MUSIC

Otago Daily Times, Issue 21829, 16 December 1932, Page 4

MUSIC

NOTES AND RECORDS

By Allegro.

Concerning the relationship between music and dancing, Ernst Schoeu, after discussing the stage, the Russian ballet, Diaghilev, and the Swedish Troupes, has •written: ‘’Assuming that every given human society needs its own formal expression by the inseparable trinity of gesture, word, and music, we need not cuilmerate all the different theories and schools which have existed since Duhcanism or the first renaissance of folic dances in the youth movement.” Schoen goes on to mention, a few names of innovators who uphold the trinity of gesture, words, and music, and discusses specially Jaqucs-Dalcroze:— Every original modern perspective as to the possible connection between gymhastics'and music is derived from the theories o£ Jaques, or at least is concerned with them. Without closer examination of the special singularities of the method of Jacques's activity during his most produdr live period at Hellerau before the war, of liis second post-war' working period at Geneva, his successors and all the theoretical alterations of the method, the whole development of Jaques's School of rhythmical gymnastics seems to give, proof of two essential mistakes as regards its actual usefulness as a ruling principle of real formal physical education of ;the generations to como. ; First of all, the whole system during Its lifetime has remained of a strangely feminine character. The reason of this astonishing fact, In our opinion,, lies In the fallacy of assuming that any formal education of to-day , could work by the same primitive means Of rhythmical and formal Improvisation as were In vogue; At the time of the prehistoric beginning',' of the arts. The failure could not be more evident If the theory of Jaques would teach simultaneously that the very first elementary exclamations which probably stped at the beginning of every poem were the genuine literary form to to-day. V S So it happens that In the system of Jaques and his successors there is- a great deal devoted to gymnastic education while the question of word-expression Ms entirely neglected, and In the musical sphere an amateurish routine of elementary Improvisatory modulation is prevalent which is not on the same level as the gymnastic development and seems almdst to nullify the whole system. And the question Is arising whether a formal pro- •• ductlveness "of the soul of masses in ofur days can be. carried on by other than tiiS most definite social means. However, the ’ relatively ’email musical 'lntuition (of. Jaques’s owh Work deprives the whole d'e- :■ velopittent Of his system of any realjy general artistic efficiency.

But with the Increasing elaboration ,ot his principles, of physical gesture, there was appearing a generation of dancers dpr taohed from the conventional notions of the classic ballet, but, notwithstanding, eager to bring to the stage a form Of well-modulated dance quite of their owit. Two of them attracted sufficient attention to Induce closer Inspection of their work. Mary Wlgtnan, by her supreme gymnastic skill, and still more by a strong personality, introduced a type of expressive, non-pantomlmlc dance free of convention and eclectic limitation. Her unfettered originality exercises on her pupils and successors an Influence somewhat detrimental to any evolution of the considerable revelations of the art of dancing. Of a more general kind is the merit of Rudolf ~von Laban, who promulgated a very , productive theory delivering the dancer from the necessity of limiting his expression and offering many systematically displayed movements In every possible direction. His theory, based on the classical system of choreography and developed In a logical and constructive manner, is surely one of the most important discoveries of the modern dance movement.

The school of rhythmic gymnastics which went over from Hellerau to the Castle of Laxenburg, near Vienna, Is trying to unite all the beat results described here and by producing a dancing group, of which the leader is Valerio Kratlna, proved, It not Its supremacy over the sister arts, at least Its willingness to cooperate with them for the purpose of a now scenic art. Similar to the case of Laban Is that of Kurt Joos, by far his most talented and emancipated pupil, who has already become a master at the modern and active academy of music and scenic art at'Munster (Westphalia). Joos has proved himself to be an artist of choreography, and ns eager for collaboration with the other scenic arts as any composer or playwright conscious of the demands of the time.. .

Elizabeth ’ Schumann, the renowned lieder singer, has provided a welcome addition to the gramophone in her record of “ Muttertandelei,’’ by 11. Strauss. This is faultless in its recording and interpretation. “ Marienlied,” by Marx, the companion number, is admirably accompanied and sympathetically given. , ' : Crete Vernon, a new Viennese Soprano with a-: bright, voice happy 1 style of singing, has, recorded \tWov Strauss waltzes. They are both’ well, k,hoWh And' familiar to our' ears. They,-- are "'Blue Danube" and "Tales. Front-the Vienna Woods,” a happy choice for this singer. The fantastic " Swan of Tuonela," from “ Lemninkaincu Suite, by Sibelius, has been put on a record by the Philadelphia Symphony Orchestra. Under the baton of Stokowski, a colourful interpretation is given. Dvorak’s well-known “ Slavonic Dance ” in Ct minor constitutes one side of a record by the Chicago Symphony Orchestra, conducted by Frederick Stock; “ Largo,” by Handel, is the second number. It calls for smooth playing and is carefully rendered.

Arthur Schnabel and'the London Symphony Orchestra may be heard in their recording of Beethovens’ famous “ Emperor ” Concerto. This work, opus 73, is too well-loved to need comment, and this important recording should be a welcome addition to a gramophone collection. The first “ Allegro ” takes up three sides, the “ Adagio " two, the “ Rondo ” two. Two Strauss’s waltzes arranged by Dohnanyi have been recorded by the pianist himself. He gives an ideal interpretation of his own arrangement. A cornet recording by a clever player is “Carnival of Venice,” by Benedict, played by Del Stagers. Clean playing is a feature of the record. “Napoli" is the second piece chosen by the artist. Ran da Costa, a jazz pianist who is popular in the gramophone world, may he heard in her disc of “Just Wonderful You” and “Just Humming Along.” These are given in her usual rhythmical style. Lawrence' Tibbetts’s disc of “Uncle Ned” and “Old Black Joe” shows this singer in his best form. As he is accompanied by male quartet and orchestra the recording is a most attractive one. A record of Christmas interest by St. Swithen’s Choir holds “Good King Wenceslas ’’ and “ Christians Awake.” These are stirringly sung. A harp recording of Debussy’s first “Arabesque" has been Mildred Dilliim’s contribution to the gramophone. QabeTs “Am Springbrunnen ’’ is on the second side.