The World of Music

Wanganui Chronicle, Volume LXXXII, Issue 19346, 27 June 1925, Page 12

The World of Music

MUSICAL JOTTINGS * (By “C Sharp.”) The coming week promises two musical events of considerable interest. On Wednesday evening the Male Choir give their first concert of the season in the Opera House. In addition to the choir items, which have been under rehearsal for some months, we are to hoar our popular local singer. Miss Jvita Tilley, and Mr Leon de Mauny, the well-known Wellington violinist. The latter artist is increasingly in demand as a solo artist throughout the Dominion, and his appearance should contribute in no small measure to the fine concert which is anticipated. .* . * * ❖ The following afternoon the Orchestral Society break new ground with a concert for children. The Headmasters’ Association has entered heartily into the scheme, and it is anticipated that over a thousand children will listen to the special programme arranged for their benefit. It is believed that this is the first occasion that such a concert has been given in Now Zealand, and this fact says much for the progressive and far-seeing spirits that direct the affairs of the society. The experiment will be watched with interest by educationalists and musicians alike. * ❖ * ❖ The talented Wanganui mezzo-so-prano, Miss Eva Webb-Jones, writing from Sydney to friends in this city, mentions that she has been chosen, amongst others, by Mr Roland Foster, to illustrate two broadcast lectures which the Conservatorium teacher is 1o give shortly. ’The songs allotted to Miss Webb-Jones are Quikcr’s “Morning Song” and Sullivan’s “Orpheus With His Lute.” It wdll be remembered. that it was with the latter song that Mi'ss Webb-Jones won the English song section at last year’s Competitions.

Erika Morini, the seventeen year-old wonder-violinist of whom I wrote recently, is described by the New York American as follows: ‘‘A feminine Heifetz, you might call this girl. But

she is more than that—for with the technical assurance of a Heifetz, she combines not only the temperamental fervour of an Elman, but the insinuatingly expressive tone and rhythmical nerve of a Kreisler.” It would be interesting to hear what the three artists mentioned would have to say regarding this “conglomeration” of themselves

I hoar that Mr A. C. Webb, a momber of the well-known musical family

of Wanganui, will deputise for Air Taylor at the Collegiate School during the latter’s visit to England.

"What’s in a name! A violinist announced to appear at Queen’s Hall is Elsie Playfair. She shoauld be a fair player, anyway!

The London Daily Telegraph says: M. Marcel Dupre has ofen given us cause to wonder at his extraordinary talent for improvisation, but he promises to surpass all former achievements at his recital at Westminster Cathedral on May 7, at 6.30 p.m. On this occasion he will be handed five sep a rate themes. The first will be used for the working of a Passacaglia; from the second he will evolve three Chor ales, the first in ornamental form. th. second in contrapuntal form, and the third in canonic form; the other three themes will be used for the building up of a Triple Fugue. It can be safely said that no performer of our time has ever undertaken so tremendous a task as the last. There are some who hold the view that, given a close acquaintance with the classical examples of the Passacaglia and the Chorale, a prodiious memory, and a flair for quick invention, the extemporisation of these

forms is no matter for great wonderment. Suck people would also assort that, given a quick eye and a sure hand, it is a comparatively simple thing to juggle with a plate, an umbrella, and a bunch of flowers. But the fact remains; and there will always be found people simple and native enough to gasp at such a feat. The truth, is- that, although we have, our own first-rate improvisers, there are some organists in this country who are a little envious of M. Dupre’s talent. It should not be so, and perhaps his Triple Fugue challenge will cause them to acclaim generously; on the other hand it may merelv increase their envy.

An English musical writer, Robin H. Legge, in a London daily, asks:— Do we require just now r another Liszt to invent a shorter form of symphonic work than that at present in vogue? Put it this way: Is the art of the postcard writer extinct? 1 ask because at the Philharmonic concert the other night, when we had several noteworthy compositions of our younger school, and so there was an opportunity to judge, I was struck by the comparatively great length of all -or nearly all the works having regard to their subject matter. It was as if the composers set themselves to fill up so many manu-

script pages of full-score paper. Among mv friends is one who when he sits down.to write a letter he w’ill say what he wants to say in his first sentence, but nothing will persuade him to stop there because he has still three pages of paper to till. So he fills them with gossip. Do you take my meaning? Far be it from me to urge that gossip is that in which our composers indulge to any great length. But —well, but —!

