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Published online by Cambridge University Press: 15 October 2020
Concerts Reviewed
December 4, 1946 - (Conservatoire, Public Radio Concert)
Serenade, Bohuslav Martinů
Karagueuz, Suite, Marcel Mihalovici
Sérénade à Angélique, Arthur Honegger
Divertimento, no. 1, Tibor Harsanyi
Le Jeu de la nativité, op. 74, Alexander Tcherepnin
[December 1946, Radio broadcast]
Les Trois Lettres de Madame de Sévigné, Henri Barraud
Sonata, Paul Hindemith
Sonate für Fagott und Klavier, Henri Martelli
Sonata for Two Pianos, Marcelle de Manziarly
December 15, 1946 (llicâire du Châtelet, Concerts Colonne)
Phaéton, Camille Saint-Saëns
Le Rouet d’Omphale, Camille Saint-Saëns
Piano Concerto no. 4, C minor, Camille Saint-Saëns
Divertissement, Charles Brown
Die Walküre (extracts), Richard Wagner
December 16, 1946 (Conservatoire, Quintette à vent de Paris)
Trois pièces, Jean Doyen
Quartet, Jean Françaix
Sextet, Francis Poulenc
December 19, 1946 (Palais de Chaillot, Orchestre Jane Evrard)
Suite in D major, Johann Sebastian Bach
Concerto no. 4, George Frideric Handel
Sinfonietta, Albert Roussel
Symphonie, Arthur Honegger
Trois Leçons des Ténébres, François Couperin
December 20, 1946 (Church of Saint-Germain-des-Prés, Ensemble vocal Marcel Couraud)
Motets, Josquin des Prés
Motets, Orlando de Lassus December 21, 1946 (Théâtre des Champs-Elysées, Société des concerts)
Oriane la sans égale, Florent Schmitt
Cello Concerto, Paul Hindemith
Petrushka, Igor Stravinsky
One of last week's important concerts was given in discouraging conditions. Two rehearsals to put together three difficult works, one of which was performed for the first time by this orchestra. When one is used to dancing on a tightrope, one grows accustomed to danger, becomes uninterested in success, surrenders to chance: fatalist or fool. When familiar works are performed, each person knows how the outlines should be established, what the general arc of the piece is. “Things sort themselves out.” Likewise, the audience manages to figure things out: it knows what's right and wrong. But, when it comes to a new work, confusion is such that performers and listeners are equally deceived.
The performers’ talent is not in question; it is so great that often the audience is unaware of the risks undertaken, of the dangers rushed into. But if talent allows catastrophes to be avoided, it cannot replace the fine tuning that only hard work can guarantee. Nothing can be prepared without the assistance of time. Do not tell us: “But you must understand the difficulties we are facing”; do not mention our current poverty; do not appeal to pity—this is a poor strategy.
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