MUSIC IN THE HOME

Taranaki Daily News, 23 December 1930, Page 13

MUSIC IN THE HOME

MODERN STRING QUARTET. ; A stimulating performance of the 1 Dohnanyi string quartet in D flat is ; given by the Flonzaley combination. ’ Not the least part of the fascination inherent in contemporary chamber ’ music is attributable to ite experimen- ! tai quality. Whereas the Classic writers depended largely on the development of formal and rhythmic* interest, the 1 present-day composers focus their attention chiefly on emotional tone-paint- ’ ing on as spacious a scale as they can evolve. The Dohnanyi quartet is an outstanding example of this reaction in ’ favour of rhapsodic colour, and raises 1 in a most interesting manner the ques- ’ tions of the ultimate outcome of allow- > ing orchestral methods to invade cham- • her music. (H.M.V., D 81135-30-37). “MO”—OF FULLER’S FAME, i ■ . The u«w Kenneth Duffield Musical Revues, “Pot Luck” and “Happy Days,” provide reason for a batch of records by 1 the original artiste. Roy Rene —known more usually as “Mo”—does the sketch, “Mr. Macachie (Do you feel all right, Lovie?),” on Columbia DO 216. Hector St. Clair, another old Fuller comedian, makes an amusing record of “The Long, Long Wail” (Columbia DO 211). Ada Reeve, one of the leading comediennes of the day, gives two brackets of the revue song hits: “I Never Forget I’m a Lady” and “When Richard the First Sat on the Throne” (Columbia DO 212), and “Mother Knows Best” and “Ladies, Beware” (Columbia DO 215). Here’s great entertainment for the holidays! 1 NEW DANCE TUNES. Out of the flood waters of modern dance music we can always trust Columbia to fish the best of what’s going. On DO 184 we have Guy Lombardo . and his Royal Candians waxing enthusiastic over “Swingin’ in a Hammock” (fox-trot) and “Until We Meet Again, Sweetheart” (waltz). Ben Selvin and his orchestra (Ben must be a modest genitis, for he still prefers “Orchestra” to “Rackety-bing Boys,” or some such fancy) plays on Columbia DO 17:, “Cheer up, Good Times are Coming,” an opportune fox-trot, and another dance of the same ilk, “I Remember You frdm Somewhere.” RACHMANINOFF. Serge Rachmaninoff has re-reporded one of his most popular discs of several years ago. He plays with his usual crispness and unapproachable rhythmic vigour the brilliant and sprightly draw-ing-room “Polka de W.R.,” composed by 'hte father, who was a great lover oi 1 music and an amateur composer. The melody is chiefly in the right hand, and sometimes in chords, or octaves, the embellishments being intricate and brilliant. The supen> precision of Rachmaninoff’s playing brings i out every detail in sharp contrast. The coupling number is Tschaikowsky’s “Troika,” from twelve piano works entitled “The Seasons.” “Troika” is a name given in former Russia to a team of three horses harnessed abreast, the outer ' horses being taught to hold their heads to right and left and the centre one straight. It was a favourite winter pastime, the troika pulling a sleigh at a rapid pace across boundless snow-cover-ed plains. Here again Rachmaninoff gives an admirable and rhythmic performance. (H.M.V., D 81279). “CUCKOO AND NIGHTINGALE.” Organ Concerto in F major.—First Movement (Handel); played by Anton van der Horst on the organ of Central Hall, Westminster. (Columbia DO 190). This movement is that usually called “The Cuckoo and the Nightingale” —for obvious reasons. It displays a side of Handel’s art that is too little known'these days—by the average man, anyhow. Van der Horst plays with considerable skill, and his registration is such that the polyphonal texture of the music is extraordinarily clear. Possibly owing to the placing of the microphone there is a of remoteness about ■this performance that does not in the least detfaet from the pleasure of lisxtehing to this most popular of all Handel’s organ pieces. . GRAPHIC TONE POEM. Very graphic is Respighi’s tone poem, “Fountains of Rome,” which has been recorded by the London Symphony Orchestra. The work gives four “impressions” of different, fountains at dawn, morn, midday, and sunset. Listening to them, one is assured of this: If Debussy and Stravinsky had not written. “L’Apres Midi” and “The Fire Bird,” we should not have this symphonic poem unravelling itself on the gramophone. Respighi’s debt to them is incalculable. But if he has learned from them, he has learned well. His “pictures” of the vapoury veil from the Julian Valley, into which a miniature procession of animals is merged, is exquisite. At the Triton fountain the water falls in jet through which naiads and tritons pursue each other. At Trevi,Ht is all. huge, jets, gaping stone mouths, with great birds wheelhig above; and at the Villa Medici the waters ripple placidly throughout a melody on celeste and strings into the silence of the night. As for the reproduction, that is perfectly clear and forward; and for the interpretation, the London Symphony Orchestra, under Albert Coates, is almost perfect in point of realism and finesse. (H.M.V., D 1420-30). BACK TO METHUSELAH. If there has been any trend in the record business more noticeable than another/ lately, it is this “back to | Methuselah” tendency—the ‘‘old-time this” and the “memories of that.” Well, I’m sure they’re all very welcome. They serve a dozen happy purposes — not the least of which is to prove that once upon a time music could be popular and at the same time tuneful. Here are four more records to swell the spate.

