MUSIC.

Otago Daily Times, Issue 20591, 14 December 1928, Page 5

MUSIC.

NOTES AND RECORDS. By Allegro. I have received some new songs from Chappell and Co., Sydney, among them a setting of “Break, Break, Break," bv Arthur Darby, which opens after a rushing introduction on three notes much in the same style as the Carey setting. The accompaniment in the second verse has little interest, and is not helped by the melody. There is nothing of the “popular in the song, however, and Arthur iJarby has not cheapened the words bv ms setting above the arpeggio waves. everywhere I Look is written in Mollv Larews usual style with plain chord accompaniment. “Bethlehem." bv Jan Broeckx. opens in the style of a carol. Of two songs by Margaret Woolmer, {shearing Song ’ is the better. Modern directions as to the method of singing and playing are certainly lucid. Instead of allegro we have “at a quick trot throughout. Full Moon,” the other song, is more in the ballad style, and has somewhat after the method of Cyril Scott. A song by . Montague Phillips, "A Young Girl’s ?ong, has the redeeming feature that it is no worse than the words and is the usual type of piece so popular, alas, with Present-day singers! “Nine Nursery Rhymes," set to music by R. A Home, shows that the writer has a habit of repeating himself. “ Little Bo Peep ” is delightful. Numbers 5 and 9 are also dainty, and should. sound well, sung by a jmung mass junior choir. A, piano Piece, “A Frolic," by Iris de Garros Rego! in M i n i* reS j ln s .fi rst section, but rfm standard a little in the second. In James Brash s “The Dance of ColumKS®, A a merry piece), care should be taken throughout, especially in the arpeggio section, to keep sentiment from the playing, as the music cannot stand

J-f Person used to regarding a “ recorder,,™?;? 0 i a3 .i a P urel J r , mechanical instrument played and worked by the dull means of regulating levers and pedals was pleasantly surprised to hear the other given by. Mr Russell Chester (Associated Board examiner) a duo-art pmno. A light Bach “Prelude and Fugue was played in both an interestmg manner and with more differSTJ? 6 than w , as es P°cted. Excelin gramophone record, too, of theiSchubert “ Trio in B flat,” played bv Thibaud, Cortot, and Casals and given so recently here at the Schubert concert. . . ~n to ® hig symphony orchestra is .a privilege we are unable to enjoy in this country, and unless we can procure record we Remain in ignorance of the actual sound, volume, and interpretation of the large orchestral works. On hearing the Philadelphia Symphony Orchestra record of the second Liszt Khapsody (the record itself heim? well worn) as played by the new Electrovox reproducer one is struck by the absence oi«urtace noise. This reproduces big tone without grating and soft tone without thin quality. So sensitive is it that one hears plainly the. grip of the bows as they tape the strings. Different colours are brought out, and bass is clear as well as treble. Vocal work, also, is made more natural.,

Riccardo Straccian has made a number of electrical re-recordings, which will replace his old records. On one disc he sings two notable operatic scenas. “0 hommo Carlo" is one of the important scenas from Ernam.” the solo being sung by the Emperor who pardons the conspirators. The Te Deum ” (on the reverse side) is the end .of the first act of Tosca. Another disc contains from «t ! Trovatore," “II Balen," and from L<a Oioconda the Barcarole.” The chorus work in the latter number deserves reaT praise. The prologue of “Pagliacci," rnttvo parts, is the third record. It will be remembered that the “ Prologue " m the old recording was paired with the Toreador Song ’—one side of a 12-inch disc. The new record is'a 10-inch, and both sides arc occupied, thus giving Stracciari greater scope for' dramatic treatment.

Schubert’s '• Sonata in A major, op. 120, and the "Rosamundc Ballet Music ” played by Myra Hess, have been recorded, ihe first movement of the sonata is based on a lovely Schubertian melody, and is simply captivating. The, “Andante” is slightly pervaded by sadness. The “Allc*s brilliant. Myra Hess, a pianiste of international reputation.. plays with keen insight.-liphtnesg, and almost* manly vigour and virility in the last movement. Schubert’s “Erl King" and “Death and the Maiden ” have been recorded by Sophie Braslau in German. Sophie Braslau’s voice is rich both in timbre and in flexibility. She manages to produce two widely contrasted voices in each of these songs.

