National orchestra

Sun (Auckland), Volume II, Issue 488, 18 October 1928, Page 16

National orchestra

MOVEMENT STARTED IN WELLINGTON PAID PERFORMERS What he hopes will ultimately develop into a National Symphony Orchestra, subsidised by the wealthy members of the community, has been formed by Mr. Leon cie Mauny, an English teacher, orchestral leader, and pupil of the famous Albert Sammons, now living at Wellington. Struck by the lack of orchestras in New Zealand, Mr. de Mauny has embarked upon the unprecedented course of choosing 50 players from the best available in Wellington and paying them highly to rehearse for a series of concerts. He has obtained his men from the professional ranks and after patient investigation of all the available resources. The new orchestra will make its debut in Wellington at the end of the month. It has long been recognised by musicians that concert effort in New Zealand is handicapped by the fact that so many of the best players are attracted away to the orchestras in picture theatres, and thus rarely available for symphonic work. Mr. de Mauny appears to have solved the problem by offering these musicians even better terms. He hopes that other cities will follow the same course of action and that with a number of good symphony orchestras spread over the Dominion the way will be clearer for better orchestral concerts.

A famous concerto is Brahm’s “Concerto in D,” for violin and orchestra, (Op. 77), played by Fritz Kreisler and the Berlin State Opera Orchestra, five. double discs (H.M.V. DBllZO). This is the first recording of’a remarkable concerto, and by an ideal interpreter. It is a. work of great difliculty—in fact, a certain critic once deseribed it as “a concerto against the violin.” It is today one of the most popular works in the repertoire of violin virtuosi. As an authoritative presentation, this set is highly recommended.

Dusolina. Giannini is a great soprano 0y virtue of two things; her exceptionally fine voice and the intelligence of her performances. Her voice is strictly speaking a mezzosopruno with smooth and limpid tone.

She was hailed in Hamburg as the “greatest Aida of all time." Perhaps her fine record of “Vissi d’arte, vissi d’amore” from Puccini’s “Tosca.” and “Voi 10 sapete, o mamma” from “Cavalleria Rusticana” (Mascagni) will convey the reason for this claim. (H.M.V.‘, D.A.892.) This fine soprano is to visit New Zealand shortly under the direction of Mr. E. J. Gravestock.