MUSIC.

Otago Daily Times, Issue 20289, 23 December 1927, Page 5

MUSIC.

NOTES AND RECORDS. CHRISTMAS CAROL MUSIC. To write about suck works as Back’s “Christmas Oratorio” or Handel’s “Messiah,” Mendelssohn's Christmas music, or the numerous settings of the ‘ Gloria in Excclsis,” would be but to s£y again what we all know —that Christmas is not Christmas without them. Let it be enough to say that Bach’s “ Oratorium Tempore Nativitatis Christi ” was written in ; 1734, seven years before the " Messiah, and that both have remained until 1927, and will do so until there is no Christmas. Carol music is most interesting, Noels have a distinct character of their own, and even the young child knows a carol is different from the usual hymn, though ho cannot tell you why. I lately asked one what he thought of a little “ Carol by Swinstead that he was learning. He said to me, “ I am singing it all the time in my head while I am playing it, and I like the ‘ minor ’of it.” That I thought an apt summing up of the piece, which could well be set for a child’s voice. “ Carol ” originally meant “ song-dance ’ in France in the twelfth century. From France also comes the name “ Noel.” Later it grew to mean “ song,” especially a Christmas or religious song, and carol singing was established in England in 1426. Anglo-Norman carols sung in King John's time accompanied the processions of the people. Mystery and miracle plays were brought by St. Augustine. Most of the great carol manuscript belongs to the fifteenth and sixteenth centuries, and those dealing with the Annunciation are very dramatic. Shepherds songs and lullabies have the true simplicity of Christmas. The Reformation put an end to the old carol singers, as they were not allowed to sing on saints days or holy days. Later, the old revelry of Christmas was'revived, and carols written in the seventeenth century deal with the joy and mirth of the time instead of the more sacred side. The pastoral element entered much into the songs. Puritanism was almost the cause of the death of carol singing, yet this form of celebrating Christmas will always remain. For instance, who does not heartily enjoy “The Holly and the Ivy ” (old French carol) or Good King Wcncelas” (1582), or the Boar’s Head and Falcon carols, written as far back as 1400? One beautiful carol I must mention “ Lullaby,” whose lovely melody and harmony fit well the line “ It aches my heart to see Thee lie with covering thin and spare ” Well-known Christmas hymns and carols arc Mendelssohn’s “ Festival Hymn,” better known as “ Hark tbe Herald Angels Sing,” Gounod’s two anthems, Bethlehem,” and “Nazareth,” “Masters in the Hall,” Holst’s “ Lullay my Liking’ and “ Hymn to Jesus,” Rutland Boughton s setting of the old nativity play, Bethlehem,” and the jolly “ Twelve Days of Christmas,” which I heard for the first time last year sung by a choir of schoolgirls, who thoroughly enjoyed themselves. ° Every student should try and study, it even a little, the carols he so often hears —for it is only by doing so that he will learn about this interesting phase ot music. The Christmas records are an excellent selection. These may be mentioned: R. Arnold Greir, F.R.C.O. (on the grand organ), presents a Christmas Fantasy, introducing “ God Rest Ye, Merry Gentlemen,” “ A Virgin Most Pures Hie Babe at Bethlehem,” “ A Rare Song In Praise of Christmas” (1660), “Christ Was Born In Bethlehem,” “Ye Chimes, and “The Boar’s Head” (carol). Ihe bracket number in Mendelssohns Wedding March,” The Trinity Choir presents “ Christmas Hymns and Carols. Some of the loveliest of hymns appropriate to the Christmas season. The beauty of chorus tone, the reverent, yet joyous, spirit are thrilling. The same choir also sings “ While Shepherds Watched ” and “ It Came Upon the Midnight Clear,” “Joy to the World” (Watts-Handel), and “Oh! Come All le Faithful.” Trinity Choir, with bells and the orchestra, has made beautiful records of both. “This Day Christ War Born, “Christe Qui Lux es et Dies” (Byrd), (a) “0 Lord Increase My Faith,” (b) “ O Clap Your Hands,” “ God Is Gone Up” (Gibbons), have been recorded by the York Minster Choir. The records issued to coincide with the ceremonies and celebrations of York Minster’s thirteen hundredth anniversary. The