MUSIC AND RECORDS.

Dominion, Volume 19, Issue 166, 10 April 1926, Page 20

MUSIC AND RECORDS.

By

C.J.M.

The Criticised Criticises. Naturally Auckland musical people are much incensed at the reported criticisms uttered by Madame Clara Butt in Sydney concerning matters musical in New Zealand (says the “Star”). And people who are not particularly musical, but like to hear good music, are asking, “What has Madame done to improve things?” And both musical and unmusical people want to know why Madame did not say something before she left New Zealand, and not wait until she got 1200 miles away? When seen by a “Star” reporter Mi. Colin Muston, L.R.A.M., conductor of the Bohemian Orchestra and the Choral Society, was quite at a loss to account for Madame’s comment, and tor her method of making it. What she bad said was bound to give, the people ol Australia quite a wrong impression concerning New Zealand. If she had any useful criticism to offer concerning New Zealand it would have been in much better taste, and much more useful, u she had made her remarks in hew Zealand. "It is very hard to account for what she said,” remarked Mr. M« st o n » “ bu ‘ it may have been she had the baa hick to hear a few bad singers here, and that she has summed up the standard of New Zealand by what she has heard. In my opinion she is in no position to judge' of the standard of New Zealand music, because she was so busy during her tour that she would not have an opportunity of hearing -anything like the best talent in the Dominion—neither vocal nor instrumental. A great deal of excellent work is being done in New Zealand, and no one with a full knowledge could make such a statement as that attributed to Madame in Sydney. It should be pointed out, moreover, that singing is only one part of music. “As a matter of fact, visiting artists of acknowledged standing have openly and frequently stated that they have to put on better programmes in New Zealand than in Australia; they say the New Zealanders would not put up with some of the things that go down in Australia. “As a further matter of fact, Madame Butt's own programmes were of very little interest as far as educational value is concerned, and it is fair criticism to say that in this respect she herself is setting a bad example. Very manv musical people here simply refused lo go to the Butt concerts because they consider the songs she gives are not up to the standard fiom an educational point of view. She continues to give the same worn-out songs, time after time. I may say that the programmes put on by Althouse and Middleton were easily one hundred per cent, superior as regards educational value and artistry. Probably these two singers have shown a better standard than any other singers who have visited New Zealand during the past *ccade “Another explanation of Madame Butt’s remarks may be that she was under the glamour of hearing a few special students at the Consefvatorium, Sydney, and upon their performances she has put Sydney so far ahead of New Zealand. If, however, she had wished, she would have found that in New Zealand, and even in Auckland • alone, sufficient could have been heard to satisfy anyone of the quality of the Dominion talent “Manv people think that it would have been in better taste if Madame Butt, when she was approached here, had given her opinion of New Zealand music. In a diplomatic manner she avoided the question and waited until she got to Sydney, where she made remarks that lowered New Zealand talent in the eyes of the Australian people—remarks that could have been replied to in New Zealand, but are very hard to overtake when made so far away.” It was suggested to Mf. Muston that some of Madame Butt’s concerts in New Zealand were not so well attended as the size of the hall permitted, and his reply to that was that "You cannot blame the public not attending to greater numbers if artists will not put' on the best of songs, but are content to furnish poor programmes, which contain the same items visit after visit.” Russia’s Folk Music. The Don Cossacks will reach Australia this month, and the Australian tour will open at Sydney on April 17. On two recent Sunday afternoons in London the Don Cossacks filled the Albert Hall with enthusiastic listeners, and their reception at the Alexandra Palace and some of the provincial concert halls has been equally enthusiastic. Their programmes range from impressive religious music to a strange march made up of cavalry signals, or the wild romance of the “Platov Song.” Serge Jarov, the conductor, has trained his 38 men until they respond to every

