Polar Tonality

The "Serenade in A" which ended the programme was apparently written with the gramophone in mind. None of the four movements is longer than three and a half minutes in order to fit on 78's.

The work is an example of what Stravinsky calls "polar tonality" and "extended tonality", as it is entirely constructed round the note A, which acts as the tonal centre to which all the sounds have reference. This work is considered by many to be Stravinsky's best composition for the piano and Margaret Nielsen's authoritative performance certainly presented it at its best.

Stravinsky's fondness for early music was given a fitting tribute by the Clifton Singers (conductor, Peter Zwartz) who sang a group of 16th century English Madrigals. This choir is only recently formed but the standard of the performance, with excellent balance of sound and good intonation, was very high.

The work is stimulating and very interesting but I must confess that I find music with occasional "bumps" preferable to "bumps" with occasional bits of music. However, I did occasionally manage to pick out the "Theme" which Mr Maconie kindly played for us before he started the work.

Other contributions, all of Stravinsky's works, included a well-played performance of the "Double Canon", by a string quartet led by Jim Hessell, a lively and most spirited presentation of "five easy duets" for piano by Jenny McLeod and Murray Brown, a sincere performance of two of the three "Liturgical Pieces".

The Music Society is to be congratulated for providing concerts of this type which, judging by the large number of students present, play a very important role in the cultural life of the University