MUSIC.

Otago Daily Times, Issue 20690, 12 April 1929, Page 5

MUSIC.

NOTES AND RECORDS. By Allegro. A correspondent who has enjoyed a short course of study at Landowska’s country studio outside Paris gives an enthusiastic account of the atmosphere created by the neophytes of eighteenth century music:—“A mixed crowd of pupils turn up; on one particular occasion there were four pianists—two American, one Greek, and one English; two harpsichord players, Swiss and French; and two singers; while in the previous class there had been a Swiss gamba player and a German fiddler. Madame Landowska presides over ’his mixed class _ with marvellously goodhnmoured, witty, and tactful firmness. .Nothing is allowed to pass without criticism . . . while the person criticised—commonly called the victim—becomes the centre of interest. ... In the short interval for tea the students make friends m any language that comes handy; as much bad French can be heard from kind hearts in that little studio as anywhere in Europe, for none is ashamed there of his shortcomings.” There is hardly, an English writer observes, a busier guest-conductor in America at the moment than Eugene Goossens, whose activities seem to range from coast to coast. _ Vico Sir Thomas Beecham, he is taking his share in directing the Philadelphia Orchestra, and is to conduct concerts in Baltimore, Washington, and New York.

“ There is an astonishing nuriihor of young men all over the world,” writes Sir Hamilton Harty, “who seem to have nothing to do but turn out large and complex works in an unending stream. The number of complacent publishers who appear to bo willing to print them is still more astonishing. ... It would be beautiful to hear a whole audience hiss a work which one feels oneself to be pretentious nonsense. We are too polite for that as yet. Communal hissing is just as fine an ideal as communal singing; it is just a different path to the same end, —real appreciation.” A story that is vouched for as true told of a number of working men who went to hear one of Wagner’s operas, and were discussing amongst themselves exactly how to' pronounce his name. One man, his eyes glowing with pride and his heart beating with rapture at the joy he had received, said, “I don’t care whether it is Wagner or Vagner; all I know is that when 1 seeS his name on a bill I raises my hat and ses, ‘God bless you Dick! ’ ”

A recorded Scottish church service, rendered by the choir of St. Columba’s Church, Pout street, London, contains Prayer—Dr Fleming, Psalm—No . xxii. Psalm No. xiv (prose version); Chant 265. A second disc has “ 0 Love That Will Not Let Me Go”; prayer—Dr Fleming; blessing—Dr Fleming. A third has “Holy, Holy, Holy”; “Sun of My Soul.” Other records contain paraphrase No. xxx; Psalm No. xxiv; Scottish Communion melodics; Communion Paraphrase No. xxsv; Communion Psalm No. ciii; “Here, O _My Lord,” and “O Jesus, I Have Promised.” St. Columba’s Church of Scotland, London, was founded 44 years ago and is the chief religious centre of Scottish people in London. • Among its members are many leading public men. . The choir of Chapels Royal, under Stanley Roper, the organist and composer, has provided two records of beautiful hymns. The recording was accomplished in the Chapel Royal, St. James's Palace, London, and acoustically the records are among the best yet recorded in a church. The pieces are mostly arrangements of old English carols, but Bach’s “ Jesu, Joy of Man’s Desiring ” is also included. “Tlie Erl King” and “Death and the Maiden,” sung in German by Saphie Braslau, are an excellent recording. Sophie Braslau is a Gertnan-Amencau, and is considered by eminent critics one of the finest contraltos on the concert stage to-day. Her singing of the “ Erl King ” is intensely dramatic. Her control of voice in portraying the terrified child, the seductive Erl King and the uneasy father, is fine. “ Death and the Maiden ” provides an apt coupling. Benvenuto Franci and members of La Scala Orchestra (conducted by Carlo Sabajno), in “Era la Notte ” and “•.Credo” illustrate how recording has improved. Franci can handle this tremendous music properly; he realises the breadth of the part of lago, and responds nobly to _ its demands. - Browning Mummery has recorded from “ Carmen ” the Flower Song and from “Pagliacci,” “No. Punchinello, No More.” His recent record o'f “On With the Motley” has proved.one of the most popular operatic records ever issued. This case should also prove popular. The Band of the Coldstream Guards (conducted by Lieutenant R. G. Evans), in “18.12 Overture,” provides a stirring disc. The music was composed in commemoration of the liberation of Russia from the Napoleonic-invasion. The great climax at the end, in which the national hymn, “God Protect the Tsar,” triumphabove the “ Marseillaise ” and the din of battle, is splendidly recorded. Arthur Meale, in “.The Pilgrim’s Song of Hope” (Batiste) and “March on a Theme of Handel” (Guilmant), provides another organ record. The organ is effectively reproduced. Although, the tone is designedly not over loud iq the reproduction there is a clearness of tone of an unusual order.

Peter Dawson seems to enjoy every minute of latest recorded song, " The Kerry Dance,” a lilting Irish melody by Molloy. The companion song is “ Travellers of Every Station,” by Balfe, the composer of “ The Bohemian Girl.” “Song of the Vagabond” antf “Only a Rose,” sung by Harold Williams and chorus, make a popular record. Harold Williams will bo remembered as one of the recording English star baritones—an Australian Digger who stayed in England after the war, took up singing as a hobbv, and later as a profession. “ Doing the Racoon ” and “ I’m Sorry, Sally,” are two more recorded fox trot* with clever tunea.

Two popular songs, "Get Out and Get Underthe Moon ” and “That’s MJ- Weakness Now,” are given a fresh interpretation by Helen Kane, an original singer, whose personality is not lost even in the recording room. . There is another big list of dance music m recent issues, and the following discs have been culled as a guide to those who want_ both an entertainment and an attractive tunc. The selection is:—"My Window of Dreams” (waltz) and “Roses of Yesterday 5 ' (fox-trot), by Waring’s Pennsylvanians; “ If You Want the Rainbow ” (fox-trot) and “You’re Just a Big Baby-Doll” (fox-trot), by Tim Welems and his orchestra: “Anything Yon Say” (fox-trot) and “In a Bamboo Garden” (fox-trot), by Roger Wolfe Kahn and his orchestra; “She Didn’t Say ‘Yes’ and She Didn’t Say ‘No’” (fox-trot) and “ There’s a Rainbow 'Round My Shoulder ” (fox-trot),'by the All Star Orchestra; “How About it?” (fox-trot) and “One Step to Heaven” (fox-trot), by Henry Burse and his orchestra; “ Beggars of Life” (waltz), by the Troubadours, and “ Sonny Boy ” (fox-trot), by George Olsen and his band. In each numbei there is a vocal refrain. The Revellers’ Male Quartet have recorded another attractive number. “Ob Lucindy! ” The vocal effects are cleverly worked in. Another quartet, ‘he National Cavaliers, sings “ Beautiful,” one of the most popular songs of the day. “Dusky Stevedore” and “When Sweet Sue Comes Stepping Along ” form a dance disc. Harmony and rhythm make “ Dusky Stevedore” one of the most brilliant foxtrots of recent" months.