MUSIC AND RECORDS.

Dominion, Volume 18, Issue 193, 10 May 1924, Page 20

MUSIC AND RECORDS.

By

C.J.M")

Zacharewitsch. Zacharewitsch, the violin virtuoso, who will make his bow in Wellington on Saturday next, is evidently no mean performer. The “Manchester Guardian’’ says of him: "Mr. Zacharewitsch is musically by way of a phenomenon, a truly Protean artist. If ho only had some flaw in his technique, or somo shortcoming in his interpretative sympathies somewhere one could understand him more easily. But there it is, from the most negligible, dainty trifle on the muted instrument to the most brilliant or emotionally subtle type, ho takes them all in his stride with equal zest and. disarming beauty and finish. Occasionally he permits his spirit of fantasy to tinge the. edge of a smooth lyrical mood. Curiously enough, it does not seem to intrude there: rather it takes away a sens© of the maudlin and the banal that are not far from tho Juitira-lsentimental moods. He has a sense of humour of the fantastical, a sense in which most of our British musicians, even the greatest, are rather deficient. Then when he brings along the biting, incisive, passionate-suppressed phrase, it fairly burns into the sense. That is where ho really scores.” By the way, I have heard recently some excellent records of Zacharewitsch and Cellini. Handel’s "Samson” is down for presentation by the Royal Wellington Choral Union on July 26. Dunedin is doing "Elijah” on May 14 and 15. Thon will follow, later in the season, “Der Freischutz.” RECORDED MUSIC The following are mentioned in the notes this week on worded music:—Elgar’s “In tho South,” “Enigma Variations,” Brahms s "Quartet in C Minor,” Backhaus, Ohaliapine, Heifltz. Aneseau. Ruffo, Hctnoel, Edna Thornton, Harold Samuel, ‘ Ben Davis, (H.M.V.); Sir Henry Wood’s Orchestra, Arthur OatteraJl, William Murdoch, Hoist’s “Planet,” W. 11. Squire, Lapuaa, Grenadier Guards Band, Dora Labette. Ketelby. American and Scottish Medley, Daly’s Orchestra (Columbia); Godowsky, Huberman (Brunswick). Lovers of Sir Edward Elgar’s music will appreciate the enterprise which brings out his characteristic and brilliant concert overture “In the South,” Op. 50, in the form of a gramophone record (in two double-sided discs). Sir Edward has conducted the rendering. The work was first heard exactly 20 years ago at the famous Elgar Festival at Covent Garden, a solemnity which set the seal on Elgar’s fame. "In the South” was inspired by an Italian holiday, and the music suggests meditations on the antique grandeurs of the land and lively impressions of its modern animated life. Gradually a remarkable library .of records of Elgar’s music is being formed. The “Enigma” variations are issued complete. Parts oi the violin and ’cello concertos and of the violin sonata are to be had, as well, of course, as a great many of the smaller works. The first’ set of records yet made of a complete chamber work has just been published. It is hardly to be doubted (states a London reviewer) that this thoroughgoing way of tackling chamber music will be backed up by that part of the gramophone public which has any interest in chamber

music at all. Tho policy of publishing abbreviated records of chamber music surely takes the risk of falling between two stools; people who don’t like chamber works will not try the records anyhow, while serious musicians must sooner or later get tired of hearing Mozart and Beethoven "edited” out of recognition. The records under review are of the Brahms Quartet in C minor Op. 51. It is definitely musician’s music, addressed to th© head rather than to the heart. The Romance is gracious enough, but the first movement is perhaps only to be enjoyed by listeners having somo acquaintance with the logic of quartet form. But let all gramophenists who have the artistic interests of the instrument at heart" buy these records, or as many of them as they can afford, oven if the music does not move them despite many hearings. The Bluhms records have been made by the Catterall Quartet, and th© reproductions are don© to the life.

