RECORDED MUSIC

Evening Star, Issue 19634, 13 August 1927, Page 18

RECORDED MUSIC

ANALYTICAL NOTES AND FIRST REVIEWS [Written by Philip J. B. Maugham, for tho ‘Evening Star.’] ORCHESTRAL. Parlophone, E 10555, E 10556 (JSin), ‘The Battle Symphony’ (Beethoven). Played by the State Opera-house Orchestra, conducted by Dr Weissmann. Tho way of tho “ Battle ” symphony was as follows:—Maelzel (oi metronome fame) had a kind of a mechanical military band which he called the Panharmonicon. He suggested going on tour, accompanied by Beethoven, taking this affair with them, it was for this instrument that Beethoven composed tho music, tho occasion that served as tho excuse being tho victory of the Duke of Wellington at Vittoria on June 22, 1813. To raise funds for the tour Maelzel got Beethoven to arrange the music for a normal orchestra and give a concert, at which this woik and the ‘Seventh Symphony’ were the chief attractions. The concert was a success, but Beethoven quarrelled with his “ partner,” and tho tour was abandoned—as far as Beethoven was concerned. These ‘‘Battle” pieces were “all the go” about a century back. Even for Beethoven the ground was dangerous, and lie did Iris best with poor material. It is said that Maelzel supplied the framework of ideas, wrote tho drum marches and trumpet parts, and gave Beethoven hints with regard to ‘ Rule, Britannia,’ etc. In short, Maelzel seems to have had not a finger in the pic, but a whole fist, and the result (as given on these two Parlophone discs) is interesting from tho point of view of a curiosity. It is a cut above ‘The Baltic of Prague’ and such, but there is lit tic of the mature Beethoven in it. This is not tho Beethoven wo want to remember. Let us keep that other, finer piece of “programme music,” the ‘Pastoral Symphony.’ The composer dedicated tho work "to the Prince of Woles, who failed to recognise the compliment. The recording is excellent, Hie familiar old tune, ‘ Malbrook ’ (which many people will be surprised to recognise as ‘Wo Won’t Go Home Till Morning’), is made to serve a variety of purposes, while the drum a*hd trumpet tone is faithfully reproduced. >k * * * Parlophone, E 10557. State Operahouse Overture. Overture ‘Mignon.’ Here, again, tho recording is excellent, tho surface as quiet as anything on the market, and the light and shade of the music well brought out by the conductor, Dr ■Weissmann. Tho opera ‘ Mignon ’ was composed by Thomas, | and _ first produced at the Opera- ' Comique, Paris, on November 17,1866. London first heard it in 1870, on July 6, at Drury Lane. This overture lias long been a favorite with concert audiences, and the melodies arc as fresh to-day us when they were written, sixty years ago. Readers may obtain full particulars of the “plot” of the opera from ‘ Opera at Home,’ issued by His Master’s Voice Company, ami obtainable from any dealer in gramophone supplies. « * * * Parlophone, E10058._ Selections from ‘La Bohemc ’ (Puccini), played by Edith Lorand and her orchestra. 12in record. The string tone is particularly true in this record, “pleasant music clearly recorded.” Tho ensemble work is good on the whole, and there is plenty of volume for the grarnophilo who uses fibre needles. I found the tone much better on trying tho record over the second time with a, fibre cut very short. * * * * Parlophone, 1510569. Dajos Bela- String Orchestra, ‘ Humoresque ’ and ‘ Caprice Vieimoiti ’ (Kroislcr). String tone again above the ordinary, but the simple tune (‘Humoresque’) has been “ treated ” in such a manner as to make it difficult to recognise in places. Tho Kreisler piece suiters also from “arrangement,” and no one who has a record of ‘Caprice Vieunos’ played by the great violinist himself will want another. Among the records reviewed above, the overture to ‘ Mignon ’ is perhaps the best value. * * * * H.M.V., 01298 and 01299, tho Royal Opera House Orchestra (conducted by Eugene Gossom). ‘Peer Gynt,’ suite lor orchestra (Greig). Two 12iu plum label records. Greig arranged the two suites, which he wrote for the production of Ibsen’s ‘Peer Gynt,’ and it is with the most popular of the two sots that 1 have to deal in this review. The above is known as tho First Peer Gynt Suite, and, although one derives much pleasure from listening to the music as it stands, the reader will find more enjoyment if the “story” of tho various movements is known. The best way to do this is to read the play in tho standard English translation of William and Charles Archer (Sinqlkin and Marshall), but I offer the followiing substitute for this in a summary of the plot—a brief summary it must bo admitted. The story of Peer Gynt (properly pronounced Pair Gunt, or something like it) is the life story of a man who was almost completely selfish, not merely selfish in the sense of greedy of the good things of tho world, but selfish in the sense that he was a worshipper of his own identity; in other words, he “liked himself.” 1 am taking the musical scenes in the order in which they occur in the play, and not in the suite. The first piece is therefore known as ‘ In the Hall of the Mountain King.’ Hero is the “ story ” of tho music as allied to tho “ action ” Peer Gynt has become an outlaw, and when wandering in tho mountains ho meets the Troll King’s daughter, and falls in love with her. He marries her, and the Trolls celebrate the wedding with a great feast, and the King’s daughter and her sister dance and play for the benefit of Peer. As Poor is not a Troll (he. has still human vision, and does not “ see ” things in the same light as the Trolls), the King takes up his glazier’s tools in order to operate on Peer’s eyesight. Ail the Trolls, Brownies, and Pixies torment Peer. Church bells are heard in the distance. The whole palace collapses, and all disappears. In the. Hall of the Mountain King.— The musical material just here is very simple, and much repeated. CThe effect of the piece comes a good deal from tho gradual and simultaneous increase of speed and force. (Crescendo e stretto, poco a poco,' is the directions written at the head of tho music, which means literally to work up to a crescendo little by little.) At the opening wo hear the ’cellos and double bassos in octaves playing “ pizzicato ” or “ plucked,” the players plucking the strings instead of playing with the bow in the usual manner. This is a little four-bar theme, the main one of the whole piece. Bassoons, also octaves, keep the four-beats-in-a-bar rhythm in an up and down Dob-Soli pom-pom. Then the bassoons in octaves take up the melody, yylaiie

