MUSIC

Otago Daily Times, Issue 21993, 30 June 1933, Page 3

MUSIC

NOTES AND RECORDS By Allegro. “What is it all about? ” we may ask if the record of Stravinsky’s “ Chinese March,” from his work, “Nightingale,” is put on and we are given no name and no clue. We will say "It is distinctly foreign, perhaps Chinese or Japanese, highly coloured and perfectly weird.” All this is very true. When we come to the second side we .shall decide that the pentatonic scale used so freely is discarded for a quarrelsome set of notes that seem to be fighting against one another for the upper hand in tonality. Never can they agree in key or chord while melodies play one another down instead pf gliding hand in hand as normal melodies do. Not even at the end are we provided with a satisfying chord, and we turn the record on again to grasp the keynote and general foundation —completely forgetting it again by the time the disc runs through. What, then, attracts us to the music, excites us and is interesting in spite of its reluctance to give any help to us in the matter of peace of ear when we are listening to it? it is just that perverseness which is alluring, which makes us seek for, more information and explanation about the music and its composer. On hearing the “ Chinese March,” the head is filled with excited tihklings of apparently old Chinese instruments, though the orchestra is a modern one and the orchestration extremely modern. There is a bubbling of sound, a boiling of music such as might go on in the magic flask of some sorcerer. To this restless accompaniment, the gorgeous pageant of gongs and bells passes down the record. There is a flute representing the song of the nightingale, with a single abrupt chord bass as background—this background so monotonous that when a different and higher harmony is used it is almost startling. There are a totally unexpected and humorous fliding down the scale of a woodwind instrument at the end of the first side, bell-like solos playing against one another, Accented last beats of bars as well as fierce, first beats, shrill scales .with no ears for their neighbouring scales, two crazy trills answered by chords and a subdued under-melody played with the last plaintiff solo. We are not in the least surprised to read that such and such a passage in another Stravinsky work. “Reynard,” is compared “with the gargling of the women in ‘ The Nightingale ’ when they try to emulate the nightingale’s song.” For facts about “the Nightingale”—it was first a lyric tale in three acts of a Hans Andersen fairy talej begun in 1909 finished in 1914. Stravinsky turned from “ The Rite of Spring ” to finish it, but in the last two acts the romantic style he first used was completely gone. We read that the break between acts I and II was so shamefully obvious that all the composer could do to prevent the opera from disintegration was to end every act with a certain charming folk song which had been used in the first act. This was useless to keep the work together and the composer decided to turn the last two acts into a symphonic poem for orchestra. _ This in turn suffered metamorphosis into a ballet. The result, except for_ the scenery and costumes of Matisse, is hardly satisfactory. The playing of the London Symphony’ Orchestra conducted by Albert Coates is all that can be desired. The work holds no terrors for it, and the players seem to revel in the unorthodox things they have to do. The results a brilliant recording. v

“ Campanella,” by Paganini, familiar as a piano arrangement > by Liszt, has been recorded in its original setting by Yehudi Menuhin, the young violinist who has caused so much excitement in music circles at Home and on the Continent. The brilliance of the music is brought out by brilliant playing, clever double stopping, and pure harmonies. “ Song of the Bride,” by Rimsky-Korsakoff, arranged by Franko, opens with a stalking figure of introduction, and the fullness of the melody then stands forth in double significance. The chord accompaniment later serves to show the admirable legato technique of Menuhin. Here, 100, broad double stopping is a feature of the disc. Vivaldi’s “ Concerto in G minor ” has a bold opening. Throughout the first “Allegro ” the clean fingering, the bowing which so surely marks a master of tone, the brilliance of phrasing, need no explanation when it is realised that the player is Mischa Elman. During the movement there is a fascinating repetition of a little phrase and neat conventional cadences which have a charm all of their own.

