Music and Musicians

New Zealand Times, Volume LI, Issue 12017, 20 December 1924, Page 11

Music and Musicians

Gramdphones 1 and Records 111 =^4

RECORDED MUSIC NOTES AND REVIEWS. , A good band record of the moment is provided by the Horwiph band on the Zonopnone catalogue. The '‘Amen Chorus,” from Handel's "Messiah/' re-: cords well fro. ma. band which, is of high general excellence, while the reverse side is occupied by what is described as an "Eventide Hymn and Aria/' but which proves .to be our old friend "Abide With Me,” excellently played. (lOin d.s.) Browning’Mummery is a tenor who has ! a good reputation on the platform, and a big gramophone public. He - is well suited in two dra-wing-robm ballads which > he has recorded this month, "The Dear Band I Love” <G. W. Byng) apd "My. Heart's Delight” (David George), The' sentiments > of "Dear' Land • I Love” are allied to Schubert's famous "Wanderer/' and the song As well • given;-while in "My Heart's'Delight/' Mummery has ,a wealth offender appeal, ~ (lOin d.s.) * Hubbard makes nis bow with a brace of records. ' The first double disc provides .two numbers, one of which, "If All the Girls Were Good Little Girls” (Donaldson), is frankly provoking and attractive, though the melody is rather thin. "That's why I'm Lonesome and Blue”. (Tillman), bears its stamp upon the guinea's face, it is no different from scores'of other "lonesome songs. But "AH the ’Girls”; is well worth Rearing. (lOin d.s.)The Hubbard recording shows the popular baritone's voice up . well. "Liko the Last Rose pf Summer” and "You've Got That Irish Way Wid Ye” are the titles of these two songrf. and the -latter is: belter than most, with -a good flowing melody aiid some humour. (lOin d.s.) • . - * . • • * , To these ears the pick of the bunch, however, is Clarkson Roses's record bearing his idea . of. the popular "Shine,” which should be., the fox trot success of the moment, and "Riley's Cowshed.” "Shine” is a thoroughly good fox trot, and possesses good melody,. th«£ right amount of syncopation and words, whioh can be 6ung, Clarkson Rose's rendering is rough at times, but the.number is too good to miss.. . “Riley'.s. Cowshed” contains more genuine humour than many a comic : supplement, and is sung with ; a wealth or comic idea. It is bound to raise a smile. (lOin d. 6.) "We may bo'young, and we may look innocent; but we keep them guessing all the time,” Bollie and Billie inform us per a doublersided disc: These two young perfprmers are audibile despite an . American accent, and what they have to eay is* worth hearing. . "Wikkl, Wikki, Wonki Woo,” a recital of tKo joys of a southern isle is on the other side, and the two-comediennes work ii\ some novel i and laugh-provoking effects. (lOin d.s.) The famous musical comedy 6tar,' Blanche Tomlin, is heard in the favourite.of the month, ‘'What'll I Do?” and the" somewhat cqlourless "Moonlove.” The fact that Miss Tomlin has appeared in “Monsieur Beaucaire/' "The Lady ’of/ the Rose/' and "Gipsy Love,” prepares us to hear a good voices and Miss Tom- . lin's singing does not disappoint (lOin d.S;) There will be few fox trot records to sell better than the "Shine.” "Yourire in Kentucky” bracket, which the Zonophone Cpmpany releases this month. It is a long time since there was such - sterling value for the money given as these dance numbers represent. "Shine” has been spoken of above, and ''You're in Kentucky” is a fox trot which improves on acquaintance. (lOin d.s.) 'Other fox trots this month are "Darlingeet” and "Before You Go,” "Memory Lane” (waltz) and "At .Seven o'Clock” Aone step). All are excellently played by the "Midnight Follies” Orchestra, and most are familiar. "Darlingeet” isfair , average quality wijfch some .good saxophone, playing. The "Castle of Dreams” melody was a steal from a Chopin waltz, and now we have." Before You Go/' 'which is a steal from “Castle of • 'Dreams.”- • So' the world goes on.. "Memory Lane,” too, is oddly reminiscent of "What'll. I Do?” but- is -a good , waltz, while # "At Seveno'Clock” .is full of odd familiar melodies, including even': a snatch of the "Grandfather's Clock.” it is lively and danceable. (lOin d.s.) / sharpTand” flats IFHATTHE WORLD THINK§. Mr - Dean is doing everything l to make "Hassan” a success, He went to Tripoli to cret ideae for the scenery and costume, and he has called in a-promising English composer, Mr Frederick Delius, for the music.—" Daily News.” If the difference in losses of Tevenue of the proposed pew, church site and the old one were assessed the amount would be found to be only r a few hundred pounds per annum* and for this magnificent amount their historical sanctum sanatorium was to be sacrificed.—'"Sydney Morning Herald.” I love imifiio, but I do not try to play myself; I love music too much to spoil it—Anna Pavlova. 1 , "Suite Henry VIII.” Accidental music "Sullivan/'—Broadcasting Programme. MUSICAL EVENTS AT BOMB AND ABROAD. The announcement -that the world--famous singer, Madame Galli-Curci ifto come to. Australia, commencing ir March; under the direction ofj. and N. ; Tait, has caused a sensation, throughout Australia. No singer, on the operatic or concert stage, to-day has won. such triumphs as she within recent years. 1 he - newspaper cables recently recorded the fact that for her first appeafflhee in Lon- 1 don at the Albert Hall, before the opening concert.-over iBIOO,OOO worthy of seat had been booked for the season.: Mori that 12,000 people attended her first concert, and such scenes of enthusiasm huf' never before been witnessed in London The visit to,Australia of this great artis , is the most notable musical event in Aw tralian history. Every' seat was occupied and mar • stood the evening through at the* Bri bane Exhibition Hall recently for . MiEthel Osborn's wonderful voice was t be heard once more* in her native cit.' - Triumphant as she was* at her concert riven a month since in the Elite Theatre, the singer was even a greater success. astonished her 'audience withher first notes, and kept them rapt • in wonderment to .the last note of her last encore.' >‘ In - addition to her programme numbers, Miss Osborn 6Gfrng some of the bird songs which she has made so popular, and "Love was one© a little Boy.” Miss Osborn will visit New Zea land again next year, prior to her de parture for Europe.,* ' Miss Gertrude Johnston, the well-known soprano, recently returned Englan<l after'two monthef 'holiday, .in'. Milan. -'.She., told the, London "Daily .Mirror” itkat the great operatic centre swarms with American singers, all anxious to make at leari one-appearance in pn Italian opera hoi?j|P before returning to the States: . Arfl many of them are , willing to pay largo • fees for the chance of singing, and, of i course/ there are crowd* of agents, some c of whom are extremely wilv persons. It is not unusual for the unsuspecting aspirant to pay a commission for an introdnetion, only to find that the contract contains a clause that the arrangement is. subject to the approval of some, musical magnate. A "Maestro” giving an , audition, says: " What a hoantiful, voice!” and regrets that his bookings . do not allow of an engagement. .But the fee is not returned. Signore Apollo Granforte and Schia- /I

