MUSIC.

Otago Daily Times, Issue 21431, 4 September 1931, Page 2

MUSIC.

NOTES AND RECORDS

By Allegro.

How odd it is to read of a work by Haydn being banned! The “Creation” oratorio, according to a report from Leningrad, was prohibited by the Soviets. It was to have been performed by the State Orchestra, but was judged as “ having a subversive effect on intellectual and spiritual independence.” According to certain Italian newspapers the director of La Scala Opera, in Milan, next season is to be Adriano Lualdi. The choice thus falls on one who is not only a skilled musician and critic —he is the composer of several operas and orchestral works —but a member of Parliament. Presumably he will be in close touch with Mussolini, whose interest in music is not purely official. The latest Verdi opera, which is being revived in Germany, is “ Les Vepres Siciliennes.” It is to be produced by Bruno Walter next season, and Weber's “ Oberon ” is also to be played. The National Union of School Orchestras in England works on a big scale when we read of some 4000 boy and girl fiddlers assembled at the Crystal Palace to take part in a programme in which the Grenadier Guards Band participate. Liszt’s “ Mefisto ” waltz, number one, is based upon the episode at the Village Inn from Lenan’s “ Faust.” The music is realistic and weird, and a sinister note persists all the way through. The London Symphony Orchestra, under the conductorship of Albert Coates, has caught the spirit of this music in its record. The recording is admirable, and the wood wind passages are particularly effective because of their clearness. The ending of the waltz music is most unusual, and the feeling of impending doom is still present with the final notes.

A carrillon record needs a large room and a good gramophone to be heard at its beet. The recording of “ Just a Song at Twilight ” proves this. The carrillon used is the Wellington War Memorial, and the player is Gladys Watkins. The recording was taken at Hyde Park. The second side of the disc holds “Drink to Me Only,” and this has been cleverly woven in and out of the bells. The player is very clever with her manipulation of the bells.

“ La Precieuse.” by Couperin, arranged and played by Kreisler, is a most dainty little trifle. It has that simplicity which is to be found in all the Couperin pieces. Very neat is Kreisler’s fingering, and every note is clearly played. The second piece, slower in tempo, is “ Chanson Louis XIII,” also by Couperin. Here the accompanist, Michael Raucheisen, is plainly heard'to understand every change of mood and expression which Kreisler employs. The record is a delightful one. Jack Hylton’s disc of “ Drinking Songs “ is full of rhythm and interest. As usual, this orchestra has ever present that even beat which must come through all music, however much rubato is used. The songs played or sung are “ There’s a Tavern in the Town,” “In Cellar Cool,” “ Little Brown Jug,” “Down Among the Dead Men.” “ Come. Landlord,” and “ Here’s a Health Unto His Majesty,” the last-named making a good finale. The arrangement of these is by Williams. A pianoforte recording of Debussy’s “ Serenade for the Doll ” has been made by Vladimir Horowitz. This fanciful piece is played in a fanciful way, but the recording of it is not so successful as that on the reverse side of the Paganini “ E Flat Major ” Etude with the LiszlBusoni arrangement. In the latter, the pianist seems to be more suited to the rapid octave and virtuoso work, and the recording is clearer. This type of piece generally goes well through the gramophone, owing to its clearness. Much of the vague atmosphere of the Debussy extract is lost by the time it comes to the listener.

Lily Pon’s record of “ Spargi di Amaro Pianto ” is an artistic one. This selection is from Donizetti’s “ Lucia di Lammermoor,’’ and is more interestingly given than “Ardon gl’ Incensi ” on the reverse side. In the latter the flute obbligato is played by George Pnssell. The recording itself is clear. Both numbers are very dramatic, and show to its full .advantage Lily Pon’s voice, especially in its piano and flexible passages. Richard Crooks has chosen an excerpt from “ The Student Prince,” by Romberg, for his latest recording, The chorus work in this is slightly blurred, though the solo itself comes through clearly. On the second side, “ Love Everlasting,” by Friml, is given by Richard Crooks alone, in _ French. _ Probably because of its quietness this side is the more plain of the two.

Bird records are becoming very frequent. The latest one holds nightingale, thrush, and missel thrush accompanying Wagner's "Siegfried” music, "Forest Murmurs.” Though the writer prefers to hear the “Forest Murmurs” without the songsters, the recording is a faithful'one, John Henry and Gladys Horridge may be heard again from the gramophone telling and contradicting the “ Story of the Pied Piper.” As usual, John Henry is droll and Gladys Horridge is scolding. In the end both win the war of words though John actually has the last word. The voices are plain and the recording good.

Hungarian Dances Nos 5 and 6, by Brahms, have been selected by Sir Hamilton Harty, conducting the Halle Orchestra. These are two of the most well liked of the Brahms dances, and the performance is a sparkling one. The string quality of the orchestra is particularly pure, and the record brings out the fine points of expression. Tnrina’s "La Procession del Rocio” has been put on a record by the Madrid .Symphony Orchestra, conducted by Arbos. The music is typically Spanish in its rhythm and colour. This summer Triana festival has been vividly portrayed by Turina, and the recording is an effective one.

Molajoli and the Milan Orchestra have made a high-spirited record Of overture to “ II Mntrimonio Segreto,” by Cimarosa. This is an example of Italian opera at the end of the eighteenth century. The orchestra has caught the spirit of fun in the work, and the wood-wind passages are particularly hilarious. The control of Molajoli over his players is excellent. “Form Fours,” war songs medley (arranged by L. Girand), have been sung by the Big Four. We have had medleys of the war songs which used to be sung on what was called the “ home front now this month we have the real trench songs. The medley opens with “If You Want to Find the Sergeant,” blending almost imperceptibly into “Leap Frog” and “Mop it Down.” “Mary had a Little Lamb ” and “ The Last Long Mile ” complete the first side. The second part introduces patter and a Cockney solo, leading into “ Rotten Song.” There is a bugle call and a disgruntled cry of “Stew!” This gives the cue for the song “ Bully and Stew.” The “ aftereffects” call forth the ditty “And When I Die,” followed by “ Old Macdougal had a Farm ” and “ I Want to go Home,” given in good swinging time. “ We’re Here Because We’re Here ” forms the final song, which gradually fades out, leaving the voices trailing off in the distance.

“By and By ” and “ Here in My Arms ” form a record by Eileen Boyd and Eric Masters, who, as light fare artists, are very successful. The (fisc is a clear one.