MUSIC IN THE HOME

Taranaki Daily News, 9 August 1930, Page 11 (Supplement)

MUSIC IN THE HOME

AN ENGLISH COMEDIAN. "Tommy Handley Calling.'’ Descriptive sketch by Tommy Handley. Columbia DOIS}. ' ? Tommy niakee his first record for Columbia a real winner. He is the Clown-in-ordinary to the 8.8. C., and so it is quite suitable that he should "guy” theB.B.C, in such mirthful style. He goes right through the whole performance, M king each item in turn, from the bed-time story to the news bulletin, and keeps the ball of fun rolling merrily the whole way • through. BILLY BENNETT AGAIN. (1) ‘lf Winter Comes’’; (2) “The Detective.” By BiUy Bennett, comedian. (Columbia DOXS). This jovial humourist. doesn't tickle cur ribs, so .much as bang; them, in with .a club, for his. humour is of -the broad, farcical sort, - His . :‘Detcctivc” is a riot—a. Sherlock Holmes who assumes any disguise from an elephant to a whelk. "If Winter Comes’’ is an uproarious. burlesque on the plight of a poor pork sausage through -the seasons. Great fun! ■ m’.DEVER ENT ER TA IX ER. (I) ’•••perverted Placards”: (2) ‘ Lovely Music. ” By Ernest Hastings, entertainer. (Columbia DO10). Those, who like'a little sly tun will keenly relish this clever dissertation _ on the typical newspaper headline. Funnier still is the rather cruel dig at those, types we all know so well -the would-be ' music lovers. KRETSLER’S ARTISTRY. " . It is by no means surprising that Fritz/ Kreisler should re-record two of his most successful violin arrangements, Beethoven’s . “Rondino” and liis own “Schon Rosmarin.” The Rondino on a theme by Beethoven is charming and exquisite in ‘ the 'extreme, its refinement and elegance recalling the atmosphere of the aristocratic drawing-rooms of over a century ago, and it. also suggests visions of Anna Pavlova, who has included it amongst her favourite dancing numbers for the last fifteen years. •'•Schon Rosmarin” ("Fair Rosemary.” )j a captivating and dashing Viennese melody, dates from the period when Kreisler at the beginning of his career sought to compose short works to show off his brilliant technique. As ever, the great violinist’s art of intimate appeal and mellowness of tone dominate his interpretation. (His Master’s Voice). FOLK DANCES. Traditional English Folk Daiicys, Played by the National Miliary Band. (Columbia DO.IO-11},.. Stanford Robinson- conducts his famous band vzith his usual brilliance and vigour, and makes this bunch of old folk alive with rhythmic energy. The dances have a . fresn, healthy air about them. Arranged by Cecil Sharp, they are sure to be authentic. The first record gives Hey Boys, Up We Go, Rutty Tufty, Mage on a Cree and Parson’s Farewell, while the second gives Sellenger’s Round, The Black Nag and If AU the World Were Paper. SANDLER AND HIS ORCHESTRA. (1) ‘ Give Me' Back My Heart”; (2) “My Dream Memory.’’ (Columbia DO13). This pleasant light orchestra, the best of its kind in London (as it would need to be for the Park Lane Hotel), sets out to charm, and does so most efficiently through the medium of two most engaging numbers. “Give Me Back My Heart” is Ivor Novello’s big hit from “A Symphony in Two I- lats,” and’ the “Dream Memory” is “The Street Girl’s” theme song. Both are most tasteful and pretty. MELODIOUS OVERTURES. The National Symphony Orchestra presents two splendidly-recorded overtures from two popular operas, composed about the same time. Auber’s “Fra Diavolo” was produced with great success at the Theatre Feydeau, Paris, on January 28, 1830, just over 100 years ago. The overture has always been a favourite on the concert platform, and its performance by the National Symphony Orchestra could hardly have neon improved upon. Herold’s “Zampa” was produced at the Opera Comique in Paris ,on May 3 1831, or to the very day, 99 years ago., The story strongly resembles that, of “Fra Diavolo,” except that the tragic ending may have been borrowed from “Don Giovanni.” In the overture, Herold discarded the example set by Rossini and other composers, by introducing into the overture the melody of five numbers from the opera. Both overtures are recorded in two parts each, “Zampa” being on a 12-inch and “Fra Diavolo” on a 10-inch record (Zonophone). ELGAR STRING MUSIC. John Barbirolli and his chamber orchestra have made a. real success with i Elgar’s Introduction and Allegro for string quartet and string orchestra, recorded in four parts. Mr. Barbirolli's reading of this fine work shows his full sympathy with Elgar’s music. Elgar’s individuality is strongly expressed in this score, and. Barbirolli has responded to it excellently. The reproduction is first rate, and the tone quality is very rich indeed. Perhaps these two recordings will help to bring this well wrought and beautiful music that wider recognition it deserves. (H.M.V., CIG945). NOTED VIOLINIST. “Chaconne” (Vitali). Violin solo by Yclli D’Aranyi, (Columbia 02989}. This extremely talented woman violinist gives us tins month a somewhat celebrated “Chaconne” by Vitali. There were two composers of this name. This one was Giovanni, who was born’about 40 years before Bach. The piece is typical of the beautiful style of mid-, seventeenth century Italy. It comes I warmly to life under the bow of Miss D’Aranyi, and should be vastly popular with all classes of music lovers? --?■ •

