7/28/2019 The Case for Bruckner

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C O N T E N T S

T H E C A S E F O R BRUCKNERBy Winthrop Sargeant 4 5

V. T. OF THE H.T.By Herbert Weinstock 48

T H E OLDEST MUSIC IN THE WORLD

By Fauhion Bowers 50

OPERA ROUNDUP

By the Editor & Paul Hume 52

RECORDINGS I N REVIEWBy Irving Kolodin 54

P O P ROUNDUPBy Bill Simon 5 9

HITS AN D MISSESBy Wilder Hobson 60

T H E OTHER SIDEBy Thomas Heinitz 61

ECHOES O F NEWPORT

By Whitney Balliett 6 2

SOME HIGHS AN D LO WSBy R. D. Darrell 66

LETTERS TO THE RECORDINGSEDITOR 6 7

The Case for Bruckner

By WINTHROP SARGEANT

I N GENERAL, I do no t subsc r ibeto the commonly held bel ief thatg rea t mus ic r equ i re s r epea tedhea r ing in o rde r to be apprec ia t ed .The cul t ivated l is tener can, I th ink,make ou t someth ing o f the messageof a f ine symphony or s t r ing quar te tthe f i rs t t ime around. The only outs tanding except ion to this rule that Iknow of is t he mus ic of An ton Bru ckner, which invar iably seems, on f i rs thear ing, to consis t of endless repet it ions , overb lown c l imaxes , and baf-f l ing s t ructural re la t ionships , andwhich, af ter careful and re pea tedstudy, suddenly reveals some of themost subl ime musical exper iences tobe found anywhere in symphon icmus ic .

I have been th rough th i s p rocessagain and again; indeed I go throughi t eve ry t ime I t ack le a Brucknersymphony tha t i s un fami l i a r t o me .I s tar t out wi th a vague sense ofimpat ience. This t ime, I feel , I havef inal ly come across a Bruckner symphony tha t I don ' t hones t ly l i ke . Then1 l i s t en to the movem ent s ove r andover again, and present ly I f ind myself convinced that it is one of thegrea te s t mas te rp ieces I have eve rhea rd . Th i s p rocess can be accomplished only with the a id of thephonograph , fo r r epe t i t i ons o f Bruckner symphon ies in the conce r t ha l lare so infrequent that i t would takea l i fe t ime of concer tgoing to get acqua in ted wi th even a sma l l p ropor t ionof them.

Hav ing gone th rough the p rocess wi tha l l t he Bruckner symphon ies , I havereached a conclusion that I don ' t expect aU of my fel low music- loversto ag ree wi th , bu t i t i s mine neve rthe le s s : t ha t An ton Bruckner i s pe rhaps the greates t of a l l symphoniccompose r s , and ce r t a in ly a compose ro f the nob les t s t a tu re , comparab le toBach, Beethoven, or Mozart . I do nothope to conver t many peop le to th i sconclusion; the only way to becomeconver t ed wou ld be to go th roughthe same process of repeated l is tening.But for such readers as may be wil l ingto under t ake the t a sk , I r ecommenda phonograph and a lo t o f Brucknerrecord ings . The re may bem u s i c - l o v e r s w h o a r et h o r o u g h l y a c q u a i n t e dwi th Bruckner and whost i l l d is l ike himbut Ihave neve r me t any.

It is difficult to explainprecisely a l l the reasonswhy Bruckner seems tome such a tower ing genius . The judgment i s anesthet ic one, and al l theanalyt ic wri t ing in theworld won' t jus t i fy i t .Am ong the r easons , howev er, i s t heconsis tent no bi l i ty of his m usicalthough t . There is now here a ny th in gcheap, t r iv ia l , theatr ical , ar t i f ic ia l , orpompous about his music . I t i s , whenyou a re acqua in ted wi th i t , r emarkably s imple , earne st , and s t ra igh tforward . Bruc kne r was , t o my mind , theo n l y n i n e t e e n t h - c e n t u r y s y m p h o n i s tto t ake symphon ic fo rm a s t ep on

