MUSIC AND RECORDS.

Dominion, Volume 20, Issue 54, 27 November 1926, Page 20

MUSIC AND RECORDS.

By

C.J.M.

RECORDED MUSIC The December Records. Probably one of the best budgets issued by His Master’s Voice for months past is the December issue of orchestral and vocal records. The orchestral records are a wonderful lot. and mav fairly be said to be the very last word in modern recording achievement. A Famous French Bass. Those of you who have heard Chaliapin in the same numbers, will have

an opportunity of comparing Russia’s best bass singer with France’s—Marcel Journet, who gives us the great “Sian der” song in “The Barber of Seville,’’ and the Faust scene “Vous qui faites 1’ endormie.” Journet’s wonderful ability to portraj’ character in his singing is remarkably well illustrated in this latest disc. How cruelly cynical is his singing of Mefistopheles’ Serenade, from Gounod’s “Faust,” and how shudderingly fiendish is the horrible cackle of laughter with which he punctuates the melodic phrase!- As a contrast from the eerie nature of this air the reverse of the record containing an air from Rossini’s “Barber of Seville” is gay and witty. the ridiculous, pompous old music master, Dr. Bartolo, tells how easilv created is a ruinous scandal. The'recording is rich, strikingly clear and full toned and its issue is particularly opportune, as lournet is one of the principal singers of the Covent Garden Grand Opera Season for 1926.

Splendid Wagnerian Music. Another great achievement in the recording of Wagnerian orchestral music is Remonstrated in the double disc on which have been impressed "The Ride of the Valkvries,” and the "Prelude” to “The Rhinegold.” The two previous records in this series (The Magic Fire Scene from The Valkvrie and Siegfried’s Journey to the Rhine) caused universal astonishment bv the surprising manner in which thev reproduced the true timbres of a full-sized orchestra playing in a concert hall. Whether it be in the mighty swing and the exhilaration of the Ride of the Valkyries, the deep mysterious surge of the' Rhine in the Rhinegold Prelude, or in the colossal grandeur of Siegfried’s Funeral March in each case the marvellous orchestration stands out clearly and vividly.

Some Excellent Dance Amongst the best of the new dance records may be mentioned the following :— The International Novelty Orchestra in fox-trots, “Always” and “Pretty Babv.” This record contains the very popular "Alwavs,” and the fascinating melody set to fox-trot time makes a splendid dance number. The everse title, “Pretty Little Baby,” has already been made available by Jack Smith, and it is now offered as an instrumental number attractively played by the International Novelty Orchestra, and having a vocal chorus. George Olsen and his music in “She was Just a Sailor’s Sweetheart,’’ foxtrot; and Ted Weems and 1 is orchestra in “The Day that I Met You,” foxtrot. Fox-trots with vocal refrains "Just a Sailor’s Sweetheart” eleverlv caricatures a number of sailors’ songs, here and there introducing a halfapprehensible bit of m.-lodv, or substituting mock-heroic words for tie original sentiment. The other number is in much similar style, but tends rather to the sentimental. The records are good strong ones, amply loud enough to be heard above the 'hn.ffling feet of a roomful of This record is now listed for the first time, although, owing to great demand for same, it was specially released recently De Groot and the Piccadilly Orchestra in Strauss’s “Blue Danube” waltz, nnd “Vienna Blood” waltz. ftauss’s centenary was celebrated last rear, but his music sounds ns fresh to-day as the day it was written! A New Thibaud Disc.

Jacques Thibaud has a very fine disc in the December H.M.V. 'ist— Leclaire’s "Tambourin” and Debussy’s “Golliwog’s Cake Walk.” Leclaire’s “Tambourin” forms a piquant contrast to Debussy’s “Golliwog’s Cake Walk,” for the two records represent French music of periods '■wo ■’enturies apart. The “Tambourin” is attractive, light and tuneful, rather like a sugar-plum: to melt cn the tongue with a pleasant taste. Debussy’s “Cake Walk” is in its own way quite as tuneful (as everyone who hears it once or twice will admit), and it has an additional attractiveness in its bizarrerie. Thibaud’s delightful ulaying is excellently rt produced by the latest methods of recording.

