MUSIC

Otago Daily Times, Issue 21543, 15 January 1932, Page 4

MUSIC

NOTES AND RECORDS

By Alleged.

Speaking about music for children in England, Robert Mayer says: “Probably few grown-ups hold particularly cherished memories of the music of their youth, which consisted of school singing and perhaps private piano lessons which had not the attractiveness of modern ones. Fortunate were the exceptions who, while young, had the advantage of a real musical atmosphere at home, or, say, of living abroad in Vienna, Munich, Dresden, or one of the many towns where music has always formed a real centre of interest; and their fortune was further enhanced when the operatic and concert performances which came within their reach stimulated them to attempts to master an instrument, thug enabling them to create the right background for music. Such knowledge and habits acquired during the impressionable years can never be quite lost even by those who have not made music a profession, and those who were thus fortunate in their youth now have a great advantage over the many who were less favoured; for I am sure that many readers, including those who have become attracted to music by gramophone and wireless, feel instinctively how they are handicapped in their enjoyment by lack of musical knowledge and education, and particularly are they inclined to envy those who can play an instrument. 5 Quoting some examples of the improvement that has been effected in the teaching of music in English schools, Mr Mayer continues:—“ On the one hand we have the ambitious and successful performances of oratorios and other works at a number of public schools, or the competitive festival movement which is drawing everincreasing numbers into the musical orbit; on the other, there are less spectacular but equally valuable activities such as lessons at a well-known school in London where girls are being taught to read music in the same way as they learn to read a book, or to extemporise and join in partsinging on themes composed by themselves. In numbers of elementary and secondary schools masters have found it possible to organise orchestras, and have themselves been astonished at the rapidity with which boys and girls, when given the opportunity of musical expression, learned to play the various instruments. At a school founded nearly 1000 years ago i saw a small boy sharing the desk with a well-known flautist who had been engaged to augment the orchestra, or a still more astonishing experience was the case of a smaller boy playing in a Bach cantata the Bach trumpet, an exceptionally difficult instrument." Orchestral" concerts for children were begun some eight years ago, with helpful and interesting talks about the composers and their works. From the beginning of three concerts in one season, 23 concerts were held in the last London winter season before audiences of some 50,000, owing to the help of the Education Board as well as influences outside London. The idea behind these concerts is not only to afford children—who otherwise would not. have an opportunity. of doing so—a chance of hearing the best music; but there is also the aim to plant the seeds of a firm musical tradition, and particularly to encourage the more gifted of the young generation to become active players instead of mere listeners. The movement has also proved of great help to teachers, many of whom now use it as a platform to work upon; first by way of preparation and subsequently for instruction. The gramophone and wireless are useful adjuncts, but better still is the heartening result when boys and girls have been so entranced with what they have heard that they determine to perform the works themselves. Americans, ever researchful in the sphere of education, have firmly incorporated children's concerts in their school curricula, resulting in the large adiences which fill their concert halls.

Robert Mayer urges the adoption and further extension of music in schools, and it seems that New Zealand is doing a wise thing in endeavouring to educate the children musically as well as otherwise in the schools.

Beethoven’s great overture “ Coriolanus ” was inspired by a tragedy written by Von Col tin, a German, poet, to whom Beethoven, dedicated his work. The overture, which has been beautifully recorded by the London Symphony Orchestra, follows the orthodox outlines of the sonata form, opening with a few fortissimo chords from the full orchestra, which serve to introduce the first subject, an agitated angry theme, which is given a snort development before the second subject, a tranquil melody, makes its appearance.. The free fantasia is almost entirely given to a furious development of a restless motive, taken from the, first subject, then the recapitulation begins with a return to the first and second subject, the movement closing with a coda which is based on the second , subject. Just at the close, the opening chords of the overture are heard again, followed by a passage in short tempo. The overture shows Beethoven in one of his most rugged moods. The conductor is no other than the famous 'cellist Pablo Casals, who is a moat popular conductor on the Continent, and who has an orchestra of his own in Barcelona. The Russian basso., Chaliapin, has Avonderful scope for his dramatic and vocal poAvers in the prologue scene from Boito’s opera “ Mefistofele,” which many regard as the greatest Italian opera based on the story of Goethe’s “ Faust.’ Chaliapin is assisted by the orchestra and chorus of Covent Garden, in fact the recording was actually made during a performance at the famous opera house, under the conductorship of Vincenzo Bellezza. Boito Avr.otenis own libretto, and endeavoured to give in one work the whole scheme of Goethe’s drama. The prologue to the opera presents one of the most impressive scenes op the stage. The action is supposed, to take place in the realms of space in which float an invisible chorus of angels and cherubim. After their song of praise Mefistofele enters, and, standing erect among the clouds, he mockingly addresses the Creator. The Avhole atmosphere of the recording is most impressive and in the solo “Ave Signor,” Chaliapin sings Avith pOAver and resonance. “ Vera la Cource dans le Bois,” by Tournier, and “ Andaluza.” a Spanisn dance, by Granados, played by Bernard Zighera form a record. Both of, these lovely little pieces give Bernard Zighera splendid opportunity to display the capabilities of both the harp itself and his own technique. “ToAvards the Stream in the Wood” is admirably contrasted with Granados’s Andalusian dance measure, and one hestitates to eay which of these is. more likely to be the popular favourite. Miss Doris Vane, one of the most charming of the popular singers in England, brackets “A Summer Night," by Marizials and Goring Thomas, and Sullivan’s “My Dearest Heart.” The Goring Thomas song ehe invests with singular expressiveness, and the Sullivan ballad is no less interesting. Both songs are delightfully accompanied by an unnamed pianist, and a ’cello obligato adds greatly to the effect pf “My Dearest Heart.” The Little Salon Orchestra is the title of a neAV orchestral combination of modest p-oportions. For its debut record it chooses Carl Zimmer’s tone poem, “ Springtime in the Forest,” Avith all the skilful features that sooner or later mean 1 popularity. This little band makes the j most of its resources, and on this recorded performance can claim a high place among i the little orchestras knoAvn to the gramo- j phone. Tavo marches, “ On the Quarter Deck” I and “ Voice of the Guns ” are stirringly | played by the Black Diamonds Band, j which is one of the performers best known to the gramophone. “I TraA’el the Road,” by Parsons and Thayer, and “The Song of the Tinker,” by Elliott, have been coupled by that popular baritone, Raymond NeAvell. The spirit of the open air and the open road is in these songs, and they are sung in Newall’s most captivating manner. The joys of a gipsy life are extolled’ in the first, and the second gives up the philosophy of life ag expressed by a tinker. G. Thalben Ball on the organ of Alexandra Palace, London, has made a disc of Wagner’s “ Ride of the Valkyries ” and the “ Grand March ” from “ Tannhanser.” These lavo extracts are too well known to need an introduction, and should be enjoyed as they are carefully played.