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The Times and
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The Morning Post.
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The Quangle Wangle, conducted by Carl himself. If the honest truth be told, we sat down to the Variations with no more pleasurable anticipation than one sits down with in the dentist's chair, preparatory to the application of gags, electric drills and other instruments of odontological torture. (Strange, by the way, that no modernist has translated the horrors of the modern Tusculum into terms of sound and fury!) But we were most agreeably surprised to find ourselves following every one of the forty-nine Variations with breathless interest. Mr. Walbrook is indeed a case of the deformed transformed. We found hardly a trace of the poluphloisboisterous pomposity with which he used to camouflage his dearth of ideas. His main theme is shapely and sinuous, and its treatment in most of the Variations titillated us voluptuously. But, since it is the function of the critic to criticise, let us justify our _rôle_ by noting that the scoring throughout tends to glutinousness, like that of the pre-war Carlsbad plum; further, that a solo on the muted viola against an accompaniment of sixteen sarrusophones is only effective if the sarrusophones are prepared to roar like sucking-doves, which, as LEAR would have said,
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You play it like teetotalers--which you are not. Yet the orchestra were lavish of violent sonority where it was not required; the well-meaning but unfortunate Mr. Orlo Jimson, who essayed the
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Smithy Songs from _Siegfried_, being submerged in a very Niagara of noise. WAGNER'S scoring no doubt is
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but then he devised a special
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The Quangle Wangle,