MUSIC.

Otago Daily Times, Issue 20283, 16 December 1927, Page 5

MUSIC.

NOTES AND RECORDS. The Christmas season annually brings Handel’s famous oratorio of the Nativity, life, and message of Christ, “The Messiah,” to lovers of this kind of music. There aro several recordings from “ The Messiah.” Amongst these may bo mentioned : —“ AH We Like Sheep Have Gone Astray,” R.A.H. Orchestra and Choir; “Amen Chorus,” Royal Choral Society; “ And the Glory of the Lord” (chorus), Leeds Festival Choir; “And the Glory of the Lord ” (organ and piano accompaniment), Sheffield Choir; “And the Glory of the Lord ” (chorus), Royal Choral Society; “But Thou Did’st Not Leave His Soul in Hell,” John Harrison; “But Who May Abide” (orchestral accompaniment, conducted by Goossens), Robert Radford; “Comfort Ye My People,” Tudor Davies; “Every Valley Shall Be Exalted,” Tudor Davies; “For Behold Darkness,” Tudor Davies; “For Unto Us a Child is Born,” R.A.H. Orchestra and Choir; “Glory to God,” R.A.H. Orchestra and Choir; “Hallelujah Chorus,” Choir; “Hallelujah Chorus ” (grand organ), H. Dawson; “ Hallelujah Chorus,” Leeds Festival Choir; “He Shall Feed His Flock,” Clara Butt; “Ho Shall Feed His Flock,” Louise Homer; “He Shall Feed His Flock,” Kirkby Lunn; “Ho Shall Feed His Flock,” Leila Megane; “Ho Was Despised,” Louise Homer; “His Yoke is Easy and His Burthen is Light,” R.A.H. Orchestra and Choir; “ Lift Up Your Heads, 0 Ye Gates ” (organ and piano accompaniment), Sheffield Choir; “Life Up Your Heads, ■ 0 Y© Gates,” Royal Choral Society; “ Lift Up Your Heads,” R.A.H. Orchestra and Choir; “ 0 Thou That Tellest,” R.A.H. Orchestra and Edna Thornton; “ 0 Thou That Tellest Good Tidings to Zion,” Louis© Homer: “ People That Walked in Darkness,” Robert Radford; “Surely He Hath Borne Our Griefs,” R.A.H. Orchestra and Choir; “ Thou Shalt Break Them,” John Harrison ; “ Thus Sailh the Lord ” (orchestra conducted by Goossens) Robert Radford; “Trumpet Shall Sound,” Charles Knowlis; “Worthy Is the Lamb” (chorus), church choir (mixed); “ Worthy Is the Lamb,” Royal Choral Society; “ Why Do the Nations,” Robert Radford; “Why Do the Nations? ” (orchestra conducted by Percy Pitt), C. Whitehill; “ Why Do the Nations? " Robert Radford. These records are all procurable. It would be a wise thing for those who have no opportunities of hearing big choirs and orchestras to procure some of them. Sir Thomas Beecham, conducting the London Symphony Orchestra, has recorded “ Symphony No. 2 in D”. (Beethoven), wl:*oh was first performed in Yienn a in 1805. It was probably completed towards the close of 1802. Written when the composer was 33, it represented a stop forward in breadth of stylo and distinct individuality ns compared with the First Symphony. It is a cheery work, although, when ho wrote it, Beethoven was already overshadowed by those “ powers of darkness ” against which he waged a neverceasing battle. The first movement has a slow long introduction. The larghotto is notable for its beautiful and delicate woodwind playing, and in the main is of lyrical character. The scherzo Beethoven uses instead of a minuet. The finale is a sort of second scherzo. Sir Thomas Beecham has recorded this symphony with infinite charm. Of all the symphonies it is the most appropriate to his mood. The recording is good, save, perhaps, for a harshness in some of the brass notes on the first of the four records. Georg Schneovoigt has been recorded conducting the London Symphony Orchestra. He is a great conductor and, at the same time, a great ’collest, and his visit to London was consequently looked forward to with interest. One hesitates to recommend all his discs. It has been suggested that Beethoven frightens him, for nia Beethoven records nr© stodgy. Ho is best with his fellow Scandinavian. Greig. His insight into Greig’s music has been widely observed and there is an example in the recorded dances. The dances are well played from the riotous first danco to the absolute change in the slow, sustained third dance, with its lovely ’chromatic harmonies. Francesco Merli ( the Italian tenor who supported Chaliapin ip Boito’s “ Mefistofele ” at Covent Garden last year and will be one of the principal tenors of the opera company that will giv e a season in' Australia early next year, has recorded two arias from Puccini’s opera “ Turaudot.” “Non Piangere ” (“Do Not Weep, Liu ”) i s sung by Prince Calaf, who consoles his slave Liu when the latter expresses the fear that her master will be condemned to death It is sung immediately after “ Signore Ascolfa.” Operatic circles in Australia have received good reports . of Merli’s singing and are eagerly awaiting the arrival of the company in which he is to appear. 