„ GREIG’S NORWEGIAN DANCES. Norwegian Dances (Greig). George Schneevoigt conducting the London Symphony Orchestra. (Columbia. 0294344). Those who enjoy the naive delights of folk-music handled by a great master will find a fund of pleasant charm in these Norwegian dances. Greig tool: a child's delight in the simple traditional tunes of his native Norway, but though the tunes, are borrowed, the geniis of a great musician is apparent in their handling. Schneevoigt revels in liis compatriot’s work. In No. 2 especially—there are four dances in all —he is particularly happy, and the way the glorious melody rolls .out is a,keen, unfailing pleasure.- Some people may quarrel with his tone,-but it must be remembered that lie strikes:the authentic Norwegian. flavour,. and the '.more familiar , the . work grows the greater will be the' listener’s ultimate enjoyment. ■ Columbia now issue these records in their standard section at the lower price. , . A’IOLA SOLOS. (1) Melody in F (Rubinstein); (2) “Chant Sans Paroles” ' (Tchaikovsky). Viola solos by Lionel Tertis. Columbia 01571. ' To bring the supreme artistry of Lionel Tertis, whose name, immediately leaps to the mind whenever the viola is mentioned, to the attention of a wider public, Columbia are issuing one of his records as a popular-priced 10inchldisc. Tertis himself enters into thespirit of the concession by offering- two very familiar numbers. In both, he shows a subtle refinement of -mind- which pierces right through-the over familiarity. ■ His tone lifts a velvety smoothness, wrapping itself caressingly round the music. The recording is excellent. FAMOUS FRENCH SOPRANO. (1) “Blanche Doiirga”; (2) “Tu m’as doime le plus doux Revet” Sung by Mlle. Fcraldy, soprano. (Columbia 03'040). French records are rare, and somehow it comes as a bit of a shock to realise that singing is every bit as good in France as in the more traditional Italian and German schools. Perhaps the uni’aniiliarity has been due to the internal politics of the gramophone companies Now, however, Columbia have opened the whole fiield of French music to British music-lovers, and we may expect a new delight among records. Allie. Feraldy has qualities we never find in Italian or British singers; Her method of enunciation, even of voice production, is quite different, giving a eute-like delicacy. Her voice slides with C’.ortless charm over these two subtly-spaced . arias from Delibes’ “Lakme.” . . The library of the Royal Auckland choir is of such dimensions that even fairly popular numbers- sometimes wait for a long time before being replayed. An example of this is Lloyd’s “A Wet Sheet and a Flowing Sea,” which is included in the programme for the next concert. This particular number has not been sung by the choir for twentytwo years. Half a hundred ’cellists, including the leading virtuosi of Paris, recently played ‘‘La Sardana” (By Pablo Casals, the great Spanish ’cellist, and conductor of the Barcelona Orchestra). Senor Casals himself was present at the concert, at the Paris Normal School of Music, and. played the Baccherini Concerto, and a movement from the Bach "cello suite in C. He then conducted “La Sardana,” rounding out the evening as composer, conductor and performer. He can play the flute and piano almost as well as the ’cello.

Jacques Thibaud, the French violinist, a member, of the famous trio which records for tho gramophone, recently figured in a curious libel case. It appears that he was due to give a recital at Nantes, but, owing to a severe storm, was unable to arrive at tho time billed for his appearance. 1 One newspaper, apparently not satisfied with this explanation, published' a paragraph to the effect that his lateness was due to the fact, that ho had dined too well, Thibaud thereuon brought, a libel suit against the paper, but the Paris Tribunal dismissed the case on the grounds that it was not in a position to judge one way or the other.

Discussing American jazz n-eeendy, Jascha Heifetz, the noted violinist, said: “Tho players are now much better. The best of the jazz fiddlers in New York today could play any concerto. As for the drummers —the fellows who play all that kitchen machinery —you simply could not ‘Lake down’ their rhythms. Theirs is an art that defies analysis, and it is becoming more and more wonderful every day.” Heifetz, by the way, says one of tho best methods of producing flexibility of the hands is to play ping-pong. Young violinists, take notice.

At a dinner given in London the other day Sir Henry Wood made some wise comments on choral singing. He said: “You nearly always find that a person with a most beautiful voice is a monotonous singer. A person with no voice has lo rely on verbal colour, and that is where the comedian often gets home, whilst the serious concert vocalist is dull, stodgy and pedestrian. While you are singing about hatred there must not be any love in your voice. And if it is love on which you are dwelling, keep •out the hatred. Wc all know there is such a thing as ‘sob stuff.’ Well, it is wanted sometimes, and there is an enormous field for real emotional expression in choral work. Every word you sing should ring true. The person with tho most beautiful voice can bo the most monotonous singer. The worst singers make themselves tolerable by the clearness of their-words.”