MUSIC.

Otago Daily Times, Issue 20707, 3 May 1929, Page 5

MUSIC.

By Allegro,

NOTES AND RECORDS,

A good example of combined memory and endurance waS that given by Egon Petri at an English Music' Circle. He gave an informal recite!, playing the following in the order named: Bach’s “Capriccio on the Departure of a - Beloved Brother,” “Organ Prelude and Fugue in D major,” the “ Waldstein,” 2-1 preludes of -Chopin, two Elegies of Busoni, two intermezzi and a rhapsodic of Brahms, the “Wanderer” fantasie, the Brahms-Paganini Variations, Franck’s “ Prelude,' Choral and -Fugue,” Liszt’s “Figaro,” and the "Goldberg” variations. Petri was as fresh as at the'beginning when he at length played the final note,-

John Goss, well known to the-gramo-phone, and described as “ a specialist in sea chanties,” having got as far as Vancouver on hie tour of America, was there engaged to take part in what was designated a sea music festival, an affair continuing for three days.' ' Concerning a new violin concerto, a writer says: “ Alfredo Cassela’s new violin concerto was given its first performance in America by Joseph Szigeti. This is an interesting contribution ,to a literature which comprises none tob many masterpieces. It would be rash to assert-that Casella’s work for violin is likely to take a permanent place in the repertory. The concerto is far too long and an unsparing employment of the blue pencil will be the requisite to a bid on its part for popularity. . . : 1 A letter, written by Richard Strauss to Mine. Jcritza; in which the composer shows his nervousness at the seeming disfavour' with which his latest opera, “ The Egyptian Helen,” has been received, has, created some sensation in America.' It appears that Strauss’s main grievance—and a true one if hia ‘facts are facts—is that “the New York public could not approach .‘ Helen ’ with complete understanding”, (since it knows only “Rosenkavalier ”) “ after all the preparatory steps have been withheld, like ‘Salome/, ■ Eiektra,’ ‘Ariadne/ ‘A Woman Without a Shadow/ all of them representing unified stages of development.” To begin to know the operatic Strauss from “ Helen ” downwards seems' completely wrong to Strauss, • A memorial tablet to Jenny Lind, the famous Swedish soprano, has been placed in the Swedish Hall, Harcourt street, Marylcbone. It is the gift'of members of the Swedish colony-in London, and was unveiled by Baron Palmstierna, the Swedish' Minister. A granddaughter of Jenny Lind who lives in London —Mrs Lind-Gregory—was present-, at. the ceremony.’

