MUSIC

Otago Daily Times, Issue 21521, 18 December 1931, Page 5

MUSIC

NOTES AND RECORDS By Alleged. It was refreshing to hear such a varied and unusual programme of music as was given at Mr Gordon Bryan’s recital on Wednesday evening. Bach’s chorale-preludes are always deep with meaning and the arrangements by Reger and Hummel for piano are excellently done. Those played were “To Thee I Cry,” “ Mortify Us by Thy Goodness,” and “ Blessed Jesu, Here We Stand.” Rameau pieces are conspicuous for their neatness and precision owing probably to their being written for the clavier. Rameau continued Couperin’s work from 1683 to 1704, and the old world atmosphere was present in “ Les Tourbillons.” This might truly have been described in Scarlatti’s words as a “ frolic of art.” “ Pastorale ” by Boccherini, arranged by Friedman, was of a distinctly different type. This was followed by Hadyn’s “Quarrel” sonata, an amusing work with an exhilarating “presto” movement, showing Hadyn in his most mischievous mood.

A group of modern British compositions included E. J. Moerau’s delightful “ Windmills,” the familiar “ Danny Boy,” arranged by Percy Grainger, “ The Hurdy-gurdy Man,” by Eugene Goossens, and “ London Bridge ” and “ Molto Allegro,” by 7 H. Balfour Gardiner. French composers were represented in “Etude in B. major” by RogerDucasse, a sparkling spinning song by Rhene-Baton, “The Old Musical Box,” elegant and fanciful by de Severac, a distinct contrast to the out-of-tune “ Hurdy-gurdy Man,” and two of Jacques Ibert’s “ Histoires,” of distinctly Eastern flavour and requiring in their playing a clean and perfect scale technique. These works, most of them new to the listeners, were followed by a Chopin group, a ■Poldini “ Etude,” a Godowsky Viennese waltz, “The Juggler,” by Ernst Toch, Scriabine’s left hand “ Nocturne,” where clever pedal work was displayed, a quaint “ Mazurka ” by Scriabine and Paderewski’s “ Theme Varie,” brilliant pianistic variations on an original theme. After some little encore pieces, Mr Bryan played Dohynani’s “Rhapsody,” and so concluded an interesting programme. At the performance of “The Messiah,” which took place in Wellington on Saturday, under the direction of Mr John Bishop, who controlled a choir and orchestra numbering some 300; the contralto solos were beautifully sung by Miss, Ruth Perry, of Dunedin.

The first volume of “ History of Music,” covering the earliest years of musical development up to about the year 1600, was hailed as one of the world’s most important contributions to music, asd the editor, Mr Percy Scholes, and the publishers received expressions of the warmest approval at the conception and production of the work. It was something never before attempted, and never possible except with the gramophone to provide the necessary musical examples. Now the second .volume is announced, and, as before, this contains eight records, carrying the story of music on from the beginnings of opera in 1000 up to the works of Bach and Handel (1759). With the album is a book, published by the Oxford University Press and written by Mr Percy Scholes. The high artistic and musical standing of the performers of the music for the first volume was ascertain guarantee of its merit, and a glance at the names of those who have contributed to the second volume will show that it has been entrusted to musicians best calculated to do full justice to it. They include Bratza (violin), Rudolph Dolmetsch (harpsichord), Arnold Dolmetsch (clavichord), Leon Gossens (oboe), Robert Murehie (flute), Doris Owens (contralto), and the choir and strings of the Bach Cantata Club of London, under the direction of Mr Kennedy Scott. The great thing about this music is that' practically none of it has been recorded before. It cannot fail to exeercise an irresistible fascination over all who hear it, and the playing and recording are very good.