recording was carried out actually in York Minster. ' The performances recorded were made under the direction of Dr E. C. Bairstow. Quite apart from the interest lent them by the fact that they were actually made in the historic Minster itself, these records will appeal to all who take an interest in choral music. The music chosen is representative of one of the greatest periods in English music, for both Byrd and Gibbons were composers of Elizabethan times. A delightful Christmas bracket is “ Agnus Dei ” (Bizet) and “ Noel ” (Adam), sung by Maartje Offers (contralto), with organ, ’cello, and harp. Maartje Offers gives capital renderings of these songs, and the “ Noel ” is enhanced by harp and organ accompaniment (played by Herbert Dawson). In Bizet’s melody the voice is supported by an accompaniment, consisting of ’cello, harp, and organ. 1 “ Festive Medley ” and “ Savoy Christmas Medley,” played by Reginald Foort on the Wurlitzer organ, form a recent record. Mr Reginald Foort has woven into his “ Medley ” a number of the jolliest tunes in existence, interspersed with tunes equally well known but of a more “ homely ” cast. Still another delightful Christmas record is “ Christmas Day With the Savoy Orpheans.” This medley is a thing of delight for everyone who hasn’t too much of the Scrooge in him to say, “Oh! bother Christmas!” “ Regnavi rel Silencio ” and “ Quando rapita in Estasi,” from Donizetti’s “ Lucia di Lammermoor,” sung by A. Gugliehnetti, soprano, have been recorded. It is extraordinary that so many singers choose to sing tho rather insipid made scene from “ Lucia ” and ignore .this beautiful aria. The melody is typically Italian. Though Gugliolmetti’s voice is lacking a trifle in power and warmth, colouratura passages are brilliantly sung. She knows how to make the most of her abilities. The orchestral accompaniment to “ Quando Rapita ” is well reproduced, especially in respect of tho harp. “ Strauss March ” and “Bond of Friendship March ” has been recorded by the band of H.M. Grenadier Guards. Here wo have a favourite Continental march alongside a typical English march. Lieutenant George Miller makes the most out of his band, but tho name J. M. Rogan given on tho record as the composer of the “ Bond of Friendship March,” recalls that he was the greatest of all the Guards’ band conductors. Nobody could touch Mackenzie Rogan in this class of music. Frank Tours, conducting the Plaza Theatre Orchestra, London, has recorded "A Musical Switch,” “Humoresque,” and “ Lovers’ Lane Minuet.” Starting off with “ Soldiers of the Queen,” the Plaza Theatre Orchestra glides from one tune to another, classic and comic, latest jazzhit and old-fashionod waltz. A gramophone company has made an innovation by having some of its recordings made in Germany. Tho factory in that country has made great progress, and some of the records are of outstanding merit. The Berlin State Opera Home Orchestra is not unknown in England; it recently made an excellent record of the “Mignon” overture. The Berlin Orchestra gives a fine interpretation. Yet another good disc from this orchestra is its rendering of “ Dor Frieschutz ” overture. Again the balance of the performance is mrUtanding, especially in the fine swinging finale. Saxophone solos recorded by Rudy Wicdoft are “ Song of the Volga Boatmen ” and “La Paloma.” Rudy Diedoft puts charm into an instrument that is usually a weapon of offence. Into “La Paloma,” for instance, he infuses as much fooling as any other instrument could do. In lighter mood amongst recent records are the Revellers, who sing “So Bine” and “ The Birth of the Blues.” There are also light records by Derek Oldham of “ The Vagabond King.” the Smith Brothers, and the Light Opera Company in “The Desert Song,” and. in instrumental records, the Savoy Orpheans in selections from “Castles In tho Air” and “ Lady Luck,” and De Groot and tho Piccadilly Orchestra. Paul Whiteman shows fresh effects in two fox trots, “The Birth of the Blues ” and “ It All Depends On You,” and in the waltz “ Shalimar,” and the fox trot “Im Looking for a Fourleaf Clover.” Jack Hylton's band introduces an organ effect. ’There are three popular dame records by Jack Hylton, two by the Savoy Orpheans, and one by Nat Silkrct’s Orchestra.