Twt Charming McCormack Numbers. Hanley’s “Just a Cottage Small” and Brycesson Trehornc’s “Mother, My Dear,” are John McCormack’S latest from the recording room. -'Just a Cottage Small” is extremely popular just now, whilst its companion is a “Mother” song of exceptionally appealing character. The record is rotable for the clear reproduction of McCormack’s voice and for the attractiveotchestral accompaniment lent by’ the Salon Orchestra. Chaliapin at Covent Garden.

The latest H.M.V. achievement is the recording of Chaliapin in the Covent Garden Opera House itself. For the first time in history, commercial records were made during an actual performance of the opera of “Mefistofele.” in the presence of a great audience. In the prologue “Mefistofele” mocks at the powers of good, and boasts that he can win the soul of Faust. The challenge is eccepted by the Heavenly Choir, and chants of praise are taken up by companies of cherubim, penitents on earth and spirits. The two passages contained in D. 8.942 come from Acts 1 and 2 respectively of the opera. Faust, an aged savant, has been followed to his home bv Mefistofele, who is disguised as a grev friar. The friar has slipped in behind Faust’s back and confronts thte aged philisoplier. Faust makes “the sign of ’Solomon,’ ” and Mefistofele re. veals himself in the garb of a knight of the period, in black and red with a black cloak. “Who are you?” asks Faust, and Mefistofele, with an awful smile, answers him proudly, “I am the spirit that denieth! Everything . . .” Chaliapin makes of this "Ballad of Negation” an awe-inspiring thing: It opens with solemn and flowing phrases which are punctuated with a weird and blood-curdling “NoI” Mefistofele warms to his task and glories in his efforts to destroy Mankind, with fiendish laughter and gruesome joviality, ending" bv whistling discordantly in symbolic reference to his efforts at destruction and at the establishment of discord. In the second excerpt we find Faust led by Mefistofele to the wild and gloomy valley of the Brocken, where dwell those who bow to the rule of Mefistofele These strange creatures, some half human and monstrous, hail their lord and since it is Walpurgis night, they indulge in an orgy for his delectation “Saboe” cries Mefistofele for a moment joining in the mad dancing. The persistent repetition of their cry gradually leads to a thrilling climax, when Mefistofele makes an imperative gesture of dismissal, and the spirits vanish with dreadful cries. New Backhaus Disc.

We still cherish delightful memories of the visit of Backhaus to this country. In the latest HM V. list we hear him again in Liszt’s “Liebestraum No. 3,” and the beautiful “Naila Waltz.” The new His Master’s Voice methods of recording are particularly successful with the pianoforte, and thev have produced in this particular record something which is of a genuinely surprising perfection It is a tour de force both from the point of view of recording and from the point of view of the performance itself. The Dohnanyi

transcription of the famous Delibes’ waltz is especially brilliant and its mighty forte passages from end to end of the keyboard leave the listener quite breathless. The recording is delightfully clear and pure-toned, whether in heavy fortissimo or in delicate pianissimo passages.

Russian Folk Music. In the “Volga Boat Song,” and “Shining Moon,” the Balalaika Orchestra gives us Russian folk music in characteristic orchestration “The Song of the Volga Boatmen” immortalised by the great Chaliapin, coupled with a little Russian folk song. The reproduction is truly wonderful—mando-lin-like instruments played in a dashing, spirited manner bv the famous Ktrilloff’s Balalaika Orchestra.

A Whispering Baritone. Jack Smith is a "whispering baritone.” He is also “American,” as you will note from his diction. In his latest disc, "Poor Papa” has the sympathy even of his children, who see him, as the head of his family, consumed like some of the insects in Fabre’s entomological researches. “Don't be a fool” is a ditty of the predivorce period in marital life. Both songs are superbly enunciated; in the former one, a true rvhisper is recorded with ease. Both have catchy melodies, sung to the accompaniment of the piano, and both are faithful to life.

A Great Recording Pianist. One welcomes with sincere pleasure the reappearance of that splendid recording pianist, Arthut de Greef on the record lists. In the latest H.M.V. budget he gives us Liszt’s famous "Hungarian Rhapsodie No. 12” Liszt’s Hungarian Rhapsodies are amongst the most popular of the great pianist’s compositions, and of these bv far the best known are the Second and Twelfth Rhapsodies. De Greef lias given ns an astonishing record of the Twelfth: the wild, almost barbaric, gipsy tunes of the Magyars have afforded Liszt excellent material upon which to base a glittering structure.

