MUSIC and RECORDS

Dominion, Volume 25, Issue 172, 16 April 1932, Page 17

MUSIC and RECORDS

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C.I. M.

Stray Notes. Amelita Galli-Curci, coming to New Zealand under the J- and N. Tait regime, will open the New Zealand tour at Auckland on Thursday, July 7, and the season will be a short one, for after appearing in the four Dominion centres, this most famous of singers will depart to fulfil important engagements in London, Paris, New York, and other big centres. Arrangements have been made by Mr. Harry Stringer, the New Zealand representative of Messrs. J. and N. Tait, (under whose direction the Dominion tour of Moiseiwitsch is being conducted), for the appearance of this gifted player in the principal New Zealand provincial centres, as well as the cities. This will be pleasing news to the many thousands of music-lovers in the smaller centres who on the last occasion departed in great numbers to the cities where the virtuoso was appearing. , „ The soloists selected for the forthcoming concert of “The Apollo Singers,” on Saturday, April 30, are Miss Ruth Perry, a charming mezzo-soprano from Masterton, and Mr. Leon de Mutiny, the well-known violinist. "Bitter Sweet,” the brilliant Noel Coward operetta, opened In Melbourne recently. It was a most .spectacular production, staged with a large cast. If conditions warrant it, it will certainly be brought to New Zealand at the conclusion of the Australian tour (says Mr. J. N. Tait). The new grand opera season opens in Sydney to-day. The artists have all been specially engaged by Mr. Frank Tait, and form an exceptionally strong combination. Notwithstanding the enormous expense entailed in sending such a company on tour, it is hoped to provide New Zealand audiences with grand opera this year. If possible the company will arrive in the Dominion about the end of September, and play a season of a fortnight in each of the four main centres.

Wanted, An Organist. The Auckland City Council (writes “Orpheus,” of the “Auckland Star”), is inviting applications from “fully qualified” organists “of undoubted practical ability and able to furnish independent and reliable information of the quality of their work during the past five years." The “schedule of conditions of appointment of three honorary organists” contains ten clauses. From it one gathers that the appointment will be for a period of oue year.. The three appointees will be required to play at such functions, including recitals, as are arranged by the council from time to time, and for this purpose will be called upon in rotation. The programmes for municipal concerts or recitals will have to meet with the approval of the town clerk. Each organist will be paid a retaining fee of £5/5/- per annum, and will be entitled to an honorarium of £2/2/- per hour during the times he is in attendance on the organ. They will be under the control of the town clerk, and be attached to the staff of his department. This is a well-meant attempt, no doubt, to get more variety, combined .with economy. Whether it will bring forth the best talent available is a moot point. To give of his very best a really first-class organist must give, at least, two hours a day to practice (one player in Auckland, the writer knows, practises four hours a day), and the' fees offered are hardly commensurate witli the amount of time that should be given to preparing a programme such as ought to be given at a highclass recital on our fine municipal instrument. The writer would like to suggest that if the town clerk is to be a judge of programmes, he should have the assistance of an honorary advisory music committee. Some day we might get an official who was devoted to, say, the "master works” of Albert Ketelbey, and such a committee might save us from wallowing in monastic gardens, Chinese gardens, Persian markets and other such sickly stuff. However, in the end, the council will get just what it pays for. Eduard Lalo.

Lalo wa» boru at Lille on January 27, 1823. His father, an old officer of the Empire, came of a distinguished family of Spanish descent. Lalo received a sound education, though his

musical leanings were at first frowned upon; later he was allowed to enter the Conservatoire at Lille, where he was taught harmony and the violin. His life ran an even course for some years, and he finally arrived in Paris, where he studied composition and perfected his violin playing. He joined the famous Armingaud-Jacquard Quartet and played in it for many years, during which many of his early works were performed. He subsisted mainly through playing and teaching. He now began to acquire popularity among musicians, as his works revealed a strict adherence to the highest ideals of art, and he declined to follow the trivial taste of the period. Nevertheless chamber music not being liked by the publie, he was discouraged and seemed to have given up composition. However, a competition in 1807 induced him to compose an opera, “Fiesque,” which was adjudged third out of 43 works. Various causes prevented lhe performance, among them the war of 1870. In 1872 Lalo turned to a theatre in Brussels, but the director going bankrupt just before the performance, his hopes were again frustrated. The score was published in 1873. A burst of activity among composers ensued, and Lalo began to produce a. number of works, which included sonatas for violin aud 'cello, the well-known “Violin Concerto,” written for Sarasate, the famous "Symphonie Espagnole,” also performed by him: a concerto for ’cello, “Fantasie Norvegienne,” the fine "Rhapsodic Norvegienne,” the "Concerto Russe,” and the overture to the opera “Le Koi d’Ys.” Lalo hoped for immediate success with this work, but the director of the opera demanded a ballet instead. Despite his disappointment and the fact that he was not allowed even to choose the subject, he worked fourteen hours a day, but at his ago. 57 years, the work was too much, and an attack of paralysis nearly caused his death.—-From "The Gramophone.” Recorded Music.