voni’-Signor and Signora Piccaluga, and Mies Phyllis. Archibald, members of the Melba-Williamson Operatic Concert Company -whose concert ? tour through. New Zealand- was so successful, left Wellington for Sydney last Friday. After giving further .concerts in Sydney* Melbourne, ■Adelaide, and Perth, Signor • Granforte and Miss Archibald will probably return to New Zealand with a fresh organisation to give a new series of operatic' concerts. GALLI-CURCI WHO IS TO VISIT; NEW ZEALAND Ajnelita GaUi-Curci (the world-famous prima donna), in a London journal writes 1 —"The penalty,of succfis as a singer is to live the life of a saint. Given the voice and intelligence, and the desire to 1 attain great, .heights ih the world of song, only your sins can betray you and balk vour It* is a platitude : that God has given speech to all and song . .to a few. I would add emphatically, rif’-nm m*" own wide .and varied experience of : would-be great singers, .that ..oven fewer * candidates to singing fame will ■submit; to liyinsp with the rigour and to* straint of a saint. They will work hard; ' hut they - will hot fast hard. They will sacrifice in parts and in spasms* bfrt ’ without that regularity and consistency; which is * absolutely essential to their career. have known singers whose r-*»-tnral vocal gifts came perilously near* to: the croaking chorus of frogs in Axisto-i phanes who yet made good- by ; the s»tern discipline and saintly rigours of their ■lives. I have known, others with the song . ’of -ft- lark and the voice of a nightingale who went out like a flash/ because of Jbeil* habitual excesses??. I sometimes- tire -of .raiteTsting to aspirant eingefs. who >oek my eouDsel and advice: ‘The voice,of an angel, allied* with the artistry of, Sarah Bernhardt and the ambitions of . Napoleon himself. will not carry you far ■ as a great singer without the hair Miirt and the cell 6fthe saint 1* One woman evep took me ' literally • and donned a 'hair shircK But there is no sensation ill the saintlv life! Next to being a great singer, I think I would choose .to l*?a greet, sinner.’ Unfortunately, one cannot be- /both a great sinner and a’ great singer. It takes a lifetime for eacthl >* wanted to, be a great singer. I ■ fopna that to be this I must forswear all those little indulgences, and weaknesses/ that <7Y>ake life >sq pleasant and sinners so ■ inften I had to give nights of dancing for days of,’real Spartan diet. Although I am now rather ad--vanced in the arts of discipline anddenial, 'how I would like to sink Mnto a fnotor-car; but I must walk because it keeps me fit and trim; How I dote on the good things of the table;'but 'hey Are not consistent with good l singing. Corsets and tight lacings, as every woman knows, are an eminently earner way to a. good-looking figure than regular_f*na ■ strenuous exercise and plain living. What virtue there is in. my rigorous life and abstinence is inspired by ambition. My only consolation for my inability, to po se to' myself as *a saint is. that my gifts', however acquired, give > pleasure .to others," ' : j* ~ ■ . NEEDLES r ! IN. PEAISE OF FIBKB: i (Concluded.) To guard against similar experiences ! to those which I related last week, bad • alike for soul :and pocket, I advise the following lines of procedure■ (a) Use a separate "adjusted" boxjor fibre needles. . (b) Ho not plav records, alternately with, fibre and steel; the establishment of a smooth needle-point track at the bottom. •of the groove is essential to ensure < good results with’fibre, and this is not op-> tamable if steel is used. . (c) See that your needle-cutters' cut sharply and cleanly; examine the point of the needle after each cutting ; the best cutters "miss" sometimes. . • • (d) Examine e&oh new needle before using to see that the "pointed edge ' is .sharp; if not examine “ the * other edges, select the sharpest, and cut the point on .that. If all edges are blunt discard the. needle, ns a blunt needle will 'grifye''a "woo'uy" tone and split and bu#z .on the slightest provocation. * (e) Remember that, thin needles'mean thin volume, and vice versa. (g) 'lf records are "rough and incline to break the needle points try using them with a thick needle *(Which fits the socket without forcing) and let it protrude half an, inch from the socket. • A few play-, things like this will help to train?' the record to .take fibre,” and .the length pf the ~ needle can usually be* gradually reduced./ If the record is incorrigible in this respect but otherwise good (an unusual event), put it in’your steel needle category. . , ■ 1 (h) that the triangular slot in your., sound-box is properly aligned so that the f i point of the needle lies truly along the ; needle track and not partly across it; the latter kind (cut "on the,ekew') are not uncommon, and are a source of much noise and "broken point" trouble. (i) Do not expect hundred per cent, re-, suits first time of using fibre: the broader needles have, to polish a track for themselves before they are able to produce the full value of the recorded music. You will'then find that the'fibre apts as v filter; and eliminates the metallic element formerly inseparable from recorded nusic, and, providing your machine is well constructed, and has a silent motor, ind sensitive sound-bpx, you’will have Llie pleasure of hearing equally well Heifetz's wonderful "G" string in "On Wings of Song" and the whispering of he **3s" in "Guitarre," with the added atisfaction of knowing that, instead of eplacing: them later on through .exces--1 ive wear, you will be able to add two •tew records by the* same (or another) \rtist, to a collection of old favourites, .vhich arel. still in perfect order. - I don't expect everyone to agree that.it ) worth 5 the trouble, but these few "tips" "-•Hay saw would-be fibre needle users • luch bother and expense. --I cutYhe bre needles- till • they are, i ust Jong nougfc to protrude from the slot, and eo , are no difficulty in making a good needle day a dozen records; the shorter the. ,ieedle the louder the tone; ■ . W.T.R.

