STAGE, SCREEN, and MUSIC

New Zealand Times, Volume LIII, Issue 12615, 27 November 1926, Page 14

STAGE, SCREEN, and MUSIC

(CONTINUED FROM PAGE 13)

Is Yousr Child Musical?

The Plano a Friend or a Penance >

COLUMBIARECORDS AN ALL-SCOTCH RECORD Another of the splendid Grenadier Guards' Band's rewords 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 Scotcli 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 chances 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 plavers to a remarkable 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 truly delightful muaio and unconventional tune in Greig’s quaintly orchestrated “Lyrisehe Suite,” played by the 8.8. C. Symphony Orchestra. This suite forms two Columbia records (990-991), and although not a very 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 study its beautiful wood-wind effects, for it contains arpeggio passages in which flutes, clarinets, and oboes play 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 n fine instance of the Norwegian master's sense of melody and his love of rhythmic Norwegian dance music. The playing is remarkably well studied, an«l the recording excellent, particularly m 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 soveral very fine records of this suite, in part or whole, one of their most attractive issues being the New Queen’s Hall Orchestra discs .L 1516-17, 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 worldfamed masterpiece in the category of the dignified and soler&D , The second record holds the lovely A nitrate Dunce” and “Dance of the IrciP 9 » * and ends with the mournful Solveig's Song.” Each air is played with thorough understanding and spirit, and the recordmg is excellent. For those who prefer a band version there is that by the brilliant Scot s 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 Labotte record (L 1458). Or again,

flniiiiiiiiniiiiiiiifliitaniiimiiiiaiiiiiiimiiniimminoinmiiHimmn one may hear th© artistic violin rendering of it by Leo Strockoff (947). 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, Or>. 35, lias the immortal Funeral March as its third movement. His third, in many respects the greatest, is hie 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 1 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 liis remarkably fine and intellectual phrasing, plus a superb technique, plus the flawless recording achieved by 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, lii9 deep insight and imagination, and his rare interpretative gifts. These faculties appear in the discs too, hi 9 individuality pervades them, and one wonders at his great reserve of strength in coping with such an almost heroic task. The pianist gives a most romantic rendition, and has fluent command of tho most exacting phases throughout, whether subtle or dominant, and proves himself an unusually fine exponent of a work every true lover of music owning a gramophone should acquire. TWO VIEUXTEMPS AIRS Albert Sammons is accepted as one of Britain's most capable violinists, and although the two Viouxteraps pieces*— “Ballade” and “Polonaise” recorded by Columbia on record L 1165, are not particularly outstanding, this superb musician enchants hero with his tone and expression alone. His work is delightfully finished, always graceful and easy, and in this case has as n background the well modulated aid of the Grenadier Guards' Band. • • • • Just recently Frank Ferera, who probably has no equal in the world with this instrument, has given us ‘‘Lady of Waikiki Waltz” and tho inescapable “Always” Waltz. T!/te Columbia record (0510) .brings out all the real, unsullied beauties of the steel guitar, and is a fascinating disc in every sensei.

In 1860, when Gertrude was eleven years old, her day was spent in accordance with a time-table drawn up by her mother and governess. Only when she had some childish ailment, or during the holidays, was any departure from this time-table permitted. If Gertrude sometimes found tho routine wearisome she never dreamer! of rebelling, for she was a well-ordered little maid. It was ordained that she should practise an hour and a-half

each dav, and one half-hour had to be got through before breakfast. She had to sit at a certain height, so that her elbows might be on a level with the keyboard, and she could only find support for her feet hy winding her legs round the tluee-branched stand of the piano-stool. Thus seated, sho practised laboriously. Of course, it had to bo gone through, for was not ‘playing the piano” part of every young lady’s education ? After years of irksome practice, she dd render in fairly good time Mendelssohn’s ‘Songs Without Words,” or one of Heller’s melodious studies. As she performed, always with considerable trepidation, before a group of select friends, her parents prided themselves that their daughter was

AUSTRALIAN BAND IN CANADA The Australian Band, of which Mr Gladstone Hill (of Hamilton) is publicity manager, is touring Canada on the last stages of a world tour % The band was in Ottawa at the beginning of October. A Canadian paper says:—The* band was welcomed by Government and civic officials, and was heartily greeted by the large number present. The opening concert was exceedingly successful. Viceregal and mayoral parties were present, and a large audience appljauded the magnificent playing of the band. One of the band's most enthusiastic admirers was Captain O'Neill, musical director of the Royal 22nd Regiment, which was in Ottawa in Centenary week. Captain O'Neill said that there was not a weak spot in the band's playing. The band has a magnificent attack, with a glorious tone and majestic style which resembles a huge pipe organ played by angelic hosts, he said. The life of the* theatrical artist is not one round of pleasure as many may think. Take Mr Joseph Cunningham’s new English comedy company which concludes its fortnight season at the Grand Opera House to-night. Since its arrival it has been busily engaged during the day rehearsing “The 6port of Kings” and “Outward Bound,” and in the evenings presenting in a highly finished manner “The Unfair Sex” and “Eliza Comes to Stay,” and between whiles the members of the company have found time to have some golf and tennis, a little jazz and some “teas,” so perhaps the pleasures of the life outweigh the pains. "As fit as a fiddle ia an old saying, and true. It applies to the fiddle as well as yon; so keep both yourself and your violin in fine condition, and you may expect great results."—H. I. Gonyon.