The King of Instruments. Handel’s “Largo,” and .Sullivan’s “Lost Chord,” played on the grand organ respectively by C. Whitaker Wilson and Gatty Sellors, have an excellent loiret. The organ has been called the “King of Instruments” and no one after hearing this wonderful record would say that the appellation was not just. There is a grandeur and a majesty about its rich tones which, together with its limitless possibilities of stop combinations, make it stand head and shoulders above all other instruments. The two pieces which have been recorded here are famous tunes known almost wherever European music is known, and they are invested with a new attraction by the instrument upon which they are played.

An Interesting Demonstration. The light and shade of. music, particularly in the softer passages, which always baffled gramophone recordmakers in past years has been conquered by “His Master’s Voice” Gramophone Company, and those who attended a recital at the Philharmonic Hall, Liverpool, were amazed at the clarity ami distinctness with which each instrument, even in a large orchestra, can be heard on the new machines (states an English contemporary). Critics have eschewed the gramophone invariably in the past because of the blurred effect which characterised orchestral music particularly. This difficulty has been overcome, however, bj' a complete revision of method in the making of records. The new method—or electric record —records each instrument on a separate microphone, so that each instrument contributes separately and distinctly. The programme was comprehensive, and provided a searching test for the new “His Master’s Voice” instrument, which has been designed specially to reproduce the new records. Items given included solos by Heifetz, GalliCurci, Mark Hambourg, John McCormack, Caruso, the Royal Albert Hall Orchestra, and the Savoy Orplieans It was the most severe of tests, yet the more one listened the more one become enraptured bv the wonderful balance of tone. This machine certainly makes a new era in the history of the gramophone.

Nearing Perfection. Since last I wrote of gramophone records, and especially of orchestral records, several more have found their way to me, and have been well and truly tried and tested, and 1 confess that X find almost daily improvement in the recording of the several instruments or groups of instruments, and in the closer resemblance to actuality (writes Robin H. Legge in the Loudon “Daily Telegraph”). In one such record I heard, almost for the first time, the tap of a drum that sounded more like a real drum and less like the bottom of a tin bath, than I had heard before. This in itself is an improvement, of course. But so n is with other instruments, and perhaps especially with the strings. Now, one frequently hears violin tones that used to resemble clarinet tones, but which now are unmistakably violin or other string tones, aud that is a great advance. In this month’s batch are two records of extracts from “Der Ring,” namely, “Siegfried’s Journey to the Rhine” from “Gotterdammerung” and “The Magic Fire” music from “Die Walkure,” both conducted by Albert Coates, aud played by the Symphony Orchestra of ninety-four players. These records were actually created ; n Queen’s Hall, and that in consequence these are two ot the very finest of all the Wagner records that I have ever heard I have not the slightest doubt.

An All-Scotch Record. Another of the splendid Grenadier Guards’ Band’s records sponsored by Columbia will be ready soon for New Zealand collectors of all that is best and brightest in this class of playing and recording. This is based on a selection of Scotch melodies, ' grouped under the title of "The Thistle.” It gives ample opportunities for the capable soloists of the band to show their mettle, and cornet and clarinet, trombone and euphonium, and all their relations take advantage of their chance to the full. The Columbia electric recording preserves not only the tone quality of the various instruments but owing’ to its refinement, it retains the personality of the players to a remark able degree. No fewer than fourteen

Scottish airs figure in this fine recording, which is shortly arriving in New Zealand.

Greig's “Lyrische Suite.” There is a wealth of delightful music and unconventional tune in Greigs quaintly orchestrated ’’Lyrische Suite, played’bv the 8.8. C. Symphony Orchestra. 'This suite forms the Columbia records (990-991) and although not a verv recent production, is none the less fascinating. It includes the famous and most melodious “March of the Dwarfs”—originally one of Greig s piano pieces put into an orchestral setting by the composer himself. A most excellent work for those who would like to studv its beautiful wood-wind effects, for it contains arpoggro passages in which flutes, clarinets and oboes olav their parts with delicious and poetic effect. A very beautiful nocturne is on the reverse of this record, and like “Shepherd’s Boy” and “Norwegian Rustic March,” given on the other record, is a fine instance of the Norwegian master’s sense of melody and his love of rhythmic Norwegian dance music. The playing is remarkably well studied, and the recording excellent particularly in the wood-wind, although the strings, too, have wonderful tone and body.