GRAMOPHONE CONCERT ATTRACTIVE PROGRAMME. ■. -V' Following is the programme of a gramohone recital to be given in- the Red 'ross rooms,- 63* Dixon street, Welling>n, on Tuesday, December 23rd, 1924,; Possente numi \"0 Isis and Osiris'.) 'Magis FJuto,’.’ Mozart), Jose Maydones I ! iass); American Columbia A 6220. Allegro ma, non troppa (from "Qi»r- | tt on D Minor," Mozart), Eener String uartett.—Columbia L 1520. Andantp Cantabile (from "Quartett. in Major, No, 12,1' Mozart). Xener String . uartett.—Columbia L 1530. "II mio. tesoro” ('‘Don Giovanni,!' Mozart). John McCormack, tenor.— ■I.M.V. D.A. 324. 1 Rondo in G Mfy or (Mozart-Kreisler), violin solo, Jascha Heifetz.—H.M.V. D.A. 92. "Affcon Water” (A.-Hume).. Joseph Hisjp, tenor.—H.M.V, D.A. 443. “Come into the Garden, Maud" (Balfe), din McCormack, tenor.—H.M.V. D.B. "The Kerry Danoa" (Molloy), John Me-, lormack, tenor.—H.M.V. D.B. 421. "Faery Chorus" (“The Immortal Hour," Rutland Bonrhton), London Sym-'