Reviewing recently published records which should be here soon, a London reviewer says:—Perhaps the record of Backhaus is the happiest thing in the H.M.V. February list. This is double-sided, and gives us the “Lie'oestraum” of Liszt and an arrangement by Dohnany of Delibes’s “Naila” Waltz. The Delibes music is delicious, and one trusts that gramoplionists (who tend to got quite “highbrowish” nowadays) will not sneer at it. It is salon music, mere foam in the cup, elegant and gleaming. This "Naila” Waltz is music with all its finery on at once; possibly in the light of simple day it sounds distinctly artificial. This, though, can hardly seem a defect in our hours of social elevation. Maybe the hint of aristocratic glitter in the "Naila” Waltz belongs to a day that, as the gentleman in Dickens said, is “perfectly gone” : but such a thought will only give the music an additional charm which comes to most of us from a sentimental appreciation of fading brilliance. Mr. Backhaus plays the music lusciously, and this record, with the Liszt piece on the other side, must be counted one of the finest reproductions of piano tone yet accomplished.

There is also a new record of Chaliapine singing “The Death of Boris,” which should bo here soon. The orchestral and choral parts are better reproduced hero than on the old record ; they come more into the foreground, and fo seem an integral part of the great scene. But (says a reviewer) the singing of Chaliapine has not tho richness it had on the first record, made a few years ago; it has not so deep a bass quality. Moreover, the style of expression has run to theatricalism. This new disc certainly bears out the view, held, one believes, by Mr. Ernest Newman, that Chaliapine to-day is not as sure an artist as he was W’hen first he sang in England.

Another now record worth trying (says th© same reviewer) is of Heifetz playing a Kreisler arrangement of a Dvorak danco.

Interesting records on the way include several vocal soloists, mostly from the Continent. Says a reviewer: M. Fernand Ansseau, the Belgian tenor, is heard in the famous air from "Orpheo,” which was originally written for a male contralto ; Signor Titto Ruffo presents tho well-known number from "Ernani” with all his wonted vigour. Mlle. Frieda Hempel sings Schubert’s "Ungeduld” with delicacy, and Miss Edna Thornton is heard in two examples of oratorio whose very unfamiliarity will be their recommendation. One ia Sullivan’s “Love Not the World,” and the other Handel’s “0 Lord, Whose Mercies Numberless.”

Other recent additions to tho already finely representative library include some piano records—of Bach, of course —by Mr. Harold Samuel. The famous “Week of Bach” Mr. Samuel gave a few seasons back when he played the wonderful music with greater grace and understanding than the present generation had witnessed, was of immense service to the pianists’ art in general and that of ,Mr. Samuel in particular. Tho records are perfect in their tone quality and balance, and there is complete freedom from blasts and blurs owing to the fact that Mr. Samuel is not an acrobatic pianist, never “overstrikes” a note, and always employs th© legitimate piano touch.

A notable addition to gramophone contributors is Mr. Ben Davies, whose first numbers (now on the way), consist of Schumann’s “A Spring Night” and Purcell’s “I Attempt from Love’s Sickness to Fly,” both of them sung

in a manner that leaves no question as tj the veteran singer’s great gifts as an interpreter of song. It is to be hoped that soma oratorio will follow in duo course.

Sacred music is always welcome in the house, and it is pleasant,_ therefore, to hear that special provision is being made in this direction. The services of prominent singers have been secured as soloists and of the Royal Choral Society as chorus, and a series of sacred contributions has been entered upon which there is little doubt will afford immense gratification to large numbers. Tho first of these will consist of choruses from Handel’s “Messiah,” which will bo valued by oratorio lovers. These records (says a reviewer) are noteworthy for their clear reproduction of some excellent singing by a chorus of voices which, although not numerically strong, give out the parts with great clearness, and work up to really surprising climaxes. The selection includes “For Unto Us,” “Glory to God,” "Surely He hath Borne Our Griefs,” “His Yoke is Easy,” “All We Like Sheep,” and “Lift Up Your Heads.’’

Another section of the community specially catered for is that whose present sphere of activity is confineci to the nursery. For those miniature gramophonists there are some miniature records that comprise all the great classics of infancy in the shape of the nursery rhymes. But these ar© something very special in their way, for they are told clearly and pointedly by a kindly Londoner, Uncle Harry, who also provides vocal illustrations of the famous historic characters. to whom reference is made in the text. An excellent idea, well carried out, and certain of widespread approval.

In last week’s notes there appeared some very favourable comments by a London critic on two recordings which I have since had the pleasure of listening to —two Aubades by the French composer Lalo, played by Sir Henry Wood’s orchestra, and a notable edition of Brahms’s “Sonata in D Minor,”’ for iolin Arthur Catteroll), and piano (William Murdoch). I have nothing to add to that reviewer’s encomiums. The recordings are reallya excellent, and in the Brahms’s sonata the piano is reproduced with remarkable fidelity.