Liszt’s "Sonata in B Minor,” recorded by the famous French pianist, Alfred Cortot, is one of the great pianoforte works of all ages, and was written by the composer when he was at the zeuith of his powers. "The Sonata is beyond all conception." wrote Wagner. “It is beautiful, great, lovely, deep, and noble.” The piano tone has been realistically reproduced, and altogether the recording is a first-rate achievement.” (H.M.V.) A selectiou from “Blue Roses,” played by the New Mayfair Orchestra, introduces several musical excerpts, including the bright “Where Have You Been Hiding?” the duet, “My Heart’s a Compass,” “If I Had Three Wishes.” and the duct, "I Saw the Moon Through lhe Window.” They are tuneful and attractive numbers. On the reverse side the orchestra plays a selection from “Folly to Be Wise," two numbers out of which are very popular in New Zealand, "The King’s Horses” and "Three Little Words.” (H.M.V.)

The complete new recording of Verdi’s “Trovatore” introduces a strong all-Itallan cast, including Apollo Granforte as Count di Luna, Maria Carena as Leonora, Irene Minghini-Cattaneo as Azueena, Aureliano Fertile as Manrico, and several outstanding artists, in the smaller parts. The favourite arias, such as "Tacca la notte,” "Stride la vampa,” “Il balcn,” and all ensemble" numbers, including the “Miserere,” are admirably interpreted. Maria Carena’s singing of “D’amor mill’ all” is very artistic. The opera is recorded in thirty parts, .with an album containing a book of English and Italian words. (H.M.V.)

Dance Records. The following dance records from the latest H.M.V. list should find wide favour“When the Circus Comes to Town” (novelty foxtrot), and “Song of Happiness” (foxtrot), played by Jack Hylton’s orchestra; "Looking for You” (foxtrot) and "What’s Gonna Happen to Me?” (foxtrot), played by Jack Hylton’s orchestra; "You Didn’t Know the Music’’ (“I Didn’t Know the Words”) (foxtrot), played by Leo Reismon's orchestra, and “I Got the Ritz from the One I Love” (foxtrot), played by Lofner-Harris’s Francis Hotel orchestra: "Sugar” (foxtrot). played by the High Hatters, and “So Close to Me” (waltz), played by Warne King’s orchestra; "That’s What I Like About You” (foxtrot), aud “I’m for You a Hundred Per Cent.” (foxtrot), played by Ted Weems's orchestra; “When tjic Clock is Striking Twelve” (waltz), played by the Troubadours, and "Siug Another Chorus, Please” (foxtrot), played by Ted Black’s orchestraBANDS AND BANDSMEN (By “Kneller Hall.”) TO CORRESPONDENTS.— Band secretaries arc invited Io forward reports of concerts and band functions generallj b> Wednesday of each week, in order to ensure publication in the follow in„ Saturday’s issue of "The Dominion. Correspondents are notified that contributions on any subject of interest to bandsmen will be welcomed and given every consideration. Letters signed wit! a nom de plume, provided tlie name and address of the correspondent arc enclosed as a guarantee of good faith, will lie treated as confidential.

It is a matter for regret that, the Wellington City Council has withdrawn its subsidies from the bands. All told, these amounted in the aggregate to £250 pcr annum, and certainly did not err on the side of extravagance. In roost cases the amount of the subsidy did little more than pay the expenses of those members who resided out of town, and perforce had to put in an appearance at the practice-room in addition to playing on the various- cif.v reserves during the summer months. It is only the enthusiasm of the men themselves that has enabled the bands to carry on, and not for what they get out of the civic authorities, as the slump seems to have hit them pretty hard. Bandsmen, however, are sports, and will be prepared to do their bit like the rest of the community until the good times come again.

