Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgments
- Editorial Apparatus and Critical Notes
- Note on Translations
- List of Abbreviations
- Timeline of Nadia Boulanger’s Life
- Introduction
- Part One Journalism, Criticism, Tributes
- Part Two Lectures, Classes, Broadcasts
- Bibliography of Nadia Boulanger’s Published Writing
- General Bibliography
- Index
“Les Concerts Symphoniques,” Spectateur 2, no. 80 (December 10, 1946): 6 (complete text)
Published online by Cambridge University Press: 15 October 2020
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgments
- Editorial Apparatus and Critical Notes
- Note on Translations
- List of Abbreviations
- Timeline of Nadia Boulanger’s Life
- Introduction
- Part One Journalism, Criticism, Tributes
- Part Two Lectures, Classes, Broadcasts
- Bibliography of Nadia Boulanger’s Published Writing
- General Bibliography
- Index
Summary
Concerts Reviewed
November 26, 1946 (Salle Pleyel, Société des Concerts)
Symphony no. 92 in G major, Hob. 1:92, Franz Joseph Haydn
Siegfried Idyll, WWV 103, Richard Wagner
Symphony no. 9 in C major, D. 944, “'The Great,” Franz Schubert
November 29, 1946 (Salle Pleyel, Concerts Lamoureux)
Overture, Sir William Walton
Pamir, suite, Claude Delvincourt
Prélude, adagio, and choral varié sir le “Veni Creator” op. 4, Maurice Duruflé
Psaume LVI, Jean Rivier
Concerto, Edmund Pendleton
December 1, 1946 (Théâtre des Champs-Elysées, Société des Concerts)
Prélude à l’après-midi d’un faune, Claude Debussy
Symphony no. 41 “Jupiter,” C major (K. 551), Wolfgang Amadeus Mozart
“Eine Kleine Nachtmusik” (K. 525), Wolfgang Amadeus Mozart
Symphony no. 7, A major, op. 92, Ludwig van Beethoven
December 2, 1946 (Théâtre des Champs-Elysées, Quatuor Calvet and Trio Pasquier)
Petit Trio, Jean Françaix
Quartet, Darius Milhaud
Trio for Flute, Viola, and Cello, Albert Roussel
String Quartet, Maurice Ravel
“You don't know,” one of the musicians for the Société des Concerts told me, “what a joy it has been to work, to play under the direction of Bruno Walter. His technique is limitless, his love for music absolutely selfless, and he exudes something so irresistible, so lovable, in the seventeenth-century sense of the word. The rehearsals went by too quickly. And yet, God knows we are saturated with music.”
The audience was not mistaken; Bruno Walter must have felt the quality of the enthusiasm he inspired. Why is Haydn so rarely performed? His music is among the most beautiful there is, of such admirable invention and freshness. And what a benificent influence it exerts, so simple on the one hand, so learned on the other! Who will ever be able to explain why such a great musician should be so neglected?
Marvelous concert on Monday at the Champs-Élysées: Calvet Quartet, Pasquier Trio. The acoustics of the hall are exceptionally good, everything there is favorable: the proportions, the arrangement. One might worry, however, that the setting was perhaps a bit large for a string quartet, not to mention a trio! What were Roussel's trio, Milhaud's quartet, and, especially, the little trio by Jean Françaix going to do in it? We maintain, in spite of all our experiences, a disarming naïvety. We continue to confuse sobriety with poverty, power with quantity. Has Erik Satie's lesson served no purpose, and what of Fauré’s, or Stravinsky’s?
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- Information
- Nadia BoulangerThoughts on Music, pp. 243 - 246Publisher: Boydell & BrewerPrint publication year: 2020