MUSIC

Otago Daily Times, Issue 22023, 4 August 1933, Page 3

MUSIC

NOTES AND RECORDS

By Allegro.

A musical event of special interest occurred in London on June 21 when Miss Vera Moore (Dunedin) and Mr Rene Le Roy (Paris) gave a pianoforte and flute recital at the Wigraore Hall. The opening Bach Sonata had the usual lucidity and fluency that one associates with the tone and phrasing of both Miss Moore and Mr Le Roy. Each displayed an admirable mastery of the respective instruments and their work together was, equally, a most effective performance. In the characteristic suite by Albert Roussel, entitled “The Flute Players,” these qualities were shown at their best, and the original “ Sonatina ” of Darius Milhaud ran it, close in charm and in cleverness of execution, although its artistic value is definitely slighter than that of cither the suite just mentioned or of the lovely unaccompanied flute solos—- “ Syrinx,” by Debussy, and “La Danse de la Chevre,” by Honegger —which were performed by Mr Le Roy. Miss Moore’s choice of a solo was the famous Beethoven “ Waldstein ” Sonata, and her playing of its immortal “Adagio ” movement was the outstanding feature in a very finished and sensitive rendering of this great composition. It was a rendering, however, in which the usual powerful handling of the massive tone-effects in the opening and final movements was replaced by a lighter scheme of values altogether; but one also which had an attraction and appeal entirely its own. Here, again, the New Zealand pianist’s individuality and gifts of musical initiative were amply demonstrated. Miss Moore's brother, Mr Frederick Moore, is visiting Dunedin this year as examiner for the Associated Board. The Wellington ’cellist, Mr Arnold Trowell, has also been gaining praise in London for his musical interpretations. His ’cello recital at the Wigmore Hall on June 19 was, as usual, exceedingly well attended, and the varied programme was evidently much enjoyed by his large audience. His playina of the exacting Elgar “ Concerto in E minor ” (Opus 85), and of the Veracini “ Sonata in A major,” was noticeable tor its fine tone, admirably graduated throughout. In these; as well as in the “ E Minor Sonata” of Brahms (Opus 38), with its massive tone-values and intricate ‘pattern,” there were occasional harsh passages —due, perhaps, to an over-vigorous handling—but such slight excesses were pleasingly absent from the very charming performance of various short pieces at the end of the programme. One of the ’cellist’s own compositions —an attractive “Roundelay”—and his clever arrangement of a “ Rigaudon ” by Rameau, were specially applauded. The other morceaux were also well chosen and effective, They included Dvorak’s “ Waldesruhe, Tschaikovsky’s “Souvenir dun Lieu cher,” and the always popular Rond alia Aragonesa” of Granados.

Miss Winifred Gardner gave a short recital of piano music at the meeting of the Society of Women Musicians of Otago on Wednesday, after an interesting lecture by Miss Joachim. Miss Gardner played artistically Beethovens Appaesionata ” Sonata, Saint-Saens Etude in form of a Waltz,” and Rubinsteins “ Staccato Etude.” Mr Paul Vinogradoffs recital on Wednesday evening showed that he is indeed a fine interpreter and player of Chopin, The “F minor Fantasia ’’ the impression of an improvisation, i.he mote popular things which one passes by as “ too much played ” and frankly does not look forward to with the same musical interest (much in the same way as one heaves a sigh of regret at the sight of an all-too-fainiliar and popular Beethoven sonata or a virtuoso’s programme when guy of the lesser-played might have been chosen), such numbers sounded fresh, and were certainly not played with the usual “ expression ” marks. Take, for instance, the Funeral March movement in the “ B flat minor ” sonata. The unorthodox and sudden entry of the minor chords after the major section was startling in its unusualness. We cannot forget the marvellous playing of Back-* haus in the final movement of this sonata. He gave it out very softly and in a manner so mysterious, so “ sotto voce.” as to make the flesh creep. In the hands of Mr Viuogradolf it was entirely a different thing, bustling and rushing;Of the larger works, the “ C sharp minor Scherzo ” was at all times gripping. Here the treatment was lighter than is general. The lovely melody sections which one cannot always help singing mentally were so compelling that not being able to give them articulation it was, strangely enough, the return of the first theme which came as a relief. The power of a singing tone over a Chopin “ nocturne ” or melody, the rhythm and tongue-in-the-cheek sense of humour required in a mazurka or waltz, were shown on Wednesday night. The programme ended' with the "A flat Polonaise,” the chords leading into the rapid left-hand octave passages b'dng a joy to heap, so thoroughly did Mr Yinogradoff lose himself in the task of rolling them out with enough triumph.

The British Broadcasting Symphony Orchestra, which has been responsible for some excellent recordings, has now put Humperdinck’s “ Hansel and Gretel ” overture on a disc. “ Hansel and Gretel ” has been described as “ an amazing mixture of fact and fancy, invention borrowing, adaptation and theft. Aesthetically it is a thing of never-fading charm and technically a masterpiece of the old style counterpoint.” Certainly the overture is a charming work, and under the baton of Dr Adrian Boult is excellently played.

the recording of Kreisler playing De Falla’s “Jota” needs no commendation. This queer dance with its monotonous rhythm and barbaric sentiment, its soft, melodious passages set in between excited short chord passages, gives Kreisler an excellent opportunity to show his brilliant interpretative powers. The second dance, “ Spanish Serenade,” by Glazouuoff, arranged by Kreisler, has some particularly bright melodies where Kreisler’e masterly tone shows itself. Happy trilling passages for' both violin and piano and typically Spanish idioms make the music attractive and interesting to listen to. Glazouuoff was a pupil of RimskyKorasakoff and belongs to the second group of Russian national composers. He js not so typically national as his master 7 and at times his artistic aims appear to waver, probably owing to an ease of personal circumstance. He is a master of counterpoint. and bis technical side is very solid. His orchestral works glow and his fantastic imagination appears in his compositions. Do Falla is the best and most national of modern Spanish composers. Paderewski’s personal magnetism is felt in his recording of the “ Spinning Chorus” from “ The Flying Dutchman.” In Wagner’s opera, in the first act the spinning girls are seated in the house of Scuta. Their teasing, Scuta’s song, the sombre and foreboding motive of the Flying Dutchman, and the whirr of the spinning wheels have all been admirably transcribed for the piano by Liszt. The grace and charm of the melodies in “The Spinning Chorus ” show .Wagner in his happiest mood. Paderewski’s .-performance is brilliant and interesting, while the recording itself is realistic. John M'Cormack’s latest record is in “The Irish Emigrant.” by Barker. This Irish ditty has a lilting accompaniment and is liltingly sung. “By the Short Cut to the Roses,” on the second side, a contrasting number is given in M'Cormack’s most winning manner.

The latest Caruso record to be issued is “Celeste Aida,” and “ Je crois entendre encore.” from "The Pearl Fishers.” Bizet’s opera is in three acts, and was first produced at the Theatre Lyrique, Paris, in ISG3. The opera is set in Ceylon in a barbaric period. Nadir, the pear! fisher, sings “Jo crois entendre encore” to Leila his love, who approaches as n veiled priestess. The air is sung in the first act. Caruso’s splendid voice is hoard to_ its best advantage in this. “ Celeste Aida ” from the first scene of “Aida ” is sung by Rhndames, a young warrior in love with Aida. This powerful song, with its romantic phrases and sentiments, is splendidly given by the great tenor. The orchestral accompaniments of both works are most effective and atmospheric.