The new organ for Stowe School Chapel, which is being built bywßushworth and Dreaper, 1 of Liverpool, has three manuals, and is to be erected in a specially-con-structed gall cry in the chapel designed by Sir Robert Lorimer./ The organ, will embody a 32-foot open pedal stop. The Philadelphia Symphony Orchestra, which has, been called the “ Goliath of -Philadelphia,” owing to its broad manner of playing! and huge tone, has chosen “Lohengrin” for its. disc. This requires .disciplined string tone, and throughout it is -kept; well .controlled. The reproduction is sonorous, though the final high notes 'are 'a little shaky.. The general playing of this record,is an improvement on that shown in “ Danse Orientale ”, (Glazounov) issued some : little time -ago, - and this - orchestra has a magic power for coming through ...the .disc smoothly, . ... Another nightingale, record is .provided by Beatrice Harrison. She plays “ Songs My Mother Taught Me,” and the other sideof the disc has, church' be!l effects,"as ’Well. . ' ' Lotte Schoene has • a doyely voice,, well suited to, the gramophone. In. “ Tutte le feste al tempio,” from “Rigoletto," she tells her plaihtive tale clearly, and takes the high notes' easily without" harshness. Herbert Janssen, also, has,a clear voice which blends well-with Lotte Schoene’s The ox-chestra does not help them as;rauch 'a's it. should in this. The dramatic climax and repetitions of phrases sung pianissimo make the disc of interest. 1 Lottec Schoene also sings'with Joseph Hislop “E il sol del’, anima from the same opera., '-Maiei -Diipere is noted for straightforward playing. His disc of “The Swan” -(Saint-Saens) shows organ tone which -is a pleasure'to- listen, to,- instead of the blurred notes so .often heard from this type of:recording. In different mood is “Prelude, in E, flat;” by- Saint-Saens through ; whose florid passages the organist finds-bis-ray with; the ease of an artist. Scarcely any rubato, is used-on -either side.- , .- _ ■ The usual cold'brilliance of .Heifetz'is shown on his latest disc - of -“Valse Bluette” (peigo-Auer)., -.- This ballet danec has a piquant, melody,- sonic quick passages for, fingering, and a charming ending. A ‘trill diminuendo should be noted. . “ Estrellita " • (Ponce), which Heifetz has, arranged for 'tb e violin, shows some; sympathetic accompanying by the pianist, but. is of a more popular type than “ Valse 'Bluette,” - “Drink to Mo Only With Thine;Eyes" becomes fresh- again", when," sung by boys’ voices.- Masters E. Lough and'R. Mallett, accompanied by the deeper tones of Messrs Capel Dixon and Frank "Hastwell, sing a quartet. arrangement of the song. On the reverse side are the nursery rhymes, “Matthew,'Mark, Luke, and John” (a fitting prayer .for the children), and “ Bless- You, -Bonnie Bpe.” by Walford Davis, both well'recorded. More sea chanties Horn the latest-disc of Mr John Goss and the Cathedral Male . Voice Quartet, “ Sally Brown,” is ‘not so clear as it could be and it is difficult to follow,the words in many of the other numbers. The, humour of the songs' is welt brought out and the rhythm swings from verse to verse in true sea-s jpg" style. The Song of the Flea ■’ (MouSsorgsky) is full of/wicked humour, from the scales played pizzicato by the orchestral introduction’ to “Such a Flea!” at the end. Peter Dawson’s version lacks colour, however, and the laugh appears a . little forced. Yet the words come clearly from the record, as a whole. Peter Dawson is more at home with “Oh, My Warriors ” (Elgar), which is a straightforward -song, requiring less attention to fine points. • . The overture of “Martha” (Flotow), opens quietly ami requires smooth, even playing. This.- is ’ well managed by the Berlin State Orchestra under Ernest Viebig. The pizzicato, passages come through crisply and-the under voices keep the theme under control. There is. some hurrying on the second side, but it finishes evenly. A. correspondent of the Gramophone submits the following list of records which, in his opinion, should prove tbe quality of any gramophone; For detecting shrillness in high soprano notes, “ Isolde’s Death Song ” (Gotn Ljhngb-erg). For detecting any harshness in heavy orchestral pieces, “ Mastersingcrs Overture” (Berlin State Opera-Orchestra), and “Finlandia.” tone poem (Albert Hall Orchestra). For detecting any faults in string tone. “Lohengrin Prelude ” (Philadelphia Symphony Orchestra), and “ Mendelssohn Concerto,” Part 3'(Fritz Kreislev). For testing bass .notes. “Catalogue Song” from “Don Giovanni” (Theodore Chaliapin). For detecting any harshness in piano notes, “Hungarian Rhapsody ” No. 2 (Wilhelm Backhaiis). * Though Eugene Goossons, as becomes “ one of the most modern of moderns," may sometimes delight in those tortuous, unquiet exercises in colour, tone, and rhythm, commonly known as “ new music.”, his new records of the “Peer Gynt” Suite No.-2 arc ample proof that lie still remains susceptible to real melody. As conductor of the Now Light Symphony _ Orchestra he gives the first record “Ingrid’s Lanvcnt” - and “Arabian Dance.” and the second “ The Return of Peer Gynt” and “ Solveig’s Song.” A good, set of records is Mark Hambourg s recording of Beethoven’s “ C Sharp minor” Sonata. Mark Hambourg, of course, is a law unto himself. His readings of familiar works are intensely individual, and one cither agrees with him or does not.. Altogether, it is a very Stimulating set of records. An odd side is filled with Beethoven’s variations on “Nel Cor Pin.”

The Delius tone poem, “ Erigg Fair," founded on a Lincolnshire folk tune has been recorded by the London Symphony Orchestra under Geoffrey Toye. Th e orchestra gives variations of the old folk song. The string tone is very clear and the conductor allows the music to speak for itself.

A disc of " Carmen—Extracte ” has been played by the Garde Republicane Band. From the brilliant opening bars up to the point where it leads into the song of the toreador this band gives us a. . fine display o£ disciplined playing.