Cesar Franck who put an empha- sis on clarity and purity of form and was es- pecially drawn to the principle of thematic unity should have been■ much attracted by the form of musical variations. In the constant return to the one musical thought which ap- pears in ■ever-changing forms, he finds a natu- ral frame within■ which to hold the richness of his imagination. On the other hand, the wide technique of composition which expres- ses itself in rhythmic and melodic changes, in polyphonic ramification and artistic em- bellishmcnt of the theme, finds full release in this form. The basic theme in itself is like a game of question and answer in which the or- chestra and piano relieve one another. The various variations follow each other without any interval and are so constructed that the work is logically articulated like a sympnony with its different parts which vary in feeling and temper. These Variations are a pure pro- duct of French art in the delicacy and refine- men! of their language. «THE SEA» DEBUSSY When Debussy was seven he was taken by bis aunt to Cannes and there on the shore of the Mediterranean the little’ boy became en- chanted with the sea. It was apparently not, however, till 1903 that he began work on that Agent G6n^al: H. SINGER 3, Harel Zogheb, Le Caire
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