SHEET MUSIC.

Star (Christchurch), Issue 19238, 27 November 1930, Page 11

SHEET MUSIC.

Another batch of sheet music has come to hand from J. Albert and Sons, Wellington, four numbers being included—“A Cottage for Sale”, ‘‘lnto M3 7 Heart”, “Santiago” and “Whip-poor-will”. “A Cottage for Sale” is the best number of this batch. It is reminiscent of a foxtrot of some years ago, “Mysterious Eyes”, which is, no doubt, forgotten b} r most people now. Treated with proper accentuation, this song should prove most popular. “Into My Heart” is a quiet melody, which tends to become rather monotonous in the chorus, being marked by too much similarity in theme. “Santiago” is another 6-8 fox-trot. This rhythm has again become very popular with the dancing public, as “The Stein Song” and “Around the Corner” have proved. If recorded for the gramophone this number would become much better known, and should attain some degree of popularity. “Whip-poor-will” is of a similar type to “Into My Heart”. It would be best as a one-step, but lacks “punch”.

sary staff and paraphernalia with the exception of a “noises and effects” man. The substitute for this important function is unfortunately deaf, and his attempts to synchronise sight and sound are most extraordinary. However, we must not give any of the laughs away. It may be taken for granted that this record is the funniest issued for a long time. An outstanding orchestral recording in the December Columbia list is the recording of “The Bronze Horse” overture by the Bournemouth Municipal Orchestra, conducted by Sir Dan Godfrey. This work was recorded in the Pavilion, Bournemouth, which was recently built. “Le Cheval de Bronze” was first produced in 1857. and was one of those works by Daniel Francois Auber which have continued to hold the musical stage of Europe ever since they were produced. Rossini has described Auber’s talent in a remarkably pithy manner. “Auber,” said he, “may have produced light music, but he produced it like a great musician.” So much meaning could not lie condensed into fewer words. Auber in spite of the slight appearance of his work, was one of the most learned musicians of his time. But he took as much pains to conceal his knowledge as others do to display theirs. His great desire was always to be clear, melodious, lovable and attractive in every way; never wearisome. “The Bronze Horse” is a good sample of his work, and the Bournemouth Orchestra interpret it with insight^ Vocalion. Vocal gems from “The Vagabond King” (Hooker-Friml) occupy both sides of a singularly attractive Vocalion disc. Soloists, chorus and orchestra are unnamed, but this does not militate against the performance, which is good. This recording should meet all requirements. “The Mikado” contains some of the best melodies of the Gilbert and Sullivan operas and the \ ocalion recordings of vocal gems from this work (two discs) are most attractive at the price. The work of soloists, chorus and orchestra is excellent, and the recording is up to standard. From the point ■ of- view of value, I don't think this recording can be bettered. Another recording (two discs) consists of vocal gems from “The "V eomen of the Guard.” Suffice it to say that it is as good as its fellow. ## „ v Fibich’s lovely melody “Poem” is | recorded by the Vocalion String Orchestra, with organ, and with Mascagni’s Intermezzo from “Cavalleria Rusticana” as its companion on the

disc, should find favour with gramophiles. The recording and periormance are excellent. H.M.V. Peter Dawson imparts plenty of life into “Fishermen of England,” by Phillips, a ballad that suits admirably his resonant voice and

vigorous style. In songs of this nature Dawson lives the part, and this must accord in some measure for his popularity. It is that ring of sincerity which seems to separate Dawson from other baritones when i t comes to singing English ballads of the robust type, but he has also another attribute—a sense of humour. This is displayed in the companion number, “Young Tom o’ Devon” (Kennedy Russell), in which the singer seems to enjoy himself thoroughly as he tells of the adventures of a love-sick Wagner’s genius for vivid orchestration is magnificently exemplified in the “Magic Fire Music” in the final scene in “Die Walkure,” the second of “The Ring.” The music accompanies Wotan’s invocation to Loge, the God of Fire. With resolute steps he crosses the stage (to the “spear” motif on the trombones) and makes his invocation. Thrice he strikes the rock, summoning the god of fire, and at the third stroke fire breaks forth and spreads rapidly. Very soon the mountain itop is encircled by a sea of flame. The rich colouring of the orchestra picture, in which we hear the motif of “slumber” and “Siegfried” (this latter prophetic of the awakening to come), blended with the fire music, is one of the most i splendid achievements of Wagner’s | genius. Last of all comes the fateful theme of Brunnhilde, symbolic of all things. The London Symphony Orchestra, under Albert Coates, is more than efficient. It plays Wagner with glorious tone and imagination. Joyousness, swept along by an irresistible rhythm, marks Elizabeth Schumann’s singing of “The Nightingale Song,” in which the singer at intervals whistles the characteristic notes of this famous bird. This is Madame Schumann’s first recording in English, and it will undoubtedly widen her circle of admirers. It is impossible to tire of this lovely voice. The tonal ingredients are perfectly mingled, arid she I has the art of catching up the romantic lilt of her songs. PZvery note is I crystal-pure, warm, and round. Iler j second number, “Sei Nicht Bos,” also by Zeller, has a rhythm as irrej sistible as anything written by the j Strausses, and the flexible, lyric voice | of Schumann gives it perfect expression. The accompaniments by the ! orchestra, under Lawrence Collingwood, provide a fine background for this ex-