MUSIC OF THE WEEK

Radio Record, 24 June 1938, Page 24

MUSIC OF THE WEEK

There is no art without life, =There is no life without growth, tom There is no growth without. change, There is no change without contra versy.-Nrank Rutter,

BY

SCHERZO

HE best microphone technician I have heard for many years is now touring the National stations -Danny Malone. I am not necessarily enthusiastic about his programme, but he does appeal to me from a general broadcasting point of view. He is not a great singer, but he has a great broadcasting voice. It has warmth and is used with great discretion. Some time ago a correspondent referred to my .remarks about "restrained" singing-I only hope she hears Malone. 3 & bg 41LAUDE TANNER, a _ Wellington violoncellist, played the Faure Blegie with the studio orchestra last Tuesday. Mr. Tanner has a good rich tone and played well, even if the orchestra was inclined to overpower him at times. However, I am not particularly fond of the Faure Elegie for ali itis popularity with ‘cellists. To my ear it drags considerably, and I am left with the impression that Faure was not a great composer even if he was a pupil 9f Saint Saens. w i % FYARKING back to the orchestra, | must say I was somewhat disappointed in the performance last week. The brass was overpowering in the opening overture (a. hackneyed item by the way) and there was raggedness noticeable with the playing of "tutti" cvords. This raggedness made ie wonder if all the players are watching the conductor’s bator as closely as they should. Professional musicians should automatically keep an eye on the "stick," and the continued lack of cohesion in the playing by New Zea{and orchestras can only lead me to suppose that at least half of the players are only up to amateur standard. It is generally noticed that many slight flaws in a performance are hardly noticeable in a studio, while through a microphone every detail is transmitted. This factor should always keep players and conductor on the qui vive. The slightest lack of balance in a studio is noticeable immediately to the listener-so is the slightest lack of cohesion. It is mostly With the strings that I have heard the tendency to anticipate chords. Sometimes I wonder if these players are sitting too close to the microphone, but aven so they should all play together. Ed a oe if HEARD Gaynor Paafe, from Dunedin, last Monday. Miss Paafe has a voice of flutey quality, but the fiction was not all that could be de-

sired. It is always well to remember those final consonants when broadecasting. I liked the singer’s quality, but I would have liked also to know what she was singing about! bs) & MB ROM the same station later in the week a group of songs (recorded) were sung by Herbert Janssen. I know little about this artist-but he has a glorious voice and interpreted his songs delightfully. What { did note particularly about the group was the accompaniment. Studio pianists should take a note of these recordings and listen: The Hugo Wolf songs were the best. ut % Es PHD Wellington Choral Society pre sented an ambitious programme in the Town Hall dwring the week. I did not hear all of it as I had to listen to some broadcast programmes the same night, but the choir performed what I heard creditably, though a mixture of young and old yoices does not tend toward a good choral blend. There should be a limited number of years active membership allocated to singing members of any choral society. We all know, of course, some voices last much longer than others but, generally speaking, it is the vccasional voice- coming generally from some long-ser-vice member-that spoils the general effect. Nobody appreciates musical enthusiasm more than I, but, nevertheless, regular auditions should be given any member of a musical organisation if that organisation is to maintain a satisfactory standard of performance, [ could name a numier of choral societies similarly affected. It is difficult to deal with this matter. I do know several prominent conductors overseas who have told me they experience trouble in the same direction. % x ts T was most encouraging to find the Wellington society getting away from "standard choral works," and I look forward with pleasure to "The Flying Dutchman," which 1 understand is to be presented hy the same society shortly. 2 % & OLIVE SCOULAR sang sweetly at the same concert. But, I am afraid, that is all. The voice was inclined to be lifeless and was not up to the standard of dramatic quality required in her selections. Coloratura songs of the florid type such. as "The Wren" and "The Proch Yariations"

suit this artist much better than vigorous operatic work. Mrs. Scoular, however, has a pleasant voice, and she would improve by cultivating more temperament with her singing. = Bs a ATH in the same evening I listened to the Wellington Returned Soldiers’ Choir. Faulty intonation and coarse production completely spoilt the performance, The choir has had an amazing lapse from its usual standard or it is suffering from a lack of ability at present. There appeared to be some possibilities at times, but I simply had to switch off in the end. I have the greatest admiration for returned soldiers as men-but not as choralists. Perhaps the selection of items had something to do with the poor performance, but one could nardly imagine the choir attaining a very high standard if last week’s performance were typical of the choir’s general work. Concentration on quieter singing would keep you better in time, boys-and would also take the edge off that "harshness." ® % a QNE of the Commercials played a fine selection of wide-range music during the week. I was enjoying the programme until I heard, as a counter melody against a well-known light classical number, a popular Americair song. When will these "arrangers" leave respectable compositions alone? A contemporary states that all American music lacks character-sometimes 1 feel like agreeing with him. Arrangements can sometimes make a composi-tion-but when an arranger abuses ‘his privilege he should confine his efforis to the sphere of the popular songs--to which in the majority of cases he belongs. ,

(CHICAGO — Rising to musical heights through the medium of such kitchen accessories as a tea kettle, coffee pot and a washboard, is the unusual achievement of the American Hot Shots, stars of the NBC barn dance programmes. How they rose from high school minstrels to radio stars in 15 years, is one of the most fascinating success stories in radio. It began in Elwood, Ind., when the boys were in high school. Each year a_ minstrel show was given by the students, and each year the four boys, all versatile singers and musicians, stole the show. To add noyelty to these school shows, they developed home-made instruments. One played a tune on a whistle, another on a battered tea kettle, and a third lured music from a coffee pot, while the fourth carried the air on a guitar. The performance was a success, and, on the strength of it, they became famous.