phony Orchestra (ponducted by composer). —Columbia 935. "Del futuro nel buj6 discerno” (“Nobucodonosor.” Verdi), Jose Mardonos, bass. —Columbia A 6220.

"Libiamo ni’lieti caliei” (Brindisi), ("La Traviata,” Verdi), Alma Gluck, soprano.—H.M.V. D.J. 100. “Dite alia giovine” (“La Traviata,” Verdi), Galli-curci (soprano) and De Luca (baritonp).-'II.M.V. D.B. 174. “Hi torn a V incitor” (“Aida,” Verdi), . Ethel Eethberg, soprano. Brunswick, ' 50043 B. “Egyptian. March” (Aida,” Verdi). Columbia Italian Opera Chorus.—Columbia 425. “O Patria Mia" (“Aida," Verdi), Ethel Eethberg, soprano.—Brunswick, 50043 A. "Berceuse” (Chopin, Op. 57), pianoforte solo, Paderewski.—Victor 6423 B. "Chant Polonais" (Chopin-Liszt, Op. 74, So. 5), pianoforte solo, Paderewski.— Victor 6328 A. Nocturne (Chapin, Op. 27, No. 2), violin solo, Jascha Heifitz.—H.M.V. U.B. 232. Note.—Brief verbal explanations of all operatic records will be given prior to their being played.