MUSIC.

Otago Daily Times, Issue 20021, 11 February 1927, Page 5

MUSIC.

NOTES AND RECORDS. Piano playing, at a time when nearly every branch of music seeks liberation, is more effectually than any other, perhaps, establishing itself on a new basis. Held for a long period in conformity with the prescriptions of this or that illustrious teacher, it is asserting its independence of single and specific authority and is becoming a separate rule and practice for each musician. Under ideas that prevailed before the war, the piano was evidently thought of by players not so much as their own voice as the composer's. Their duty was to subordinate themselves and to exalt Chopin and Liszt. Their responsibility to the public consisted in withholding any views of men and things they might entertain on their own account, and to re-state the message of the nocturnes and rhapsodies as originally delivered. But no longer. The pianists who capture audiences to-day are those who trust their own artistic insight and technical capacity. Most of them cling too fondly, no doubt, to conventional programme material. But some of them give attention to enlarging the repertory, calling back ancient works to honour and bringing forward modern ones to notice. The whole account figured, the pianist of the present turns out (says the Christian Science Monitor) to be a richer contributor than the pianist of the past. For he gives of his own store instead of from another’s. Then, in expressing himself, he manages to disclose as clearly as his predecessor ever did, the intellectual and emotional force of Mozart’s and Brahms’s main theme, subsidiary theme, development and coda. More than this, he causes, in some cases, busy moments for the man at the ticket window.

An eleven-year-old girl at the London Orphans’ School, Watford, has written so charming a carol, both words and music, that Sir H. Walford Davies, the composer, described it as “ extremely beautiful ” and has had it broadcast by wireless. The girl (Annie Lucille Fanning) has had the delight of hearing her carol, “Little Baby Jesus," sung by Sir Walford, by three boys of the Temple Church choir under his direction, and by the girls of the school in their chapel.

Aberdeen’s programme in the Scottish Music Week included two gramophone recitals, exhibiting variety as well as ample demonstration of the quality of the modern instrument. Striking contrast in the latter respect was afforded by Caruso records. First on© of the . great tenor’s records, made in 1902, was heard, and then one of his last. There was no comparison between the two in point of tone and clarity. Elgar’s "Pomp and Circumstance” (March No. 1), bv the Royal Albert Hall Orchestra was synchronised on two instruments witli rare elfect. But for John M’Corm.ack’s singing of Landon Ronald’s "Down in the Forest” there were seven records brought into use, and the notes of the nightingale made charming accompaniment. Equally happy was the atmosphere secured for “The Storm,” by Arthur Neaple. Beautiful recording was heard in Galli-Curci’s “Lo here the gentle lark”; Turner’s “For you alone”; Heifetz’s violin playing of ‘‘Valse Bluette” (Drigo, arranged Auer); arid Backhaus’s interpretation of the “Naila Waltz” (Delibes-Dohnanzi). When to these are added on© of Sir Harry Lauder’s popular songs, “Susie M'Lean,” and a doublesided record by the Revellers, including “Whore is my Rose of Waikiki?” it will be gathered of how representative a nature were the records selected.

The organ, having apparently come at last into its gramophonio own, is settling down to enjoy full possession. Marcel Dupre’s records of the allegretto and finale from Mendelssohn’s fourth organ sonata give admirable clarity of phrasing in the reproductions. In the duet portion of the allegretto the lower voice is rather weighty for an ideal result. In Arthur Meale’s two-part record of his own ‘‘Storm” some of the “effects” are interesting, and suggest that this particular instrument is fitted with some of those “stunt” registers that make it possible for a kinenia oz-gan to do everything but take the money. Spencer Shaw has recorded six of our best known hymn tunes, playing each of them once over in simple, straightforward fashion. The record is quite effective, though sometimes a trifle “bulgy” in the provision of tone amount. Something of the same reservation must bo made in regard to R. Arnold Grier’s records of the “War March of the Priests” of Mendelssohn and Tscaikovsky’s “Coronation March.” Every little while the tone amount goes back a bit just when it should remain big. Apart ifrom this these are good records, effective in their reproduction of the reed quality. Stanley Roper’s records of the first movement of Handel’s Concerto in F No. 4, and an Epilogue on the “Old Hundredth” show fine quality of the soft flue stops in the delightful Handel movement.

