MUSIC.

Otago Daily Times, Issue 20643, 15 February 1929, Page 5

MUSIC.

NOTES AND RECORDS. By Allegbo. In an interesting book, “The Margin of Music/' Edward E\aiis writes. “Recitals of Two piano music seldom draw large audiences, even when Busoni is one of the pianists. The apparent exception presented by the direct recitals of Myra Hess and Irene Scharrci is due more to a personal following, that ensures an audience, whatever music these artists elect to perforin, than to any special attraction inherent in two-piano music/’ The.book was printed in 1924, and no doubt the writer would alter his opinion to-day. A recent Loudon journal mentioned that at a two-niano I‘ocital there were presented, with Edith Gnnthmpo and Cecil Baumcr at Aeolian Hall, niusicianly ensemble works by Rachmaninoff. Arensky, the Schumann Andante and V nidations, and interesting items by Caedes-Mongin and Melan-Gueroult. Edward Evans goes on to say: “The resources of this combination are superior to those of duet . playing. Debussy’s ‘ Petite Suite ’ ami Ravers ‘Ma Mere I'Oye ’ were originally piano duets, but sound much more effective when played on two pianos It is commonly supposed that two pianos of similar make are desirable for the purpose. My own opinion is that the pianos should be sympathetic in tone quality, but preferably not identical, because then the listener receives a clear impression of a duct, where, before a good deal of the concertantc effect was lost. The first phace of duet-literature for two piano's was almost entirely limited to variations, the best-known of which are by Sainf-Saens, ■ Binding, and Reger. One can play on two pianos besides arranged orchestral works sonic of Schumann, all the symphonic works d Richard Strauss, and many of Mhler, lire symphonies of Borodin, several works by Rimsky Korsakoff. anil some of Scriabin, a great deal of Snint-Saens and Debussy. There are also Russian and German works, among which is Brahms’s version as a sonata for two pianos' of his ‘ F Minor Piano Quintet.’ English works include some bv Dr Arthur Somervell and Norman O’Neill, and the most important addition in recent years is Arnold Base’s Irish tone poem, ‘ Moy Mell.’. For the appreciation of two piano music the listeners should not only take in the music, but be not merely a passive listener. Only the active listener, he who mentally collaborates with the players, can really enjoy to its full extent the special charm of two-piano duets.” “ Scheherazade,” a symphonic suite by Rimsky—Korsakoff, recorded by the Philadephia Symphony Orchestra, under Leopold Stokowski forms five double discs. Amongst the records by this orchestra which have been issued recently are several which can be said to mark the highest level of technical excellence yet readied in reproduction by the gramophone. “ Scheherazade ” is a work well suited to a display of the extraordinary virtuosity of this orchestra. From Verdi’s “ Otello,” La Scala Chorus has recorded “ La Tempesta ” and “ Fuoco di gioia.” The two choruses from the first act of “Otello,” which used to be regarded as almost impossible to do justice to, are here executed'with ease. The solos and the orchestration come out with unfailing accuracy. ’ Bruch’s “ Kol Nidrei ” proves a ’cello disc by Felix Salmond. Much good work as this artist has done, this is his finest record by far. The plaintive strains of this old Hebrew melody swell out with richness.

Suppe's “ Light Cavalry Overture ” is a recorded organ solo by Quentin M. Maclean, who is the organist of one of»Loudon’t pavilions. The registration in this organ solo is effective, particularly so in the opening. A new disc is a “Pagliacei” selection with Percy Pitt conducting the New Queen‘s Hall Orchestra. Percy Pitt plays with suveness and vigour. Cfalos’s •“ Chant du Berger” and' “ EubeusteiirV “Romance” have been recorded by a strong sextet in charming stylo.

Thjp Adelphi Orchestra’s record of “Lilac Time (arranged Clutsam) shows good rhythm. Here is a skilful selection of the best music from this popular musical comedy.

A recent disc is one in which the National Symphony Orchestra plays the “ Stradella ” overture. “ Stradella ” is based on the experiences of. Alessandro Stradella. A hymn opens the -overture aud is also heard towards the end.

Wagner’s “ Isolde’s Liabestod,” sung by Elsa Alsen, is a soprano disc. “ Isolde’s Liebestod ” remained a favourite excerpt with Wagner all through his days. Elsa Alsen’s version is more than vocally adequate; it is musicianly. Six of Schubert’s “ Musical Moments ” are recorded pianoforte solos by Ethel Leginska, who is an enterprising musician. A few years ago she conducted symphony orchestras on the Continent, and it America. Now she reappars with anample offer of four Schubert piano records.