ward f rom where Beethoven lef t i t .His use of mult iple themes in groupsof three , ins tead of the two character is t ic of the c lass ical symphony,and his broadening of the scopeof symphon ic deve lopment a re examples o f th i s advance . Techn ica l ly, he was an am az ing ly r e sourc efu l and inven t ive th inke r. There i s ap reva i l ing no t ion , p robab ly de r ivedfrom stor ies about the s implic i ty andnaiv ete of his perso nal chara cter, th athe was somehow inep t in express inghimself. For this not ion there is nota shred of evidence. There is not atechnical device in the his tory ofcoun te rpo in t , ha rmony, o r fo rma l

s t ruc tu re o f wh ich he wasno t a consummate master, and cer ta in of hisworksfor example thefugal finale of the FifthS y m p h o n y a r e a m o n gthe greates t technicaltours de force to be foundanywhere in mus ic .

Then , the re i s ano the rfeatu re of his symp hon icwri t ing that is se ldomta lked abou t : t he o r ig inal i ty of his or che stra

t ion. He is not , l ike Brahms, an or-chestra tor of piano music . He usesthe o rches t r a a s a med ium apa r t , wr i ting for it pur ely orch estra l musicthat def ies t ransla t ion into any otherins t rum en ta l i d iom. An d the cha rmand f r e shness wi th which he m an ip ula t e s the s imples t o rches t r a l i ng red ien t s , t h rowing them in to r e l a t ion

ships of tone color that are complete ly

7/28/2019 The Case for Bruckner

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performances. He has been a superb technician,, and a musician of integrity since his first days here

in the late Twenties. To be able, now, toconvey so much more in warmth and artistry in

works he lived with so long can only mean two things:the possibilities for exploration they contain, and the

capacities for growth he has discovered withinhimself."

H I G H F ID E L IT Y M A G A Z I N E

" .. . must be ranked among thefine st, most romantically expressive interpretations of these twofavorites to be heard anywhere.Milstein h as long been an acknowledged specialist at performingthem..."BRUCH: Vio lin C oncerto No . 1 in GMinor, Opus 26.MENDELSSOHN: Violin Concerto in EMinor, Opus 64.Nathan Mils te in , v iol in . Pi t tsburghSymphony Orchestra , conducted byWilliam Steinberg P-8243

T HE N E W Y O R K T I M E S"Astonishing display of agility byone of the great violinists of ourtime. Mr. Milstein's own Paga-niniana for unaccompanied violinis a highlight of this disk."A NATHAN MILSTEIN RECITAL. Per-golesi. Sonata No. 12; Schumann, Intermezzo; Brahms, Allegro; Suk, Burleska;Bloch, Nigun; Mils te in , Poganiniana.Nathan M ilstein, violin, accompanied byCa rlo Bussotti, piano p.8259

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7/28/2019 The Case for Bruckner

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i nd iv idua l and tellingly effective, ar ea m o n g th e most s t r ik ing cha rac te ristics of his s tyle . Al l t hese po in t s ,h o w e v e r, are m a t t e r s of t e c h n i q u ea nd do not explain the essent ia l magico f Bruckner ' s mus ic . Tha t is s o m eth ing one can apprehend on ly by l i st e n i n g to the m u s i c itself. If t h e r eis any l imita t ion to B r u c k n e r ' s m u s ica l t hough t , it is s imply that , l ikeMiche lange lo or Tin to re t to , he wasm o s t at h o m e in l a rge , sweep ing ,monumenta l concep t ions , and t ha t ,l i ke Bach or Wil l i am Blake , he wasan a r t i s t whose insp i ra t ion was p r edominan t ly r e l ig ious .

F o r t u n a t e l y, it is now possible to getall th e B r u c k n e r s y m p h o n i e s in re-corded fo rm, though , as far as I ama w a r e , all the cur ren t ly ava i l ab le r e -cord ings a re foreign ones . A b a t c h oft he mos t r ecen t of t h e s e I have foundof great in teres t , s ince it i nc ludes acoup le tha t h ad been unfami l i a r tom e up to now and a few m o r e t h a t

a r e w o r t h c o m m e n t i n g on b e c a u s e ofgood pe r fo rmances or o the r po in t s ofpart icular musical s ignif icance.

