MUSIC and RECORDS.

Dominion, Volume 16, Issue 154, 17 March 1923, Page 18

MUSIC and RECORDS.

By

C.J.M.

Now Music. A batch of seven new songs comes from the Chappell House, Sydney. All aro short—vocal glimpses, as it were, of twin souls, the poet’s and the composer’s. Hermann Lohr, whose power of appeal seems to be of a lasting quality, sings of “Beauty,” taking for his sentiment something of John Masefield’s “Just You.” composed by L. de L. on words by Harold Hampson, is very pretty, and should have quite a good (drawing-room vtogue. The others are: “Nightfall at Sea” (words bv Nancie B. Marsland, music by Montague F. Phillips); “A Brown Bird Singing” (words by Royden Barrie. music by Haydn Wood); “My Golden Paradise” (words by Eileen Price-Evans, music by Percy Elliott); “Hie Phantom Legions” (words by Gordon Johnstone; music by WardStephens): "When There was Tonelight in Your Eyes (words and music bv Leslie Stuart).

A Girl Organist. Miss Aileen Bransden, who is the deputy organist at the London City Temple, and an Associate of the Royal College of Organists, line already, at the ago of 17, established for herself a reputation for which many organists tnnro advanced in years soek in vam or gain with difficulty. But it must not be supposed that she is so highly reputed because of her extreme youth, or even because lady organists aro comparatively few ih number. Th- very tact that she holds the proud title ot A.R.0.0. is in itself a sufficient guarantee of the high degree, of her cfficivney. for the Roval College of Organists is an institution which —perhaps more than any other in the land—enforces and maintains its demand for irreproachable performance and sound knowledge, so that the token of its initials is always to be respected. Stray Notes.

Perhaps no other vocalist in Wellington deserves so well of the public and has more genuine claims to recognition at the hands of the public as Miss Mabello Esquilant, to whom a complimentary concert is to be given at the big Town Hall on March 28. This tall, clasiso-featurpd contralto with the voice of gold-shot velvet, has now been before the "Wellington public for the last five years, and during that time has not only given of her best, but has- applied herself to perfecting her vocal method with good results. Among musical people Miss Esquilant is held in very "high esteem, and they are all rushing in to do her honour on the eve of her departure for England. Those who are to assist are Leon de- Mauny, the distinguished London violinist; Madame Evelyn de Mauny, the delightful pianist, and vocalist ; Mr, Harold Whittle, Miss Eileen Driscoll, Miss Gladys Watkins, Miss Violet Reith, Messrs, Austin Blackie, Howard Foster, Herbert F. Wood, and the Commercial Travellers’ Choir (of which Miss Esquilant is the only lady member). The violin and pianoforte recital to be given in Wellington by the Misses Eudora and Frances Henry, postponed

on account of the Esquilant farewell concert, lias been definitely fixed for Anril 11. Mr. Kenneth Impett, the Auckland baritone vocalist, is giving a series of farewell recitals throughout New Zealand and Australia at an early date. The power and quality of Mr. Impett’s voice evoked flattering opinions from Dame Clara Butt and Miss Resina Buckman during their colonial tour. Mr. Impett leaves for the United States later in the year to fulfil important concejrt engagements before passing on to Europe to prosecute his literary and musical studies to greater advantage. The music of the kinema theatres in New Zealand came in for great praise from Miss Adeline Leon liefore she left New Zealand. The artist spoke of it as the best that she had heard; better music was played, and tho execution was also greatly above the average. “Music, music everywhere, will soon be as popular a phrase as "Water, water everywhere,” which is so often quoted from Coleridge’s “Ancient Mariner,” for, according to a paragraph which appeared in the “Daily Chronicle” a short time ago, a piano has been placed in a most unexpected place—namely, a locomotive works I This piano is actually used as a detector of hidden flaws. Each engine is tested by the piano. As the components are brought together for assembly a man with a hammer goes all over each, and if the metal rings true with a note on the piano, then all is well: but if it is slightly* flat or sharp, a flaw is indicated, and must be remedied. Only a locomotive which has every part “in tune” is considered fit for the road. A London concert agent, meeting the other day with an urgent demand for the services of a performer on tne bagpipes, rang up the London office of a Scottish daily newspaper and asked if they could advise him where to get a piper. The reply, which came in Cocknev accents in the form of a question —“Dite of issue?” —did not prove very helpful.

RECORDED MUSIC To a Correspondent. A correspondent has written, more in sorrow than in anger, to say that he has been unable to obtain certain H.M.V. records that were mentioned in. last Saturday’s notes as having given me unfailing pleasure. Since receiving his note I have been making some inquiries on the subject. He says, for example, that the local dealers know nothing of the second “Mikado” set mentioned as being superior to the first, and an exceptionally good record. The fact must now be stated that the latest H.M.V. full catalogue does not include in the Gems from Light Opera series (by the kight Opera Company) any mention of “The Mikado.” Presumably one nowadays must either buy the complete opera or individual numbers. The position about the “second set” of “The Mikado” is this: Hie H.M.V. Company first issued two single-sided “Mikado” Gems, which presented a tabolid “Mikado.” Some time after they issued a second “Gems,” giving a. different arrangement, with different voices. That is the “second set” to which I referred. Apparently it is not now stocked, which is a very great pity. It ought to be possible for gramai>h one enthusiasts —the real enthusiasts —to obtain tabloid operas if they so desire, without going to the expense of buying the complete opera as now listed, or buying single records.