“Peer Gynt”—Orchestra and Band. “Peer Gynt” music has the popularity of perennial youth, and, whether heard through band, orchestra, or solo instrumental media, is always assured of attentive hearing. Columbia have issued several very fine records of this suite, in part or whole, one of their most attractive issues being the New Queen’s Hall Orchestra discs LLSI6-17, giving, on the first, “Morning,” and “Death of Aso.” The first, one of the most beautiful pieces of descriptive music ever written; the second a world-famed masterpiece m the category of the dignified and solemn. The second record holds the lovely “Anitra’s Dance” and “Dance of the Imps,” and ends with the. mournful "Solveig’s Song.” Each air is played .with thorough understanding and spirit, and the recording is excellent. For those who prefer a band version there is that by the brilliant Scots’ Guards Band (163-164), giving all the above famous selections, with the exception of "Solveig’s Song.” This, by the way, is the subject of a delicious Dora Labette record (L 1458 Or, again, one may fiear the artistic violin rendering of it by Leo Strockoff (947).

Grainger at Chopin. Chopin wrote three sonatas for the piano. His first —in C Minor, Op 4 —was very early work, and never played. His second, in B flat Minor; Op. 35, has the immortal "Funeral March” as its third movement. His third, in many respects the greatest, is his B Minor Sonata, Op. 58, composed only a few years before his death, and typical of his genius in its most highly developed state. Paderewski considers the second and third sonatas “portentious and strong, as if forged of heroic metal.” One feels this listening to Percy Grainger’s wonderful interpretation. This is one of Columbia’s “mighty” series, and the expression is not a whit unjustified. Grainger is a great pianist indeed, and his remarkably fine' and intellectual phrasing, plus a superb technique, plus the flawless recording achieved bv the Columbia Company, all go towards making this set of three records “mighty” in the truest sense. Grainger chose the B Minor for his first concert in Sydney, and showed his artistic greatness, his deep insight and imagination, and his tare interpretative gifts. These facilities appear in the discs, too, his individuality pervades them, and one wonders at his great reserve of strength in coping with such an almost heroic task. This sonata was written when

Chopin was in a morbid mood, induced through illness and domestic worries, and his sadness finds expression in the beautifully melancholy Largo—the third movement— dreamy and melodious. The initial movement, Allegro Maestoso, holds a wealth of delightful tunes, on most 'of which, individually, Chopin could have woven an entire sonata. The second movement —Scherzo—is full of airv lightness and grace, a beautiful quaver figure winding in and out, up and down, untiringly and without pause, until the trio is reached, winch is in delicious contrast, but yet in exquisite accord with the mood of the first section. The fourth movementFinale—is one of extreme technical and musical brilliance. The pianist gives a most romantic rendition, and has fluent command of the most exacting phases throughout, whether subtle or dominant, and proves lnmself an unusuallv fine exponent of a work every true lover of music owning a gramophone should acquire. ' Two Veuxtcmps Airs.

Albert Sammons is accepted as one of Britain’s most capable violinists, and although the two Vieuxtemps pieces- “ Ballade” and "Polonaise”—recorded by Columbia on record L 1165, are not particularly outstanding, this supers musician enchants here with his, tone and expression alone. His work is delightfully finished, always graceful and easy, aiid in this case has as a background the well modulated aid of the Grenadier Guards’ Band. Fine Guitar Records.

The Hawaiian guitar , has an appeal and a fascination that is paralleled by no other instrument, and in the hands of an expert who has artistic traits linked to brilliant technique, it can vield an amazingly beautiful type of music of the “haunting memory” class. Just recently, Frank Ferera, who probably has no equal in the world with this instrument, has given us “Lady of Waikiki” waltz, and the inescapable “Alwavs” waltz.. This Columbia record (0510) 'brings out all the real, unsullied beauties of the steel guitar, and is a fascinating disc in every sense. It follows other notable Ferera efforts, nearly all based on genuine Hawaiian melodies, such as “Waters of Waikiki” and "Isle of Oahu” (3745). This player also has charge of an Hawaiian instrumental quartet and a sextet. The first has its name to “Mahina Malatnalama” waltz (3393) (Hawaiian music), and the second to “Moana Chimes” waltz and "Under the South Seas I’alms” waltz (3525). Beethoven's "Choral Symphony.*' *