B,R U C K N E R ' S First Symphony(Aus t r i an S ta t e Symphony, Dr. Vo lk -m a r A n d r e a e c o n d u c t i n g ; M a s t e r s e a lL P 4 0 ) h a s a p p a r e n t l y n e v e r b e e n p e rfo rmed in t h i s coun t ry, and t h i s neglect is not en t i r e ly wi tho u t r eason .Whi le it con ta ins many de ta i l s t ha tfascinate th e conf i rmed Bruckner e n-t hus ia s t , it is a v e r y h a r d nut fort he ave rage l i s t ene r to c rack . It is aheavy, b ras sy, and s o m e t i m e s c r u d e -sound ing work , and is a lmos t com

ple te ly l ack ing in the broad , s ing ingmelod ic themes tha t are found nea r lye v e r y w h e r e e l s e in B r u c k n e r. A m b i g -u o u s n e s s of key, obscure complex i t i e so f rhy thm and coun te rpo in t , and f r equen t v io len t con t ra s t s make it s o u n dat t imes as m o d e r n as a n y t h i n g byH i n d e m i t h , and it has a c u r i o u s wayof p re f igu r ing the manner i smsof G u s -tav Mahle r. Pe r sona l ly, I find it a v e r yin te res t ing compos i t ion , but I shou ldn o t r e c o m m e n d it to a n y o n e but th em o s t h a r d e n e d B r u c k n e r i t e .T he p e rfo rmance by Dr. A n d r e a e is p e r c e pt ive and technical ly excel lent .

T h e S e c o n d S y m p h o n y ( L i n z B r u c kn e r S y m p h o n y O r c h e s t r a , L u d w i gGeorg Jochum conduc t ing ; Uran iaL Pse t 402) be longs in a spec ia l ca t egory. L ike th e Six th , wh ich it s o m ew h a t r e s e m b l e s , it is a l i gh t and inp laces a lmos t Schuber t i an work ,r e -m a r k a b l y u n c o m p l i c a t e d in c o m p a rison with most of t he l a t e r symphon iesand ent i re ly lacking in the grand iose ,apoca lyp t i c qua l i ty mos t peop le th inkof as t yp ica l of B r u c k n e r. I t con ta insthe complex deve lopment , th e i n v e rs ion of t h e m e s , and the w o n d e r f u lp lay of c h r o m a t i c h a r m o n i e s an dmodula t ion cha rac te r i s t i cof a ll B r u c k -

Bust of Bruikner"the noblest stature."

ner ' s work . But the m o o d of th iss y m p h o n y is f resh and joyful , an dt he wr i t ing is par t i cu la r ly luc id ands imple , wi thout mass effects andsomet imes da r ing ly spa re . Here ,Bruckner ' s o rches t r a t ion , wh ichis thean t i thes i s of B r a h m s ' s , is found in itsmost typ ica l fornj, wi th no p a d d i n gor stuffing, and wi th each ins t rumen ta l vo ice s t and ing out aga ins t th eres t l ike th e pure p r imary co lo r s int he pa le t t e of an impress ion i s t pa in te r.The performance, as ide f rom a fewminor inaccurac ie s in the horn pa r t s ,i s supe rb .

T h e T h i r d S y m p h o n y has r ecen t lybecome ava i l ab le in two ve r s ions : oneb y th e Vienna Ph i lha rm onic (C har l e sAdle r conduc t ing , SPA 3 0 / 1 , th e las ts ide -and-a -ha l f f i l l ed out wi th Gus tavM a h l e r ' s u n c o m p l e t e d Te n t h S y mp h o n y ) ; th e o t h e r by th e N e t h e r l a n d sP h i l h a r m o n i c O r c h e s t r a ( Wa l t e rGoehr conduc t ing , Conce r t Ha l l L P1195) . This I l ike th e leas t of theB r u c k n e r s y m p h o n i e s , t h o u g h it c o nta ins one of Bruckner ' s f ines t s che rzos and has other passagesof magnif icen t mus ic . Desp i t e r epea ted hea r ings ,the f inale appears to me s l ight lys t r iden t and d i sconnec ted , and thes low movement b r i s t l e s wi th fo rmulasde r ived f rom Wagner whose occasional inf luence on B r u c k n e r I findno t a lways a l toge the r happy. However, t he re a re unforge t t ab le th ingsin th i s symphony, no tab ly th e m y ste r ious , i nc red ib ly o r ig ina l wayB r u c k n e r a n n o u n c e s his first themeagainst del icate cascades of s taccatoa rpegg ios in the s t r ings . And thesche rzo is a magnif icent , whir l ing,p ropu l s ive a ffa i r su r round ing a w o nderful ly engaging l i t t le t r io thath asan Aus t r i an fo lk cha rac te r abou t it.B r u c k n e r, in my opinion, was equa led