call with the precision of a single instrument. Every traveller in Russia lias been impressed by the beauty oi the untaught singing of the people, whether from the mouths ot peasants, manual workers, or soldiers. This is the music upon which the Don Cossacks draw. A Don Cossack concert has much in common with a military tattoo. On to the empty stage march 38 strapping soldiers, with close-cropped hair, wearing black blouses, leather belts, red striped trousers, and Russian riding boots- They are followed' by a smart little sergeant-major, Serge Jarov. Before the 60U0 or 8000 listeners realised it, the concert had commenced. The murmur of many voices broke into the psalm, “Blessed is the Man That Walketh Not in the Counsels of the Ungodly.” 'J he air is an old monastic tune, and the effect resembles some lovely instrument hidden in the darkness of a vast cathedral. A Prussian church has no organ, so the resemblance to an organ is not chance. A Russian choir is trained to provide a backgiound of tone, against which individual voices rise in occasional solos. Above all, there is the superb bass, which is so characteristic of Russian song, and which Australia will ' hear in its most sublime form when Chaliapine sings. The effect of faraway chanting attained by the Don Cossacks is beautifully achieved in ‘At Church,” by Tschaikovsky, in which the singers arouse the mood of penitence, before calling upon the Lord “to save our Russia and protect her.” The modulations from one key to another are astonishing in their finish. Everything is sung from memory. Not even Serge Jarov is provided with music Between each group of songs the conductor passes behind the choir, evidently giving the note, but. beyond that, the efforts of the singers are unaided. The Don Cossacks are said to have been recruited from men who fought with General Deniken and other generals supporting the (Tsarist regime against the Soviet rebels. The secular songs of the Don Cossacks make up the greater part of their programme. Very quaint is “A Jake,” composed of humorous folk songs, collected and harmonised by Edward Napravnik, who conducted the Imperial choir at St. Petersburg. The effect is that of a series of musical quarrels, held together with a string of charming melodies, especially lovely being an alto solo rising above the low murmur of the accompanying chorus. The familiar “Song of the Volga Boatmen,” sung while the Russians are .hauling their cargo barges along the river, is one of the most popular of the secular items. “Evening Bells” is a musical picture, recalling the departure of a youth from his native town, the bells seeming to bid him a last farewell. Similar in type is a folk melody, “Monotonously Rings the Little Bell,” in which a bass soloist, with the aid of the organ-like chorus, reconstructs a picture of Old Russia. , There are remarkable bass solos in “ The Twelve Robbers,” an old-time monastic legend, and jolly whistling, shouting, and dancing in the “Platov Song,” a hymn in praise of a Cossack hero. The Kedrolf Quartet. The Don Cossacks arc only one ot several noteworthy companies of Russian music-makers entertaining Europe and America at present. The Kedroff Male Quartet is no less famous. The four singers are Denisoff and Kasakoff, who used to belong to the Imperial Opera Company, and N. Kedroff and K. Kedroff, who were professors of music at St. Petersburg before Petrograd or Leningrad came into tlie atlases. The Kedroff Quartet also has its setting of the “Song of the Volga Boatmen,” and it sings other songs of the folk type, among them “Ilia Murometz,” which tells how the hero freed Russia from the Tartars, and the curious “Circle Song,” which belongs to a group of airs associated with tl;e mysterious rites of “Midsummer Night.” Until the Kedroff Quartet follows the Don Cossacks to Australia, music lovers must be content with their gramophone records. The Columbia Company supplies their rendering of Reissiger’s “Olaf Trigwason,” a Norwegian ballad, a “Circassian Song” bv Tcherepnine, Glinka’s “A Life for the Tsar,” and Kamovich’s "Church Bells of Novgorod.”

From the Bat Theatre. The inimittble “Chauve-Souris” company from the Bat Theatre, Moscow, lias just concluded a series of London appearances. There is no jazz in the “Chauve-Souris” music—only melody, but that is charming, whether in dance, song, or comic drama, for the programme from the Bat Theatre is a mixture of all three. Now the little company sings such a favourite as the children’s song, “Sur le Pont d’Avignon,” with a Dresden china setting, or the familiar “Le Joli Tambour,” the action being illustrated by three drummers, a king, and his princess. Jessel’s “Parade of the Wooden Soldiers” is an unfailing_ attraction, the quaint garments being as attractive as the movements of the dance, and the melody supplied by the orchestra. A skit upon Italian opera, a marionette show, played by two women and a man, and a pre-re’volution military sketch, are other typical items. Even the Amencan pantomime air, “I Miss My Swiss,” has a flavour when played by the Bat Company.

Fritz Kreisler, the famous violinist, spent his vacation last year in the Maine woods. He went there for a rest, and consequentlv did not .overexert himself physically. His guide could not understand ‘ the virtuoso’s conception of rest, and complained; “He no fish; he no hunt; he pav me 4.50 dollars a day, and all I got to do is sit around and listen to him plav damn fiddle.” Musicians are of two classes—those who perforin and those who listen. True enjoyment of music belongs to the latter, just as true enjoyment of books, pictures, plays is the reward of the reader or spectator—not of writer, painter, actor. Their joy is of another order—it .is the joy of creation.— McColvin.

