WORLD OF MUSIC

Hawera Star, Volume XLIX, 31 August 1929, Page 18

WORLD OF MUSIC

THE COMPETITIONS, Witli much eh at and many commendatory remarks from the judges and visitors, tne 1929 Competitions festival concluded on Friday after a most successful session. It. is worth special remark, as was pointed out by the judges, that, although there was very good talent in all sections, the outstanding performers were amongst the young people m all sections. It, speaics well for the district and the teachers, and proves that there is ample material to maintain in the future the fine reputatation built up in the past. It is good to encourage these youngsters, and the competitions executive are entitled to the heartiest commendation for their good work. If the festival did nothing else but bring out these little people and let, them display the results of their hard' work it would be well worth while.

THE MALE CHOIR, . It was a happy thought that prompted the holding of a, chamber I concert and gave the honorary mem- | bers a special privilege which was due ] to them. The inclusion of young artists was also ail excellent idea, and their work was thoroughly enjoyed. They should do well in the future and be a credit to their tutors. Mr Herbert Webb is carrying on the good work done in the past by Mr Fox, and his training was reflected in the performances given. OPER ATIC SOCIETY. The rehearsals, of the Operatic Society are progressing well, and the producer (Mrs Hulme) is very pleased with results so far achieved. “Going Up” promises to be on© of th© most popular presentations given. PERSONAL. Mr Clement Howe, formerly of Hawera, is acting as official accompanist to the Wellington Competitions, which opened there on Saturday last. Reports show that the number of competitors, especially in elocution. has increased so' much that three’ halls have been found necessary.

RECORDED MUSIC

“The Finest Bass in the World.”— When Ivan Andresen in “Lohengrin” at Co vent Garden strode forward a few yards and began pouring his luscious notes into the broad melody of the Prayer ■ the body of sound was so huge, so noble and imposing, that I said to myself: “Now I am listening in actual fact to the real voice of Ivar Andresen, far removed from, all possibility of artificial amplification, and I know I am right in my opinion about its extraordinary magnitude and beauty throughout a scale of exceptional compass. It is the finest bass in the world at the preseent time.” — Herman Klein in “The Gramophone.” Ivar Andresen’s first record for H.M.Y. was in the August list, noted in this # column recently. A Fine Bach Aria.—An aria from the St. Matthew Passion, “Have Mercy Lord on Me.” sung by Maart-je Offers (H.M.V. D. 8.907) is a good Avn.mrvlA ,rvf

and method. The long phrases in this difficult solo, with its awkward melodic intervals and restless rhythm, have no’ terrors for this accomplished artist, who maintains her control and a high level throughout. Elizabeth Schumann in Bach.— Elizabeth Schumann sings in her inimitable style “For Love My Saviour Suffered, ”\fiom the St. Matthew Passion, withr a flute obbligato by John orchestral accompaniment (H.M.V. D. 1410), and on the reverse “The End is Come.” from the 159th Church Cantata, with an oboe obbligato bv Leon Goossens. These records are valuable as studies in phrasing and diction, apart from their charm as examples of a vocalist who sings all the time in the true sense of the word, avoiding all meretricious tricks of mere vocal display. The consummate ease with which Mme. Schumann sings distinguishes her as one of the few great exponents of the art of bel canto. This disc may not he available locally, but it is worth ordering.

' ed prima donna, that America has sent to Covent Garden arrived in London early in May, in brilliant sunshine. Rosa Ponselle —the. final “e” is not sounded —is taller than most operatic singers—tall and dark and handsome, with a lovely speaking voice. Mr. James Huneker called her “Oaruso in petticoats,” and those who have heard her sing, even if only on gramophone records, recognise the warm (Italian ease of production that prompted, the allusion. Bosa Ponseile’s H.MIV. records are amongst the moist brilliant in recent lists, and should not be overlooked.

! Hawaiian Waltzens. —Hilo Hawaiian Orchestra, in “Sweet Hawaiian Dream Girl” (waltz). Zonophone E.E. 156. For those legions of dancers who love very melodious, tranquil waltzes —and for the thousands of Hawaiian music enthusiasts—the Hilo Hawaiians have recorded these two beautiful waltzes. They are gems of loveliness in this particularly exotic musical idiom. Native instruments are used with delicious effect. Steel guitars, naturally, are featured, but the marimba comes into occasional promi-

nence, too. Each waltz has lovely ensemble .instrumental verses. , The rhythm throughout is fine for dancing, and the whole nature of both selections, commend them, either for dancing or listening. Spanish Music.—There is no denying the fascination of the Spanish idiom in music. It is picturesque and strong rhythmical. This month a do Falla symphonic poem, “Nights in the Garden of Spain,” is played l on five sides oi' three records by the Symphony Orchestra, under M. Coppola, assisted: by the eminent pianist Madame van Barent.znn. and on the

j sixth side Madame Barentzcn plays a j solo, “Andaluza,” by the same comi poser. The “gardens” is one of I Manuel cle Falla’s most characteristic | compositions. It is not a piano solo | with orchestral accompaniment, hut a i suite of three symphonic movements in which instrument is of importance. The composition is strongly national. De Falla is so immersed in his country’s folk song that his work is not onlv Spanish music, which may he—and, indeed, has been —all sorts, of things, hut suggests particular aspects of Spain with extraordinary vividness-. The almost Orientally decorative lavislmess of the present work leaves no doubt that it is concerned with Andaluza, the part of the Iberian peninsula where tlie Moors left their mark, not only on the architecture of the Alhambra and the Alcazars, hut on the folk lore and, if the gardens of Spain he called true country, on the very landscape. A most excellent pianist takes part in the performance-, and the tone of her instrument is very cleanly reproduced, hut the orchestra; also comes over well. (H.M.V.)