suitably “accomplished”! When Gertrude’s granddaughter was eleven years old, it was arranged that she, too, should have music lessons, but she declared that she hated music, and protested so vehemently that the batttle was given up. She played no “tunes,” but she played many outdoor games, and grew in stature and strength far beyond the women of her family for generations past. To the truly musical, the piano will

always be a beloved friend, responding to every mood, gentle or passionate; expressing, at the player’s will, the soft sighing of the breeze or the raging of the storm, the precision of the measured march, or the tripping of the fairies, the chorus of triumph or the soothing lilt of tho lullaby. But tho day of the mediocre performer is over. Now that it is possible to sit at home and hear the greatest musio, finely interpreted by skilled artists, only the real artist in the home circle is encouraged, and the tremulous notes of the uncertain player, or the loud chords of the bombastic one, are, mercifully, things af the past. It is perfectly simple at the outset to discover whether or not the child possesses musical genius—if not, let him. in pity, leave musio alone!

ANOTHER CURE FOR STAGE FRIGHT A musician of wide experience said that she had never known stage-fright when she sang, hut that when playing the piano she always had the uncomfortable feeling that 6omeone would bite her back (not back-bite). A fellow-suf-ferer advised her to sit or etand where she could look into the faces of her hearers a few minutes before she went on the stage. She found that this worked like a charm. When she had seen her audience she realised' that they were just human beings like herself. Looking at them as friends made her more desirous of pleasing them. Consequently she forgot herself in the effort to do her best. —May Helm. • • « « "A trashy piece of work, which a world-renowned solist may present with impunity or even with profit, will leave the audience of ever so good an upstart cold, while a great work is often more satisfying to the pure musician in the latter's hands, because the interpreter's personality <joes not obtrude itself unduly."—Eric. • * • • ‘ e A good song is as if the poet had pressed his heart against the paper. . . - The low, musical rustle of the wind among the leaves is song-like. . . . The song-writer must take liia place somewhere between the poet and the musician, and must form a distinct class by himself. The faculty of writing songs is certainly a peculiar one, and as perfect in its kind as that of writing epics."— James Russell Lowell. • • i • “The evolution of Sonata form was the greatest triumph of design in music. This was not accomplished by any one man or at any single time or place. It is the consummation and concentration of all the greatest and the best of musical genius. —Sir Dan Godfrey.

HIS MASTER’S VOICE THE DECEMBER RECORDS Probably on© 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 may fairly be said to bo the very last word in modern recording achievement. • * • • Those who have heard Chaliapin in the same numbers, will have an opportunity of comparing Russia's best bass singer with France's—Marcel Jornet, who gives us tho great “Slander” song in “The Barber of Seville,” and the Faust seen© “Vous qui faites T endormie.” • • * • SPLENDID WAGNERIAN MUSIC Another great achievement in the recording of Wagnerian orchestral musio is demonstrated in the double disc on which have been impressed “The Ride of the Valkyries,” and the “Prelude” to “The Rhinogold.” The two previous records in this scries (The Magic Fire Scene from The Valkyrie and Siegfried’s Journey ter tho Yhine) caused universal astonishment by the surprising manner in which they reproduced the true timbres of a full-sized orchestra playing in a concert hall. Whether it be in the mighty swing and th© exhilaration of tho Ride of the Valkyries, the deep mysterious surge of th© Rhine in the Rrinegold 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 RECORDS Amongst the best of the new dance records may be mentioned the following : Th© International Novelty Orchestra in fox-trots, “Always” and “Pretty Baby.” This record contains th© very popular “Always,” and th© fascinating melody set to fox-trot time makes a splendid dance number. Th© reverse title, “Pretty Little Baby,” has already been made available by Jack Smith, and it is now offered as an instrumental number* attractive?# played by the Intertnational Novelty Orchestra, and having a vocal chorus. Georg© Olsen and his musio in “She was Just, a Sailor's Sweetheart,” foxtrot; and Ted Weems and his orchestra in “The Day that I Met You,” fox-Fox-trots with vocal refrains. Just a Sailor’s Sweetheart” cleverly oancatures a number of sailors' songs, here and there introducing a half-appre-hensible bit of melody, or oubstituting mock-heroic words for th© original sentiment. Th© other number is in much similar style, but tends rather to th? sentimental. The records are good strong ones, amply loud enough to be heard above the shuffling feet of a roomful of dancers. This record is now listed for th© first time, although, owing to great demand for same, it was specially released recently. De Groot and th© Piccadilly Orchestra in Strauss’s “Blue Danube” waltz, and “Vienna Blood” waltz. Strauss's centenary was celebrated last year, but his music sounds as fresh to-day as the day it was written 1 • * • • A NEW THIBAUD DISC Jacques Thibaud has a very fine disc in the December H.M.V. list—Leclaire's “Tambourin'' and Debussy's “Golliwog’s Cake Walk.” Leclaire’s “Tambourin'' forms a piquant contrast to Debussy's

