MUSIC.

Otago Daily Times, Issue 19997, 14 January 1927, Page 5

MUSIC.

NOTES AND RECORDS. Mere suspension vertically and individually will not prevent the warping of records. There must be mutual pack to ensure this. There is little danger of warping if records be stored on edge, provided that there is no leaning stress, and the records are in close pack. Partitions should bo strong and spaced not more than four indies apart. They must be upright. Records stored horizontally are reasonably safe from any warping if packed on a rigid and even surface. Too manv must not oe piled up. owing to the peculiar section of most records. If partitions of good paper material or strawboard are placed between each record they will take their own bedding. Robert Radford, at his best in the splendid ‘'Father o‘Flynn,” is irresistible. His diction in this patter song is an unqualified triumph, and one begins to wonder if Radford is after all an Irishman. German’s song on the reverse side of the record receives fullest posible justice. Somervell’s “Cradle Song” is one of the most beautiful sensitive songs of its composer. Elsie Sucldably sings it very sympathetically, and her easy, flexible, lighter singing well suits the companion number “Charming Chloe.” Harry Dearth’s big, resonant bass and “High Barbaree” are a good combination. Each is worthy of the other. On the reverse side, “A Jug of This” is a song. The best orchestra! recordings published to date are “Siegfried’s _ Journey to the Rhine,” the “Fire Music,” the “Magic Garden Scone” from Parsifal,” and Elgar’s two “Pomp and Circumstance Marches.” To this group have now been added two Wagner records, “Siogried’s Funeral March” and the “Rhoingold” prelude with the “Ride of the Valkyries” on the reverse. These records illustrate the brilliance of the brass recording under the new electrical process. Tnan the_ “Funeral March” is there any more impressive moment in the whole history of opera or any music of like nature so completely and overwhelmingly tragic? Elena Gerhardt’s latest disc records beautifully two of Schubert’s loveliest songs, “Auf Dem Wasser Zu S ingen” (to be sung on the waters), and “Gretchen at the Spinning Wheel.’’ The accompaniment, an essential part of the performance, is played by Paula Hegner. Elena Gerhardt’s voice has greater play in “Gretchen at the Spin ning Wheel.” , . _ „ A recent vocal record is Luella Paikme singing of two Verdi numbers, the Air de Nnnnette,” from “Falstaff, and the (‘Saper Vorreste,” from ‘Un Ballo in Maschera,” better known by its English title “You’d Fain be Hearing. There are no limitations to Paikin’s voice as she proves by the agility with which she attacks the difficult “Saper Vorreste, with its flourishes and frills. Good, showy music this is. Both numbers have orchestral accompaniments. . . Lupino Lane and Wallace Lupino have added two more amusing numbers to the list of laughs already contained in their “Nip and Nunky” Thesei are The Piano Lesson” and ‘ A.B.C. The latter is humorous, and one enjoys the manner in which Nip makes the household cat do his piano practice for him. , Albert Sandler, violinist at the Grand Hotel, Eastbourne, is a player of facile technique and strong on the interpretative side. He plays the Moszkowski Serenata (Op. 15, No. IE The other number in the bracket is Paul. Rubens I Love the Moon” played with rubato and sure To commend itself to those who like the lighter sort of gramophone music. Three attractive song discs have lately been issued. Tito Schipa sings a song version of Liszt’s familiar Libestraume (much, preferr.ble in its original tormj, and an “Ave, Maria” of his own composition —operatic rather than ecclesiastical music. Leonard Gowing gives Songs My Mother Taught Me” (Dvorak) and bo Fair a Flower” (Lohr). Mr Norman Long, of the Savoy Orpheans, supplies “Toasts” and “Down in Our Village in Zummerzet,” in which his catalogue of the reckless diversions of the village is rich indeed. . ... « „ Clara Serena sometimes is guilty of a sombre tone. Thus she is very well suited by Granville Bantock a Lament of Isis, a song in which she produces big tone and obtains some equally big effects. Her other number is Sullivan s My Dearest Heart,” one of his lesser known sentimental songs, which deserves a wider currency and is marked by melody such as we expect from Sullivan. Roy Mellish plays the pianoforte accompaniments. The recent record of Trumpet-major K. N Harman, of the Life Guards Band, has been followed by two songs of world-wade fame, “O Sole Mio” (di Capua) and The Rosary” (Nevin). The latter has been a favourite with cornetista for many years; it remained with Nevin to show what he could do with the popular Italian ditty. Not bandsmen alone will appreciate the result. , . Cortot, Casals, and Thibaud have combine'd to form a trio, known as “The Casals Trio.” The first records of this trio will be issued shortly. Isolde Menges’a latest violin contribution is a Spanish dance, or “Malaguena, of Sarasate, and the Berceuse Op. lo of Faure The pianoforte accompaniment is by Eileen Beattie, and the two artists play in complete sympathy. A Soprano singer. Miss Marion 1 alley, American, is introduced in “Una Voce Poco Fa,” and “Caro nome.” Miss Talley is of the coloratura school, with a brilliant voice, though rather hard as it appears on these records. Amongst the best of the new dance records may be mentioned the following: The International Novelty Orchestra in foxtrots, “Always” and “Pretty Baby ; George Olsen and his music in “She was Just a Sailor’s Sweetheart,” fox-trot; led Weems and his orchestra in “The Day that I Met You,” fox-trot; fox-trots with vocal refrains; De Groot and the Piccadilly Orchestra in Strauss’s “Blue Danube” waltz, and “Vienna Blood” waltz. Strauss a centenary was celebrated last year, but his music sounds as fresh to-day as the day it was written! 