HAMMOND ORGAN

Dominion, Volume 31, Issue 204, 26 May 1938, Page 2

HAMMOND ORGAN

Recital By Dr. V. E. Galway

AN AMAZING INSTRUMENT

“A brand new revolutionary instrument,” is how Dr. YL E. Galway, city organist of Dunedin, described the Hammond electric organ, upon which he gave a recital in the YVellington Town Hall last evening before an audience that halftilled the auditorium. YVhen, as averred, it is realised that more than 200 of these instruments have already been placed in halls and churches (including the Canterbury Cathedral) in England, one may rest assured that its place in the list ot musical instruments of this order is assured. One has only to realise Hie splendid volume, the infinite variety of tone, and combinations of tones, of the Hammond to become convinced that it is a factor to bn reckoned with in the world of music. The marvel is that here is an instrument akin to the massive grand organ, with its regiments of pipes, contained snugly within the compass of a cottage upright pianoforte: made possible by a highly sensitive electric action and the ingenious use of amplifying ' a immcdiatcly prior to his recital. Dr. Galway said that though lie had been in New Zealand for 20 years it was Hie first occasion on which lie had appeared before a YVellington audience. YVhen be hud first been introduced to the Hammond organ, he Mt like the countryman who, on first seeing a giraffe in (ho zoo, said, “There ain't no such animal.” In the musical laboratory they were uwd to dissecting certain sound effects into their constituents, but in the case of the Hammond organ the reverse process took place. Eleven fundamentals were provided in eight strengths, and from those constituents, the raw material so to speak, any tone that was desired could be created. The Hammond people had said that the organ was capable of producing some three million tones. He had not counted them, but was prepared to take their word for it. It was a brand new revolutionary instrument, nn amazing development. YVhnt it would lead to inTO or 20 years would require a prophet 10 The’ recital which followed bore out what Dr. Galway maintained, as the recitalist was able to play a full range of organ music, ranging from Bach aud Gluck to Guilniant and YVolstenholiuc, besides lighter numbers, which admirably displayed the range and tone of the new organ. The Bach Fugue in D major, with its contrapuntal intricacies, and its notable work for the pedal organ, came through with remarkable fidelity, though the volume of the pedal notes was sometimes too great for the main themes. The gavotte from “Iphigenia," gently attuued to the lighter range of wood-wind tones, was delightfully played, as was also the peuetrutingly sweet “Brayer ami Cradle Song" of Guilniant. The "Triumph Song.” of Baynon, provided sx>uie nice contrasts, though the number was scarcely so appealing. One number which impressed was Dr. Gahyay's own delightful Sonata in G minor, in which the registrations were charmingly varied. Other numbers of merit were “Scherzo for Flutes" (Crawford), "Londonderry Air” (arranged by Coleman), aud the majestic “Fiuale iu B Hat” of YY’olytenholme.

A feature of Hie programme was the playing of the familiar Grieg Concerto in A minor, by Mr. YV. Dearden-Jackson, late of London, with the orchestra part played by Dr. Galway on the Hammond organ. Truth to tell, the combination was not a very happy one artistically, as the organ tone, not. orchestral in character, was rather weighty for the pianofoH"

parts, occasionally drowning almost completely the lovely arpeggio passages with Which t.lie concerto abounds. Mr. Dear-tlen-Jackson showed executive skill and no little force in his performance and his accession to the musical circle in Wellington should be valuable. the vocalist of the evening was Miss Myra Sawyer, who. in excellent voice, sang “When in Your Eyes I Gaze” (Lassen), “The Snake Charmer” (Liza Lehmann), and “Love Wont a-Riding” (Bridge). The accompanist was ltrs, Audrey Gibson-Foster.