MUSIC.

Otago Daily Times, Issue 19594, 25 September 1925, Page 3

MUSIC.

NOTES AND RECORDS The programmes of the London promenade concerts, the 31st season of the which commenced on August 8, range over the whole field of classical and modern music, and include works by no fewer than 125 composers, representing 15 nationalities. Some of the new- works lrn'|> intriguing titles. One is “The Romance «.*/ Mummy, a suite by Tcherepnin (tho distinguished Russian conductor-composer who directed tho first Russian ballet performances at Covent Garden in 1911). Then there is “The Ballad of Reading Gaol,” another orchestral piece, by Jacques Ibert: a tonopoorn on Joan of Arc, “St. Joan, by J. H. Foulds; and a “Lewis Carroll” piece, “Through the Looking Glass” by Deems Taylor. Other curious titles are “Handel in the Strand” (a clog dance by Percy Grainger) ; “Yellow Princess” overture, by Saint-Snens: “Flight of the Bumble-Bee, by Rimsky-Korsakov : “Pacific 231” (a locomotive impression), by Honegger; and “Variations on a Nursery Song” (tho tune of “Baa. Baa, Black Sheep”), by Dohnanyi.. But the classics have a large share in the scheme. The works of Bach, or Handel, or Mozart, or Beethoven, or Wagner are to bo found in almost every programme. Altogether about 500 different works will be given during the season. A somewhat surprising feature of the recent Welsh National Eisteddfod was the success scored by the Huddersfield Vocal Union Choir in the chief choral competition. The English singers scored 292 points out of 300, and took the first prize of £lsiX Llangefni secured the second award, and Port Talbot were third. In the ladies choir contest the Gitana Ladies’ Choir, of Birkenhead, were first; Rhondda second, and Carnarvon third. The Queen of Rumania was initiated as a member of the Gorsedd under the bardic title of Man Gwalia (Mary of Wales). The British Museum authorities have approved in principle the proposal of the 8.8. C. to reproduce gramophone records of the voices of famous pebple'fong since dead. Unfortunately, most of these records are defective and a good deal -will have to be done in the way of correction and amplification before they can be broadcast satisfactorily. The British Museum has phonograph or gramophone records of the voices of Queen Victoria, Tennyson, Tolstoi, Lord Roberts, Florence Nightingale, Shackleton, and others. Already anticipated as a best seller (says a London writer) is a volume by Sir R. R. Terry, w-hioh Longman’s are publishing. The new book by this famous musician, who will always bo remembered particularly for his work as organist at Westminster Cathedral, is just a volume of nursery rhymes. It can be described tritely as consisting of “new tunes to old rhymes,” and it is difficult to say whether the quaint nursery verses of our baby clays. Dr Tent’s netv tunes for them, or the fascinating pictures which will decorate the book will be admired the most. There is a decided cult at the moment for nursery songs, by the way. The book of songs, with music, from A. A. Milne’s “When Wo Were Very Young,” is almost as popular as tho book itself. Dr Mary Davies, once the idol of the ballad concerts in old St. James’s Hall, was among the visitors to the recent Welsh Eisteddfod. It is just 50 years since Dr Mary Davies sang at Pwllheli in the Eisteddfod held there. She is now in her 70th year, still ns keenly interested in singing as when she first found fame as one of England’s most charming vocalists. The University of Wales conferred on her its honorary Doctorate of Music. Organ recitals were first introduced in the City of London by Professor Shuttleworth, of St. Nicholas Colo Abbey, where tho 1870th recifal was given last month. When first proposed, the idea was received as a startling and dubious innovation. It has now become tho most attractive feature in the programme of most City churches, and probably has gone far toward saving some from destruction. Some common faults of singers, especially sopranos, were referred to by Mr Roland Foster, judge at the Wellington competitions, when commenting on the performances in the soprano vocal solo, tho song to he by a New Zealand composer. “The sopranos,” he said, “don’t place their upper notes sufficiently high. They don’t make