Now that the autumn season is drawing to a close, the open-air performances have concluded, aud the bands are commencing their winter evening programmes. During the period now ended, the daylight appearances of the many fine bands in Wellington have proved very popular, and have given unalloyed pleasure to thousands of citizens, to whom fresh air and bright music have an irresistible appeal. Schedules of dates have beeu drawn up and bandsmen are girding up their loins in preparation for coming entertainments. The first organisation to open the ball was tlie Wellington Municipal Tramways Baud, which gave its opening recital in St. James Theatre last Sunday week, the building being packed to the doors with an enthusiastic and appreciative audience. The players were in excellent form, and presented a specially attractive programme. In addition to the band numbers, well-known vocalists took part, and a Maori party was very entertaining in the items it contributed.

It was an enthusiastic audience that packed the De Luxe Theatre on Sunday night when the Royal Naval Volunteer Reserve Band gave the first recital of its winter series, and Mr. Harry Baker conducted. The band contributed several pieces in a manner that drew forth plaudits from the large audience, and the Symphonic Dance Orchestra and a Maori troupe of entertainers rendered numbers in a manner highly acceptable. The programme was enhanced by the contributions of local artists, and everything went well from start to finish, encores being frequent. Judging by the many warm expressions of approval, heard on all sides, the R.N.V.R. Band has struck a popular note and should go far in upholding band traditions.

It is gratifying to note that the bands of Wellington have launched a programme for winter entertainments that will- meet with general approval. Three organisations have already made capital starts, and if the high standard of play already shown is maintained there need be no fear as to the future of brass bands in this city. Wellington has the players and the enthusiasm, and little else is required to keep public interest centred on so many welldirected musical activities.

The Port Nicholson Silver Baud opened its winter season on Sunday last with an excellent concert in the Grand Opera House. Under the conductorship of Mr. J. J. Drew, the band, which was in good form, presented a very attractive programme, and the playing was much appreciated by the large audience. Besides the concerted pieces, there were several solo instrumental items, and a number of Wellington’s leading entertainers assisted with their contributions, encores being frequent. Mr. Frank Crowther was at the piano. The bandsmen are naturally proud of the honours gained at the late contest, and it is the intention of their indefatigable conductor to maintain the high standard of play that the organisation achieved then.

It has been said that Wellington is not a musical city, and that its citizens are more interested in material things than those that appeal to the artistic sense. This is certainly not the case, and one has only to ponder over the subject ever so briefly to be convinced that this is a very musical community. With the many fine brass bands which have already proved their worth we have numerous orchestras of undoubted value, besides musical societies and choirs, ete. There is an undoubted taste for good music in the Capital City, and the bands have done no small share in fostering that urge.

It is an open question whether the decision -of the New Zealand Brass Bands' Association to abolish the "own choice” solos at future contests has been given the earnest consideration it deserves. There are many players of whose ability there can be no doubt, and yet, after having "swotted” over the music of a test selection, have a haunting fear that something is wanting in their performance. Given an “own choice” piece to work on, in addition to the test piece, they have more confidence in themselves, and the result is that the latter is handled more efficiently and more satisfaction secured. There is also another point to be considered. Finance, as we all know, plays an important part in all contests, and without the liberal support of the public that finance would be rather meagre. If, however, soloists are to be restricted to test pieces only and "own choice” barred, then the attendance of the general public will shrink. Programmes must be made attractive, and the people who take an interest in the contests will respond accordingly. In the past there has been an air of "stodginess” about some contests that certainly did not draw tlie public, aud it is devoutly to be hoped that the dropping of the “own choice” will not have any serious effect. Finance, of course, is all-important, but care must be exercised that in an endeavour to effect improvements and economies the avenues of revenue are not closed. Properly directed, and controlled, zeal Is a wonderful asset in all enterprises, but in none more so than brass band matters, so it is therefore absolutely necessary that that zeal is tempered by discretion, and all will be well.

It is not known whether either of the two Japanese training ships to visit Wellington at the end of next month carries a band, but as in all probability they do, a certain amount of interest has already been aroused. Whether the bands will be Oriental or Occidental in their character is a trifle intriguing, also the nature of the compositions they will play. Most Eastern music partakes of the barbaric, according to our Western standards; but as Japan has fallen completely into line with the requirements of modern civilisation, little may be heard of the national music of the visitors, unless an exhibition item is given illustrative of the culture of the people.