MUSIC OF THE WEEK

Radio Record, 5 August 1938, Page 24

MUSIC OF THE WEEK

There is no art without life, , There is. no life without growth, — There is no growth without change, There is no change without contre versy.-Fiank Rutter.

BY

SCHERZO

'.AST performances by or--chestras attached to the _YA stations have convinced me that the inclusion of a national " ‘symphony orchestra in the policy trend of the NBS is essential. So far as I am aware, no move has yet ‘been made to create a tadio orchestra and by its refusal to subsidise: symphony orchestras the Government has banished the hope that jts interest in music is as considerable as-its interest in back-country roads. _ ‘¥et, I believe the creation of a pro_perly constituted orchestra must have ‘dts effects on the NBS plan for raising listening standards, My attention to an orchestral. programme from 4YA last week has convinced me more than ever that continued dependence on recordings for the performance of major works is unfair to New Zealand music‘ang and musical listeners and that some attempt to overcome the obvious difficulties of the scheme must be made. There is nothing really: wrong with the 4YA orchestra or with any of the other orchestras. Individual faults and inaccuracies may be detected, but performances mostly are adequate. ‘The handicap is simple. The appreciably small amount of tone the orchestras can produce limits their perform- ance mostly'to the ballad type works of Coates et al. Pleasant enough for a time, perhaps, but never wholly satisfying. Australian radio has created symphony orchestras skilful enough to war_Tant the special engagement of conductors as eminent as Dr. Malcolm Sargent, | ‘I cannot imagine Dr. Sargent engaged for the YA orchestras. Or if I could, I could also imagine his dismay at the limited forces available to him. My plaint is for an orchestra of between 70 and 100 players, preferably permanently employed under the ablest conductor available and regularly appearing at each of the four main stations. The difficulties I realise.’ But latest returns show the number of licensed Hsteners to be more- than 292,000, paying approximately £365,000 annually for-the inestimable privilege

of listening to lengthy recorded programmes. Surely a portion of that ‘fund could be devoted to the creation of an orchestra, well-trained, well-man-aged, well able to tackle major works, competent to give a lead to musical culture in the cbuntry by the explora tion of musical paths so far untrodden for public benefit. . * Bd ¥ J[NCIDENTALLY, 4VA’S orchestra, under James Dixon, was in useful form, particularly with Bantock’s "English Scenes," programme music played well enough to give glimpses of .the composer’s mental photographs. I was not: able, unfortunately, to listen to the whole of the Brandenburg No. 6. But the opening appeared to lack firmness and polish. Perhaps later results were better, ; = % 3 RICKBATS, and heavy ones, for Mr. James Duffy’s idea of the correct way to sing "A Bachelor Gay," from. 3¥A last Monday. A tenor of some skill, Mr. Duffy descended to the outrageous mannerisms and enunciation of the music hall era aud his phrasing and breathing were not perfect. Such tricks as "eyes of tindah bleen," ‘and "veen," were almost as irritating as his "And when he thinks he’s PAST luv, It is then he meets his LAST Inv." And they were very irritating indeed. A capitally misguided effort, I thonght it. Why, I don’t know because in his other songs, his irish tenor was pleasant, though his breath control re mained uncertain. Incidentally, he broke the unwritten laws of the Musicians’ Union by appearing on successive nights from the station. Musicians of broadcasting status are littie removed from the real stars and it is expected of both than one evening's performance should require at least three days for recoyery. @ a & USICALLY speaking, the famous question of whether or not a doctor should tell is irrelevant. Not so ir‘relevant is whether a brass hand should tackle a symphonic movement, prompted by the Woolston Band’s . effort from 8YA to overcome the andante movement from Tschaikowsky’s "Pathetique." If no one else will speak, I’m willing to sav the attempt is mistaken. In a work demanding the skilled capabilities of a full orchestra Woolston’s effort was--well. yes, ‘Pathetique." But not the right "Pathetiqne." Tone colour was iecking and the heavy brass produced almost a blur of sound, sharply divided from the piping ecorni-

a lonely dob of senna on a palette ne cessarily requiring the full rainbow! Ambition may be desirable, but it should take another direction, especi‘ally because the following item, Kimmer’s "Orion March," was capitally toned. and smartly pluyed. ‘It showed what standards Woolston can reach. But the "Pathetique’.... * bg bd ye URSDAY’S programme from 2YA (changed to 2YC) triumphantly announced that in the recital by. Miss Marjorie Bennie, two songs would be sung in Italian, the other two in French. Subsequently, I was also triumphant, because I recognised the word "serenata"’ at least three times in Miss Bennie’s offering of the Tosti item. The French, however, defeated me. Miss Bennic gallantly demonstrated her nasals in the French, and ag gallantly attacked the Italian. Presumadly, she also pinned her ears back in the approved and traditional style of Italian soprano singing. The results? Not impressive. Miss Bennie knows many of the tricks. She uses them skilfully. In fact, if they were allied, to a voice of considerably more power, wider range, and finer gradation of tone, the result would be expert. At the moment, Miss Bennie impresses as the type of singer decently applauded by whiskered gentlemen in the dratwing rooms of other days as "pretty." & ts s RTOTED as the knob turned: Dawn | Harding's precision anl excellent eontrol in a group of Brahms’ lieder from 1YA.... Rex Harrison tackling "De Glory Road’ at a charity concert broadeast by 8YA. and exciting no beliefs that he's another Tibbett; muin trouble, lack of resonance... . Decima Hughson (2YC) lacking crispness in Dubussy's "Cathedrale Engloutie,’ and accelerating the tempo in Moussorgsky’s "Gopak" at the expense of tonal quality, but playing a Russian Lullaby well. . .. The ‘cellist in the Max Scherek Trio’ (4YA) producing a fine legato in a Haydn trio, but unfortunately swamping the violinist in the process. ... Madame de Mauny and W. Dearden ‘Jackson (2YA) playing an Arensky suite for two pianos with notably smooth timing. ... Hamilton Dickson (2YC* playing a ’cello growp which included his own "Romance," 2 neat item with a somewhat precieus melody. ... Interesting discovery that there was, after all, a bass in he "Cameo Three" singing a group of French songs. Main trouble: Lack of balance. due to shyness (or something) of aforesaid bass. ...