Phonograph Monthly Review, Vol. 2, No. 9 (1928-06)

324 The Phonograph Monthly Review June, 1928 “Hosanna to the Son of David”, by Orlando Gib- bons, with whose death in 1625 the old Polyphonic school in England came to an end. Other Gibbons motets recorded are “God Is Gone Up”, “0 Lord Increase My Faith”, and “0 Clap Your Hands”, all on one record, sung by the Choir of York Minister (H.M.V.—C1337). One of the greatest musicians England ever produced, William Byrd, an earlier contemporary of Gibbons, is represent- ed by “Justorum Animae”, sung by the Choir of New College Chapel, Oxford (H.M.V.—B2447), by “Have Mercy Upon Me 0 God” sung by the Choir of St. John’s College Chapel, Cambridge (H.M.V.—B2448), and by “Christe Qui Lux” and “This Day Christ Was Born” sung by the Choir of York Minister (H.M.V.—C1334). Dr. Edward Dickinson, in his admirable and quite indispensable book—“Music in the History of the Western Church”—says: “The anthem in its present shape is a sort of mixture of the ancient motet and the German cantata. From the motet is derives its broad and artistically con- structed choruses, while the influence of the can- tata is seen in its solos and instrumental accom- paniment.” With the passing of Gibbons, Church Music in England came to a standstill. Young Henry Purcell proved to be the genius who effect- ed its revival, in the more congenial days after the Restoration, and with him flowered the an- them as described by Dr. Dickinson. His Ode for St. Cecilia’s Day, “Soul of the World”, was record- ed in 1925 by the Leeds Festival Chorus, con- ducted by Albert Coates (H.M.V.—D1045). With the possible exception of Palestrina, no composer has enriched Church Music as has Johann Sebastian Bach. Not only is he the glory of the eighteenth century, but indeed of all time. The ramifications of his prodigious genius touched every phase of the art which he glorified. Of his motets and anthems the following have been recorded: “Jesu Joy and Treasure” (H.M.V.—D1256-7 and E458-9), “It is Finished” and “Jesu So Meek” (H.M.V.—D136- 6), all by the Bach Cantata Club; “Jesu Joy of Man’s Desiring” by the Choir of H. M. Chaples Royal (H.M.V.—E445) ; “Blessing Glory and Wisdom” by a Choir from the Chorus of the British National Opera Company (H.M.V.— D1036) ; and now comes the announcement of the recording of sections of the great “Magnificat” by the Bach Society (is it Paris?) with organ and orchestra, Gustave Bret conducting. The sections recorded are the opening chorus, “Quia Respexit” (solo by Mme. Terront), “Omnes Gen- erations”, “Fecit Potentiam”, and “Gloria” (French H.M.V.—W882-3). {To be concluded in next issue.) Hints on Score Reading By W. A. CHISLETT INTRODUCTION T HIS article is not intended for, nor will it be of any service to, professional musicians or advanced students of orchestration. For these there is an ample and increasing library of text books and treatises on music and its various technical aspects. There are, however, many lov- ers of chamber and orchestral music who have little or no technical knowledge, and the emanci- pation of the gramophone from a mechanical toy to an instrument capable of reproducing fine music with remarkable fidelity and the gradual improvement in the quality of reception from wireless receiving sets are resulting in a regular and substantial increase in these numbers. There is a danger, however, that many of this huge audience may develop into mere passive listeners to whom music gives nothing but sensuous pleas- ure and emotional excitement and it is to stimu- late that form of active listening which adds to these legitimate pleasures an intellectual appre- ciation, without which music cannot be enjoyed to the full, that this article is designed. Colour is a term common to pictorial art and music, and in the former it is the leature which distinguishes a painting from an etching, so in the latter it distinguishes an orchestral composi- tion from an instrumental solo. Melody, harmony and construction or “form’ are essential to both types of composition, and the introduction of this added factor therefore makes the process of lis- tening to orchestral music more intricate than that of listening to an instrumental solo. There are the charms of this additional element to be appreciated and its presence is apt to obscure some of the other essentials. Chamber music, by which is understood nowadays music written for a combination of instruments in which there is only one to each part, occupies an intermediate position between these two extremes. At a con- cert this complication is balanced in some degree by the help that the eyes are able to give to the ears. Even with this help, however, unless tne ears be trained and the music familiar much may be missed and if this be so at an actual perform- ance, how much more is likely to escape one who is listening to a gramophone or a loud speaker. The ideal way of listening to chamber or orches- tral music is to follow it with a score for to do so not only indicates the instrumentation better