MUSIC

Sun (Auckland), Volume III, Issue 872, 16 January 1930, Page 14

MUSIC

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Glancing Ahead — This Evening — Municipal Concert at Point Chevalier. Sunday.—Band concert Zoological Park, 3 p.m.: Albert Park. 8.30 p.m. January 22. — Earn! concert, Domain Cardens. 8 p.m. , _ February 13.—Operatic ( oncert, T uccint 'Society and Artillery Band. Grainger's Directions Percy Grainger tvas something of an evolutionist in the matter of marking nis compositions with extraordinary directions regarding their performance, states W. Asprey in the Sydney ■Sun.” “Boldly, but. clinchingly," ■flowing and tenderly,” “more fiercely,” “don’t drag at all,” are some of the directions Mr. Grainger gives for the performance of his setting of Kipling's “If I Were Hanged on the Highest Hill.” And we find "Show off hugely,” "Top much to the fore,” etc., on other compositions. To the performer of ordinary musical intelligence, such minute instruction is resentful and quite unnecessary. Liszt, Rubinstein and ethers have expressed themselves on this matter, and Beethoven, who marks his compositions freely, said “He who plays a work of mine twice in exactly the same manner, let him no: play it at all.” Chopin, Schubert and Schumann, in company with other great masters, always indicated modification and degrees of force, but. on the whole, much was rightly left to the discernment and imaginative power of the performer. « * *’ Rachmaninoff’* Concerto Rachmaninoff introduced his new piano concerto to a London audience at the London Symphony Orchestra’s concert at Queen’s Hall, recently, playing the solo part himself, with Alaert Coates conducting. It is his fourth work of the kind. The Concerto in C Minor (No. 2) is justly a favourite with both players and public, and the new concerto is not likely to oust the other in popular favour, but it is a highly interesting work, states the critic of the “L'aily Chronicle.” The music of the first movement Is perhaps the most striking, especially in the originality of the orchestral part. The slow movement, with its haunting motif curiously recalling a familiar nursery tune, is of undeniable • harm in its elegiac quality. The finale is slighter in texture. The solo part is brilliant and the composer’s playing of it brought him a great ovation. % * * * Musicians Come Back Audiences at ten more London cinemas are delighted to find that orchestras have been reinstated after nearly three mouths’ absence because of the “tinned” music supplied with sound and talking films, states the “Daily Mail.” This means work for more than 100 musicians, following the announcement that 100 had been reinstated in London alone the previous week. The dreary “tinned” music supplied with sound films made cinema-goers so dissatisfied that hundreds of letters demanding the return of musicians were received by United Picture Theatres, Ltd., which controls the ten cinemas to which orchestras have returned. An official of the Musicians’ Union said to a “Daily Mail” reporter:—“The outlook for musicians in London and the big provincial cities is brighter now than it aas been since sound films were introduced to this country. We have reason to believe that orchestras will return within the next few days to more theatres which show sound films.”

BACKHAUS

Mr. Gravestock’s Promise TO VISIT N.Z. Despite the comparative failure of recent concert tours in New Zealand, Mr. E. J. Gravestock, the well-known entrepreneur, definitely promises to bring Wilhelm Backhaus, the great pianist, to the Dominion during the forthcoming year. "Backhaus’s tour through New Zealand four years ago was such a wonderful success that I cannot imagine this great artist not doing well again. The remarkable impression he left with his vast audiences both as regards his art. and his personal charm, is evidenced everywhere, for although some of the world's greatest pianists lave been heard here since Backhaus’s visit, he is paramount in the memory of music-lovers.” says Mr. Gravestock. Since his last visit here, Backhaus has been busily occupied in making tours throughout the Old World, including a visit to Russia, where he had a remarkable reception and found musical conditions extremely interesting. His itinerary for the past season :in Europe would satisy the keenest traveller, as it includes visits to every town of importance in German} - , Holland, France, Spain, with zig-zag trips backward and forward from England to the Continent. Backhaus in a recent letter to Mr. Gravestock remarked that he had come to the opinion that Beethoven had ousted Chopin from the peak of popularity with music-lovers today, and his Beethoven Festivals in Vienna, and other towns, were astoundingly successful. The Festival consisted of a series of six recitals of all the piano sonatas of the great composer, and not a seat was to be obtained after the commencement of Hie recitals, the hall being sold out for the series. Backhaus has a keen sense of humour, as most of his friends here know, and his Christmas card this year, which is reproduced on this page, is characteristic of his wit.

