MUSIC.

Otago Daily Times, Issue 21213, 19 December 1930, Page 5

MUSIC.

NOTES AND RECORDS,

By Allegro.

• Oy AXili&UlHl. The little dance known as a gavotte, with its stately movements and prim time, so beloved of Bach, originated from the name of a people living in Dauphine, called the Gavots. They danced it more energetically and wildly than the stately court people. When it was introduced into the court life, it became more dignified. To study the gavottes written by Bach is an education. Originally the gavotte consisted of four bars in the first part and eight in the second. If, however, the gavotte was merely part of a suite there were no set rules to be adhered to except its time signature. The other dances of the suite were also written under given rules. The sarabande, a dance popular in the sixteenth century, was more slow and stately in its movements. There are references of sarafyandes being danced at times when sadness prevailed. The merry allemande was a quick movement. The minuet and trio need no explanation. The bourree also moved with humour and energy. Dances which have also formed part of a suite are the pavan, tSalliard, oourante, rigadoon, and in the English suite the jig. The chaconne and passagalia were popular at the same period that the gavotte held sway. The first, a alow dance, was'generally written in. a major key, while the passaeaille was in the minor. The theme of the former was invariably in the bass, while in the latter it was in any part. The passaeaille was used later to show the contrapuntal skill of composers. It had a short theme of two, four, or eight bars. That anyone could fail to see the rhythm of these dances seems impossible, yet on listening to children performing them, one is often 1 struck with the way the time is marred. If a teacher would make the child first step or dance in i time to a movement of the same time, much of this would disappear. It is not enough merely to count for the child or make her count. The rhythm must be definitely danced within the brain and body, and the characteristics explained. No child on dressing in a long-frock of the period of the minuet would think of dancing in jig time, and no child in a short gipsy dress holding a tambourine would want to move slowly in a tarentella. One teacher has the wise plan of bringing out as many things of the century in which the music was written .as she possesses. This excites the imagination of the pupils, and with careful teaching most artistic results are obtained. Miss Mignon Frey {in private life Madame C. C. Gheysena), a young Australian violinist of note, will probably give a recital in Dunedin early in February. Her first recital in New Zealand was held in Christchurch last week. Concerning it the Press said that Miss Frey's technique is advanced, her tone mellovs and of fair resonance, except perhaps ii \ an occasional straining in high altitudes Miss Frey,, who is assisted by her sister Miss Connie Frey, had previously givei recitals in Sydney, which secured th« warm approbation of the critics. The J. H. Squire Celeste Octet, aug : mented with trumpet, organ, and choii may bo heard in “ Anno Domini,” a musi cal representation, of the Nativity, I I is an impressive performance and- th I music is of a typically Christmas chai actcr. Side '1 holds “ The, Prophecy, “The Three Wise Men,” “The Star, and “The Shepherds.” Side 2 hold “ Bethlehem,” “ Earthly Adoration,” an “ Celestial Adoration.” “The Dance of the Seven Yells” froi “ Salome,” by Bichafd Strauss, is a ri cent recording. This is a work of tt composer’s second period. The orchestr is the Berlin Philharmonic. Brun Walter, the German conductor, leads tl players through the sinister music, A new Weingartner offering has as il composer Josef Strauss. Under the nan of Strauss there have been many cor posers—Richard, three Johanns, Osca and Josef. “ The Music of the Spheres is the work chosen from the last-mei tioned composer. The Royal Philha monic Orchestra has given a polished pe formancc. A popular band record in England “ A Country Girl,” and the players a the Royal Air Force Band. The mel dies, are bright and tuneful. In no pla is the playing strained. Elgar’s B minor Violin Concerto a triumph of recording. Played by Albe Sammons and the New Queen’s Hi Orchestra under Sir Henry Wood, it full of brilliance. The composer hirusi agrees that the violinist plays it superbl so - there should be no difficulty in t sale of discs. The Cedric Sharpe Sextet for their fii recording appearance have chosen wise ,in “ 0 Lovely Night.” This displays the artistry and tone quality. The seco selection is “ Chanson Napolitaine.” Gilbert and Sullivan songs are num< ous on the records, but are always w come. The latest are “ Tit Willow ” a “ A More Human Mikado,” sung Harold Williams. There is good rhytl in the singer’s interpretation, and t speed of the songs does not impair 1 clear diction. In the Columbia History of Music can hear the music\ that we rc about. In one album '(volume I of extended series) is a book by Percy Scholes, giving names, facts, dates, a everything of interest concerning the r resentative great works of music (in i I, up to the year 1600) ; and in i same album are eight 4s records supp . ing the representative great works tht selves. The great works of this ea stage of musical history are, of com brief—none running to more than ( side 'of a disc. The greatest authi ties in each department of music hi collaborated in the making of the recoi In this first volume Sir Richard Te and his choir give us the original chu music from which the modern musi art has derived. Rudolph Dolmetsch i his children play the Elizabethan ini mental music on the very instrumc that were used in the early Tudor d —the virginals, the lute, and the variov sized viols. Dolmetsch is a music living in the English lake country, ; has devoted his many years to the st and performance of almost forgotten strumental music. His large family i are all engaged in this romantic re-c tion of the music' of the middle a ~ The St. George’s-Singers, under the di s tion of the Rev. Dr E. H. Fellowes, j us beautifully sung examples from Elizabethan madrigal writers. Hen =" a listing of each record:—“Voni Sai Spiritus,” plain song with orgam “ Mira Lege,” plain song with dcsci Terry and choir. “ Christ Rcdempt and “ Conditor Almo Sidcrum ” (Dufa “Nunc Dhnittis” (palcstrina); T and choir. “ Sanctus ” from Palestri “ Missa Papac Marcclli,” Terry choir; “ The Earl of Salisbury,” paand galliard for virginals, Rudolph metsch. “ The King’s Hunt ” {I Bull) ; “ His Toye, His Dreame, Rest ” (Giles Parnaby) ; virginal i by Rudolph Dolmetsch. “ Divisions a Ground,” for viol de gamba and (Norcombe), Rudolph and Arnold metsch; “ Fantasie for a Chest of Viols” (Weolkcs), Dolmetsch fai “Awake, Sweet Love” (Dowland), C Dolmetsch, soprano, with viol and accompaniment; “ Sumer is i-cv in” (John of Fornsete), St. Geo Singers. “ Rest, Sweet Nymphs ” ( ington) ; “ Sing We and Chant It” ( ley), St. George's Singers. “As 1 I was Descending” (Wcelkcs) ; ‘ Silver Swan ” (Gibbons) and “ Phyllis,” St. George’s Singers.