any use of their throat. They don’t let tho notes flow out with freedom or give an expression of ease. There should be no muscular effort in the production of high notes if properly sung. Singcra should think ahead and place the notes mentally before actually singing them. The high C ought not to be a high note for a soprano at all. It is quite possible to get G in alto. The extension of range is entirely acquired by freedom and the proper use of the head register. Singers should study elocution and the precise delivery of every syllable. Some singers are inclined to alter the note values, and they should stop doing so. With judges it is not always the best, voice that obtains the leading place. Often it is the voice that is best used.” Amongst the new records to be released in Now Zealand next week is the eagerlyexpected Schubert “Impromptu in B Flat Major,” Op. 142, No. 2, recorded by Paderewski on one large double disc (in two parts). It is a splendid record, and should bo in everyone’s collection. The impromptu is one of the best-known of Schubert’s celebrated series. It is to be hoped that further recordings from tho series will follow. . Toti dal Monte’s recording of Jules Benedict’?. “Camwade di Venezia” fair with variations), has now arrived. This is brilliant singing, though it strikes tho ear, esnecially in the upper register, as a trifle Hard and metallic. With the fibre needle a good deal of the hardness of tone disappears. Making due allowance for the exuberance of the catalogue annotator, it. is not quite such a good record as tho singer’s really wonderful “Mad Scene” from “Lucia.” The music, of course, is of a different character. An excellent record, all tho same, and miles better than some of the recorded efforts of greater stars. Jacques Thibaud always appeals to the writer as a violinist of artistic elegance and perfect finish, rather than a forceful genius. Any composer is perfectly safe in his hands. This impression is deepened on hearing his latest recording, Veracini’s “Sonata in E Minor.” One might almost call it a dance sonata. It opens with a lively “gigue,” and is followed by a graceful minuet and gavotte, strongly reminiscent of Haydn; whom he preceded. Bach’s unaccompanied “Suite for ’Cello in C Major” is tho Mount Aspiring of most ’cellists who climb to the rarer atmospheres of musicianship. Guilliermina Suggia’a recording of the suite is amongst the’ = new arrivals. One may say quite frankly that this is a piece of music which can only have a real appeal to violin enthusiasts, teachers, and students. The opening is a most difficult exercise in rapid triple phrasing, and there is a tendency for tho accented note of each, triplet—which happens to he tho lowest note —to overshadow the other two. Just as one is beginning to ask what has become of John M'Cormack, the door opens and he appears amongst the new arrivals from London. Also.,he brings something well worth while —two delightful songs by Rachmaninoff “To the Children,” Op. 26,' No. 7, and “How Fair this Spot,” Op. 21, No. 7—with violin obbligato by Kreisler. That very fine English basso, Robert Radford, is always sure of a welcome from admiring grarnophonists. This month ho gives us Edward German’s “Four Jolly Sailor Mon,” a rollicking number, to which is bracketed “When that I was a Tiny Boy,” a festive bucolic ditty from Nicolai’s sparkling opera, “The Merry Wives of Windsor.” II is Fnlstaff’s “Drinking Song,” in the opera. . Peter Dawson has given up recording patriotic songs and returned to ballads, llis latest record is a very good bracket —Tipton’s “A Spirit, Flower” and Tschaikowsky’s passionate “Summer Love Tale.”

The Savoy Orpheans* much-discussed fantasia on the popular jazz tune, “It Ain’t Gonna Ruin No Mo’,” has arrived, and is one of the best things in jazz novelties heard for a long time. The fantasie is enlivened hv some quite good patter, and the work of the band is really marvellous. You hear it played first as tho Boy Scouts would play it—for every Orphean was a Boy Scout once. Then you hear it played in the Salvation Army Band style—the Ohpheans, the listener is informed, were all in the Army years ago—then in the British military band style, as Scotch pipers, and lastly in the Orpheans’ own style.