RECORDED MUSIC Bis Master’s Voice. Choral music lias come pt last to its ( own on the disc, to judge from recent H.M.V. triumphs. Unknown to the vast audience at the Royal Albert Hall in London, a gramophone record from the Royal Choral Society’s rendering of the “Messiah” has been made during the performance. The experiment included the combined music of the great organ, a choir of some eight hundred voices, and an orchestra of eighty musicians. It is the result of the acquisition by the His Master’s Voice Company of the sole rights of recording music in the Albert Hall, and in i future records of choruses, instrumental 1 solos and full orchestras, arc to be | made there from time to time. I have , just heard two advance copies of “Worthy is the Lamb,” and “Lift up Your Heads.” I can only describe them as truly wonderful. You will catch your breath when you hear them. Writing of 1 the results of the H.M.V. recording of the Royal Choral Society’s performance of “The Messiah” at the Albert Hall, an enthusiast says:—For a Messiah chorus the finest I have yet heard is the H.M.V. “Lift up your heads.” The tone is good, the proportion between the different sections of the chorus is good, and the balance between chorus and orchestra is excellent. What, however, impressed me the most was the splendidly sonorous organ chords at the end; the pedals, including the big tuba of the Albert Hall instrument,'’ come through so well that >t made me hope for some solos some day. Referring to another choral disc, the same writer says:—The “Soldiers’ Chorus,” from “Faust,” on H.M.V., reverts to the “all for power” idea, but a recently received record of the March from “Carmen” is very fine. Some people mav think at first that the orchestra is too strong, but this seems to me the correct reading of the scene. The musical idea lies in the march played by the orchestra as the procession enters the bull ring; the chorus represents the interjected remarks of the crowd, until they join with one voice in their welcome to Escamilo, a fine climax, cleverly led up to. The “Kcrmesse,” from “Faust,” on the reverse, is very good, too. Another recording masterpiece from His Master’s Voice is Arnold Bax’s unaccompanied motet, “Mater ora Filiuni.” sung by the Leeds Festival Choir. I am inclined to class this as Hie very finest choral recording yet produceci in the whole history of the gramophone (declares a reviewer). l'he music, first of all, reveals Arnold Bax as one of the supreme masters in the handling of modern polyphony, in his insight for vocal effect, and his wonderful command of harmonic resource. In this work, which never loses touch with its mystical subject, we have phases of powerful climax and momenta of exquisite beautv. T he themes are wrought into a tonal fabric which recreates for us the genuine medieval atmosphere, but the picture glows, nevertheless, with the rich tints of modern harmonic colour. The magnificent singing of the huge choir is recorded with all the spacious resonance which belongs to the performance of such a work, and one has even _ the acoustic impression of the voices rising and falling along the vaulted aisle of a great cathedral. The genius and craftsmanship Bax, however, can only be fully appreciated by those who have soaked themselves in the work of the **arly polyphonic masters. A Parcel for the Scots. To all those who come from the north cf the Tweed, whose hearts are m the Highlands (or even the Lowlands) ; all those who love the land of the mountain and the flood; who have sat beneath the rowan tree, or plucked the red berries from the mountain ash; who have speared the haggis, and waxed fat (or kept lean) 'on “parritch”; whose rude forefathers fed their flocks on yonder Grampian hills (or maybe the Cheviots) ; whose ancestors fought wi’ Bruce, or perhaps wi’ Wallace bled (not to mention bonny Prince Charlie); all those who, m short, belong to “over the borrrder,” to all these, and probably a goodly proportion of Southerners, the recent Scottish supplement issued by His Master’s Voice, should make a powerful appeal. There are records here (says a reviewer) which without doubt will mean the banging of many saxnonces. Songs, traditional and otherwise, recitations in the vernacular, selections by the Glasgow Orpheus Choir, dance music, including, reels and strathspeys, and a potpourri of Scottish airs by the band of H.M. Royal Air Force, all go to make up a good list. There is one red label record—Joseph . Hislop, the famous Scotch tenor, singing “MacGregor’s Gathering” and “Bonnie Wee Thing,” and one black label, both 10-inch, of the Glasgow Choir, singing “An Eriskay Love Lilt” (very beautiful is this), and “Scots wlia’ hae.” All the others are plum label, and include Alexander MacGregor, baritone, and Andrew Shanks, bass, in some of the best known traditional ballads of Scotland, all sung as they should be sung, by vocalists steeped in the true traditions of Scottish melody. Miss Bloss Herron, soprano, and Miss ■ Crue Davidson, contralto, who sings, among other favourites, “The Bonnie Banks o’ Loch Lomond,” supply the ladies' share of the contributions, and both have beautiful and sympathetic voices. As a fine epitome of Scottish sentiment the band of H.M. Royal Air Force supply “Reminiscences of Scotland,” in two parts, splendidly played. Something to Look Forward to. Here are some notes on coming records which ought to be heard:— “Romance in F”—Op. 50—in two parts (Beethoven)— Jacques Thibaud, violin, with pianoforte accompaniment, plaved by Harold Craxton. Originally written for violin and orchestra, this Romance is now usually played as here recorded, with pianoforte accompaniment. It is probablv heard to even better advantage in its present guise, since, although it is not great music, it is finely melodious in the true Beet hoven manner. Its chaste melodic outline is beautifully delineated by Ihibaud, whose perfect tone and phrasing is recorded with the utmost fidelity “Sultanto a te” (“Only for you”), sung in Italian (Fucito) ; “Vaghissima