My Correspondent also complains that’ “The Bello of New York” mentioned as an excelent H.M.V. Gems from Light Opera” record had not been issued in the H.M.V. senes, but had been published by the Zonophone people—this on tho authority or his dealer. If he will ask Ins dealer the same question again he. will find tliat I was right —the record is there in the shop—l saw it myself. The “Tipperary” humoreske (Coldstream Guards’ Band, H.M.V.) appears to be off th© niarket. I hp dealers do not seem to be very enthusiastic about the merits of this particular record. I beg to differ Here it seems to be a case of “box office testimony. Tile public didn’t apparently recognise its intrinsic merit ns a band perfoimance, apart from tho somewhat hackneyed subiect. I am afraid that some of the very fine records produced by the HAl.\ . people before the war are now off the market, but it ought to be possible to order them from Home. Concerning Needles. Some gramophone enthusiasts are eternally trying out. new needles and new notions for eliminating scratch. It is a laudable kind of research, but one must be careful. Remember this: If there is any reliable and really worth-while device which will overcome the “scratch” and prolong the life ot a record, you may be sure the b« gramophone companies would be on to it. It is in their own interest to try out everything of that sort that comes along. In the market at present are several reliable and proved types pt needles. Buy the best, and there will be no need for invidious comparisons. Keep off the cheap stuff, for sooner or later you will be sorry. A good deal is heard about tho respective merits of steel, fibre, ana cactus needles. Speaking generally, the fibre needle is very easy on the record, and gives satisfactory all-round results, but it lacks the brilliance oi tone of the high-quality steel needle. The cactus needle is really good, but 1 understand that it is not now procurable. It is certainly not on the New Zealand market, so far as I have been able to ascertain. You will probably find, if you care to do a little experimenting, that with certain records, one kind of needle will give better results than another. Fibre seems to give the best results with solo singing and stringed instruments. but steel seems to discover the finer vibrations in ensemble music —choruses and military bands. Music, of course, depends upon your instrument—the needle must not be blamed for everything. The oak horn, , with the full round tone, is better suited to certain classes of music than the concealed sound chamber with the slat exits, and vice versa. A new needle which has just been placed on the local market is the “Everplay, which, it is claimed, will play upon all records and will last for twenty years. I have not yet tried it, but mean to do so. It is advertised at 10s., posted. The need's is star-shaped, with six I points. The point material is softer than diamond, sapphire, or the ordinary tapered steel needle, but is harder than wood or fibre, and is not porous It is a wire of uniform diameter that can be fed out as it wears off. Some Now Records. Beethoven’s “Broica” symphony, as played for Columbia by Sir Henry Wood’s Queen’s Hall Orchestra, will be available on the local market in the course of a few days. There are three double-sided records, comprising (a).

tho “Allegro con brio, in two parts; (b), the Funeral Match ("Adagio A»sai”), in two parts; (o and d), the “Scherzo”' and “Finale.” For the sum of thirty shillings one may add to one’s library of recorded music a monumental work by the greatest master of symphonic music. Beethoven drew his inspiration from Napoleon, the “Man of Destiny”—one sombre genius writing of another. A very good record.

An unusually good ’cello record of Pablo .Grisals (Popper’s “Gavotte in D) comes from Columbia. Hubert Eisdell and Dora Labette are recorded by Columbia in tiVb very pleasing duets, “Dear Love of Mine,” from “Nasheda” (Goring Thomas), and “Come to Arcadie,” from Edward German’s light opera “Mcrrie England.” Busoni. on the pianoforte, gives us from the Columbia studios a Chopin bracket, “Nocturne in F. Sharp,” and “Etudo ih G. Flat” (op. 10. No. 5). ’Phone enthusiasts may be interested in the first of a series of “Negro Spirituals”—unoccompanied quartettes bythe Fisk Jubilee singers—very attractive and appealing. Of dance musio there is enough and to spare, and for all tastes. I must not omit to mention a diverting fantasia by Sir Henry Wood’s orchestra (Columbia), on the nursgry theme of “Three Blind Mice.” Three blind mice. ■ See how they run. Everybody knows the “tuns” of these two bars. The theme is given out by the first violins. Then the grave strings enter, then it is repeated by all the strings, and the wood wind. The brasses take it up and after that tho tympani. At the fifth variation the full orchestra is at work. In the seventh I fancy Mr. Holbrooke is mischievously parodying the Wagnerian style. Ho has a majestic pomposity in his tempo, and some impression chords that are quite in the Wagnes “overture” manner. In addition to being a highly entertaining piece of music, this record furnishes an excellent reproduction of percussion, the rolling, of the drums tuned tn their respective keys, No doubt the composer’s method of “cutting off their tails with a carving knife.”

An interesting example of the success of catching the full, open tones of a voicq is the new record by Mme. Stralia. The air is that wonderful number, “Ocean Thou Mighty Monster,” from “Oberon” (Columbia record 1259), and is beautifully. sung. The orchestra behind the voice is also worth noting. One dance title that should not be lost sight of is “The Parade of the Wooden Soldiers”—a fox-trot version of a descriptive little classic by Jessell. called “Parade of the Little Tin Soldiers.”