MUSIC

Otago Daily Times, Issue 22259, 11 May 1934, Page 2

MUSIC

By Aixegko.

NOTES 'AND RECORDS

The British Broadcasting Symphony Orchestra has recorded Wagner's " Die Meistersinger" overture. W. J. Hendersons in "The Orchestra and Orchestral Music" tells this anecdote of this overture: —"A professional musician was engaged in a discussion of Wagner in the corridor of the Metropolitan Opera House while inside the orchestra was playing "Die Meistersinger" overture. It is a pity,' said this'wise man in a condescending tone, ' but Wagner knowß absolutely nothing about counterpoint.' At that instant the orchestra was singing five different melodies at once, and as Anton Seidl was the conductor, they were all audible."

In a rare book printed in Nuremburg in 1697, four " Prize Master Tones" are given. Two of these Wagner has reproduced in modern garb, one in the Meistersinger's March and one in the Motive of the Art Brotherhood. The pompous motive of the Meistersiugers, says G. Schirrner, opens the overture with a ponderous dignity. In contrast to this is I the Lyrio motive which expresses the striving after a poetic idea), unhindered by the old-fashioned restrictions of the Meistersingers. This is suddenly checked by the sonorous Meistersingers theme. It is followed by a noble phrase developed from portions ,of the first motive. # It reaches an eloquent climax in the ideal motive. Opposed to this is a restless theme, full of emotion which breaks through the stately music. A portion of the well-known " Walther's Prize Song". leads into a most happy theme, the motive of spring, and then Wagner "makes fun of the old fogyism which was so long an obstacle to his success," in a humorous passage in the bass against the Art Brotherhood Motive. Some of the various themes are repeated against one another while the first grand theme brings the overture to a close. This work is the Vorspiel which precedes the rise of the curtain, but it is a full-fledged overture rich in thematic material. It is full of life and action, and is excellently constructed. The British Broadcasting Orchestra's playing is clean and crisp, and the recording is clear. One of the most charming of folk songs, made dear to many by its association with the Toy Players some few years ago, is "Dashing. Away with the Smoothing Iron." This has been sung in a jolly, lilting way by Stuart Robertson and male quartet. " Bobby Shaftoe," the friend of the nursery tales, makes the second number. On the second side are "A Farmer's Boy " and " I married a Wife." Peter Dawson is very much at home in a marching song of the popular type. " Punjaub March," by Payne, and " With Sword and Lance " march, by Starke, are his two latest additions to the gramophone sung in his usual happy manner. Joseph -.. Schmidt, a new Rumanian tenor, may be heard in his recording of " Espanola," a Spanish love song by Serrano, and " Wenn du treulos hist," a German song of tango-like cfiaracteristics by Benatsky. Both songs he sings with great atmosphere, and both songs give him a chance to display the qualities of his voice. There is an effective orchestral accompaniment. Richard Crooks has sung "Waltz Song," based on a well-known Strauss waltz. With "Castles in the Air," he provides an attractive sentimental song recording, accompanied by orchestra. Elisabeth Schumann leaves German lieder to sing a Bavarian folk song, " Was I' Hab," by Bohm. This is, or course, most attractively. sung and lucky are we that a great virtuoso will consider recording songs of this type, as we are able to hear the best interpretations of them. "Der Vogel un Walde," by Taubert, introduces some bird - imitations in an effective manner.

The Band of the Coldstream Guards makes joyous work of the "Mikado-" selection they have lately recorded. Soft passages are. played softly, and are a welcome contrast to the forte work, All the old favourites are present from "Tit Willow" to "Three Little Maids."

Tom Jones and his orchestra have provided a light music record. It holds " In the Shadows," by Finck, and " Fairy Tale," by Heykens, both attractively played and reproduced. .... Glazounoff's captivating " Melodie Arate" is played as a violoncello «010 by Cedric Sharpe, whose warm tone and technical skill, combined with a sense of rhythm, bring out all the glow of the melody. Glazounoff, like most of the Russian school, is lavish in his musical colouring, and Cecil Sharpe shows an imaginative conception of the number. On the other side he plays, one of his own works, "Pavane." The 'cello tone is viyidly reproduced, and the piano accompaniment by Cecil Dixon is very clear. One cannot imagine any more beauti-fully-toned or classic performance than that of the British Broadcasting Sym-» phony Orchestra's playing of the "Der Freischutz" overture. It is conducted by Adrian Boult, and that alone warrants a high standard of production. The music itself is too well known and popular to need any commendation. It is one of the most popular overtures written to opera, and as played here is a charm from beginning to end. The string tone in the opening passages has depth. Later on the tone of the four horns in the lovely tune given to them is also praiseworthy. The performance is an example of colourful and robust orchestral recorded music.