Owing to the difficulties of getting the necessary chorus and soloists as well as an orchestra, opportunities of hearing Beethoven’s Choral Symphony in the concert-room are none too common for most of us. Columbia's new complete version on eight double 12in. discs (L-1775 to 1782), issued in an album with the words and analytical notes should be heard. This achievement has been prepared by. the electrical process from the playing of the London Symphony Orchestra conducted by Felix Weingartner, an acknowledged exponent of this composer’s music. A very capable group of soloists has been secured in Miriam Licette, Muriel Brunskill, Hubert Eisdell, and Harold Williams. The chorus, too, sings well; if hardly with the power and brilliancy of the last Leeds Festival Chorus. Once or twice, in fact, the orchestra succeeds in overwhelming the singers. In an appreciation of these records, a Loncion critic terms them an "interim report,” as it were, upon the newlyfound powers of the gramophone. It is true, that the string tone might occasionally be a little warmer and the wood-wind more clearly differentiated. Yet the performance is decidedly well phrased, and one gains a vivid impression of the abiding vitality of the great tune in the last movement 'with all its amazing reflection of the spirit of Schiller's “Ode to Jov.” This tune it is, says Sir Henry Hadow, which “with a shout of welcome, the music seizes and carries shoulder-high.” Let us, then, bring to these records a sense of imagination, picturing for ourselves the occasion a little over a century ago (on May 7, 1824, to be exact), when this strange, thrilling music burst upon a startled world. At the conclusion of its first performance, we are told, Beethoven, who was dressed in black dresscoat, white neckerchief, and waistcoat, black satin smallclothes, black silk stockings, and shoes with buckles, stood engrossed by the music which he was following in his mind, utterly oblivious to the immense applause. Fraulein Unger then plucked him by the sleeve and directed his attention to the clapping hands and waving hats and handkerchiefs. What would lie have said about this Columbia recording which carries his masterpiece into more homes, probably, than there were listeners at that original concert?

The Big Battalions. Columbia gives us other records in which the resources are on an immense scale. Whilst we have not yet quite reached a rendering of “Ten thousand times ten thousand,” sung by 10,UUU voices, one of two 12in. “doubles” made at the Nonconformist Choir Union Festival in the Crystal Palace is well on the wav The hymn “Praise My Soul,” to Smart’s tune (not, alas, the finer one by Goss), is sustained bv over 6600 voices, 2620 of whom are the massed choirs Fortunately for our ceilings and chandeliers, the effect is not so shattering as might be expected. Again, in “Sing Alleluia rortli, the choirs convev a sense of distant grandeur, indeed', the organ is astonishingIv. realistic. But we might, on this record, have been spared the _ subsequent salvos of applause which, in view of the words, must have been in bad taste even at Svdenhain. All the items are conducted bv Mr. Frank Idle, who, on Col. 9118, directs a “Judas Maccabeus” exc-rrnt in addition to Col-eridge-Tavlor’s “Otella” dance played bv the Festival Orchestra.

Vocalion. Au' attractive string quartet is that which bears the name of Spencer Dyke. Composed of instrumentalists, this combination is much less known than it deserves to be. It records the best chamber music in its entiretv and playing and recording are of big’li standard. Notable recent issues of the Silencer Dyke quartet have been Dvorak’s “Nigger” Quartet (almost the onlv recording available), and the D Major' Quartet of Haydn (No. o in Opus 64). These are poles apart in spirit, but both are splendid examples of modern recording art. A notable singer this week is Vladimir Rosing in tlie “Prize Song” from “Die Meistersinger.” The famous Wagner number is given in -French with great suavitv and style. Rosing nossesse= a remarkable voice, much ahead of tlios- of better known m-m because of its breadth, power and variety of tone colour Almost notbin” is foreign to him nnd his recording of the “Prize Song” is among the verv best that have presented themselves. nract-derl with this is Puccmi’s nassionate lit!I- “F. limornn 1c stellc.’’ from tragic “Toscn.” This also is well = mig. r.vn chr-ertfl ’i” l ’ or' hctf'-i’ n”mb-’’-=

which rresmif • br.rue»lvcs f'W review ore the Peeont Svmnhonv Orr’-ectra’s playing of Percy Grainger’s “Shcp-