The Boston Symphony Orchestra, conducted by Serge Koussevitsky, gives a most enjoyable performance of Haydn’s “ Surprise ” Symphony in, six parts. After the short introduction (“Andante Cantabile”), the famous Russian composer imparts tremendous vitality into the bright and vigorous allegro vivace. The andante, with its dreamy and melodious theme, is charmingly' played, and the repetition of the principal theme fortissimo is done with splendid effect. Charming as the minuet is, it certainly does not lack in animation. The allegro di molto bubbles with the joy of life. The recording of the symphony is complete. The mighty organ of the Liverpool Cathedral is heard in Chopin’s “ Funeral March ” (from the B flat minor Sonata. Opus 38), played by Harry Goss-Custard. The beginning is given very softly, but the artist secures a great effect in the loud passages. A lovely singing tone is heard in the tender intermediate part. The funeral march is recorded in two paf-ts. “ Voices of Spring ’■’ Waltz by Johann Strauss, played by Felix Weingartner and the British Symphony Orchestra, form a disc. Strauss waltzes are being revived at the present time all over the world. They may be quite dead in the ballroom, but the serious concert room has adopted the best of them. “Fruhlingsstimmen ” is one of the most charming of all the waltzes. Here* of course, it gets a rhythmical performance by an orchestra a hundred strong.

All students of the French language will welcome the series of three records released in November. These discs give conversational phrases in impeccable French, the subjects being “ En Voyage,” “ L’Hotel,” “ Promenade en Auto,” “ Promenade en Ville,” “ Achats,” and “En Visite.” These should be invaluable for car training both for individual students and for school use.

Two new records by Florence Middaugh, contralto, hold Morris’s “The Stranger of Galilee,” Whitticc-Morse’s “ Oh, He Whom Jesus Loved Has Truly Spoken,” Eddy-Brackett’s “ Saw Ye My Saviour," and Eddy-Root’s “ Love,” with organ accompaniment by Claude Saunicr. Isolde Mcngcs and Harold Samuel have recorded on three discs the sonata of Brahms in D minor for violin and piano. Mr Samuel plays and records with great sensitiveness, and handles the rather original piano writing with fine judgment. Miss Mcngcs is completely satisfying. Her tone quality is always just right for the context, and she shows an equal insight into the music. The effect of the whole is most satisfying artistically and musically, and the choice .’of pace in the un poco presto is excellent, being a little slower than is general and truer to Brahms.

“ The Mill on the Rock ” Overture by Reissiger, arranged by Winter-bottom, has been played by the Wireless Military Band. This splendid band arrangement of a popular overture should be welcome. The famous British broadcasting players appear to have put their best musicianship and richest tone into the performance. The recording is very clear. A recording pianist, Sidney Crooke, gives a beautiful interpretation of three favourite pieces which are grouped on one record, “ Alice, Where Art Thou,” by Ascher, “Waltz in D flat,” by Chopin, and “ The Bees’ Wedding,” by Mendelssohn. Selections from the two famous short operas, “ Cavalloria Rusticana ” and “ I Pagliacci ” are stirringly played by the Salon Orchestra. Two melodious Scottish songs, “The Flowers of the

Forest; ” and “ An Highland Melody,” are played by the English ’cellist, Brain Martin, whose tone is well recorded and Foster Richardson’s resonant bass voice is heard to advantage in “Queen of the Earth” by Pinsuti and “The Wolf” by Hatton. “ The Fiddler of Dooncy,” that deligh tful poem by Yeats which catches at .the heart strings, has been set to music by Thomas Dunhill. He has caught admirably the spirit of the poem. The same whimsical type of melody which he uses in some of his children’s music, such ns “The Pied Piper” pieces, is present here in this song. It has been sympathetically sung by Peter Dawson, and on the reverse side is “ song of the Highway,” a marchlike composition with an orchestral accompaniment. The Light Opera Male Chorus has recorded several well-known songs of good cheer. “Here’s a Health Unto His Majesty ” has a jolly marching rhythm and the solo singer enjoys it heartily. This is followed by “ Here’s to the Maiden of Bashful Fifteen ” and the humorous “ Simon the Cellarer.” The question “Marry Old Marjorie?” is answered with a ringing “ Nn (j> no, no ” by the chorus with a laughable effect. The old German song “ Drinking,” with its line melody, “ Down Among the Dead Mon,” and “ There's a Tavern ” make up the second side, where more chorus work is heard.