Musical Portraits : Interpretations of Twenty Modern ComposersRosenfeld, Paul
History
Musical Portraits : Interpretations of Twenty Modern Composers
Rosenfeld, Paul
Composers; Music -- 19th century -- History and criticism; Music -- 20th century -- History and criticism
magnificent scene, so original and contained and vigorous, is followed
by a cloying duet worthy of a Tchaikowsky opera. The adagio of the
B-minor Symphony, lovely as it is, has not quite the solidity and weight
of the other movements. The happy, popular and brilliantly original
themes and ideas of the first quartet are organized with a distinct
unskilfulness, while the artistic value of the second is seriously
damaged by the cheapness of its cavatina. His workmanship continually
reminds one that Borodin was unable to devote himself entirely to
composition; that he could come to his writing table only at intervals,
only in hours of recreation; and that the government of the Tsar left
him to support himself by instructing in chemistry in the College of
Medicine and Surgery in Moscow, and kept him always something of an
amateur. Borodin the composer is after all only the composer of a few
fragments.
But sometimes, amid the ruins of an Eastern city, men find a slab of
porphyry or malachite so gorgeously grained, that not many whole and
perfect works of art can stand undimmed and undiminished beside it. Such
is the music of Borodin.
Rimsky-Korsakoff
The music of Rimsky-Korsakoff is like one of the books, full of gay
pictures, which are given to children. It is perhaps the most brilliant
of them all, a picture-book illuminated in crude and joyous
colors--bright reds, apple greens, golden oranges and yellows--and
executed with genuine verve and fantasy. The Slavonic and Oriental
legends and fairy tales are illustrated astonishingly, with a certain
humor in the matter-of-fact notation of grotesque and miraculous events.
The personages in the pictures are arrayed in bizarre and shimmering
costumes, delightfully inaccurate; and if they represent kings and
queens, are set in the midst of a fabulous pomp and glitter, and wear
crowns incrusted with large and impossible stones. Framing the
illustrations are border-fancies of sunflowers and golden cocks and
wondrous springtime birds, fashioned boisterously and humorously in the
manner of Russian peasant art. Indeed, the book is executed so
charmingly that the parents find it as amusing as do the children.
Public-domain text, read in full here on John Shaqi.
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