the ’cellos and double basses carry on the pom-pom heard in the bass. Note hero tho increase of speed and force until now the full orchestra is engaged. The piece ends with a roll on the kettledrums—a piece of recording on this particular record, C 1299, being particularly realistic. For the benefit of those readers who want to know more about their records than tho monthly bulletin issued by tho various recording companies tells them, there is an excellent little book liy Air Percy Scholcs, entitled ‘ The Second Book of the Gramophone Record.’ This book gives advice upon tho selection of fifty good records from Schubert to Stravehsky, a “listener’s” description of the music, and a handy glossary of all the necessary technical terms. I have personally received received much help from the book in compiling those notes on this Peer Gynt suite. Death of Ase.—Note the simple costruction of this beautiful piece of music. The first eight bars give out the chief subject, tho second eight bars repeat it eight notes higher, and tho third eight bars repeat it an octave higher. While the music has been going on it has boon “rising” all the way, beginning softly and gradually becoming louder. When wo reach our highest point we begin to descend, this time by four-bar phrases, instead of eight-bar phrases, the music becoming Setter and softer until at least it ends as softly as it began. Tho piece is to be played by muted strings, and tho peculiar string tone is heard on tho electrical recording mentioned above, but not on any of tho older recordings. The remaining two movements, 4 Anitra’s Dance’ and ‘ Morning,’ are very beautiful, and next week I, shall deal with tho construction of these pieces in this column. A full and detailed explanation of theo whole suite is given in that excellent bonk for the gratnophile, ‘The Second Bonk of the Gramophone.’

i ‘ THE GRAMOPHONE.’ ’ The June number of ‘ Tlio Gramo- ; phone’ is to hand, and, us usual, is ' full of helpful information for tho Gramophone enthusiast. Among the now records the following are due in this country in a couple of months:— Elgar’s ‘Second Symphony’ on six re* ' cords, conducted by the composer him- ; self. A new electrical re-recording of ‘The Mikado’ fGilbert and Sullivan) f and articles by Herman Klein on opera. ' etc., make this magazine tlio most ; papular of all periodicals devoted to the “talking machine.” GRAMOPHONE SOCIETY. ■ The third meeting of the Dunedin Gramophone Society was held on Tuesday last, at 7.30 p.m.. in the Y.M.C.A. Rooms. The president, Mr H. Find- ' lay, was in tlio chair, and a very enjoyable evening was spent. There was ! an attendance of over thirty, just double that of the previous meeting, ■ and if the society grows to the extent [ that it has done since its inception a ! larger room will be necessary for hold- | ing the mootings. ; NEW RECOR DS. . A newcomer to His Master's Voice ■’ is Stuart Robertson, a, lino baritone, . who sings ‘Sou of Miue ’ (Wallace) | and Wood’s ‘Ethiopia Saluting the i Colors.’ The second song is on© of the i most difficult to “put over” on the , gramophone, and it says a great deal for tho artistry of the singer when one ! cay say that ho gives us one ol _ the finest vocal records this year. Every , word is perfectly distinct, and the > dramatic instinct is kept up nil through [ this great song, which is not nearly so i well known as it should be. r l he only other record of ‘ Ethiopia Saluting the Colors’ is bv Norman Allin, the principal bass for tho British _ National Opera Company, and it is interesting to compare tho two renderings. Stuart Robertson lias been supporting Dame Nellie Melba at her farewell concerts throughout Australia, so there may be a diarico of us boa ring him in the flesh should Melba tour New Zealand also. The number ot the record is His Master's Voice B. -107, Iflin. H.M.V.. H. ‘2417, Eerera and F. Paaluhi (Hawaiian ' guitars), lOin, ‘ Honolula March’ and ‘Koliala March.’ This music has great, attraction for many people, and these two famous exponents of the guitar have made an excellent record. C. 1284, Melville Gideon (tenor), in * Lacquer Lady ’ (‘Tho Co-optimists’) and ‘Amsterdam’ (‘The Co-optimists’), with orchestral accompaniment. This gifted artist is composed, pianist, and singer in a popular English concert' party known as the ‘ Co-optimists.’ ■toiftU'a! of their numbers are procur-

able uu gramophone records, and those who care tor the singer’s stylo may find other records by him on page (id of the, new 11.MA'. catalogue for 1227, which is now obtainable at local dealers. A word of the lighter type, and one which I can honestly recommend is ‘ Billy Boy,’ sung by Frank Gromit on H.M.V. E.A. 127. This is a, gem, and is really too good to lie missed. BEETMOVEN CENTENARY. A copy ol (he booklet issued by His Master's Voice in connection with tho Beethoven centenary issues in March last has reached me, and I, think that all who care to have a copy may obtain one from their dealer some time next month. All of the special Beethoven records are not yet to hand, and until then I , shall hold back my articles on i the recorded works ol Beethoven, when I 1 hope to begin witJi a full description of the 'Third Symphony,’ tlio one popularly known as the ‘ Eroica.’ Ibis mimriificent work has been recorded in I'iilf bv the Symphony Grebes**- eondiicied by Albert Coates, and the vussult is said to bo as nearly perfect ji a gramophone rendering can he.