It is in the “Adagio” that the full power of Elman’s sustained legato playing is heard. The minor mood of the “Adagio,” its lovely descending sequences, with a drop down to the last notes of them, its poignant melody, all lend them-

selves to the purer tone of the artist. The orchestral work in this movement is also satisfying. The third movement, an “Allegro,” is in three-beat time, of a bustling nature, with a sprightly triplet on the first beat. Of this triplet Elman makes a chuckling thing which is hilarious to listen to. Praise is due to the London Symphony Orchestra and Lawrence Collingwood, its conductor.

Elizabeth Schumann, of the silvery voice, is the artist who has recorded four charming Schumann songs; “ Snowdrops,” with its wistful melody and slight accompaniment is a gem of artistry. “ The Hazel [Tree,” better known, is treated by Elizabeth Schumann in a delightful way. One never Tires of this song, though it repeats itself in its quaint phrase endings—rather as the pianoforte “Arabesque ” does. Especially is the upward Hit of the music effective where the song modulates. A joyous composition is “ Spring,” and the fourth number, “ Messages,” is also happily rendered against its rippling background. > Elizabeth Schumann has a perfection in the singing of small songs which. makes her records eagerly sought. To have Beniamino Gigli and Dueolina Giannini on one record should ensure its popularity with the public, especially when the music chosen ig from the ever-popular “ Cavalleria Rusticana.” "Tu qui Santuzza,” excellently sung, is followed by the passionate ’ “No. no. Turiddu," which is one of the most poignant moments in the opera, A highly dramatic phrase which has already occurred in the prelude makes its appearance, and the heartlessness of Turiddu is realistically depicted in the music. Throughout, the duets there is a fine balance of tone. The members of La Soala Orchestra are responsible for some very good work. Well has it been said that the strength of “ Cavalleria Rusticana ” lies in “ the brevity of , its recitatives, the tense summing up in melody of each dramatic situation as it develops the swift unfolding of the tragic story.”

John M'Cormack may he heard in Bless This House,” by Brake. This commences like the folk song “In My Cottage,” a melody [which is so simple that it has a charm all of its own. John M'Cormack sings it sincerely, and his tone is faithfully recorded. “Once in a Blue Moon,” a modern ballad by Fisher, with a lilting melody, .makes an effective second number. ( A second vocal disc holds Ireland’s " Sea Fever,” sung by Conrad Thibault. Every word is clear. He has caught the spirit of Masefield’s words, and makes the most of them to the quaint accompaniment. In “De Captaine of de Marguerite ” Thibault’s interpretative powers enable him to give a realistic picture of the selfpossessed captain. Eugene Goossens’s orchestral arrangement of Jsach’s charming “Suite in G” is an attractive one. The short dances arrange very well and give the same satisfying feeling to the listener that they give when they are played on the piano. This is much to do with the crisp playing of the London Symphony Orchestra under the baton of Goosscns. “ Courante ” is cleanly bowed, “Allemande ” is clearly phrased, “Bourree” and “Gavotte” are rhythmically treated. The • charming “Minuet” is, perhaps, the most perfectlyplayed of the pieces and the “ Gigue ” carries the orchestra along itself with its jolly tune and atmosphere. Gilbert and Sullivan’s “Pirates of Penzance ” is the latest work of the Light Opera Company. It is a happy choice, and the record is a sparkling one. Scraps of well-known favourites, such as “ 0 Better Far to Live and Die” and "A Policeman’s Lot,” are present, and the solo numbers have an effective orchestral and vocal accompaniment.

“ Forest Idyll.” by Esslinger, is an unusual record by March Weber’s orchestra. This is not merely M. Weber’s usual waltz, though it breaks intb a waltz-like, movement after an introduction in which a flute and bird voices play a prominent part. These novel effects come in again during the course of the record. “The Hermit,” a work by Schmalstieh, inspired by a picture, also has bird voices in the accompaniment, and some broad organ tores. It is smoothly played. The July list holds a collection of Liszt selections, also played by this orchestra. “An Evening With Liszt ” opens with a well-known Hungarian folk song of arresting quality. Scraps of rhansodies. “ Liebestraum,” and other well-known Liszt works are heard. Most effective are. the pianoforte sections introduced, especially the one on the second side, which appears as a cadenza before the last triumphal entry of the orchestra.