GRAMOPHONE NOTES

New Zealand Times, Volume LII, Issue 12116, 18 April 1925, Page 10

GRAMOPHONE NOTES

It was tlio expressed ambition of Mozart’s father, that his son should apply himself assiduously to the study of the violin, with the object of becoming “the first violinist of Europe.” Undoubtedly Mozart knew the violin and what could be expected from it.; but he was destined for something greater, short as his life was, than a virtuoso playing from court to court for the pleasure of princely audiences. His profound ir sight into the possibilities of the violin and his thorough practical knowledge of that instrument were never better displayed than in tho great Concerto in A Major. Its recording for the gramo

phone by Mr Arthur Catterall (solo vio* lin) and the orchestra conducted by Mr Hamilton Harty, chief of the celebrated Halle Orchestra of Manchester, offers aD interesting example of the capacities of the modern orchestra compared with that of Mozart’s time—for he wrote the Concerto for a small body of strings, two oboes, and two horns, and, of course, the solo violin. This magnificent and essentially melodious work, like many others of its kind, can but rarely he heard performed in public halls; but the recording for the gramophone enables students of music to study it, and gives intense pleasure every time it is heard to all who are fond of music for its own sake. The list of works of Mozart recorded for this purpose is expanding showing that there is a clear call from the public for such music, and a ready response to that call by the makers of records.

Short as the* season of "The Lady of the Hose” will be in New Zealand, it will unquestionably leave behind it a longing to hear its alluring music again. It is remarkable for attractive melodies; but unless one can play or sing (or both) there is but little chance of catching and holding them. The gramophone, however, provides the means of retaining them, as sung or played bjr artists. There are available selections including the principal airs—as recorded from the performances of Daly’s Theatre Orchestra—and vocal numbers, including "I love you so/’ "Catch a butterfly while you Can,” "Silhouettes,” "A Woman’s' No! "Call to Arms,” and "Land o’ Mine”— the artists are May Vincent, Dorothy Leigh, Harold Evans, and George F. Murray. "The Lady of the Bose* waltz has also been recorded from a performance of Hermann Finck and his orchestra. To the wild Hebrides has Mr W. H. Squire gone for a folk melody with which to charm the countless admirers of his ’cello playing. The opportunities of hearing so fine an artist in New Zealand are remote, but owing to the perfection with which the modern gramophone is constructed and to the new non-scratch manufacture of records, it is quite easy to enjoy this lovely “Cattle Croon” ii the quiet of the home. Mr Squire has the secret of endowing his playing (in pieces that- are suitable for the purpose) with the quality of a beautiful voice. It might be. thought that there was not much left to do with "Home. Sweet Home,” as a melody, but this again, has been selected by Mr Squire to demonstrate how, in the hands of a master, the ’cello can be made to sound like someone singing, and that with feeling and expression.

The so-called jazz orchestra is making headway towards recognition as a musical force to be taken count of. This is evident in the latest Columbia records •of the Savoy Havana Band of Strauss’s "classical” waltz, "Blue Danube.’ It is taken quite seriously—not at all in the spirit of bqistrous levity usually associated with modern.dance music. One noticeable fact about this performance is the possibilities, of obtaining with a band of, say, ten performers with a goodi basis of saxophones effects that approach those furnished by a fully ednstituted symphony orchestra. It is true that the whole of the "Blue Danube” is not recorded, but there is sufficient proof, taking the “Valse Bleue” of Margis, on the reverse into account, to justify, the view that the performers of modern dance music, as given at the Savoy by the Havana bands, are well able and perhaps only too willing, to perform work of definitely classical character. It is not too much to 'describe performances 'Ol some of the modern dance music now re corded as artistic in the highest degree.