RECORDS Who's who and What's what

Radio Record, Volume VII, Issue 9, 8 September 1933, Page 10

RECORDS Who's who and What's what

Records To Buy wee ee ‘THIS ‘WEEK’S SELECTION Symphonic Rhapsodies on "I Piich My Lonely Oaravan," "I Heard You Singing," and "Bird Songs At Hven: tide" (Coates). Played by Eric Coates aut Symphony Orchestra. (Col. DOX 885). "Mock Morris" and "Molly on the ‘Shore" (both by Grainger), played by Sir Henry J: Wood and the British Symphony Orchestra. (Col. DOX 174). "Pantasie Impromptu in CO Sharp Minor" and "Revolutionary Study in 0 Minor" (both by Chopin) ,piano solos by Irene Scharrer. (Col. DOX 367). Some of our young composers ought to be made to sing the music they write for the voice-Sir Henry J. Wood.

Nature’s Gentleman. J OHN PHILIP SOUSA was one of Nature’s Gentlemen as innumerable acts. of courtesy abundantly prove. One ease in point is the visit paid by the "March King" to England in 1930 for the express purpose of presenting his march, entitled "The Royal Welsh Fusiliers," to the band of that regiment. The dedication was a memento of "a little muitual intercourse some years ago in China." He conducted his march on June 24, 1930, at Tidworth, where the Welsh Fusiliers were stationed, and he was quite conscious of the honour paid to him by the regiment. At the time he was very complimentary about the efficiency of the Fusiliers band. ‘This historic march will be played by Sousa’s Band at 3YA, on Thursday, September 14, at 9.57 p.m. (H.M.V. EA1096). Muffiin Bell Tragedy. QNCE at a Saturday "Pop" in- London, Emil Sauer ‘was compelled to interrupt his performance of Chopin’s "Fantasia in Il Minor" by the tinkling of a muffin bell in the street. All:Sauer could do was to pause until the perambulating baker .and rival in-

strumentalist. had passed out of range and then start all over again. One of Sauer’s many plano pieces, *Bchoes of Vienna," will be played by Ania Dorfman at 2YA on: Wednesday, September 13, at 9.12 pm. (Col. DOX 282). Sauer's piano ‘compositions in-' clude a "Musical Box," algo he has @ [mmmber.of songa.to-his credit. .

"La Villanelle."’ HE "Villanelle," which is a fifteen‘line poem of a peculiar fashion, is one of the brightest and lightest verse forms. To set it in a stiff, cumbersome style would do it an injustice. That is why Dell Acqua’s musical setting of the song of that name is such a dainty bit of badinage. Tlva Dell’ Acqua is. an Italian composer, who now spends most of her time in Brussels, and is the daughter of an artist, Cesare Dell’ Acqua. The song is an imaginative picture of a flock of swallows darting and: pausing in their flight. Miriam Licette, soprano, sings it at 3YA on Tuesday, September 12, at 8.41 p.m. (Col. DO560). ‘"‘Pseudo-Spanish-" OT very many years ago most of the ‘ composers who wrote what they

called Spanish music lived in ‘Paris and were very. much like Sandy, :the Laird of Cockpen, who, it will be remembered, "sat in simple ‘attire ‘at his easel, ‘painting at a lifelike little picture of a Spanish toreador serenading a lady of high degree (in broad daylight). He: had -never:been-to. Spain, but he hada: com-

plete toreador’s kit... and he had hired a guitar." When, at last, Sandy did go to Spain, and painted the real thing, his pictures ceased to have any sale, And Real Spanish. So it has been with Spanish music. Until quite recently the only sort we had use for was that written by composers who, like the Laird, had never been to Spain. That is now all changed; Albeniz, Granados, Falla and Turina have taught us to esteem the real music of an intensely musical race, blessed with a folk tradition at least as rich as that of any country in Hurope. If you want to hear real Spanish music listen in to 4YA on Sunday, September 17 at 9 p.m., and hear Turina’s "Danzas Fantasticas," played by the New Symphony Orchestra, (H.M.V. O1747-48),

