MUSIC.

Otago Daily Times, Issue 19969, 10 December 1926, Page 5

MUSIC.

NOTES AND RECORDS. SCHUMANN’S ADVICE. The following extracts from advice given by Robert Schumann to young musicians are of first-class importance: — “The cultivation of the ear is the most important. Labour early to recognise notes and key.” “Practise assiduously scales and other finger exercises. There are, however, many people who fancy they attain perfection by spending, even until an advanced age, several hours daily in mechanical execution; that is as if a person should exert himself to repeat his A, B, C, faster and faster. Employ your time better.” “Be steady in keeping time. The performance of many virtuosi is like the gait of a drunken man. Follow not their example.” “Slowness and hurry are both great faults.” “Take pains to play easy pieces well and prettily; better this than a mere ordinary performance of difficult ones.” “You must not be content until you succeed in reading music without playing it-” “As you grow older, play nothing merely because, it is the fashion. Time is precious. One must live a hundred lives to learn everything that is good.” “You must not circulate bad compositions; on the contrary, you must <help with all your might to suppress them. Neither play bad compositions, nor, unless compelled, listen to them.” “Much playing in society docs more harm than good. Scrutinise the company; but never play anything of which you fael in your conscience you would be ashamed.” “Neglect no opportunity of practising on the organ. There is no other instrument which inflicts such prompt chastisement on offensive and defective composition or execution.” 1 "Reverence what is old, but have a warm heart also for what is new. Indulge no prejudice against unknown names.” “Do not judge a composition from the first hearing; what pleases at the first moment is not always the best. Masters require to be studied. Much will become clear to you at an advanced age only.” “Flay assiduously - the fugues of good piasters, especially those of Bach. Let his ‘ Forty-eight’ (preludes and fugues) be your daily bread; you will then surely become an able musician.” “ ‘Melody’ is the amateur’s battle-cry, and certainly music without melody is nought. But understand clearly what they mean by it; an easily comprehensible, agrccabjy rhythmical one is all they care for. But there are melodies of a different stamp; and when you peruse Bach, Mozart, Beethoven, they flash before you in a thousand different lights. You will, it is to be hoped, soon grow weary of the threadbare monotony of the so-called new Italian operatic melodies.” “Of learning there is no end.” The Revellers’ male voice quartet has achieved fame in England and America. The combination conists of two tenors (Franklyn Baur and Lewis James, a baritone (Elliott Shaw), a bass (Winfred Glenn), and an accompanist (Edwin Shallc), who also sings tenor. These artists have frequently appeared as individual soloists, and as members of other combinations. It is said to be a commonplace in the United States for singers of syncopated music to appear also in more serious music, and all four (incidentally having graduate! as soloists in famous church choirs) have appeared as soloists in oratorio and festival work, besides with the Mendelssohn Choir in Toronto, the New York Philharmonic, the Chicago and the Philadelphia orchestra and the New York Oratorio Society. The intention of the quartet was to attempt to do with their voices what Paul Whiteman had accomplished with hie instruments. How far thev have been successful their records will snow. The manner in which their “trick” singing and legitimate singing are combined is astonishing. Such effects as five-note chords, the using of four of a constant interchanging of a solo voice, and the almost orchestral colouring which is frequently achieved in their songs are all interesting When the first record of the Ensemble was being played in a studio in New York, a serious musician said, “Sure, that is a marvellous record—only niggers could do that.” Ho was probably referring to the rhythm and the colour. A record just released is “Diana,” with “Gonna Charleston Back to Charleston.”

Religious music has always a ‘Tong suit” with some companies The grand organ solos recently issued have been added co an already excellent selection. This music has an alniost universal appeal, and it seems to bo a sphere in which the gramophone will bring the influence of the church into the home. Two fine records are “Hallelujah Chorus” (Messiah), and “The Storm. “It seem® but yesterday,” says one paper, “since the first tentative organ recordings appeared. To-day they are sufficiently advanced in technique, and realistic in result, to startle both the casual listener and the seasoned gramophile. Great progress has been made in recording the highly complex and powerful sound wave of the grand organ.” Now is the time to be looking round for Christmas records, both for home en joyment and present-giving. There is much good material available. There are, of course, the “Messiah” numbers. Amongst the less expensive of the new process issues are the brackets. “While Shepherds Watched,” ’’Hail. Smiling Morn”; “O Come, All Ye Faithful,” “Hark, the Herald Angels Sing”; “Good King Wencelas,” “Christians, Awake”; all sung by the St. Swithin’s Choir. Then there is an attractive pipe organ disc, containing “While Shepherds Watched,” “The First Nowell”; “O Come, All Ye Faithful,” and “Christians Awake.” These make excellent accompaniments for home singing. There are algo two church hymns (by church choir), which could be happily added to the evening s Christmas singing, “O Jesus, I Have Promised,’ and by way of a benediction, "Sweet Saviour. Bless Us Ere We Go.” From some of the older recordings may be selected many suitable numbers for the time of the year, these including several solos and choruses from “The Messiah. With so many of the theatre successes either “still going strong’ in the Metropolis, or repeating their triumphs throughout the provinces, the demand for records of popular musical comedy selections. instrumental and vocal, shows no sign of decreasing. On the contrary, the leading companies are issuing fresh plies. A dozen records, based on “No, No Nanette,” include selections, vocal gems and numbers sung by Irene Browne and George Grossmith. Biunie Hale, and Joseph Coyne. Dance records, too, from “Nanette” have been played for by the Hannan Dance Band, while Percival Mackey renders piano solos and Layton and Johnstone sing “Tea for Two.” and “I Want to bo Happy.” In the “Rose Mane records the Hannan Dance Band plays and Edith Dav sings. “Wildflower." has supplied the usual two -part selections and a duet number bv Kitty Reidy and Howett Worster, who sing “Bambalina” and ’’April Blossoms.” Percival Mackey’s Band plays a variety of airs in foxtrot or waltz form, and Layton and Johnston come in with “Wildflower’ ami “You Forgot to Remember.” Miss Ethel Osborn. the Australian soprano singer, was introduced to London with the help of Sir Landon Ronald and the Light Symphony Orchestra. Os born was “discovered” by Dame Clara Butt and her first concert met with great, succos®. She sane “Kegnava il Silcnzio, from “Lucia di Lammermoor,” _ (Doni zsttil and soared easilv to the high D. After her success at the Albert Hall she takes definite rank among te singers who have gone from Australia. She made good in exceptional circumstances, bias much ns the famous conductors. Sir Edward Elgar and Sir Landon Ronald, with the London Symphony Orchestra and the full resources of the grand organ, wore all engaged in helping to welcome back Dame Clara Butt and Mr Kennedy Rnmford from their long world tour. In these circumstances. the separate welcome given to Mbs Osborn was the greater tribute. “Peer Oynt” music, whether heard through band, orchestra, or solo instrumental media, is always assured of_ attentive hearing, Several records of this suite have now been issued in part or whole, one of their most attractive giving | “Morning” and - “Death of Ase.” A second vc-ord holds “Anit.rn’s Dance” and “Dance of the Tmne.” and ends with the mournful “Solveig’s Song. Each air is placed with thorough understanding. For those who prefer a hand vorci., n there is that bv the Scots Guards Rand giving all the alaove selections with the exccntOe of Song.” or one rony hear the artistic violin rendering of it by Leo StrockofT.