MUSIC

Otago Daily Times, Issue 21365, 19 June 1931, Page 5

MUSIC

NOTES AND RECORDS

By Allegro.

Mr and Mrs Mark Hambourg and Mr and Mrs Peter Dawson were warmly welcomed by the members and associate members ot the Musical Association of Nev.South Wales, together with representatives of the allied arts and of literature and journalism. The artists were tendered a concert at which Strauss's violin and piano sonata in E flat major, various songs, Chopin’s “ Barcarolle," and ‘‘The Lady of Shalott," with a musical setting, were given. During the course of the conversazione which took place afterwards, Mr Mark Hambourg said that the phonograph was sometimes referred to as an “ instrument of torture,” but that was the old-time instrument, and not the modern one —a compliment to the present gramophone. When he first came to Sydney he was presented to several little girls who played complicated sonatas which he could not play himself. This shows his sense of humouih He expressed gratification atthe gathering of music lovers and artists before him, and said it would do credit to any city of the world. Mr Dawson said that he and Mr Hambourg had taken great care in compiling their programmes in order to uplift art. It was as easy to play “ up " as to play “ down,” and they intended to do what they could to uplift music.

The ballet music from Gluck's “ Orpheus ” played by M. Moyse and the Paris Symphony Orchestra under Eke Cohen is held by the critic of the Spectator, the well-known British weekly, to be “the most ravishing flute playing ever heard on discs.” The visit of Mischa Levitzki to New Zealand is quickening the interest in his records. On two 12 inch records he plays with the assistance of the London Symphony Orchestra the colourful Liszt “ Concerto No. 1 in E Flat Major. ’ His flair for Liszt is also shown in the wellknown “ Hungarian Rhapsody, No. 0, in D Flat Major,” and the brilliant “ La Campanella,” which is coupled with Rubenstein’s difficult “ Staccato Etude. In Liszt’s transcription of Bach’s “ Organ Prelude and Fugue in A Minor ” there is always an admirable balance between Bach’s loftiness of, expression and Liszt's virtuosity. Levitzky’s playing of Chopins “ Nocturne in F Sharp Minor,” and the companion number “ Etude de Concert in D Flat Major’’ (Liszt) is brilliant. Rachmaninoff’s “Prelude in G Minor ’ ir given a charming singing quality, and on the same record is the_ popular Tausig arrangement of Schubert’s “ Marche Mill taire,” which is presented with an irresistable rhythmic swing. Chopins “ Scherzo. No. 3, in C Sharp Minor _is played with a crispness of touch wind does not destroy the continuity of the work. A most interesting record includes a little “Sonata in A Major ” by Scarlatti and “ Ecossaise, by Beethoven. Chopin’s “Ballade in A Flat Major is a "successful disc. There are two further examples of Levitzky’s poetic approach to Chopin in his playing of Walltz in G Flat Major, Opus 70, No. 1, and “Waltz in A Flat Major, Opus 64, No. 3 An orchestral arrangement of Liszt s “ Hungarian Rhapsody, No. I’’1 ’’ has been brilliantly played by Dr Leo Blech s Beilin State Opera. The folk themes and Hungarian rhythms stand out in mi orchestral version with great clearness. Liszt has taken the folk songs and weaved around them a glittering filigree, ilius in them we find nationality, virtuosity and dramatic expression. The playing is vivid and sparkling. The record should be a popular one. Stuart Robertson and a chorus of male voices may be heard on the disc in Widdicombe Fair.” This is an old Somerset, song with a jolly melody. The dialect ot the county is cleverly presented by Robertson and the chorus enters into the fun. “ Richard of Taunton Deane, ’ the second song, tells of how he won a lady with fair compliments, and is also sung in a rollicking manner. The disc is one of humour. . , Huberman’s disc of Mazurka, by Tarzycki, is a sparkling production. Both this piece and “Romnnza Andaluza,’ by Sarasate, show to advantage his violin technique, and their attractive tunes will make them popular