CRITIC’S MEMORIES LISZT SLEPT THROUGH HIS OWN WORK A very well-known and important figure in the London musical world for many years was J. A. Fuller-Maitland, who is the author of a new book of reminiscences, “A Doorkeeper of Music.” He was critic of the “Pall Mall Gazette” and “The Times,” editor of the second edition of Grove's Dictionary, and friend of Parry, Stanford, Joachim. Fanny Davies and of most of the other musical notabilities of his time. The author lived in Kensington for 50 years, in the 1860’s “each of the main roads (to London) had its turnpike, but by a queer discrepancy it was cheaper to go by way of Nottlng llill and Bayswater than by Knightsbridge and Piccadilly.” His upbringing w as In a severe Nonconformist household of the old type: “I well remember thinking it a sad waste of time to learn the piano, as the harp would be so much more useful to me after death.” Inspiration of Stanford Stanford was the inspiration of the musical youth at Cambridge in the 1870’s: “I doubt if, at that time, before the Royal College of Music had been even thought of, there was any training in Englaud to compare with what we got through Stanford's influence and example.” Fuller-Maitland remembers Jenny Lind's singing. He himself sang in a choir under Richter and played the piano and harpsichord for Joachim. He recalls Liszt’s visit in 188 G: “The old man sat through his own ‘St. Elizabeth’ in St. James’s Hall, and enjoyed a good, sound sleep during a great part of the time.” Greatest Pianist Paderewski “Unites in himself all the greatest qualities of all the greatest pianists that have ever lived.” “Leonard Borwick would undoubtedly have made a greater success with the English public if he had not been aa Englieh'tnan.” “Casals surpassed all violoncellists in my memory.” Sullivan opposed the critic’s appointment to “The Times” as “a dangerous man who admires Brahms and Wagner.” His opera-memories include the last days of the Haymarket Opera House. One night the chorus went on strike, “and eventually scrambled on the stage for pennies thrown them from the audience.” He saw a ballet performed in pools of water from rain coming through the roof.

GRAMOPHONES

JANUARY RELEASES FURTHER OFFERINGS FROM H.M.V. A very enjoyable record which is included in the H.M.V. January list is by the evergreen Paderewski. He plays Chopin’s “Valse Brilliarfte in E Flat Major” (Op. 18), and Rubinstein's “Valse Caprice.” Although many are of the opinion that Paderewski is now no longer young enough to give of his best in the course of lengthy and arduous recitals, there is no gainsaying that his single numbers as recorded still show the charm and brilliancy that this famous pianist has made his very own. Both Polish numbers, these are naturally well suited to the temperament of Poland’s most famous sons, and Poland, particularly In the world of music, has had many. Paderewski shows in these recordings that , he still has the verve and brilliancy of old. His “Valse Caprice” j shows off his technical equipment to ; fine advantage (D.B. 1273). ; To demonstrate his versatility John ! McCormack this j month gives us i two Scottish numt bers, “Annie Lauj l ie” and "The Auld ! Scotch Songs.” The : lyric sweetness of McCormack’s voice is well suited to both these numbers and' his artistry in vests them with new interest and fresh appeal. McCormack has a very big following in this country, and this record is sure to be in keen demand (D.A.966). The excerpts chosen from “Tales of Hoffman” (Offenbach) and Thomas’a "Mignon” should constitute a popular record. Both are well known operas possessing melodies of the type that the public at once retains. The Barcarole is of course included. The singing of the Grand Opera Comoany is of a high standard, and it is well set off by a good orchestral accompaniment. (C 1641). The vogue for negro spirituals remains as strong as ever. Principally responsible for the present popularity of this form of music is Paul RobeI son. A fine, richly-coloured bass voice coupled with a deep appreciation of the part that these spirituals played in the life of the American negro in the days when this music formed the emotional outlet to a people condemned to a life of slaverj', enables Paul Robeson to sing them with the deep understanding that immediately places them in a class of their own. He sings, “Oh, Rock Me Julie” and “Oh! Didn’t It Rain” (arranged by Burleigh), and “Git on Board Little Chillun” and “Dere’ no Hidin’ Place.” arranged by Lawrence Brown (8.3033). “Filthy Lucre” and “I Dunno” are two new songs by Wish Wynne. Miss Wynne seeks her inspiration from within the sound of Bow Bells, and her characterisations are always very entertaining. (8.3039). Old-time memories are revived with “Community Lancers,” played by Debroy Somers Band (Columbia 0170102). This old-time square dance is great fun. It goes back to the days when dancing was a real exercise, and not an elegant shuffle. Columbia tells us that their public has been clamouring for a good record of the lancers. Well, this should please those who want it, for it is played with any amount of pep and tunefulness. On i the fourth side of the two records we j are given “Valse Memories,” another tuneful relic of the dear old days.