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only by B e e t h o v e n as a compose r ofscherzos , and th is one, w i t h its c o mbina t ion of t e n d e r n e s s w i t h h e r c ulean ene rgy and b i t e , is a f ine examp le of its k ind .

T h e T h i r d S y m p h o n y, t a k e n as awhole , is the first of the m y s t e r i o u s ,t i t an ic , pass iona te Bruc kne r sym phonies . If I have some rese rva t ions abou tit , it is s imply that I f ee l Brucknerhas done this sor t of t h i n g e v e n m o r esuccessful ly in s o m e of his l a t e rw o r k s . As to the two r e c o r d e d v e rs ions , it is h a r d to m a k e a choice,as both have their points . T h e A d l e rve r s ion is a m p l e r and occasional lyc lea re r ; he t a k e s th e f i r s t movements lower and m a k e s m o r e p a u s e s an dmore r i t a rdandos . Goehr,I t h ink , doesthe scherzo more incis ively, and hisvers ion , t hough a l i t t le fas ter, is alsoqu i t e e loquen t . Hi s r e c o r d i n g has thed i sadvan tage of b r e a k i n g th e s lowmovement in to two p a r t s but the ad-v a n t a g e of economy, s ince it is c o n

ta ined on a s ing le d i sc . Gus tav Mahl e r ' s Te n t h S y m p h o n y, w h i c h c o mp l e m e n t s th e Adle r ve r s ion , I sha l lnot discuss at l eng th he re excep t topo in t out t h a t it is a very in t e res t ingw o r k and t h a t its j ux tapos i t ion wi thBruckner ' s Th i rd se rves to e m p h a s i z ethe enormous psychological gulf thats e p a r a t e d the two compose r s , a l ike ast he i r mus ic is in some pure ly t ec hn ica lr e spec t s .

B r u c k n e r ' s F o u r t h (The H a g u ePh i lha rmonic Orches t r a , Wi l l em va nOtter loo conduct ing, fol lowed byMahle r ' s "Kinder to ten l i ede r, " Ep icL Pse t SC 6001) is one of the more of tenp l a y e d B r u c k n e r s y m p h o n i e sand onewhose evoca t ive horn passages , pa rt i cu la r ly in the f i r s t movement andthe scherzo, have suggested th e b e a uties of n a t u r e to many l i s t ene r s .Wha teve r they sugges t , t hese passagesa re wonder fu l ly mys te r iou s andh a u n t i n g . B r u c k n e r himself, of c o u r s e ,r e fe r red to the w o r k as his " R o m a nt i c " S y m p h o n y. The o p e n i n g m e a su r e s of the f i r s t movement , wherethe horns s t a t e th e f i rs t theme, are It h i n k u n i q u e in s y m p h o n i c l i t e r a t u r efo r the i r ach ievement of t r e m e n d o u spoet ic effect wi th means that are as

s imple as cou ld be i m a g i n e d . W h a tB r u c k n e r can do wi th a h o r n and af ew t r emulous no tes for the s t r ingsr e m a i n s one of the u n e x p l a i n a b l emi rac le s of his s ty le . As to the p e rfo rmance on t h i s r eco rd ing , I h a v esome rese rva t ions . Wi l l em van O t t e r -loo 's concept ion of the w o r k is s o m ewhat l i tera l , very conscient ious , b utl ack ing in the r equ i s i t e touch ofmagic .