The Christchurch Orchestral Society recently gave a performance of Mozart’s “Jupiter” Symphony, which our local society is rehearsing for its. second concert of the season. According to general opinion, the southern folks gave a creditable performance of this great symphony, playing about seventy strong, under Mr Adolf Gunter, whose familiarity with Mozart’s works, and sympathy with the composer’s ideas, resulted in the success achieved.

They say that “great minds think alike”—and apparently orchestras do too, for I read in a recent issue of Musical Opinion that the North London Orchestral Society recently gave a concert, wherein the principal items were "Massenet’s “Scenes Pittoresques” and Mendelssohn’s “Scotch” Symphony. Curiously enough, these formed the greater part, of the recent programme given by our local Orchestral Society.

Eight orchestral overtures on one programme! Such was the list for a concert given by the Scottish Orchestra for young people distinct from the Education Authority’s clpldren’s concert). The overtures played were Schubert’s “Rosamunde,” Gounod’s “Mirella ” Herold’s “Zampa, ” Humperdinck’s “Hansel and Gretel,” Wagner’s “Tannhauser,” Weber’s “Oberon.” Nicolai’s “Merry Wives of Windsor,” and Rossini’s “William Tell.” Lieut. Chas Hoby, Al us. Doe., in an introduction to a new orchestral catalogue issued by J. and W. Chester, says: “Great Britain, or at any rate that part of if, lying within the Celtic Fringe, is fast becoming a land of bands and orchestras. One cannot escape them. From midday to dewy owe, and till the wee small hours even, they are always with us. Those of us who take their ease in the Inn. its modern equivalent being the hotel, are continually brought face to face with the actualities of the orchestra, even to that which consists of but two or three executants, but bears the courtesy title of orchestra. We ourselves who have a consuming passion for the moving pictures must, whether we will or no, assist, as the French say. at the /performance. Of vast quantities of music, a. great deal of it arranged from the larger orchestral works, and rendered by a collection of often Aery able players, sometimes rather spoilt by the eternal voilin melody tone. When the director of such a band, if he happens to be a violinist, is sufliciently artistic and self-denying to efface himself now and then,' and allow other instruments to take a hand in reproducing the melodic line, the result is still happier.” * * Ah well! I suppose wo must allow a. military bandsman to have bis little fling at the tiddler.—C. Sharp. The Daily Chronicle (London) says: “Alnsical opinion is evidently divided on the organ effects in St. Paul’s. A contributor to this page the other morning stated that Father Willis, the builder of the instrument, placed the heaviest stops of the pedal organ halfway up the dome, in order to obtain ‘ colour and ensemble that cannot be reproduced anywhere else in the world.’ On the other hand, *An Old Chorister,’ avriling in The Organ, has stated that the ‘pedal organ is, except for the 32 ft., avoided as much as possible, owing to the nine seconds’ echo and the time it lakes the sound to reach the chancel.’ With a perplexed correspondent, we should like to see this little musical mystery cleared up.” ❖ ❖ ♦ Kings way Hall organ is now one of the most modern concert organs in England. Originally built in .1912 by J. J. Binns, it has now been cleaned, revoiccd and enlarged, together with a fourth manual added by HiU and Son and Norman and Beard, and its tone is now characteristic of their best Avork, while the addition of tympani, cymbal. : carillon ami triangle considerably add to the effects obtainable. The Daily Telegraph states that it now ranks with the most modern and finest instruments in the metropolis. The last time I heard the Kingsway organ, it was being used to play jazz, with an orchestra of forty, known as the British Syncopated Orchestra—and this in a Wesleyan Mission Hall! However, the 'ocation of Kingsway Hall did not atract the type of people that enjoy T.zz, and at the close of a fortnight a party of forty players and a dozen singers discovered that the promoter, who was supposed to have a backing of “several thousands” was unable to pay a single performer. I left Kingsway Hall a wiser and a sadder man, for —I was one of them! The above reference to St. Paul’s organ reminds me that the London 'rimes recently said: “Handel was fond of improvising on the organ after the afternoon service. Hawkins de-