Senibiaiiza” (“A vague resemblance”), sung in Italian (Donaudy)—The late Enrico Caruso, tenor, with orchestral accompaniment. It will, no doubt, surprise many to know that there are still a few Caruso records which have not yet been heard by the public, and the issue of these posthumous,treasures, of which the present record is one, beconies something like an historic musical event. The record is a magnificent one. The glorious voice remained, up to the last, unimpaired m its beauty and superb power. . A record to which even the least imaginative cannot listen without a thrill. “•Yuf dem grunen Balkon’ ( On the leafy balconv”) ; "Verbongenheit (“Cecrecy”), sung in German (Hugo Wolf)—Elena Gerhardt, soprano, with pianoforte accompaniment. Hugo Wolt 1 is regarded bv manv as the last of tne great leider writers, and very many of | his songs (of which he wrote more than ' 500) are certainly entitled to rank v. itli , those of Schubert and Brahms. Ot 1 this the hearer will be able to satisfy I himself by the two well contrasted exI amples here recorded. Uolf died in . 1902, being only in his 43rd year. Of 1 the singing it is sufficient to say that I Mdme. '’Gerhardt is in splendid y°' ce > I and could hardly be better recorded. | A Debussy Quartet. When Debussv broke from convention and deliberately tried to convey impressions and conditions he had to stand a tremendous amount of opposition, but the world was forced to admit his genius upon the presentation of the tone-poem, Prelude a IfApres-midi d’un Faiine.’ The prelude was written in 1832, and soon after, in 1893, appeared the String Quartet (in G minor).. . Ulis, unlike most Debussvan compositions, is not .intended to convey impressions,, but is absolute music. It is a delightful work, melodic and piquanL. and, like a good novel, “full of incident. A. feeling of unity is achieved by the way in which Debussy treated his themes. Debussv has in this achieved tremendous variety and effect, and it would be impossible to desire anything mote brilliant and pleasing. For those who approach the work for the first time, the fairy-like Second Movement might be considered a good introduction; the fascinating rhythms which, at the beginning, remind one of a Spanish dance and later of an Elfin dance, and the peculiar but haunting melodic quahtv of the music, contain much that will attract —and, what is more, will act ias a “key” to the remaining move- | ments of the quartet. This quartet ■ is issued on four double-sided H.M.V. records in a handsome album, and from a recording point of view (declares a reviewer) it is one of the finest any company has ever issued. “The Blue Kitten.” A feature of the new H.M.V. recording which has perhaps hardly received the recognition which is due to it, is the life and vitality which it has infused into the recording of musical comedy. The realism and fidelity with which ’ the various numbers are now “put over” is amazing. . The vivid atmosphere of the footlights has. at 1 last been successfully translated into terms of sound, and the personality of the artists, as well as the general musical ensemble, com es to us almost as if we were seated in the theatre. We have some vivid examples of this quality in “The Blue Kitten,” the principal numbers of which (reports a reviewer) have been recorded by His Master’s Voice with the original artists, chorus and orchestra of the Gaiety Theatre, with Howard Carr conducting. The recording of all the numbers is of uniform excellence. The vivacious personality of Ethel Levey is wonderfully conveyed, and so is the drollerv of W. H. Berry. The duets of Roy Royston and Dorothy; Brown are particularly good, and it is worth noting how satisfactorily the work of the chorus comes through in practically every instance. A capital example of’ this is to be heard in the fascinating duet, "I’ve Found a Bud Among the undoubtedly one of the best numbers of the whole series. As for the music of Friml, it is tuneful, rhythmic, and full of vitality without making the modern mistake of being too “jazzy” in the American style. This set of discs should be very popular. Praise for an Old Record. A good many records of the Hallelujah Chorus, by the way, have been made at various times, and by all sorts of choirs, but one of the first, if not the very first, to claim attention, and which I still have in my collection (states a correspondent), was the one issued by Zonophone, sung by the “Festival Chorus.” This must be over fifteen years ago! It is still m the catalogue, and the serial number is Al 4 (12in. double-sided). In the foreground of the chorus one celebrated voice stands out above . the others and can easily be identified. It is the voice of Peter Dawson, and is easilv distinguished at the words, '.‘And He shall reign for ever and ever.” On the reverse of the disc will be found one of the few vocal recordings of the “Pilgrim’s Chorus” from "Tannhauser,” and a very good one, too, even now. (I possess this disc myself, and can endors.e all that has been said in the foregoing.)

