RIG CRES COLLEGIAN May Collection continued the most inert forms into shimmering light. Looking toward the fair coast of Francesco Goysfs "Portrait of a Young Ilan Reading" shows the retained youthful spirit of his earlier works which was obscured 1 his later preoccupation with morbid ~vbjectsis Eugene Delecroixts "Lion and Lionessy a pastel on paper, is, for its medium, Gilley but the style is magnificent. th 6 whole, the exhibit, valued between 250 and 300 thousand dollars, is well forth one's while to see. It will be open till October 12. Don't miss iti *****,*. 44'.***.***.*•*.*0*.***.*.***.***** MOUSSOMKT. " PICTURES AT AN EXHIBITION Modeste Petrovich Moussorgsky, considered the stolid member of the famous "Russian Five" and called clumsy and illiterate by Rimsky-Korsakov, was, indeed, so far ahead of his contemporaries that they ',ould hardly have understood him. With Moussorgaky and his masterpiece, Boris Godnov, began an age of sew freedom for the composer. Claude Debussy acknowledges Moussorgsky as his source of inspiratik to write natural and siiple music, even if some of the long established rules of harmony had to be disregarded to do so. Much of MonsnorgckY's style ran be traced to the mule of the Greek Catholic Church. His lavish use of the long ignored organum style of composition accounts for hia tremendous power and magnificience. Also, his ignorance of the intricacies and refinements of the aermah and Italian schools allowed him to use chords and dissonances which a Tchaikovsky could never have brought himself to even consider. Today, the most often played of Moussorgsky's works works is "Pictures at an Exhibition." Even this masterpiece vas virtually John Vaggio FRIDAY. OCTOBER. 10 1958 ignored until it was orchestrated in 1928 by the then unknown Maurice Ravel. lhatorer or whoever threw MoussorgskY and Itavel together suify produced a high-octane combination. Rave enormous talent with orchestration was so perfectly suited to MoussorgskY t s melodic inventiveness and harmonic power that the resulting work wayo immediately a success and is still a permament member of the orchestral repertoire. Two excellent recordings (Both HiFi long plays) of this piece currently available are EUgene OrmandY's interpretation with the Philadelphia Orchestra on a Columbia release and Fritz Reiner's interpretation with the Chicago SYmphonY Orchestra on an R.C.A. Victor release. As for the history of this suite, it was written in memory of one of Moussorgskyte closest friends, Victor Hartman, a young'.: Russian architect who died in 1E73. The composition was inspired by a memoria exhibit of Hartmanls work. The site opens with a majestic "Promenade" which represents the composer walking from picture to picture. The numbers in the suite to which the writer is most partial area THE OLD CASTLE, a pieta. of a troubadour standing before a medieval castle singing a melancholy melody; BYDLO, a description of the approach and passing' of a large ox-cart; CON kORTIUS IN LINGUA MORTUA; a highly elegiac form of the promenade; HUT CF BABA , 4OdA, a satirical description of the 'mill—known Russian witch and her dwelling place. In this work, we have Moussorgsky at his inventive best. He is often criticized for his clumsy harmonies, tut a more technically skilled composer could never have written such impassioned and truly Russian music. *l*.*.***.*.*..*.*.*.*****.*•*. GIVE BLOND NOW GIVE BLOOD NOW GIVE BLOOD NOW GIVE BLOOD NOW GIVE BLOOD NOW GIVE BLOOD NOW
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