Mozart’s “ Hondo Alla Turca ” and Scarlatti’s “ Pastorale," played by Ignaz Friedman form an interesting disc. The harpsichord is a brilliant instrument with a personality all of its own. Scarlatti’s “ Pastorale,” one of the earliest mediaeval compositions, is well suited to the instrument, which Friedman plays with all the skill that is manifested by him in his piano playing. Maurice and Sydney with piano have made a disc •of “In Old Vienna ” (Nicholls) and “ Toy-town Artillery’ (Ly.nton). These are two of the latest songs with a happy combination of harmony', rhythm and expression. Mary Baker Eddy’s “Communion Hymn ” and “ Mother’s Evening Hymn,” sung by George Parker, put on a record all the simple tunes of American hymnology- which yield sincere pleasure, Parker has a sympathetic voice, _ Two good examples from modern English composers arc “Sea Fever” (Ireland) and “In Summertime on Brcdon ” (Graham Peel). They have, been recorded by Stuart Robertson. The voice is full and the songs well expressed. Jesse Craw ford contributes two records to this month’s issue. On the first there is an Irving Berlin number, “ I Can’t Do Without You,” and “Dance of the Blue Danube” (Fisher). On the second record are “For Old Time’s Sake” and “ Rosette.” Crawford is a genius at the console, and his variations and effects arc always in keeping with the theme. The soft tenor voice of Johnny Marvin has ample scope in “ I Still Love You ” and “My Pet.” These two sentimental songs are favourite vaudeville numbers in America, and the record is clear. A saxophone record by Rudy Wiedoeft has on it “ Rnebenola ” and ■ “ Itchin’ lingers/’ This shows the saxophone at its best. Ihe numbers are enhanced bv violin, banjo, guitar, and piano accompaniments.^, Amongst the odds and ends of recent recordings should be mentioned Jhnmie Rogers’s items. “ Away Out on the Mountain ” and “Never No Mo’ Blues.” with guitar; Bud Bellings’s “I Tore up Your Picture when y'ou Said Good-bye. but T put it Together Again,” anti the BillingsRobison duet, “ Do You. Still Remember? ” Esther Coleman’s contralto .disc, “ The Dear Homeland” and “My Ain Folk.” and Albert Richardson’s old English folk songs, “.The Old Sow” and “Buttercup Joe.”

Charles W. Saxby, F.R.C.0., has made a disc of kinema organ solos with vocal (■lionises, “For My Baby” and "You Can Tell Her Anything Under the Sun.” “ For My Baby ” is a rhythm number with clever alternation of brass, saxophone, glockenspiel, .and xylophone effects. Amongst the new dance records, listed for February. Nat Shilkret’s . Orchestra presents the biggest offering. This excellent dance orchestra has recorded the. foxtrots, “ That’s My Weakness'Now ” and “ You’re Wonderful.” “I Still'.Love You” and “Id Rather Cry Over You” and “ Out of the. Dawn,” On the reverse side of the last-mentioned disc is the- nonulav waltz “ Jermaine.” The same orchestra makes an interesting departure from the usual with two musical novelties by Wil-, lard Robison— “ Truthful Parson Brown ” and “The Devil is Afraid of Music.” Paul Whiteman’s Orchestra gives the fox-trots ‘ Louisiana ” and “ Dixie Dawn. ’ with vocal choruses; Charles Fry’s Orchestra. “ Sorry for Me” and “Look What You’ve Done? ” Other dance numbers include “Constantinople” (Hamp’s. Sevenaders), and “You’re a Real Sweetheart” (Wolfe Kahn’s Orchestra). “Cheerie Beerie Bee” (Whiteman’s Orchestra), “Chiquita” (Arden and Oilman’s Orchestra), “ Kawaihan ” (Hilo Hawaiian - Orchestra), and “Persian Rug” (Louisiana Sugar Babes), “Kiddie Kapera ” and “Rag Doll” (Ardon-Ohman Orchestra), "Oh! on Have No Idea” (Coon-Sanders Orchestra), and “ Don’t Wait Till the Lights arc Low” (Henry Thies’s Orchestra), ‘Lovely Little Bluebird” (Wolfe Kahn’s Orchestra), and “ Sweet .Lorraine.”