MUSIC.

Otago Daily Times, Issue 20869, 8 November 1929, Page 5

MUSIC.

NOTES AND RECORDS,

By Allegro,

There is an appeal In ill? singing of hoys, such as those included m the W estminster Glee Singers concert party, ■which is found nowhere else. In carol-singing especially the quality of their voices is exceptionally sweet and suited to the music. Such things as Schubert s “ Cradle Song ” and “ The Pipes of Pan also please the ear. It is to be hoped that the concerts of the Westminster Glee Singers will encourage the making ot a young boys’ choir in Dunedin. In Vienna at the moment a good many musicians are (says a writer) concerned with the vexed question of, pitch. Soloists of the Staatsoper have lately passed a resolution protesting against the continual heightening ot orchestral pitch for the sake of an added brilliancy of sound, so that to the discomfiture of the singers the orchestra now plays almost a quarter of a tone above the normal. It is_ hoped Herr Clemens Krauss, the new director, will find a way out. Austrian pianos, as a result of this embarrassing policy are tuned rather higher than those of any other country.

A similar fate to the competition for opera composers in Rome has befallen a competition in Budapest. Though 150 “books” were submitted to the Royal Opera for a libretto prize, not one was deemed worthy of award. Albert Coates, a busy conductor, has little opportunity to hear hie own Works publicly performed. His' new opera

“ Samuel Pepys,” having its first performance at Munich on December 7, will be conducted by Hans Knappertsbush. The composer will conduct the second performance, though pest season he will conduct at both Munich and Berlin festivals. That jazz music fascinates “ times,” as well as their elders is proved from America. Three generations of “batonwavers ” recently spent an hour of dance music over the wireless. They were all named William. William II conducted in the presence of his father and son. William I is a band leader, William 111 (though only seven) has already conducted a jazz orchestra and-been offered £3O a week as guest conductor of a prominent stage band! Szigeti has been talking about recording. Although he is only 37 years old he made his first record over 20 years ago. He is still trying to buy them back! “ I like recording,” he says. “My nerves in the studio are about the same as they are on a concert platform. Electrical recording is a great step forward. I think'that its great advantage is that it will, in time, obviate the laboratory atmosphere. As improvements are effected I think the real atmosphere of the concert hall nail be captured. Records are sometimes too ‘ perfect ’ mechanically. In making the record, perfection is so striven fm 1 , and so many tests made before-one is satisfied, that often the spontaneity, emotion, and excitement, which are eu essentially a part of the music, have disappeared. Recently I have been making records of the Brahms concerto with Sir Hamilton Harty in Manchester It occupies nine sides, and took the best part of three mornings to make. We finished an hour before our scheduled time. I suggested to Harty that we should make some ‘luxury’.records. By that I meant that we should go straight through the work with the barest pauses after each side. We did. When the various ‘ test ’ records were- sent to me for approval I noticed that nearly all those 1 chose were the luxury ones. Indeed, my idea of a studio Utopia is a place where gramophone records are taken like snapshots. I imagine myself surrounded By -a battalion of recording machines, one of which will-surely give the-perfect result, one machine perhaps making a test while one is keeping a permanent record of that test The number of machines emploved would eliminate the present unnerving waits between sides.”

Sergei Rachmaninoff and Fritz Krelsxer, m sonata in, C minor by Grieg, proV!de an. interesting recording. Of Edvard Grieg’s three violin and pianoforte sonatas this is tSe most popular. It is indeed one of the most widely appronAaief^rkVf 1 4 8 to*. f«»: it rivals in popularity the Beethoven "Kreutzer,” recorded by De Greef and Jsolde Menges, S ThibSS" Fr “” k p,,jed . bp °*>*

The Philadelphia Symphony Orchestra Quoted by Leopold Stokowski. has refiß Symphony No. i in c Minor, op. 68, by Brahms, This set has little need of recommendation. For sheer beauty of tone these records will vie 'strongly with their distinguished predecessors. J Educational Plajways. planned by Mrs J. ilurray Macßam, comprise a sot of five double-sided records for children The specially selected for. ear-train-Taties t i n, in«Tf’* a i ltl ™ hcl \ r , hythrnic acti. 'ities. ■ A booklet by Mrq Macßajn gives a full description of how to use the records. Included are “ A L.ttlc March arranged by Alec Rowley, part 1 introducing The Minstrel Boy,” P “Men p r ?o 1 ' P 0 ! 1 ’ a I,n ® T Ere3 Have Seen.” Part 2, introducing John Peel,” “When “RHtfai C Pr leS Home,” and mne:} f Grenadiers.” Then there is IS, it fo £ rl ] ythm k c exercises, arranged by Alec Rowley.. Part', 1 includes Dance 8 ID ‘ ro .^ ucln fi ' Yankee Doodle,” the t °f„ Avignon.” “Hunting 1 Ha ™- , Part 2; Stepping, beating time, and ball movements, introducing Once I Loved a Maiden Fair,” “Lass of Richmond Hill” “Polly Oliver.” “Yalse Coppeha” (Delibes). Music for simple dancM, arranged by Alec Rowley, follows. *■?« William .Murdoch .. in his' early ■ years travelled all over Australia carrying off L r ,', Z^,- at the , va ,V ous Eisteddfods in the u ll ’ 5 ; gaming a scholarship that entitled him t° four years’.study at Fro^tn a l F° llef \ e f M , ,,sic in London, that time be has leaped from success to succcss. tounng (Great Britain and the colonies, and : arousing enthusiasm +? 18 taatcs . ,nc l>hc to modern mu.q.p than the ancients. The character of.his playing is marked by a fine inter-' pretative sense. Perhaps his finest work tor tne gramophone is a recording of two Beethoven.sonatos, “ Pathetinue ” and the . Appassionata.” Another disc is a modern Spanish works, Albeniz s. El Puerto ” and do Falla’s Cubana. . Ballade in "A flat,” by Ohopm, he treats with good melodious tone. ‘ ■ - r 1 .

