The Question

Sun (Auckland), Volume I, Issue 310, 22 March 1928, Page 17

The Question

Should The “ Unfinished ” Be Finished? A SCHUBERT SYMPOSIUM “Would you be in favour of the addition of arms to Venus de Milo?” was one of the eight questions displayed before the New York Public Library in a serious endeavour to get the opinion of the 100 per cent, American in the street whether Schubert’s “Unfinished” Symphony should be finished or would better be left unfinished. The whole question of finishing the symphony was investigated by representatives of a leading gramophone company, which proposed a prize contest whereby £20,000 was to be divided between Tom, Dick and Harry, according to the degree in which any one of these enterprising gentlemen might succeed in composing two movements to be added to the existing movements of Schubert’s lovely fragment, the “B Minor” or “Unfinished” Symphony. From their investigations originated the idea of a great “educational” campaign, whereby the 100 per cent., God-fearing, self-supporting American in the barber’s shop might unburden his opinions of Schubert and his symphony, and bear his judgment on the {esthetic righteousness, or lack of it, involved in its completion by any composer of to-day. These were, the eight questions respectfully* submitted to passers-by from the New York Public Library:— “Did you ever hear of Schubert?” , “Do you know that this year is the 100th anniversary of his death?” “Did you ever hear played his ‘Unfinished’ Symphony?” “Since contestants are allowed to use the sketches which Schubert wrote for the third movement of the ‘Unfinished’ Symphony, the question arises: ‘Can the symphony be finished 100 years after?” “Are you opposed to this contest? II so, why?” “Would you like to see the ‘Unfinished* Symphony finished?” “Is there any principle in virtue ol which you would oppose the completion by a living artist of the work of a dead man ?” “Do you think that completing the symphony is like adding arms to the Venus de Milo?” (This was the recent declaration of Ossip Gabrilowitsch, foremos’t_ American conductor). “Would you be in favour the addition of arms to Venus de Milo?” The answers to these questions were illuminative, if not instructive. II seems that 418 men and women were approached and their answers classified Their number included dish-washers tramps, editors, chiropractors, bootleggers, waiters, and radical poets; also canvassers, actors, housewives. No Objections. Of these 60 per cent, had heard of Schubert and had no objection to the contest. The answers to the question of whether finishing the “Unfinished” Symphony had any real relation to putting arms on the Venus de Milo were “snappy and decisive.” Those who felt that there was a resemblance of principle if not of method approved of both ideas—two more movements for Schubert, two more arms for the Venus. Most of those who answered the questionnaire did not think that the two ideas had anything to do with each other. Some thought that Venus should have arms, others that she was as well off without them. “It’s a bad comparison,” said the bootlegger, “between the symphony and Venus, and she didn’t need no arms.” A dishwasher objected. “I should sav not. One is a musical and one is a material object. I wouldn’t like to see it done.” A newspaper man had that quick logic commonly credited to his craft. “If you add arms to the Venus de Milo you irrevocably spoil or improve it; if you complete the symphony it can still he played with or minus the added part.” A printer was succinct. “I’d he in favour of adding arms. I’d subscribe money to see it done. Venus has everything to gain and only a reputation to'lose.” And a salesman: “Many broken statues have been fixed. Look at Lacoon(?)” “Delve, Delve Deep.” A taxi-driver: “I couldn’t sav if it’s i good comparison or not. I wouldn’t ye opposed. If you stuck on arms. 0.K..; it wouldn’t be Venus no more. Well; let’s save something else then. Sure I love Venus.” A waiter had more imagination. “Venus wouldn’t be half so wonderful if she had arms.” A retired gentleman interested in spiritualism said that he would like to see the symphony finished, hut only under “his” direction. “ ... It can be accomplished.But you would need to delve, to delve deep. It is possible for humans who live to cornmune with humans passed, and for works of art to be completed by them. I sincerely believe it is possible.” A reporter was willing to see the Unfinished Symphony finished provided the second part did not resemble the first. “The general notion was that it was wrong to leave something undone, rather than that there might be some sacrilege in attempting to finish the work. A musician said he would an t to see it done about a dozen times.” A secretary, however, was satisfied with the symphony as Schubert thoughtlessly left it. In the meantime, the opinions of the “100 per centers” don’t seem to have made much difference to anybody or I anything.

Michele Fleta (tenor) is heard to advantage in “Che Gelida Manima,” from “Boheme” (Puccini) and “Vesti l a Giubba,” from “Pagliacci (Leoncavallo). Another fine record by this famous Spanish tenor, who has chosen two favourite operatic arias, the stirring arioso from “Pagliacci,” which he sings with intense pathos, and the romantic narrative (or “Poet’s Song”) from Puccini’s “Boheme.” These are the first electrical recordings of the two arias on a His Master’s Voice record.—Dßlo34.

The J. H. Squire Celeste Octet, in “I Don’t Care’’ and “Close to My Heart (Columbia 0822), provide a fine record. The Celeste Octet are old Columbia favourites, whose clear plaj ing and simplified arrangements have done much to popularise classical music. But in their latest record they have gone to a , rather more popular type of music than usual Their finished execution, however, makes very attractive things of these two airs. As one has learnt to expect from this clever combination, whose great success in Italy recently rather reverses the usual order of things, the pieces are most effectively arranged, and the combined stringtone is extremely rich and satisfying.