.•The Symphony Orchestra conducted bv Albert Coates has made a disc of “ The Meistersingers ” Overture in -which Wagner has given a picture of the splendour and pomp of the meistersingers procession, whilst fragments of the love motive of Walther and Eva are also heard. The recording does full justice to the overture.

Tito Schipa shows how well he records in “ Granadinaa ” and " Princesita ” (sung in Spanish). These are two of his great successes, particularly ‘ Princesita,” Robert. Radford'in “I’m a Roamer ” (Mendelssohn) and “Hear Me! Ye Winds and Waves” (Handel) is a favourite basso re-recorded. These are two of the best known arias of his repertoire. Chaliapin’s records arc* characterised by much feeling and a good deal of fierce singing, even in humorous extracts. Such is shown in his “Tavern Song” from “Boris Godounov,” with its surprises and vulgar fun. All through, the restless accompaniment fills tire disc with the tavern noise and specially ludicrous are four notes deep in the bass. Above this, Chaliapin’s voice laughs until the slowing of the tempo, where he is leftchuckling by the silenced orchestra. The “Song of Prince Galitsky” has some peculiar changes of key and syncopation. Here the singer shows his supreme cleverness. The recording is all that can be desired.

Mark Hambourg has taken a Chopin group for his latest record. The “G flat Waltz” of opus. 70 and the “D flat Waltz” of opus 64 form the first side. The performer opens with great, speed which a good gramophone should have no difficulties in recording without blurring. The second waltz is played so quickly before the second theme enters that one can scarcely grasp the meaning of the notes. The A flat trill which lends so delightfully into the first turning-over figure of the introduction is excellently done. The Polonaise on the other side is the one in B flat major from opus 71. One of the most prominent of the Schubert centenary records i,= the “ Quartet in D minor,” familiarly known as “ Death and the Maiden.” It is recorded by the Budapest String Quartet, a combination of instruments which gets a fine balance of string tone. The Scherzo has some charming conversations between the different instruments, while the hustle and energy of the last section, with its opening reminder of Beethoven’s “ Kreutza " Sonata, is refreshing. Chaliapin has made another disc, and tells a merry tale in “ Madamina ” from Mozart’s “ Don Giovanni.” Here he impersonates the part of Leporello, the servant. Chaliapin’s flair for humour has never been more strikingly exemplified. Browning Mummery is a tenor who is not afraid to attempt Italian opera in English, and two arias from Puccini's “ Madame Butterfly ” —“ The Whole World Over,” and “Yes, in One Sudden Moment,” have been recorded by him. His clear tenor voice is a happy blending of the lyric and the dramatic and is convincing in utterance.

“Chiquita” (Wayne and Gilbert) and “That’s My Weakness Now” (Green and Slept) form the latest disc by Ukulele Ike, who is an artist in his own quaint way. His self-accompaniment demonstrates the real possibilities of bis instrument.

Bransby Williams lias recorded two more monologues. Both nf these are improved through the electrical process. His choice is “ The Difference ” of Kelly ami Longstaffe and “ Not Old ” of Julius Day. “ There Ought to. bo a Law Against That ” and “ Sunshine,” sung by Little Jack Little, with , piano accompaniment, show an entertaining vocalist. His singing is quite unforced, and comes clearly from the disc.

Two peculiarly-named songs, “Giggling Gertie ” and “ Dirty Hands! Dirty Face.” have been recorded by Vaughan de Lcath, comic vocalist.

“Switchback” and “On With the Motley,” played by the Australian Commonwealth Band, form a recent disc. The " Switchback ” is an attractive number, chiefly remarkable for some trombone solo work.

*’ Scottish Medley" and “American Medley” are recorded one-steps by Detroy Somers and hig band. No" dance (record collection is complete without tiic.se two jolly one-steps.