MUSIC

Sun (Auckland), Volume II, Issue 350, 10 May 1928, Page 14

MUSIC

(By F.1.R.)

The famous Creattore Band this mont gives a superb rendering of the most popular melodies from ‘Cavalteria Rustic-ana.” The first part of the selection begins with the bells and the introduction chorus of the first scene, “Sweetly the Birds in the Myrtles are Carolling.” The second part consists of the impressive “Easter Hymn,” Santuzza’s solo being played by a cornet. H.M.V., EBI9.

E. J. Gravestock announces that he has arranged for Esther Fisher, a brilliant young New Zealand pianist, and daughter of the Hon. F. M. B. Fisher, to give recitals in the main centres of the Dominion on her arrival from Europe. Miss Fisher, who is Wellington-born, has put in six years’ intense study in Paris, and in the art centres of the Continent. Her London debut, in 1923, found a very favourable reception by public and critics alike.

The name of Haydn Beck, conductor of the Wintergarden Symphony Orchestra, Sydney, is a household word among the musicians of Australia. Before taking the baton at the Wintergarden, he was a leading concert artist, and one of the outstanding members of the New South Wales State Orchestra under Henri Verbp ,,r qhan, now conductor of the Minneapolis Orchestra at 4.2,500 a yea.r. Mr. Beck has been conductor of the Wintergarden Orchestra from the beginning. Previously he resided at Wanganui.

Mr. R. A. Horne, the well-known Christchurch composer, whose marchsongs are frequently heard here and have been recorded by His Master’s Voice, has just completed a fine musical setting to the “Jubilee Ode,” composed specially for the Christchurch City’s Jubilee, by Johannes Andersen. The work is composed for full orchestra and choir, and will be performed in the Municipal Concert Hall during the celebrations, probably by the Harmonic Society and an orchestra under Mr. Arthur Lilly.

In February of this year, William Heughan, the Scottish actor-singer, who visited New Zealand in 1925, left London on another world tour. In February and March he toured Canada and the United States, and will arrive in New Zealand on May 21. He will make a comprehensive tour of both Islands, later going on to Australia. From there, the tour will continue via the cities of South and Central America, the United States, Canada and Newfoundland. /s Jast world’ tour is said to have been the most comprehensive ever undertaken by an artist. He travelled upwards of 100,000 miles and gave 650 recitals.

* * * At the second Evans-Gange recital, given at Christchurch recently, Fraser Gange sang a delightful little song called “Achal by the Sea.” “This song,” he said, “which .is enjoying a great sale in America, was written by a Christchurch lady.” The audience was greatly intrigued. “If she is present in the hall,” he ended, “will she please stand up and take some of the applause?” The audience looked about hopefully, but no one stood up. But the composer was there right enough, although she was too modest to show it. She was Mrs. Daisy Horne, wife of Mr. R. A. Horne, and she wrote ‘Achal by the Sea” under the pen-name of Rosada Lawrence. The song was published in America by John Church, and is having a great run over there. Shortly before his departure for New Zealand, Mr. Gange recorded it for the Columbia Company with orchestral accompaniment, and the disc should shortly be available in the Dominion. * • * “Beno Moiseiwitsch, in his fifth recital at the Town Hall, stirred many memories by including Beethoven’s opus 13 Sonata (the familiar ‘Pathetique’),” states the Sydney “Morning Herald.” He played also Bach’s Chromatic Fantasia and Fugue, and a well-chosen Chopin group, and gave representation to the modern writers by introducing two interesting pieces by Medtner and Prokofieff, so that the programme comprised an attractive survey of the musical field, w ithin the limits of a couple of hours. In the sonata. Mr. Moiseiwitsch displayed fine tonal quality in the brief introduction, and stated the themes of the allegro with picturesque beauty. He was particularly effective in the slow movement, which assumed a new and delicate charm in his reading. The Bach Chromatic Fantasia and Fugue, which opened the recital, was notable for the authority wdth which the surging figures of the fantasia were developed, and for the clarity and suavity of line of the fugue, which began softly and grew in volume as its harmonic structure increased in complexity. Both these works illustrated the pianist's commanding technique, as well as his artistic perception, and were evidently thoroughly enjoyed by the large audience.