MUSIC

Otago Daily Times, Issue 22005, 14 July 1933, Page 3

MUSIC

By Alleged.

NOTES AND RECORDS

The first concert of the Dunedin Junior Orchestra takes place on Tuesday, July 18. The orchestra is 67 strong, and has a complete string, wood wind and brass section. The first performance should be of great interest, as the members have all been most enthusiastic over their work and have given every support to their conductor. (Mr Roy Spaokman). One does not expect, a perfect performance from these young players, who are all under 21 years of age, yet their progress since the formation of the orchestra a few months ago cannot but be gratifying both to their conductor and to those people who are interested in the cause of music. , , , . _ T The concert will he opened by his Worship the Mayor, and the following programme will be presented:—“March Militaire” (Schubert): Suite from the “Ballet Egvptienne” Nos. 1,2, and 3 (Luigini); Minuet from “Military Symphony” (Haydn); “Pilgrims’ Chorus,” from “ Taunhauser ” (Wagner); overture, “Pique Dame” (Suppe); “Liebestraum” (von Blon); “Serenade” (Victor Herbert); “War March of the Priests” (Mendelssohn). There are also solos by Jean M'Lay and Edward Ottrey. A full house will greatly encourage these junior musicians on their first public appearance.

It is pleasing to read of the success of a New Zealand pianist in London. Mr Guv Marriner (Auckland) has returned to London after three years on the Continent, where he has been fulfilling many pianoforte engagements and enteririg generally into the life of the musical world in the various countries. He has played with marked success in Vienna, Berlin, Cologne, and Poland. So great was the impression he left on Polish audiences at the beginning of the year that a tour of Scandinavia and Finland may be the outcome. His programmes are made up chiefly of Beethoven, Bach, Cesar Franck, Chopin, Debussy. One of the Berlin critics remarked: "Marriner belongs to the large number of most decorous _ pianists who give evidence mf their training and arouse our admiration.”

Tschaikovsky’s Piano Concerto No. 1 in B flat minor, opus, 23, which has been recorded by Arthur Rubinstein and the London Symphony Orchestra under the condnctorship of John Barbirolli, is one of the favourite concertos of to-clay. This work had a struggle for recognition, and the composer modified the piano part before it was finally accepted. The concerto is rather irregular in construction. ' The three movements have added to them by way of a prefix an introduction so long as to claim the title of a movement for itself.

This dignified preface contains a haunting melody. The first_ movement proper opens with a fanciful first subject which has almost the lightness and crispness of a scherzo, and it is followed by an exquisite theme which is brilliantly developed. The slow movement and the scherzo are in a manner combined in one, the second movement of this work presenting us with a slow section in which the opening flute solo on a languid theme is the chief feature, which, with an episode in a much more rapid tempo, gives us a broad 'chllo melody with the lilt of a valse. These flowing string subjects are a feature of this work.

We get another in the rondo that follows, not as opening subject—that is given to a kind of mazurka theme, enunciated by the piano alone, of a sprightly and energetic character —but as second subject. It is repeated many times, and, moreover, affords an imposing conclusion to the work, occurring in the coda in the tonic major key, with all the pomp of tht» orchestra behind it.

Rubinstein’s performance of the piano part is characterised by technical skill and astonishing rhythmic sense. Every detail of the piano part is realistically reproduced. Under the young conductor, the orchestra is full of vitality.and The ensemble tone at times is a blaze of colour.

A recording to Beethoven’s “Pathetique” Sonata in C Minor, Opus 13, is given by Mark Hambourg, who visited New Zealand in company with Peter Dawson a few years ago. This sonata takes its title from the dramatic introduction theme, which is played with wonderful expression. The slow movement, Adagio Cantabile, breathes a great religious calm. The rondo mantains the high place of the first two movements, and once again Beethoven’s genius compels one’s awe. The Variations Symphoniques is one of Franck’s most lovable and attractive compositions, and we must thank the gramophone for making this beautiful work available, as played by a master. Gieseking’s performance is truly that of a master, and the London Philharmonic Orchestra, under Sir Henry J. Wood’s baton, display a fine degree of musicianship. The recording of the piano, of which we have recently been offered some really splendid examples, is again a delight, the pure clarity of the treble balancing a perfectly produced base. Listeners will also be struck by the remarkable fidelity of the orchestral tone. Of the music itself much might be written, for its fundamental beauty reveals the emotional depths from which the dreaming Franck derived much of his inspiration. Too many of us are apt to forget in our thoughts of Schubert, the melody maker, the deeper significance of many of the composer’s works. Now and again he revealed in Ins music an underlying sadness as if brooding over fateful matters, and in the Andante Cantabile movement from “Death and the Maiden” we find this influence most strongly marked. There is here a rare nobilityof expression that must come as a surprise to the man acquainted only with Schubert’s lesser productions. The recording by the Lener String Quartet reveals their peculiar charm to perfection in the matter of chamber music. Manuel and his orchestra have recorded choice Schubert excerpts from the “Unfinished,” “The Promise of Spring,” “ Serenade,” etc. Each is a fragrant memory of the poetic Schubert, tastefully played and recorded under the title “ Treasures from Schubert."

Solomon is one of to-day’s most promising young pianists, and his treatment of the Liszt “Rakoczy March ” discloses a complete understanding of the composer’s mood. The rich warmth of the “ Rakoczy March ” contrasts effectively with the clean, sharp brilliance of the “Polonaise” on the second side, and in both pieces the recording has caught the full piano tone. The young Belgian tenor, Andre D’Arkor has fully justified himself in the public favour, as further records are now being issued. His latest offering comprises Denza’g “ Had You But Known ” and “ Berceuse de Jocelyn,” No singer could extract more wealth of expression from these two little songs. Three Irish songs, sung by James M'Cafferty, who has the right touch of brogue in his voice, are grouped on a 10-inch record. A trippling little thing, “Kitty, My Love, Will You Marry Me? ” was one of the songs sung by John M'Cormack in his film, “ Song o’ My Heart,” and M'Cafferty brings out all its humour. One the same side he sings a quaint number, “ Open the Door Softly.” It has a caressing tune, and is rendered with some delightful touches. The third song is “ Off to Philadelphia,” with its rollicking chorus. -