T h e F i f th S y m p h o n y ( H a m b u rgP h i l h a r m o n i c O r c h e s t r a , E u g e n J o c hum conduc t ing ; Cap i to l P 8049/50) isthe first of t hose g igan t i c symphon ies

(Continued on page 57)

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V. T, of the H. T.By HERBERT WEINSTOCK

ON THE morn ing o f Ju ly 28 ,1954 ,the New York Hera ld Tribuneca r r i ed the b r i e f announ cem enttha t Vi rg i l Thomson had res igned asi ts music cr i t ic . He wil l , i t sa id , besucceeded ( t em pora r i ly a t l eas t ) byP a u l H e n r y L a n g t h e p a p e r, e v ident ly real iz ing what i t has had andhas lost , wi l l s t i l l have music deal twith on a high intel lectual level . WhenI had absorbed the news , I began assembling my own react ions to i t . Ir eca l l ed many an a rgument , hu l l abaloo, T h o m s o n i a n p h r a s e , a n d p y r o -techn ica l pa ragraph read , hea rd , suf-f e red , and exper ienced wi th p leasu redur ing four teen yea r s . Has i t r eaUybeen that long, this era in which NewYorkers in te res ted in mus ic havetu rned to the Thomson by- l ine? Havewe real ly been assaul ted, del ighted,affronted, t i t i l la ted, outraged, andvery we l l pleas ed for near ly a deca deand a half?

I t was on the morning of October11 , 1940, that the Herald Tribune c a rr ied, for the f i rs t t ime, a review byVirgi l Thomson. John BarbiroUi, then igh t be fo re , had conduc ted the Ph i lh a r m o n i c - S y m p h o n y O r c h e s t r a i n ap rogram cons i s t ing o f Bee thoven ' s"Egm ont" Ove r tu re , E lga r ' s "En igma"Var ia t ions , and S ibe l ius ' s SecondSymphony. Vi rg i l Thomson ' s r ev iewof tha t concer t ended thus : "The concert as a whole, in fact, both as toprogram and as to p lay ing , was anyth ing bu t a mem orab le exper ience .The music i tself was soggy, the playing dul l and brutal . As a f r iend remarked who had never been to oneof these concerts before , ' I understandnow why the Ph i lha rmonic i s no t apa r t o f New York ' s in te l l ec tua l l i f e . ' "S ince then the Ph i lha rmonic and i t s

pos i t ion in New York have changedsomew hat ; V. T. has no t .

Vi rg i l Thomson , no t dead , un th inkable now in any sor t of real re t i remen t , is pink wit h hea l th and al ivewi th p lans . Unt i l fu r the r no t i ce , then ,as a f r iend (of mine, this t im e) remarked , the way to imag ine h im wi l lbe in the posi t ion of St . Therese inh i s bes t -kno wn work : "ha l f in andhalf out of doors ." W e hav e not hea rdthe las t of him.

Charac te r i s t i ca l ly and in p reparat ion fo r h is new ro le a s un a t t ach edcomposer, conduc to r, and d i s t an t gadfly, Virgi l Thomson this year has been

spread ing modern Amer ican mus ic to

such widely separated outposts asBarce lona , Vienna , Pa r i s , Scand inav ia ,and the Lewisohn S tad ium in NewYork . Wander ing evange l i sm of th i ss t r ipe wil l cer ta inly be a s ignif icantpar t of his future condi t ion. Becausehe is one of the most thoroughlyAmerican of Americans, just as he isone of the most constant ly musical ofmus ic ians , he i s ex t raord ina r i ly goodas an ambassador p len ipo ten t i a ry. Al lthe Amer ican s ty les o f our t ime a resomehow na t ive to h i s Missour ianblood. True, he wears a roset te of theLegion of Honor on his lapel , but thatshould not fool anyone.

In Par i s r ecen t ly I hea rd andwatched Thomson conduc t an a l l -Amer ican b roadcas t by the Orches t reRad io -Sym phoniq ue de Par i s . In h i srelat ions with, and impact on, themen and women o f tha t exce l l en tensemble he was ne i the r an exo t i cfrom overseas nor any sor t of imitat ion Frenchman . There in the Sa l l eEra rd he was an Amer ican f romK ansa s City, Ha rvard , and New Y orkt rans la ted in to pe r fec t F rench wi thout embarrassment , accent , or affectat ion . Id iomat ic bou levard French a tthat , pol ished and ful l of neat , as ton

ishing f l ickers . Pleased to note that hewas conduc t ing in an aud i to r iumwhere Chopin had p layed , he l ikedthe mus ic he was conduc t ing : p iecesby Henry Cowel l , Aaron Copland , andVirgi l 'Thomson. He rel ished there laxed a t t en t iveness and t echn ica laplomb of the instrumental is ts , including that magnif icent cel l is t Maur ice Gendron . He was happy send ingw e l l - m a d e A m e r i c a n m u s i c a c r o s sF r e n c h a i r w a v e s .