Columbia. Verdi’s Requiem, composed for the “Walter Scott” of the Italians, Alessandro Manzoni, is a stupendous work and but rarely heard in its entirety. The “Confutatis maledictus” from the “Dies Irae” of the Requiem, has been

recorded by Columbia, sung by Harold Williams. Tins line baritone gives a fittingly reverential yet dramatic interpretation of the selection. His diction is remarkably clear, and especially so in the companion (an operatic aria sung iu English) the song of Wolfram vou Eschenbach from “Tannhauscr" and entitled “Gazing round.” It is the so-called fantasy. Both selections have an orchestral accompaniment and the Wagner number is noteworthy for the beautiful rendering of the harp passages, for Wolfram was a minstrel. Mr. Williams has no rea. son to be 4.i ssat >sfied with the treatment the recorders have given to his finished and sympathetic singing of these rather severe tests for baritones.

For a good rousing band record with plenty for money, it is difficult to over praise “Martial Moments” (arranged bv Aubrey Winter), as performed for Columbia by the band of the Grenadier Guards. There are over twenty marches included in this clever musical patchwork, and the value to bandsmen as well as to other listeners will be the brilliancy of the individual instrumentalist of this famous crack band in the British Army. The charm of the arrangement, too, for the nonmusical listener is that among the score of passages, brief as in themselves they are, he is sure to pick out some one or more familiar melody. This is an excellent record to have in any collection where thought is given to audiences, including people who do not feel equal to the classics.

The name of the Symphony Orchestra, that played .with William Murdoch, the great Pianoforte Concerto in C Minor of Beethoven, is not stated on the record, but it would not be surprising if it was the Halle Orchestra, of Manchester, as Sir Hamilton Harty conducted. This noble work was composed in 1800 and published four years later. It is in the customary three movements, Allegro cou brio, Largo and Rondo, and occupies four discs, both sides, and is recorded in its entirety. The work is opened by the orchestra, which declares the main theme of the Allegro, the strings taking the first subject, the woodwind responding, and then the whole theme is taken by the full orchestra, the second subject, a lovely legato melody, is announced by the first violins and clarinet, ending in re-introduction of the first subject. Then the pianoforte takes up and elaborates the first theme already given by the orchestra, to a light stringed accompaniment. proceeding to the second subject and concluding by a rapidly descending passage. So the movement proceeds, the pianoforte alone, the orchestra alone, and both together. The drums at the conclusion of the movement will be noticed with particular interest, for drums are not always satisfactorily recorded The Largo movement is conspicuous for beauty of the melody and the brilliantly played duet for flute and bassoon, with an accompaniment of chords by the pianoforte. The third movement, the Rondo, is opened by the pianoforte, followed by oboes and bassoon. The pianoforte takes up the theme, an imposing cadenza coming in the middle. The concerto is a striking example of the intellectual character of Beethoven’s work. It is magnificently performed, and Columbia can take full credit for the recording as well as for its enterprise in making such, splendid works accessible to a far larger public than can ever hear it in the concert hall.