'Cello solos recorded by W, H. Squire, with piano are “ The Sally Gardens ” (Hughes) and “ Papillon ” (Faure). “ The Sally Gardens ” is a striking example of ’cello quality, and there ar e delicate passages in “Papillon.” Another Squire record is “ Memories of Tohaikowsky. ’ The J. H. Squire Celeste Octet usually makes fine records, and the electric recording is responsible for additional depth. In this particular number Squire has selected some favourite melodies. Part one opens with the dainty “Danse des Mirlitons ” from the “Caseo Noisette ” suite, followed bv “ None But the Weary Heart Rejoices,” expressively played by the ’cello. The second side introduces the opening movement of the B flat minor piano concerto, op. 23. and some of the principal themes of the “ 1812 Overture.” As many as 92,000 voices are used in the record “ Abide With Me ” and “Land of My Fathers.” The scene opens with a sound-picture of the vast football cup-final crowd at Wembley, waiting for the London Arsenal team to play Cardiff City, Suddenly above the turmoil rises “ Abide, With Me.” Quickly it is taken up, until the entire field is singing. This and “ Land of My Fathers ” were specially included in the community singing programme at the request of the King It is a long time since Elizabeth Schumann wag recorded in “ Batti Batti,” from Don Giovanni,” and “ Voi Che Sapete,” from “ Figaro.” Now records of her singing are two German pieces by Richard Strauss. They aro “ Morgen ” which is in the nature of a test piece for technique, and “ Standchen.” Gramophonists will probably remember the record made by John M’Cormack of “ Morgen,” with violin obbligato by Kreisler. “Off to Philadelphia” and “A West Country Courtin’,” have been recorded by Norman Allin. This is lighter fare than usual from Allin, who usually shines in the operatic firmament. There is something iollv about his rendering of “ Off to Philadelphia.” and a touch of sly humour in ” A West Country Courtin’.” The Loner String Quartet has recorded a beautiful rendering of Mozart’s early “ Serenata ” Quartet in C major. 1 articularly lovely is the song-like ‘ Romanza movement which follows the allegro. The record of Bach’s first two Preludes and Fugues from the famous Forty-eight has extraordinary life. Bach can suit all tastes. If the ’cello is your favourite instrument there aro six (dance) suites for it and his choruses like the Hosanna and the “Pater Omnipotens can flood “our soul with beauty. These choruses have been recorded. Bach’a third Brandenburg Concerto is a new record. The group of fiddles is divided into three by Bach, as are the violas and ’cellos, and these groups bandy the chief theme about amongst themselves. The jolly second movement will captivate all hearers. “ Perlmutter As An M.P.” is a recent record by Nicholas Adams (comedian). “ Potash and Perlmutter.” He is one of the comical Jewish pair— Augustus Yorke is the other—who toured the world with this play, and he has written this little fantasy on the same lines of humour. A previously mentioned record is that of Arthur de Greef in “ Concerto in A minor” (Greig), op. 10. lie is accompanied by the Royal Albert Hall Orchestra, under Sir London Ronald. (there are four records. The Zonophone Light Opera Company has recorded vocal gems from The Yeomen of the Guard,” “ lolanthe, and “ Pinafore.” The disc is composed of “ Scraps,” but should not be despised on that account. “Billy Boy” and “Talking to the Moon ” have been recorded, as sung by Layton and Johnstone. “Billy Boy” is a swinging sea-chanty, _ Every word is clear, and worth listening to. The “ Quartet—Satz in C minor ” (Schubert) has been recorded by the London String Quartet. This posthumous movement of Schubert is a fragrant thing—a composition of flowing melodious phrases whose simple beauty takes on almost the character of a Schubcrtian song. The London String Quartet plays ! '-mx ftimmathetically.