The program consis ted of Cowell ' s"Hymn and Fugu ing Tune No . 2 , "Copland ' s "Appa lach ian Spr ing , " and

h i s own "Three P ic tu res fo r Orchest ra , " Su i t e f rom "Louis i ana S to ry, "and impressive Cel lo Concerto. He fel ti t a l l , understood i t a l l , conducted i twithout s t ra in because al l of i t , andno t on ly h i s own mus ic , was as American as Kansas C i ty and himself. T heUni ted S ta tes tha t ca res enough abou tl iving ar t to produce and nourish i twi l l be ga in ing a super io r amba ssadorwhen Thomson devo tes more o f h i sa lways ca re fu lly bu dge ted t ime to conduc t ing Amer ic an mus ic . The qua l i t i e sthat enabled him as cr i t ic of the Her-ald Tribune to inject new life into theNew York mus ica l scene suppor t h im

here as wel l . He is never, except consciously, naive.

Af te r tha t Pa r i s b roadcas t Vi rg i lThomson f lew to New York for a ten-day intermission before re turning toEurope. He conducted one concert ofAmer ican mus ic in New York , wherehe won out in the face of teasing rain,roa r ing a i rp lanes overhead , and thestony waste spaces of the LewisohnStad ium. Mus ic by Samuel Barber th i st ime , "Appa lach ian Spr ing " and theSui te f rom "Louisiana Story" againand for ty-f ive minutes of "Four Saintsin Three Ac t s . " La te r I hea rd h im e xp la in ing "Four Sa in t s" to someone ."I t ' s a sor t of Negro 'Pars i fa l ' , " hebegan, point ing out that i t had become a se l f - r enewing reper to i re p iecenow that not a s ingle member of theoriginal 1934 cast was singing in it .As a composer too, Virgi l Thomsonqual i f ies as ambassador. America isnot a l l the lonel iness , rebel l ion, andempty spaces of Thomas Wolfe and

Ma r tha Grah am; i t i s happ iness too ,and s ly l augh te r, an d shee r we l l -be ing .The mus ic o f Vi rg i l Thomson represents a l lwell , nea r ly a l lof the p eople .

W HHA TE VE R the t enor of Lang ' sway, readers of the Herald Tribuneare not l ikely soo n again to see the l ikesof this abou t a very ex pensive viol inis t :"The fel low can f iddle . But he sacr ifices everything to polish. He does itknow ingly. He is just ly adm ired andhand som ely paid for i t . To ask an ything else of him is l ike asking tenderness of the ocelot ." Or, outrageously (does this jes ter expect us tobe l i eve h im in ea rnes t? ) : " I r ea l i zetha t the re a re s ince re S ibe l ius - loversin the world, though I must say I 'venever me t one among educa ted p rofessional musicians." Who else mightbe able and wil l ing to wri te , in rev iewing a r ec i t a l by a ve ry renow nedpianis t , that " i f one had never heardbefore the works he p layed l a s t n igh tin Carneg ie Ha l l , o r known o the r sby the same authors , one might easi lyhave been conv inced tha t Sebas t i anBach was a musician of the LeopoldS tokowsk i type , tha t Brahms was a

sort of flippant Gershwin who hadworked in a h igh-c lass n igh t c lub ,and that Chopin was a gypsy viol ini s t "?

From the beginning in 1940, uninte r rup ted ly s ince then , num erou s accusa t ions have been l eve led aga ins tVirgi l Thomson the cr i t ic . Some oft h e m h a v e b e e n a c c u r a t e , m u r d e r o u s ,and general ly just i f ied; some havebee n r ight only in a par t icu lar ins tance ; some have been emot iona l andirresponsible , replying in kind to aThoms onian p rovoca t ion . Cr i t i c s of thecr i t ic said, for example, that his judg-

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