herd’s Hey” and the “Cl°g Dance” by the same composer. fhe Regent plavcrs make a delightful tiling out of the “Shepherd's Hey,” while tlie “Clog Dance” (“Handel in the Strand”), is another stimulating number. This is good music for an idle moment and warranted to banish gloom. , , , . Rov Henderson has two Schubert numbers-to offer this week. I hey are both verv familiar, the “Serenade,” which has taken a double lease ot life, since it was sung in “Lilac Time,” and the “Erl King.” Henderson has an attractive baritone voice and does not fall into the pitfail of oycr-stenuosity which awaits singers in the big moments of the “Erl King.” His dramatic, artistic singing, full of punch but never wavering from the tonal line for the sake of effect is worthy of all attention. The "Serenade” is also suecessfully done and the piano accompanimentij are by Stanley Chapple, than whom none could be better. Two jollv songs are released by Morlais Morgan, Newton’s arrangement of "The Jollv Tinker” and Frederick Keel’s “Bonnie George Campbell.” Morgan’s full, round tone and deliberate manner are an advantage in these songs and he will make no better disc. . The dance record of the week is of nualitv better than usual. "I’m lonely without von” (Warren), and “Adorable” (Wvnburn), are two jazz tunes which will soon be beard widely and are both full of dashing rhythm and melody decidedly above the average. Thev are plaved with vim by Don Parker’s band nt the world-famous KitCat Club, London.

The Gramophone in School, The uses of the gramophone in school are manv, and most of them are obvious (writes W. R. Anderson in “The Gramophone”). It can take the place of an orchestra at school assembly, or of an organ at religious exercises (though I do not think the recording companies have vet brought out records specially intended for this latter occasion). For marching, and for various dnlls, there are plenty of rousing pieces. At gymnastics music stimulates the mind to accurate direction of the muscles. Ihe effect is analagous to that which takes place when a hidden orchestra plays while kinema pictures are being taken. The performance of suitable pieces attunes the minds of the actors, and, 1 am told, helps considerably to overcome the unstimulating effect of the stnroundings in the studio. It is not alwavs practicable to have the music, but its effect, when it can be used in comfort, is undeniably valuable. (Ihose who rehearse school plays might try it in the later stages of practice.) As an accompaniment or background to almost any kind of exerciss which amis at increasing co-ordination of nerve and muscle music serves a small but useful end. . . Records to accompany class singing or massed singing are apparently not yet on the market. Indeed, one rather surprisingly neglected side of recording is that which concerns all graded school musical instruction. There are, of course, hundreds of excellent records that can be made to serve educational purposes; but no company has yet provided a systematically graded and wideranging series of records for use in school. Particularly is the want of these felt by those engaged in work with the smallest children and with those commonly called “juniors.” This seems to me the weak spot in the educational panoply of all the recording companies. I would here pay a tribute to the good-will and zeal displayed by several of them in throwing themselves into various kinds of educational work. Granted that this makes good new business. we must agree that the companies’ spirit has been excellent, their intention generous, and their actual achievement notable There yet remains something to be done, and there are expert teachers of youngsters who could, in conference, place the results of their experience before the recorders and plan a sound and sufficient scheme of records for various school uses. I hope that one or more of the companies maytake up this matter and deal with it thoroughly. Of their capacity to do so eminently well we have not the least doub’t.

In another department of musical reproduction (that of mechanically performed piano music) special apparatus will soon be available for the school song class, whereby a song will be played—voice parts and accompaniment together —while the pupils have the music in tl.eir hands, and then they will sing the song to a perfectly-played accompaniment only. Those who have known the not infrequent difficulty of finding a really good accompanist in school will appreciate this service especially.

We might have some model records of school songs sung by a select choir of well-trained children. ’ One of the best ways of teaching singing is to provide a good model. The elementary school teacher cannot always be expected to have a trained voice, though the great majority can produce a pleasant vocaj tone. But the child, who is a marvellous imitator, can more quickly learn to distinguish between good and bad tone, to aim at the good, and not to rest satisfied until he gets it, if he can hear, again and again, a few really fine models. 6i course, wonderfully fine singing is to be got from children already, without such aid; one has only to hear them al competition festivals to realise how great is their capacity to produce ravishingly beautiful music; but the best of these choirs are usually trained by people with particular natural aptitude for the work, who spend much time in hearing good singing and in studying the whole subject. The “general practitioner" teacher '••■’•ely give a great deal of time to music, and, naturally enough, has often no special aptitude either for singing or teaching singers He would appreciate the model records.. Now that really good choral reproduction is possible we ought to have quite a number of such records. They would command a wider | sale than merely among teachers.