to the listeners Piero Pauli and Mile. Fnnelh have recorded the love duet from the last act of the “ Mefistofelc.” by Boito. Pauli is known from his “ Tosca ” performances, and sings with dramatic power. “Porma Ideal” has a choral background. “The Tempest,” by Purcell, has been chosen by Norman Allin for a clear and attractive recording. “ See the Heavens Smile” and “Arise Ye Subterraman Winds” are most artistically sung. The London Novelty Orchestra is ( now a popular recording body. Of “ The Mosquitoes’ Parade” they make a delightful gem. Dainty, indeed, is their rendering of “My Lady Dainty,” an intermezzo. Two waltzes, rhythmically recorded, are “Greetings of Spring” and “ Love of a Gypsy.” The players are the Russian Novelty Orchestra. The pretty tunes afford the orchestra some opportunities to display some novel effects. «When Dull Care ” has been sung by Dennis Noble. This is an old English melody, and is arranged by H. Lane Wilson. The pianoforte accompaniment is exceptionally well played. In distinct contrast is “ The Old Brigade, by Weatherley and Barri, given with fine spirit. ' '. , . , Discs that are of musical value and afford pleasure are those of Friedman. He has played'l2 of Chopin’s “ Mazurkas. ’ From opus 7, numbers 1,2, and 3 have been chosen; from opus 24, number 4. Numbers 2 and 4 from opus 33, and the first mazurka from opus 41 form the next group. The second from opus 50, the third from opus 63, numbers 3 and 4 from opus 67, and number 2 from opus 68'finish the set. Such sparkling playing as this is a tribute to excellent pianoforte recording. _ The J. H.'Squire Celeste Octet has recorded “Memories of Johann Strauss.” These scraps of waltzes are played with the finish of clever musicians and the result is a delightful disc. The arrangement of the waltzes, amongst which one may hear the famous “ Blue Danube and “Tales from the Vienna Woods,” has been done by P. Willoughby. Following its recording of transcriptions of two Schubert favourites, the Lener Quartet has presented the gramophone public with Chopin transcriptions. “ Preludes ” numbers 4 and 6 from opus 28, and the C major “ Etude” from opus 10. The “ Preludes ” are especially effective. The study is brilliantly played and carefully recorded. Terence Casey shows his clever organ playing in “The Irish Organist. Here may be heard some 11 Irish melodies, including “Minstrel Boy,” “Londonderry Air,” “ Wearin’ o’ the Green, and “ Kathleen Mavourneen.” The instrument is that of the Regent Kmema, B The t Jolly Old Fellows have included the following ditties in their ‘ Drinking Songs”;—“Drinking. “Here’s a Health Unto His Majesty.” “ Pour Out the Rhine Wine,” “There is a Tavern,” Come. Landlord. Fill the Flowing Bowl, “Here’s to the Maiden,” “Little Brown Jug,” “The More We are Together. For' a cheerful record full of spirited singing, this disc is exceptional value. Jack Hylton is responsible for a good recording of some old songs. Included o n the disc are “ Hold Your Hand Out, "Skylark.” “Nnvaho,” “Little Alabama Cooii.” “ Sing Me to Sleep,” “La Mattehiehe.” “ Another Girl at Home, “Broken Melody.” “I’m Twenty-one, and “As Your Hair Grows Whiter.’ Megan Thomas, a Welsh soprano, has made a charming recording of She Wandered Down the Mountain Side, by Clay, and “The Pipes of Pan,” from "The Arcadians.” These attractive pieces are attractively sung. The choir of the Temple Church, London, which has long been famous for the singing of its hoys, has made a record of Mendelssohn’s “ How Lovely Are the Messengers.” under the direction of G. Thalbcn Ball. The voices blend beautifully and the organ accompaniment enhances the performances. The second number is a hymn, “ Lord, It Belongs to My Care,” by Sir Walford Davies, one of the most scholarly of present-day musicians, who has written a number of noteworthy contributions to church music. Here again the singing is sweet in tone, and one cannot but be struck by the freshness of the voicca In both eases, the singing is equal to the high standard one experts from the famous English churches.