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 Gtialiapin, coupled with a little Russian folk song. Mandoline-like instruments are played in a dashing, spirited manner by the Kirilloff’s Balalaika Orchestra. Jack Smith is a “whispering baritone. He is also “American,” as you will note from his diction. His latest disc is ‘ Poor Papa.’'’ “Don’t be a Fool” is a ditty of the pre-divorce period in marital life. Both have catchy melodies. Hanley’s “Just a Cottage Small’ and Brycesson Trehorne’s “Mother, My Dear, are John M'Cormack’s latest from the recording room. An orchestral accompaniment is lent by the Salon Orchestra. _ The Gounod overture to “Mirella is a specimen of music well suited to the theatre. As a whole, it is as harmless as it is pleasant. Frank Bridge conducts the New Queen’s Hall Light Orchestra through this record. Included in coming records are two samples of the records made in Covent Garden Theatre during the grand opera season last year. One of these, recording a few minutes from Melba’s farewell performance on .Tune 8 last, will acquire with the passing of time, an ever-increas-ing value, not only as a document of great historic interest, but as an addition to the catalogue of things which men collect. It might be worth their while for recording companies to provide, in such a case as that, some equivalent of a book first edition. There are in existence a limited number of Paderewski records, signed by the great pianist at the time of his first broadcast, and sold for charity at a special price. So far as I know (a London reviewer says), nothing has been done in connection with the Melba record to add scarcity to its other attractive qualities, and I presume there is no reason why reprints should ever become _ impracticable —perhaps even cheap reprints; but nothing will satisfy your true collector short of being able to say, “Yes, _ my grandfather, as a young man, was in the audience at Melba’s farewell and bought this disc soon after. One of the first 500, you see. Only two left now. The other’s in the British Museum.” If we try to realise what would have been the value of the present generation of like-like records of the big singers of the past we may form some notion of the value of this Melba record to those who will come after us. I can vouch for its lifelike qualities. In addition to the acoustical advantage of recording in a natural auditorium, we have in this case all the added subtlety that comes with a genuine public performance under specially inspiring circum--tnnccs. The gramophone has caught it all making of the “Addio” from “La Boheme” a very finished and remarkably natural record. I am almost prepared to say that the reproduction includes that almost audible hush in the audience during quiet moire's on a great night. The nther side of the disc gi»cs Melba’s speech at the close, and a generous sample of the thunders of applause which followed

THE WIRELESS WORLD. NEWS AND NOTES. By Magna Vox. Items of local Interest are Invited by “Magna Vox” for publication in this column. It is necessary that such matter should reach this office by Tuesday of each week for insertion on the following Friday. NEW ZEALAND RADIO, I have to acknowledge receipt of the New Zealand Radio for January 8. In addition to its usual budget of interesting information, this little volume contains a clearly-written and instructive article on the four-electrode valve, and also a practical explanation of the easiest and most expeditious methods of tracing faults in a one-valve set. We often hoar the question asked as to how much further we have yet to go in broadcasting before we reach finality (says the British Commercial News). This would indeed be a difficult question to attempt to answer, but one is probably not far short of the mark in expressing the view that the valve will in future be the key to any dramatic changes which may take place in receiver design and in broadcasting technique generally. ANSWERS TO CORRESPONDENTS. A correspondent, who has a three-coil two-valve set, writes stating that his set is not working as well as might be. He has found that varying the grid-leak makes no difference, and he complains that when receiving IYA, if he puts his hand on the speaker and touches the grid of the valve socket (detector), he receives a continuous whistle.—lf my correspondent would examine his B batteries he may find them run down, which would probably cause the whistle. The grid'-l-eak would also appear to be defective. In reply to another inquirer who is troubled with the ringing of a large electric _ bell in his house coming into the receiver with great volume and drowning the broadcasting, I would suggest that he place a condenser across the make and break contacts of the bell. This should improve matters, although it might not obviate all the interference. BROWNING-DRAKE RECEIVER. Now that the Browning-Drake receiver has become so popular, the following few hints regarding it- operation may not be amiss:— 1. Do not be tempted to alter the hook up or lay out. You will find that this receiver with its extra refinements is very hard to beat. 2. When carrying out the operation of 'neutralising do not forget to try reversing the leads going to the coil. You will find a very appreciable difference between the right and wrong way round. 