fliimiiiniiiHiimiiaiiKimiHomiiiHiioHimuuicjiiiiiuiiHiaiiinii “Golliwog's Cake Walk,” for the two records represent French music of periods two centuries apart. The “Tambourin” is attractive, light and tuneful, rather like a sugar-plum to melt on the tongue with a pleasant taste. Debussy's “Cake Walk” is in its own way quit© as tuneful (as everyone who hears it once or twice will, admit), and it has an additional attractiveness in its bizarreric. Thibaud’s delightful playing is excellently reproduced by tho latest methods of recording. • • • TWO CHARMING McCORMACK NUMBERS Hanley's “Just a Cottage Small” and Brycesson Trehorne’s “Mother, My Dear,” are John McCormack's latest from the recording room. “Just a Coltage Small” is extremely popular just now, whilst its companion is a “Mother” song of exceptionally appealing character. The record is notable for the clear reproduction of McCormack’s voice and for th© attractive orchestral accompaniment lent by the Salon Orchestra. . In the latest H.M.V. list Bnckhnus is heard in Liszt’s “Liobestraum No. 8,” and th© beautiful “Naila Waltz.” The new His Master’s Voice methods of recording aro particularly successful with tho pianoforte, and they have produced in this particular record something which is of a genuinely surprising perfection. • • m • RUSSIAN FOLK MUSIC In the “Volga Boat Song,” and “'Shining Moon,” tho 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—mandolin-like, instruments played in a dashing, spirited manner by the famous Kiriiloff’s Balalaika Orchestra. • • • • Jack Smith is a “whispering baritone.” H© is also “American.” In his latest disc, “Poor Pane” has the sympathy even of bis children, who see him, as the head of his family, consumed like some of the insects in Fabre's entomological researches. One welcomes with sincero pleasure tho reappearance of that splendid recording pianist, Arthur de Greef on the record lists. In the latest H.M.V. budget he gives us Liszt's famous “Hun-

YOUNG—AND VIGOROUS Probably the y&nngest management in Australasia to-day is that directing the Joseph Cunningham London Comedy Company, which is just concluding a s°nsnn at the Grand Oncra House, Wellington, which, according to the critics and the general public, has been a highly artistic and box office success. The nlavs produced diiring the season, “The Unfair Sex** and “Eliza Comes to Stnv.” have shown the master hand of the director in dressing and setting, and Miss Zillnh Bateman and her supporting company have, in the words of the management, given us “A real London show,” and we shall eagerly await the return, of this combination in “The Snort of Kings’* and “Outward Bound,” which will be presented early in February of next year. iiiimiiiiiiimiiimiiiiimiiiiiiiiiiiHiiiiiim !

garian Rhapsodi.e No. 12’* .Liszt's Hungarian Rhapsodies are amongst the moat popular of the pyeat pianist's compositions, and of these by far the best known are the Secpnd and Twelfth Rhapsodies. Do Greef has jjiveri us 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. • • • • Handel’s “Largo," and Sullivan's “Lost Choifl*" played on the grand organ respectively by C. Whitaker Wilson and Gntty Sellors, have an excellent loiret. The organ has boon called the “King of Instruments" and no one after hearing this wonderful record would say that lh f> appellation was not just. • • • •

THE FAITHFUL PUPIL Ho lore* his work (writes Florence Bella Soule). Ho pays attention and tries to learn as rapidly as possible. He prepares his lesson to the best of his ability. He arranges his affairs so that be can leave home a little earlier than necessary to allow for delays, and so arrive for his lesson promptly. He is well mannered and tidy in appearance. He appreciates the interest and help that his instructor gives him. He is one of the greatest compensations that the hard and often disappointing life of the teacher holds. THE DICTIONARY HABIT A good music dictionary should b# placed at a convenient place in every music studio, and puoils should be asked to look up all words and 6icns which they do not understand. Definitions which the pupil looks up for himself are mote apt to be remembered than those which are given by the teacher, bpcausc in the former case the exact spelling .of the words must be noted. Furthermore, when he is occupied with finding out something for himsHf the pupil cannot journey in fancy to the moving picture-theatre or «wimmiflj» nool as easily as he does when he W being told about uninteresting foreig* words. But the greatest benefit to be derived from making pupils find things out for themselves is that it teaches them how to study and how to think independently. To‘further this purpose it is a good plan to Imre the pupil write out the definition in his own words when he lias “looked it up.*'—Helen Bates in “T-.e Etude/*