“Putting the Clock Back” (arr. J. H. Squire) is a collection 'of famous British folk songs played by the Squire Celeste Octet. This little band plays with exemplary musicianship, and, among other things, the following:— Part I—The Minstrel Boy; Bonnie Banks o’ Loch Lomond; All Through the Night; Cherry Ripe. Part 2 —Awayv. to ,the Mountain Brow; Believe Me If All Those Endearing Young Charms; Drink to Me Only With Thine Eyes; 'Home, Sweet Home. (Columbia-DOX7I). OLD TIME DANCE TUNES. The Jolly Miller (old time dance); played by Gil Dech and his Syncopaters, on Columbia DOX 68. Next item In this musical revival meeting is a collection of dance tunes, old And more or less new, played by Australia’s finest recording dance band. As the supplement says, “It is being issued to meet a number of requests for the provision of a Jolly Miller and Schottische on Columbia New Process records.” The titles included are these: —Part I—Daisy Bell; Valencia; Kiss Me Again; Lily of Laguna. ’ Part 2—Over the' Waves; The More We Are Together; There’s a long, Long Trail: Yip-I-Addy-I-Ay..

z ROMANTICISM OF BRAHMS.

The romanticism of Brahms* Symphony No. 3 in F major, must astonish any listener who is.hearing it for the first time and who has been led to believe the ancient chatter about the drabness and inhumane complexity of the composer, and the interpretation of the work by the Philadelphia Symphony Orchestra under Leopold Stokowski certainly .puts to quiet the talcs of: Brahms’ chilly classicism. The symphonies of Brahms are as lyrical and as songful as any in existence, and the performance as recorded by the \ Philadelphians is not only admirable in the technical sense, but in the nicety of judgment whereby the conductor has balanced the four movements. No little instinct for’ musical diversion and poise is needed to se'cure this balance, for the reason that the speed of the third movement, poco allegretto, is not unlike the last, allegro. The conductor’s job is to achieve a differentiation by the closest attention to workmanship, which, beneath the surface of a pace and expression pretty common to both- movements, marks the essential life beating within them. The scoring •has a delicacy of figuration and a warm intricacy, and the capacity of Stokowski for producing glowing instrumental colour has congenial opportunities in this symphony, which under his direction resembles a veritable Aladdin’s cave of sound. The exultant mastery of their material displayed by ths performers is in the highest degree exhilarating, and in the course of building so magnificent a structure the vital spark is not’ extinguished. There is a’ rhythmical vitality in the second movement, andante, and in the final allegro, there is good instrumental detail • in spite of the pace. Throughout the woodwind is charming, and Brahms’ purely melodic use of the brass in the finale tops off a performance that is marked throughout by sweetness and strength. (H.M.V., D 1769-70-71-72-73). THE GOOD-OLD “LANGERS”

Community Lancers (arr. R. S. Stoddou, parts 1-3), played by the Court Symphony Orchestra; and Valse Memories, played by Debroy Somers’ Band. (Columbia, 01701-01702). Yet further, swelling the flood of “carry me back” records are these two discs, recorded for the benefit of those who prefer the boistarous bonhomie of the old square danco to the more sophisticated prowl of modern times. They are Admirably played and recorded with enough punch to fill a good comfortable ballroom, hallroora or barn. . GRENADIER GUARDS. (I) Hail to the Prince (’Slow March —Major G. Miller); (2) Galatea (Grand March—Major G. Miller). Played by H.M. Grenadier Guards Band under Captain George Miller. Some talk of Alexander and some of ... , but those who love good band music say that there’s none that can compare with the regimental band in question. Both of these marches are good stirring stuff, and are played in a way that can only be described as great. These makers of military music have recorded long and well, but on.no occasion have they done better than this. FRENCH FOR THE ENGLISH. ‘Colloquial French for the English” is a ' practical course for learning to speak French with the aid of “His Master’s Voice” gramophone records compiled by E. M. Stephan, Senior Lecturer in French. University College, London, and Daniel Jones, Professor 'pf Phonetics, University College, London, It consists of 15 double-sided “His Master’s Voice” records, a text-book and key-book, together with a durable album to hold the records. “Colloquial French for the English” makes the study of French a fascinating occupation. It is alive—a thing of the present day—and dispels the classic but very dull futilities on “the pen of the gardener’s aunt” and like encumbrances. It is invaluable to every business man and woman who finds daily that a lack of knowledge of this almost universal •language is a serious handicap, and also those who make a trip to France for recreation and experience. Those who wish to acquire the records gradually may do