3. If regeneration is not obtained reverse the leads to L 4 coil. 4. Do not omit the C battery. It will not only improve the tone, but will lengthen the life of your B battery. 5. Make a note of the adjustments of each station in order that other members of your family can time the receiver to the station they desire during your absence. WATCH YOUR LICENSE. All prospective wireless users should note that before anv wireless receiver is used it is necessary for the owner to obtain a broadcast listener’s license. These lienses are obtainable at almost any post office between the hours of 9 a.m. and 6 p.m. The Postmaster-general is obliged under the Wireless Telegraphy Act to ensure that every receiver is licensed. The penalty for using a receiver without a license may be a heavy fine. In addition to this legal obligation, listeners are reminded that the fee paid for a license, with the exception of a small portion retained by the post office for administrative purposes, forms the subscription which the listener pays to the broadcasting companies for the service he receives. It should also be remembered that the license covers the use of one receiver at the address stated in the license. If the owner uses two receivers at different addresses two separate licenses are necessary. The license must be renewed annually on or before the date of expiry indicated on the license. In order to save his own time and the time of the postal officers a licensee should take nth him or send his old license when renewing. It is not necessary ro rake a personal application for a license or for the renewal of the license. If the license is not renewed on or before the date the renewal license is back-dated. Listeners should remember, however, that they are required by law to be in possession of a license covering the period during which the receiver is used. If the receiver is used after the renewal date without paying the renewal fee the licensee is liable to prosecution. OSCILLATING VALVE EVIL. Even the most enthusiastic of them will admit that broadcast listeners do not find reception to their liking always. There may be some "terns that do not please—what programme director could arrange a number of items free from some objection from isolated types of listeners? —the volume from the loud speakers may not be sufficient, or the batteries may run down at a critical time. Such drawbacks are not to be wondered at. There is no form of entertainment that all the time, and every form of public utility justifies expressions of dissatisfaction from time to time. But there is something about broadcasting that causes people to put up with inconveniences without much complaint. Perhans it is the novelty of the form of service that generates in the listener a form of enthusiasm that is not easily quenched. Or it may be the newness of it that nrompts listeners to have forbearance. The listener certainly finds several forms of difficulty in trying to get an uninterruptedly good programme. A good item from IYA, Auckland, for instance, mav be distorted by weird noises, which, with other kinds of sounds that are emitted from the loud speaker, at unexpected times and -without any warning, are politely called interference by radio men. The noises certainly do interfere with the listeners’ attempts to pick up the item clearly—and they interfere with the jest efforts of IYA engineers to deliver the microphone goods intact and undistorted. The particular form of interfereuce recognised bv bowls and shrieks is caused by oscillating valve receivers. Not every valve receiver, fortunately, will produce in the next door neighbour s receiver these noises; but there are far too many receivers that will and do cause trouble. Such receivers when badly handled, when allowed to oscillate, become transmitters, and in addition to picking up the electro-magnetic waves also send out some energy capable of acting on nearby receivers in such a way as to produce the strange and annoying notes. The ironic part is that the person who allows his receiver to oscillate, and so send out distorting signals, also lets his own receiver distort the music picked up. And he promptly blames the other fellow. It is a great pity that the real significance of the thing is not more widely understood; that to allow our receivers to remain m a state of oscillation not only causes annoyance to our fellow-listeners at other sets, but also spoils our own entertainment. When a valve is allowed to oscillate, the receiver cannot reproduce faithfully the programme of music it picks up. ino use of reaction in receivers is a good thing it nroporly understood and adjusted. By using reaction or regenerating economies in valves are possible; but if this method k not carefully utilised there is great danger of spoiling the programme; m addition to making the user of the set a public nuisance. It is only by very careful publicity to the evil that the growth of the oscillating valve interference can be stopped. . A receiver is not complete without a SFERAVOX. Ask your dealer to demonstrate one to you. It combines sensitivity and volume with a handsome appearance, being built in silver colour, and makes a beautiful contrast in any room. £5 ss, off all leading radio dealers—N.Z. Reps., Brown and Bureau (Ltd.), Wellington. —Advt.