GRAMOPHONE NOTES

New Zealand Times, Volume LII, Issue 12093, 21 March 1925, Page 11

GRAMOPHONE NOTES

ABOUT THE MACHINE. A. writer- dogmatically assarts that "mica is the best,*'' and warns the public against compositions for diaphragms, Now (remarks one. who differs): there lias been much controversy on this point, and it is a very open question which i» the better medium of the two. There is no doubt that mica more readily lends itself to blasting, but it might be urged that this only shows that it is ultrasensitive, although I am not suggesting that blasting is confined to mica. Again, composition diaphragms, more particularly wood and silk, are unequalled! for reproducing piano tone and robbing it of the clankiness which mica more than emphasises. While' I am inclined to think that composition is more suitable for voice and strings. 3 lt is, of course, all more or less a matter. of , personal taste. , Modern science has brought the reforming influence of music to the million by inventing, developing and perfecting two wonderful weapons of sound transmission—the gramophone and wireless. The greatest musician is no longer the exclusive delight of a privileged few able to pay for tadmisbion. His art is not restricted to one place or only for a life : 1 time. Thanks t/> the gramophone, we can purchase a record of any great artist we desire to hear, even if he is past and gone—for his ‘art lives on. The gramophone and wireless brought musio to the millions, and undoubtedly at the present day these twin sisters of sound transmission are the means of raising the moral and spiritual standard of the nation. The pursuits of peace are greater than the pursuits of war. SOME EXCELLENT RE COEDS. ; "Pro Peccatis,” the great bass solo from Rossini’s "Stabat Mater/’ exhibits Norman Allin as a finished interpreter of sacred music, as well as of grand opera arias allotted to basses. The famous solo, florid in character, as Rossini could not help writing it, receives fine treatment, with more than..a suggestion of reverence at the hands of Mr Allin. By way-of contrast there has been recorded on the reverse' side of the disc the strikingly original "9png of the Woodenlegged Fiddler.” ’ Probably among the many qualities of Mr, .Allin as a singer that explains, his popularity with possessors of gramophones is his remarkably clear diction. This is manifest in the Latin of 'the so}© from "Stabat Mater” as in the English of the fiddler’s song. Who is not . familiar with "Light Cavalry” or "Poet and Peasant/’ by Von Suppe? These evergreen numbers, to be beard wherever bands-and orchestras perform for the larger public, anpear to be sure of ready acceptance. They are to be heard in "grande place” of' every French or Belgian town, and their popularity with British audiences continues unabated^—except for contests. The same composer’s descriptive piece,. "Morning, Noon and Niglit,” is only a little less known than "Poet and Peasant.” It will be welcomed by . all owners Of gramophones, for its performance by the National Military Band, directed ; by Albert Ketelbey, places it within their reach, and some excellent Work has been put into the rendering of the passages for individual instrumentalists.

Brahms is generally' well known to concert audiences through the medium of the pianoforte, but he also wrote much chamber music and- works few choir and orchestra in concert. Later in life he wrote his celebrated four symphonies. The first Symphony in. C. minor was performed in 1876, and this lias now been reproduced on'..the gramophone disc by the New Queen’s Hall Orchestra, under Sir Henry Wood. It is a truly splendid work, reminiscent, perhaps, of JBeethoven (ii/ho he venerated)', but still pure Brahjns. Future reference will be made to this singularly fine addition to the "Masterpiece” series t ‘of records of great symphonies. ‘ Mosskowski’S recently reported death directed attention to tne frequency with which his name appeared in popular concert programmes. Among the many violin pieces which w.ere (and are still) heard were his "Serenade,” "Souvenir de Moscow/’ and "Guitarre," the last being played here by the Serbian violinist Bratza. It was played for recording for the gramophone by this accomplished young . artist; and the attractive pianoforte piece, "La Jongleuse,” as. played by Josef Hoffmann and Adela Verne have likewise been preserved for the pleasure of those having reproducing instruments. An event of some musical interest, was the recent performance in Wellington of Cesar Franck’s Symphony in D minor. This magnificent and highly original work is rarely to be heard even in places where performances (by competent orchestras are regularly given. Like much of Franck’s work, the Symphony must bo heard, several times in. order to apprehend its beauties. But opportunities tor this are very few and far between. The work., can, however, be heard in the Kerne through the medium of the gramophone, for it lias been. recorded with that object, and the rendering was that of the celebrated New Queen's Hall Orchestra, conducted by Sir Henry Wood. The Symphony. has already been described briefly in gramophone notes. Mistral, the poet of Provence, who wrote moat of his j verse in the vernacular, told a very pretty love story in "Mirelio/’ This was taken by Gounod as the subject for his opera, written a little later than "Faust,” and -entitled "Mireille.” It is an exceedingly tuneful work, but rarely performed, although it was given in the open air at Arles m the oM Roman amphitheatre. Gounod utilised with goon effect the folk song of Provence in "Mireille.” This is evident in the delightful overture to the work, performed for the gramophone by the New Queen's Hall Light Orchestra, conducted by Mr Frank Bridge. It is played with admirable tone and expression-