12 mins
From the ARCHIVE
FROM THE STRAD OCTOBER 1939 VOL.50 NO.594
Since the publication of the September issue of this journal, Britain has been plunged again into the horrors of a great war and the whole structure of her citizens’ lives has been fundamentally shaken. For the moment, before a natural re-adjustment has taken place, many may find that it is practically impossible to give constructive thought to purely academic or instrumental matters. During these first weeks those who never knew or who have forgotten the part that amateur music played in the last war, may even feel that music itself is an anachronism. Readers, however, whose memories go back to 1914-1918 can bear witness that this is a mistake.
One has only to recall the innumerable hospital and camp concerts and the enthusiasm displayed there to realise the supreme importance of musical performance to our fighting men; while players to whom chamber-music makes a particular appeal can surely remember long hours during which their joy in interpreting the beauties of favourite trios, quartets and quintets, enabled them momentarily to forget the troubles without.
The nation has mobilised its forces for service. We ‘cellists would surely derive most benefit from our practising to-day if we can feel that it, also, is in the nature of some such preparation. The following paragraphs will therefore be devoted to suggestions for performers of limited powers as to the pieces they would be advised to have in their fingers with the object of giving pleasure to the Tommies and other of our defenders.
One group should be “popular”, starting with a solo of the “Ballade” type.
It will suffice to-day to give the names of a few pieces which can be specially recommended: “The Londonderry Air”, “Drink to Me Only”, “Annie Laurie”, “Cherry Ripe”, all traditional; “Chanson Triste”, Tchaikovsky; “Le Signe”, Saint-Saëns; “Liebeswerbung”, Becker; “Elegie”, Massenet.
For a virtuoso number, less experienced students would do well to turn to those by W. H. Squire, who has few rivals as a composer of facile quick pieces sounding more difficult than they really are. “Harlequinade” is a special favourite. It needs playing in a full-blooded style, yet with a definite lilt, as if a big but not ungainly clown were disporting himself in the ring.
Other pieces that could be added to this list are: “La Fileuse”, “Dunkler”, “The Bee”, F. Schubert; “Scherzo”, Van Goens; “Gopak”, Moussorgsky; and Weber’s “Rondo.” The easier pieces, when played with verve, rhythm and brilliance, will give as much pleasure and prove equally attractive.