scribes these' performances and Handel’s pleasure in the beautiful tone of ’Father Smith’s’ instrument (it still survives embedded in many other beautiful tones added by later builders), and also tells how Handel and the principal members of the choir would then repair to the Queen’s Arms Tavern in St. Paul’s Churchyard, which possessed a room with a harpsichord. Greene was organist of St. Paul’s during the latter part of Handel’s life, but the affair over Bononcini and the faked madrigal made mischief between them, and when Greene withdrew his support from the ‘Aeadamy of Antient Music’ and gave concerts at 'The Devil’ tavern Handel had the opportunity for an obvious joke attributed to him: ‘Toctor Greene has gone to the Tevil.’ ” Speaking in connection with the recent tire at his factory, Mr H. A. Starck told a press representative that London was beginning to develop an affection for the bagpipe, and many of those which had come to an untimely end were destined for London homes. Mr Starck said that the output from his factory at Kentish Town was something like three hundred sets of bagpipes a year, and the, only place they never send them to is—Scotland! This does not necessarily mean that Scot- 1 land’s enthusiasm for the bagpipe is growing cold, as is said to be the case with the haggis:*it is probably due to Scotland's desire to support home industries, for they buy the bagpipe made in their own land. Of course Scotsmen who come to London buy Air Starck’s bagpipes made in London by Londoners. There is not a single Scotsman employed in t he bagpipe, factory in Kentish Town Road! All are Londoners who have been brought, up in the business: they learned to make bagpipes as boys and have gone on making them. Two of the bagpipe makers have been with the firm for forty-live years. Many of the instruments go to the colonies and Dominions. Bagpipe lovers who have emigrated to distant, parts of the Empire like to have the skirl with them, and send to London for it. And after all, as Mr Starck said, there is more room in the colonics. (Some of us wish they would keep them where the "more room’’ really exists, out on the sheep stations and cattle runs!) RECORDED MUSIC THE WEEK'S NEW RECORDS. The July records, most of which have been mentioned in advance notes from the London reviews, will be available to gramophonists next week. First and foremost is the much-discussed Cesar Franck ‘‘Violin Sonata in A Major,’’ recorded for 11.M.V. by the accomplished violinist Jacques Thibaud, with Alfred Cortot at the piano. This is a very popular number amongst high-class musicians, popular chiefly for the beauty of its melodies and harmonies. The Sonata occupies four 12inch double discs (red label), and is well worth a place in the libraries of collectors of taste. « « • • 'The matchless Battistini gives us with the July records two splendid baritone numbers —“A tanto Amor!'’ (from Donizetti’s “La Favorita ”) and “Aon pin Andrai ” (from Mozart’s “Marriage of Figaro”). Both are sung in Italian, with orchestral accompaniment. ’l'ho list- is the ironical aria in which King Alfonso grants the request of Fernando for the hand of Leonora, incidentally extricating himself from the scandal created by his own intrigue with the lady. The second is a line spirited air of exportation to military glory, tincurvd by <i delicate mockery j —Figaro, in inciting Chembini, is obviously doing it with his tongue in his cheek, for in both form and temperament Chembini is the last man who would be, expected to excel in the field of valour. I Ono of the best records ever made by that mellifluous tenor Beniamino Gigli, is undoubtedly his “ Cielo e mai ” (from PonchielH’s ("La Goconda”), to which is bracketed the much-sung and almost over-recorded "Vcsti la Guibba” from "Pagliacei.” In spite of their comparative familiarity, the listener cannot escape the involuntary thrill with which he hears the clear, ringing notes

of this fine- singer as he throws all the passion of his art into his work. An excellent bracket.