Less than a year ago, before listening to an orchestral record (says a writer) one had to begin by making a mental readjustment to allow for wrong colour values, but today electrical process and the new typo of gramophone have altered that. As an example. I would cite the new record of the Prelude to “Tristan and Isolde.” Under Albert Coates it is beautifully played. Tho point, however, is the truth in reproduction of the timbre of the different instruments. 'to follow- the score as the gramoplays is a delight. One small criticism is the want of body in (he tone of oboe where it take up the motif. Continuing tho magnificent series of Wagner records, Walther's “Prize Song” and Sack's ‘Panegyric on German Art trorn “The Master-singers,” have been issued with Tudor Davies and Robert Radford as tenor and bass soloists respectively, and with Eugene Goossens in the conductors rostrum. With the orchestra giving a vivid reading of the score, and with both soloists excelling themselves, this record is olio to be prized. Mr Wallace-Jones's “Keep Fit” records are an unqualified success. They consist ol 12 exercises, set to appropriate music. Each oxetcise is described on a slip of thick paper, pasted inside the fold-over album containing the records. Then, on the actual disc, you hear a firm voice give .-nuplo directions lor the first exercise.' ..Iter (he word “commence,” at which you should ho m position, the music starts' in exactly l he right time, of course, and so on din mg (fie entire set of 12 exercises, which 'i ' , h <'i n introduction cover two records J !)e band which plays is a trained one, and -l i mug pieces have been chosen. It turns harness of morning physical culture into j [peasant chat, with an instructor who is ' at yeur disposai. The production 1,1 b® httlo set is work well done , Jtf/wnn quartet (Op. 76, Xo. 1) is delightfully played bw tho Budapest String Luartet. Ihis is Haydn in a typically light-hearted mood—a short, joyous work, Winch will be appreciated by the general musa; lover as well as by the chamber music fan. There are one or two good piano records, among the best of which must he accounted the Chopin Scherzo (Up. 31), as played by Moisiowitch. Piano tone is excellent, and Moisiewitch’s playing lias a beautiful rhythmic poise and decision. A very delightful Pachmarm record gives two of the waltzes (G flat and D flat), with a few explanatory remarks by the pianist. The venerable artist is in Ins best form. Still a third piano record, and quite as good as any of the others, is Mark Hambourg in Rachmaninoff’s Prelude and the Finale from Beethoven’s early C major onnta.

Some attractive dance records are among the latest productions. The Rio Grande Tango Band provides “Paso-Doblo,” a ispanish one-step, and “Vito” ; the Savoy '.lango Bands performs “Dccepcion” and “I.os Ganchos, ’as well as “Kl Misionoro” and “Valentino”; ‘Speak” and “Ninette Ninon,’ two waltzes, are given by the Savoy Orpheans; while (be Kit-cat Band performs “Song Bird” anil “Hawaiian Love Bird,” both waltzes with whistling solos by Margaret MTvee. Of fox-trots tbfro are many. Paul Whiteman and his orchestra contribute “Lo-Nah” and “Hymn to the Sim” as, well as “[ Never Know How Wonderful You Were” and ‘Sweet ("did.” There are some effective dances by Herbert Berger’s (.’orn.nado Hall Orchestra,; Jack Hylton and his orchestra are well to the front with “Surabaya Maid,” Serenade from “The Student. Prince," and other contributions; while the Savoy Orpheans, the Kit-eat Band, and the Savoy Havana Band (“I’m Knee-deep in Daisies”) provides some good work. Knrly days in gramophone history, when Patti and Calve lefused- in tears, to make records until they were converted to the new art. were recalled recently by Sir Bandon Ronald, who opened “Gramophone Week” at show rooms in London. A remarkable mode! factory was erected outside the “Concert Hall" showing th" making of records and every mechanical device in gramophones. De Gorgnza is recorded in “La Paloma”

and “La Jalnndrinn.” Never, in aP his previous efforts, does he sing so splendidly ns in those instances.