DELIUS AND ‘HASSAN ’
[Written by C. It Au.r.N, for the ' Livening Star.’] The music of 'Delius, whose death is announced by cable, will be appraised by those equipped with the requisite musical knowledge to do so. The purpose of this column is, to recall the part he played in a eery notable theatrical production in London leu years ago. James Elroy Flecker wrote ’ Hassan ‘ when he was still in the plenitude of hii powers. It was the dream of his life to see this work worthily produced in London. That dream was not realised in his lifetime. Hope deferred maketh the heart sick, and we may readily enter into the feelings ot this “ lean and swarthy poet ol despair,’ - banished to Davos, as so many writers have been. Beerbohm Tree was to have produced the' play at His Majesty’s Theatre, but for one reason or another be put off the project until the great theatre in tbe.Hnymarket passed out of his control, and 1 Ohoo Chin Chow ’ settled down to its five-years’ run.
In the ‘ Life of Flecker ’ there is contained some of the correspondence relative to the projected production of ‘ Hassan.’ ft was something for Flecker, the sick man. to keep in view. How many sick beds are illumined by some such hope, illusory in most instances? Flecker died in 1915. His last poem of note Was ‘The Dying Patriot.’ which gives evidence of its author’s physical weakness. ‘ Hassan ’ was published by Heinnemann. Not since the publication of the ‘ Paolo and Francesca ’ ol Stephen Phillips has a modern poetical drama in English enjoyed such a literary reputation. Such a play as ‘ Hassan ’ cried out for production, and tins consummation was brought about by that enterprising management which comprised in the anagram “ Reandean,” the names of two entrepreneurs of whom Mr Basil Dean was the dominant partner. Mr Dean has a number of fine productions to his credit, but none, perhaps, more splendid than that of ‘ Hassan.’
Delius, who had not then been overtaken by the malady which rendered him an invalid for a number of years, was brought under contribution to support the poet with that music which, one would almost say, is implicit’in the text of ‘ Hassan.’ The moods of this tremendous work range from the most exquisite tenderness to the depths of terror and the heights of sublimity. Such a lyric as ‘ Jasmin ’ almost sings itself. Not, perhaps, since Moore wrote ‘ Lalla Rookh ’ has an English poet distilled the essence of the East with such potency as djd Flecker in ‘ Hassan.’. Delius was set a task which must have delighted and awed him at the same time. It cannot be claimed for the music of Delius, however, that it has laid hold on the popular imagination, ns, for instance, has the music of Liza Lehmann, which we associate with Edward Fitzgerald’s quatrains that render the philosophy of Omar Khayyam. The appeal of Omar Khayvam. of course, is more universal. He has a philosophy to propound, whereas ‘ Hassan ’ has nothing to offer but that mysterious inward urge which compels men to weave patterns out of the stuff of life. Delius has had one interpreter in New Zealand in the person of Mr Page, of Christchurch, who treasures among his possessions a letter from the great composer. This is not the only letter from Delius that has found its way to New Zealand. The writer of this column enjoys the acquaintance of Ti young man, who is unfortunately laid aside by sickness for the time being. It is his custom to write to various people in whose work he is interested, and in some eases some interesting replies have been elicited. Mr J. B. Priestly has sent a letter in which he -undertook to mention New Zealand in his forthcoming book by way of a gesture, or, as he put it, a wink, in the direction ot his correspondent. I have not been made acquainted with the contents of the letter from Delius.
The composition of incidental music for a play is, one imagines,, an art, or process that differs, from the setting of a libretto. The composer finds himself among chat ancillary group which ranges itself about the author. It includes the painter of the scenery, the designer of the costumes, and the producer. Mr Norman O’Neill, for many years musical director of the Haymarket Theatre, has done much good work in the way of incidental music. Notable in this class was his music for • Mary Rose,’ which, to all intents and purposes, was Sir James Barrie’s last play. The influence of Debussy was very apparent in this music. Mr Fqwlds is another composer who has written notable incidental music. Mr Eowlds is, of course, the composer of the Requiem which was rendered in the Albert Hall. London, on several successive Armistice Days. On this occasion the* composer was faced by an array of combined "Choirs, orchestras, and bands that must surely have-caused him to tremble at the thought of so vast'a concourse awaiting the signal from his baton. ‘ Man and the Mass,’ a curious sociological fantasy by the well-known German dramatist. Ernest Toller, author ol ‘The Swallow Book,’ written during a period'of imprisonment in Germany, was produced at a matinee in i London with Dame Sybil Thorndike in what was, if I remember aright, the solitary woman’s part. It was an impressive performance, including a clause macabre, in which Mr Fowkls very adroitly parodied or pilloried the prevailing jazz rhythm. Mr Fqwlds has since written incidental music for a play in verse, with an allegorical trend, called ‘The Face.’. The prime example ol incidental music is, one would suggest. Meudelssohn’s music for ‘ A Midsummer Night’s Dream.’ When Mr Basil Dean was appointed director of Drury Lane he conceived the idea ol producing ‘ A Midsummer' Night’s Dream ’ os a Christmas piece. to be revived annually. Unfortunately his directors on the board of control did not support him, and the production ran for one Christmas season only. In this instance Mr Dean was guilty of what seemed a solecism in the hninble opinion of the present writer. ‘ I Know a Bank ’ was set to the lovely air of Mendelssohn which is always associated with the words of the German poet Heine. These words are usually known in England by the caption ‘On Wings of Song.’ Here surely was an instance ol calling on Mendelssohn to carry what he was never intended to carry, Frederick Delius was a true cosmopolitan, having been born in Bradford of German and Dutch parents. One somehow associates him with Fiance, where he had been resident, at all events,, since his illness. Perhaps France cannot claim him as she can claim Cesar Franck and Debussy. Music, however, has no frontiers.
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Evening Star, Issue 21748, 16 June 1934, Page 3
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1,125DELIUS AND ‘HASSAN’ Evening Star, Issue 21748, 16 June 1934, Page 3
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