Hungarian Rhapsody No. 2 (Liszt). Sir Henry Wood and the New Queen’s Hall Orchestra. Columbia 02947-48. Another great work by a worldfamous orchestra now available at the lower price. Sir Henry Wood’s interpretation is distinguished by the fiery boldness of its tone. His tempo has the nervous energy that only a great artist can diffuse, and grips our imagination with its truly Lisztian vividness. The slow “Lassen” section unfolds with majestic pomp. The juicy richness of the bass thrills with its cleanness and vigour. There follows the tempestuous “friska,” taken at furious energy, wild and yet under perfect control. The recording is clean and plucky, and brings out every instrument in perfect perspective.

The Norwegian Dances, with Georg Schneevoigt conducting the London Symphony Orchestra. Columbia 02943-44, are excellent examples of Grieg’s work. Those who enjoy the naive delights of folk-music handled by a great master will find a fund of pleasant charm in these Norwegian Dances. Grieg took a child’s delight in the simple traditional tunes of his native Norway, but though the tunes are borrowed, the genius of a great musician is apparent in their handling. Schneevoigt revels in his compatriot’s work. In No. 2, especially—there are four dances in all —he is particularly happy, and the way the glorious melody rolls out is a keen, unfailing pleasure. Some people may quarrel with his tone, but it must be remembered that he strikes the authentic Norwegian flavour, and the more familiar the work grows the greater will be the listener’s ultimate enjoyment. - Columbia now issue these records in their Standard Section at the lower price. Tlarold Williams, who is now touring his native Australia with, his compatriot, William Murdoch, has been wedded to singing all his life. He was famous in Snydey as a boy soprano of unusual quality. While studying music as a profession he won fresh fame in the field of sport, playing for New South Wales against the All Blacks, and just missing State honours in cricket while playing for the Waverley Club. He served throughout the war, but immediately afterward recommenced his studies and scored immediate successes in recitals throughout Great Britain. Covent Garden welcomed him in both the French and German opera seasons. His fame in all branches of singing has steadily grown. The high quality of his musicianship is revealed in the wide variety of his recordings. Happiest in the bold, manly type of song such as “The Trumpeter” and “On the Road to Mandalay” (Columbia 9095), or “Gainst the Power” and “Soldiers’ Chorus” from “Faust” (Columbia 9143), he is just as much at home with more artistic and more sensitive material. Indeed, he is the outstanding success in the By the Wayside extracts from Elgar’s "The Apostles,” which he sings in company with Dora Labette, Herbert Eistdell, Denis Noble, Robert Easton and the Halle Chorus (Columbia 02593).

He has, too, a friendly, intimate style that projects a pleasing personality in lighter material. His “Gondolier” records are full of this warm human style—“ There Lived a King” and “In Enterprise of Martial Kind” (Columbia 3335). Very jolly, too, are the amusing “Cautionary Tales” by Hilaire Belloc (Columbia 3224-26).

Within three years Sir Dau Godfrey has turned the Bournemouth Municipal Orchestra front a municipal band into an orchestra of international repute. No small measure of succeess he owes to the brothers Gennin, Pierre and Jean, his woodwind experts. Now the brilliant Jean has composed two more of his airy little fragments for our delectation, and whimsical and appealing little pieces they are, too. The first, “The Merry Brothers,” is a duet for two piccolos, a prancing, high-spirited affair. “Echoes of the Valley” with great realism uses a flute and an echo-flute, and the effect is singularly rich and sweet. Sir Dan Godfrey supports the duettists with his orchestra. (Columbia 02930.) Two of America’s most popular vaudeville artists, Jack Smith, the original whispering baritone, and still the best, and Johnny Marvin, the silver tenor, contribute an outstanding record to the lighter clas3 of this month’s issue. Both have now had a long run of successes on the gramophone. Smith sings with orchestral accompaniment “She’s a New Kind of Old-Fashioned Girl,” and his inimitable tone shadings give a pleasing touch of sentiment. Marvin’s number is “Down Among the Sugar Cane” (When I’m Walkin’ with my Sweetness), another song with a melody that will be popular. (H.M.V., EA564.) Jack Hylton gives the dancers a lot for their money in “Medley Foxtrot,” made up from tunes out of the talking picture, “Fox Movietone Follies of 1929.” The pieces introduced are “That's You, Baby,” “Walking with Susie,” “Breakaway,” and “Big City Blues,” all of which have been popular as individual numbers. The orchestration is ingenious, and Hylton's sense of rhythm never fails. (H.M.V., 85655.)