The Virtuoso String Quartet’s re markably fine recording of Beethoven’s "Quartet in E Minor” has arrived, and will no doubt be rushed. It is i work of great beauty, and excellently played and recorded. The quartet oc j cupies four double discs (black label). | and is well worth the money. Amongst the loss expensive record- : ings there is a pleasing tenor bracket j from Walter Giynnc, who gives us. I with piano accompaniment, "The | ♦Slighted Swain,” an arrangement by IL Lane Wilson, of an old English melody. The bracket number is ISan derson’s "Easter Flowers.” I’eter Dawson takes for his latest recordings Martin Shaw’s setting of Masefield’s fine verses "Cargoes,’’ to which is bracketed Landon Ronald’s "Wander Thirst” (No. 4. of the com poser’s "Song Fancies”). * ★ ♦ ♦ Another fine example of the Gresham Singers’ unaccompanied part singing j is presented in this male quartet’s laf- i est recording "Evening” (Leslie) and | ‘Come Let Us .Join th«* Roundelay’’. (Beale). These, are. both charming numbers and clearly recorded. • * • • One of the most discussed singers on the contemporary concert platform; is Selma Kurz, the wonderful soprano, whose clear limpid notes have been likened t«» those of the great Ga!:i j Curd. In fact, by some music critic.'; she is said in certain respects to excel : the latter. However that may be. there is no doubt about the quality of her latest bracket (just arrived), a| beautiful " Wiegenlied” (lullaby), com j posed by Max Ncgcr, and Strauss’s “ Stamlchen’’ (Op. 17, No. 2). this < singer is the wife, of a physician, and; has a large family, yet has time to de- i vote, herself to her art with such sue- | cess that, she has rapidly attained to European fame. In "Francesca da Rimini” ’l'schai kovsky’s genius for orchestration has enabled him to paint musical pictures of almost unrivalled vividness. The work, soundly constructed though it is, may lack some of the more-format beauties of the Symphonies, but for picturesqueness and sheer emotional force is there anything in the whole range of the composer’s orchestral out put from “1812” to the “Symphonic Pathetiquc” that; can rival this tuncpoem / ’ Ever since, years ago, Albert Mallin-1 sou, the song-writer, visited New Z *a land with his wife, who sang his sung-, the writer has had a great admiration for his work. It is therefore with no little pleasure that he noticed amongst the July records two of his particular favourites, "Four by the Glock” ami "To an Isle in the Water.” These two songs are recorded on one side of the disc, the other side of which is occupied by Frank Bridges’ "O that it wore so.” The singer is Carmen Hill, whose recording is very pleasing indeed. j A record of distinction amongst the p July shipments, which will he available 1 next week, is Fernand Ansseau’s asso p ciation with Helen Sadoven in two duet j 1 numbers from Bizet’s “Carmen” from an impassioned sccna in the. fi- ' Dale of the opera. The first part is de- i voted to the duet "C’cst tdi! c’e.st ‘ moi! I’on m’avait avertin”; the. sec- ‘ ond, "Mais moi, Carmen je t’aime encore.” There is a fine frenzy of emotion throughout this dramatic scene. Ansseau and Sadoven, who both belong ' to the Paris Opera and understand the French tradition, possess more than fine voices and a finished technique, i he , music is sung in French, with orchcs-1 tral accompaniment. * Tudor Davies, the Welsh tenor, whom everybody admires, gives us this month two airs from Mozart’s "Don Giovanni” —"On her Contentment” and "To her I love”—sung in English. Those two airs are taken from the part ; of Don Octavio who is in love, with J Donna Anna and constitutes himself 1 her defender after the murder of her ] father by the Don early in the play. 1 "On her Contentment” is simply a 1 song addressed to the beloved. One i might perhaps draw attention to the t

| sudden change to the minor and the short broken phrases in the orchestra when reference is made to the lady’s sighs: a small point, hut so like Mozart! "To her 1 love” is quicker and more elaborate, containing ample op- j portunitics for the singer to exhibit the flexibilities of his voice. Here Don Octavio is sending his friends to comfort Donna Anna while he himself goes for the police. ••• - e —'T-' A v • ' Tf you want a good laugh, be sure land hear Ben Ixiwes in his humorous I talking record "Onr Musical Drama.’ 1 ! One of the most amusing skits on the [theatre the writer has heard for a long time. While you are about it,yon may .as w’ell hear, also, Brooke Johns in two diverting music-hall numbers. "It takes a good man to do that* an 4 "Cuddle Up.” * • • • Throe double dises of the Im terpensive variety, but of excellent quality, are De Groot’s orchestra in selections from Lehar’s “ Frasquita,’* the Bind of the Royal Air Force in Ket- | qlby’s "Sanctuary of the Heart” and : Chaminade’s "Serenade,” and lui, | but by no means least, Majorie Hayward's violin recordings <f FrinilM “Romance” (Op. 17), and. d’Ambrosio’s “Valso” (Op. 37, No. 3), I Special lists of records, made only-fW 'His Master’s Voice by Galli-Gorci tad Kreisler, nre to hand from the Gramophone Company. The local agents, Messrs E. Ellery Gilbert and Co, who have complete stocks of these woifldfamed artistes’ records, will be pleased to supply the lists on application.