Also Real Finnish. ROM 4YA on Sunday, Sep‘tember 17, at 9.19, listeners will have a dose of genuine Finnish music in the shape of "Wn Saga" (A Legend) by Sibelius, played: by the New Symphony Orchestra. (H.M.Y. 01994-95). What the ordinary mortal knows of Finland is only what Sibelius’ music tells him. And, as far as music can, it presents a faithful picture of the land and its people, of their history and legend. Until Sibelius’ day _ there was almost no music of Finland apart from a rich store of folk-song; music was not the essential part of the cultured man’s equipment, nor the factor in social life, that we have counted it for centuries. What One Man Did. HAT one man should win for his country a place of honour in the whole world’s concert rooms is an achievement for which there are not many parallels; it is one which Sibelius’ countrymen have long ago recognised wholeheartedly. "En Saga" for full modern orchestra, except that there are no tim-

pani (kettle-drums), is the biggest of his tone poems, and as many people think, the best. Vivid and full of rhythmic strength, it is easy to follow, and as we listen, we can well imagine the old minstrel singing and reciting his tale of valour and love, of doughty deeds on sea and shore,

"En Saga"’ Described. HERE is a soft, mysterious intro-duction-the listeners’ expectancy, it may be-and then the chief theme is heard, simple and direct, like an old folk tune; the bard has begun his story. Trumpets break in -on it, and tushing figures on the strings, and When we pass to a quicker movement,

these are all heard again. But it is not music which depends upon any help from mere words; the composer has not given us a "programme" of what it* means, nor does it need one. ‘Inspector’ Graves. . A TIMARU correspondent, ‘"Hope-T’m-Right," has drawn attention to a quite unintentional error on this page in the issue dated August 18. In speaking of the well-known song ‘Father O’Flynn," music arranged by Sir Charles Villiers Stanford and words written by Alfred Percival Graves, I deseribed the latter as an Episcopal clergyman. In this I was wrong, inadvertently confusing him with his. father, who ultimately became Bishop of Limerick. My thanks are due to "Hope-I’m-Right" for ‘his query for two reasons-it serves to elicit the true facts, which are that Graves was a school inspector, and it affords me an opportunity to relate'a few interesting: and little-known things about this Irish gong. "Sold for a Song." IN submitting twenty lyrics written to certain old Irish airs for a final "touching up" by Stanford, the poet, Graves, found them all accepted except the best of the lot, "Father O’F lynn," it being described as "unsuitdible for a serious collection." On Santley "spotting" the song with the words ‘‘Here’s a new song for me, and if I don’t get a double encore for it I shall be surprised!" -he : gave it its first performance and got a treble encore, after which the "dear ould ditty" sailed off into success. The song was sold outright ultimately by Graves, in a collection of fifty others, for £80.

Stanford’s part in the work was simply to fit suitable harmonies to the airs to which Graves had fitted words. By which token, "Father O'Flynn" turned in a matter of thirty-two shillings. to its author, but Stanford, who safe- . guarded his musical right, was still making £60 a year from his royalties, twenty years after the song went to publication. Moral-never part with your copyright. "Dubarry"’ Again. OOD fairies must have been "in the offing" when Grace Moore entered this old world. Beauty of face, form and figure, together with exceptional yocal gifts go to make an artist who for musical intelligence and accomplishments has no serious rival on the stage or sereen to-day. When Grace Moore essays to sing the trifles, "I Give My Heart," and "The Dubarry" from Millocker’s operetta of that name, the result is altogether charming. If I may be forgiven for coining a word to fit the description, I would say that she "Tawherises" these two songs successfully. .(H.M.V. DA1309). "Skye Boat Song." HE words of the "Skye Boat-Song" were written by Miss Margaret Bean, who was a teacher of languages. For the old Highland Melody she has written words, which, with their rhyth-

mie swing, suggest the movement of the oars. Finally routed by the Duke of Cumberland on Culloden Moor, nine miles from Inverness (April 16, 1745), Charles Edward’,fied to the mountain fastnesses of the south-west. Proceeding to the coast, he embarked in a small boat which, after many perilous escapes from wind and sea, landed the.fugifive ‘at South Uist. .. "The Lion’s Mouth." . Af UST as well might be imagined that he had thrust his head into the lion’s mouth, 2,000 soldiers of the House of Hanover were searching evéry nook and cranny of the island for him. Saved, however, he was by the devotion of the heroic Flora Macdonald, who had him disguised and taken as her servant over to the Isle of Skye. £30,000 was put upon his head, and, although on otic occasion he lived for three weeks in a cave at the mercy of a baud of lawless men who, even in time of peace. lived in direst penury, yet, io the everlasting honour of the Highlandérs, not. one was found so base as to betray his hid-ing-place. Charles Edward escaped. to France. A. beautiful rendering of Lawson’s setting of "Skye Boat Song" (as sung with such distinction by William Heughan on his New Zealand tour) is available on. a Columbia record (01821), sung by Bilder Cunningham, bass-baritone,