Two tenors recording for Columbia are Arthur Jordan (now well known in New Zealand) and William Haseltme. The former’s latest record is “Who is Sylvia?” and “Come Not When I Am Dead” (Joseph Holbrooke). Mr. I-laseltine is represented by “O Sole Mio” (in English) and Toselli’s serenaded, “Come Back.” These are records that one need have no hesitation in adding to collections of vocal selections. , Both singers appear to be fortunate in the way their voices are recorded, and especially in the clearness with .which their diction comes through. A Percy Grainger Recording. The Australiau-born pianist, Percy Grainger, has just recorded the Chopin Sonata in B minor, impressed in six parts on three Columbia records. The B minor is the third of Chopin’s three piano sonatas, and belongs to a considerably later period than the other two. It lias been said that Chopin’s muse was too free to show to advantage in sonata form, but this opinion belongs to a time when form was valued above real musical inspiration. The fact is, as shown bv this sonata, Chopin refused to be constricted by classical formalities; he knew the development of a few short phrases into a long movenicnt was not his metier, and so he wisely cuts the development, portion down to a minimum, and gives us a series of lovely tunes treated in a way that only he could encompass. There is, however, nothing loose or rambling in’ anv of the four movements of the work • they are as convincing and consistent as anyone could desire, but they attain their ends bv Chopin’s own. peculiar methods, and the gain m individuality is correspondingly great. The first subject of the. opening movement is bold and imposing, reminding us of the patriotic Chopin of the poloraises. The second subject presents to us the poet Chopin of the nocturnes. It flows along like some lovely placid streamlet, and plays cpiite as important a part in the first movement as the socalled first, or principal, theme. The short Scherzo transports us. at once to fairyland. The first section goes at a tremendous pace, and one s thoughts go to little elves riding on fireflies. The Trio is more sustained, but the fairy element still persists. The first part repeats in the usual manner to round off the movement. In the Largo we again find, the Chopin of the nocturnes. The main theme is a song-like melodv with a stronglv rhvthmic accompaniment; the second theme flows in both melody and accompaniment. From these two themes the composer builds up a movement of surpassing charm. ■_ The Finale gives us a Chopin, that we seldom meet with, for here he is not onlv merrv, but at times positively riotous. There is an infectious gaiety about the whole thing that carries the listener awav while the final coda piles up to a climax that leaves us breathA verv interesting pair of records is the set of “Three Idylls/* for string quartet, bv Frank Bridge (Columbia). The interest lies in the fact that they are the first specimens of chamber music recorded bv the new process The result is eminently successful.. It is a treat to hear the way the viola and ’cello parts tell. They are never out of proportion. Notice the low ce.llo notes before the allegretto in part 1 and at the end of part 2, and the expressiveness of the pregnant motto phrase for tlie viola. No. 2, with its questioning leading theme and piquant rhythmic touches, is also very fine,, and tlie fanciful No. 3 makes a dainty finish. The tone is not quite true in some of the violin notes; it sounds at times too much like muted fiddles plaved loudly, but the whole ensemble is finely rendered and raises pleasant anticipations of some of the more intricate chamber music works in the future. Farlophone,

Handel wrote, many fine instrumental

works, and was one of the most brilliant performers of his day on the organ and Harpsichord. His organ concertos and his clavier music, played on the piano, still retain a great measure of popularity. The little known 'cello concerto in G minor, now recorded for the first time (Parlophone), is a beautiful example of his genius in writing for strings. Ihe tuo slow movements are eloquent and eino loual music of a kind which this age does not produce, and to which the two pulsating quick movements winch follow, make a cheerful and effective contrast. The concerto serves, also, to introduce a 'cellist new to records, Alexander Barjanski. who plays with fine, sonorous tone and masterly phrasing. , . , The name ukulele covers a fanly wide instrumental latitude to-day. Your ukulele mav be either a genuine Hawaiian guitar, a banjo ukulele, a baniulele ” or a “zither” mandolin, but in anv case the ukulele must only have four strings, and not five, like a true banjo, or six, like a mandoline. Ihe latest “star” in the ukulele world of talent is Mr. S. M. Nesbitt, whose first recording is just issued bv Parlophone, “If vou knew Susie,” and Oh. Bov, What a Girl,” whereon he has recorded these two popular “hits” in captivating stvle. Mr. Nesbitt, who. is already well-known to British wireless audiences, first made acquaintance with the ukulele as a youth whilst lumberiim” in a Canadian wood-pulp camp. Here he found an old ukulele and instruction book, and becoming attached to the instrument, soon.became expeit. A unique feature of his rendering of “Oh 1 Bov,” is the Scotch chorus, a comical contrast to the American version.