p a delightful example of Heethoyens earlier manner, the “A, Major Quartet, the Capet String Quartet show themselves to be as understanding as in the; more profound moods of the'“ last period works. To be noted are the perfection of the ensemble, and the happy B P'rit which is made evident throughout. . Harold Williams is well known. He has had successes throughout the- United Kingdom. Singing at .Covent Garden in noth the French' and German seasons. He has. a. vigorous type of voice,'which shows up best in such songs as “When the Sergeant-majors on ' Parade ” and ■ The Company Sergeant-ma>or,” or “ The Gmchy .Road-” and “ Limehouse.'*’ He smgs_Hilaire Belloc’s amusing “ Caution? •ivy. Tales with rave fun bn a series of discs, but he shows powers, of .subtle expression are not beyond him in'“ 'Water Boy and “ Gwine Away.” Norman Allin has recorded' ‘‘The Mighty Deep” and “The Stormfiend." ihe.first is sung with tenderness and. restraint. “The Stomfiend ”is a'swaggering sea air. suug in rich tones, without being overpowering. The “Invocazione,” from "Turandbt,” contains some of Puccini’s finest music. Ihe . blending of Italian and Oriental elements, and the wayward clarinet have been well recorded by La Sonia' Chorus, who give an uncannily barbaric interpre-tation-of “Gira la Cote,” which contains actual fragments of original Chinese tunes.

AndreMewager has written much music ot the lighter sort. Xone of In's-works is , more enjoyable than “ The Two Pigeons ’ ballet, and “ Two Excerpts” cleverly scored and brilliantly played by the French Garde Republictwne Band, make a brace of interesting records, Hubert Eisdell wilt give pleasure to gramophonists in the melodious songs “ 1 Kiss Your Hand. Madame,” and " Heartstrings.” His lyrical tenor has never been recorded with greater fidelity. Master Xorman Ware, a boy soprano, may be heald in voice exercises and ear training. Part T includes “Lullaby” (Schubert) for voice and piano and violin and piano. . Part 2 has “Lullaby” (Schubert) for 'cello and piano and string, quartet. John Brownlee, in “ Comme one Palo Fleur” and “O Vin Dissipe La Tristesso,” from Thomas's opera “Hamlet,” shows fine dramatic tone ami stylo.

F. Rowland-Tims, F.K.C.0.. in. “At Pawning,” by Cadraan, and “ Shepherd'*

Lullaby.” by Hewitt, has played these two quiet melodies in an artistic manner. Alessandro Yalente and members of La Seala. Orchestra. Milan, give a good in-terpretation-of “La Fanciuila del-West.” Ch’ella rai creda libero.” “Fanciuila del West ”-waa performed at Covent Garden Inst season, after a lapse of many years, and met - with an enthusiastic reception. This record shows Valente's voice to its fullest advantage. The well-known choir of the Westminster ■ Contra] '• HnII gives a fine rendering of two favourite hymns, “ Nearer, My God to Thee,” and “ When I Survey the Wondrous Cross.” ’ . There, have been issued four discs ou which - arc recorded the Remembrance Festival at the Royal Albert Hall on November 11, 1928. The first record holds Fanfare, .National Anthem (entrance of their Majesties the King ami Queen), second fanfare pipers, “March to the • Trenches ” (community singing). “ Take Me Back to Dear Old Blighty,” “There’s a Long, Long Trail,” “Tipperary,” and “Land of Hope and Glory.” The second has an address by Earl Jellicoe, “Funeral March” (Chopin) by the massed hands, and prayer offered by the Bishop of London. The third has “ Lead. Kindly Light” fcommunity singing), anthem. “I Heard a Voice From Heaven,” “ O God, Our Help in Ages Past.” and an address by the deputy chaplain-gene-ral to the forces. “Abide With Jin " (community singing). “Last Post,” Reveille. and National Anthem fill the last record. The fund of the late Earl Haig's British .Legion will benefit by the sale of these discs.