The most delightful musical event of the season has unquestionably been the vocal recital given by Elizabeth Schumann, the Vieuese soprano (sajb a London correspondent ot tlie -Melbourne Age”). She is well known to musical London by reason of her appearances at Covent Garden last season, and the season before last, in all the performances of Rosenkavalier. Nc small part of the brilliant , success achieved by Strauss’s masterpiece is, indeed, to be credited to Mdlle. Schumann, who, in the role of Sophie, one of the three prima donna roles of Rosenkavalier, made a sensation each night bv her exquisite singing and act itig, to’say nothing of the etfect of a stage presence of rare appeal. But we had had no experience of her art otliei than that, and her recital this week of Mozart songs and Schubert and Strauss lieder, was looked forward to with considerable interest. Ihe audience, which filled Wigmore Hall, was not disappointed, for it is safe to say that seldom had anyone present heard a more distinguished exposition of the art of singing, or one more completely pleasureable. I missed her Mozart group, but the Schubert and Strauss songs were of such variety of subject that the range of Mdlle. Schumann’s accomplishments was amply tested bv them. What a world of difference there is between this calibre of singing and the standard of singing which we are not only accustomed to, but is the only standard most of our British singers today seem to know of 1 Here was a delicious voice, rich and fruity in the middle register, and of brilliant quality in the upper levels, employed not fo’r display of itself, but used in every phrase with consummate art, every phrase of the verse coloured with significant tone, and every phrase of the mi’isic, whatever its technical difficulty, sung with perfect ease and with notes of flawless quality. Mdlle. Schumann is a past mistress of nuance. The shadings of tone were apparently infinite, and her hearers’ admiration was as great when she was delivering passages of high emotion, or of joyous gaietv, as when she crooned with exquisite tenderness Strauss’s Wiegenlied. She is also gifted with grace .of style, and she is young, and of attractive appearance, so that altogether the refinement of her art, coupled with its technical brilliance, whenever that was called for, and her other advantages, made a great impression. An artist of commanding quality, and as she is famous in Vienna for her soubrette parts in Mozart opera, not even this recital told us all she can do. A number of singers were in the audience. If only some of them would or could sing like that.

Recently the Federation of British Music Industries had as its principal guest at its annual dinner the Lord Chief Justice (Lord Ilewart, who proposed the toast of British Music, and was warmly welcomed by a company of over 400. This toast was responded to by the principal of the Royal Academy of Music, Mr. J. B. McEwen, and between these speeches was played a Rhapsody for violin, 'cello and piano by York Bowen, which had been specially commissioned by the federation for this occasion. The two speeches and the Rhapsody were, moreover, broadcast by wireless throughout Great Britain—so that British music had widespread advertisement. This piece of organisation on its behalf by the Federation of British Music Industries carried on with distinction the well-known work that body performs in support of British musical art, as distinguished from its immediate business in respect of the music industries of this country. . Lord Ilewart—an excellent after-din-ner speaker—was humorous in respect of the attitude to music of Dr. Johnson and of his own King’s Bench colleague, Mr. Justice Eve, who of late has had much publicity regarding his expressions of distaste for music that had been complained of in his court, in several cases before him. But his lordship had also something of approbation to say as to the cause of British music. Mr. McEwen, as befitted an eminent musical educationist, was duly appreciative of what is being done in this cause, and other speeches during the evening were in congratulatory vein on the subject. The Rhapsody of Mr. York Bowen proved to be a conscientious piece of work, but hardly more than that.

Eric Moriui, who made such a successful Loudon debut, was again acclaimed at the Albert Hall at a later concert. The perfection of her technical equipment and the beauty of her tone are such that, as her art develops, she will undoubtedly become one of the world’s great violinists. She is already mistress of her instrument, and only needs the development of personality and experience to place her in the very front rank. Mr. Joseph Hislop was the other artist at the Albert Hall, and received the ovation which his appearance always evokes.