The latest movement in Gustave Holst’s “Planets Suite” is “Saturn” (the Bringer of Old Age). The first part is the most attractive. It moves with solemn dignity, and would make a fine funeral inarch. There are many unusual effects of tone-colour, from the opening chords for four flutes and harp, to the bells towards tho end. This is a record that will repay careful study.

Another new record really worth while is W. H. Squire’s (’cellist), bracket. “A Koltio Lament” and Dandoff’s “Romance Sans Paroles.” This you must ertainly add to your collection if you are a lover of stringed instruments. There is no doubt about the vocal quality of Ulysses Lappas, In his latest contribution to recorded musio he sings the famous “Let her Believe,” from the “Girl of th© Golden West,” exceedingly well, and without the exaggeration that mars the performances of so many Contiental tenors. To this is bracketed the charming little air from “Manon Lescaut.” The music of the Gilbert and Sullivan ipera “Utopia’ Limited,” has been recorded in selections by the Grenadier Guards Band. Well played, but lacking in distinctive points of interest. Two pleasing records by Dora Labette, a sweet but not very thrilling fashioned airs... Arne’s pretty Shakesperian song “Where the Bee Sucks,” and Horne’s charming “I’© been Roaming.”

A record which gave me great pleasure during the week is Ketelby’s “In a Chines© Temple Garden.” is not much depth in the music, but it is ery haunting and altogether delightful/ True, it has a considerable likeness in places to the work of. the late Amy Woodford Finden, v but it is none the worse for that. oices are used, in instrumental fashion (somewhat after the “Mary . Rose” manner) in the first theme, with effective results, and there is also a most effective voice part in the companion number, “Sanctuary of the Heart.”

As a recently confessed admirer of good jazz music let me recommend to you a bracket of American, and Scottish medleys. These are interesting exhibitions of what tho modern dance band can do with ‘.‘straight” music. The ton© colouring is so different to that of either orchestra or military band, that the well-known tunes that make up these two selections take on quite a new aspect. Th© recording is excellent.

A “Madam© Pompadour” selection by Daly’s Theatre Orchestra should appeal to lovers of the light airy eartickling stuff we are accustomed to bear from such composers as Leo Fall.

A record which should be worth listening to when it arrives is Leopold Godowslrv’s bracket, “Polonaise in A Flat” (Chopin)—“Licbestraume” (Liszt). Says a critic: One cannot listen to Leopold Godowsky’s rendering of Chopin's famous “Polonaise in A Flat” without at one© realising that here is a master among pianists. He interprets th© poignant beauty, of this wonderful musio with rare insight for its dramatic feeling, and with extraordinary brilliance of technique. On the reverse is one of the most popular of Liszt’s conceptions, the beautiful “Liebestraiime,” and Godowsky gives an equally superb interpretation of its plaintive eloquence. The piano tone is splendidly recorded. The two pieces are ideally paired, and make a magnificent double.

In a coming Wieniawski violin bracket. recorded by. Bronislaw Huberman —“Valse Caprice” and “Romance” — we have two excellent examples of violin playing from tho compositions of another famous violinist of the 19th century, Wieniawski, who was both a noted” player and composer in his day, and once toured Europe with Rubinstein. The “Romance” from the Second Concerto is long-drawn musio of rather sad colouring, beautifully played, but the “Waltz Caprice,” by the same composer, is music of delightful quality.

“The Viking” for the Bandsmen. Mr. H. Wild, in the “Sound Wave,” has an enthusiastic appreciation of two records containing a practically complete reproduction of Weston Nicholl’s fine tone poem for brass band, “The Viking,” played in really marvellous fashion by Black Dyke Mills Band. This is the first recording to give, in anything approaching completeness, an important work especially written for the brass. “The Viking” was composed for the Halifax Brass Band Festival last year; it illustrates scenes from one of the old Norse Sagas, but. as good programme music should, it holds up quit© satisfactorily on its musical merits alone. Part 1 opens with an introductory passage of crescendo chords which leads to the enunciation of an old Norse folk-song by horns (horns, in brass band parlance, always mean the E flat tenor saxhorns'), baritones, and euphonium, in unison. This theme, which is repeated in full harmony, stands for the Seer, or rather for the vision, which he is telling, of the coming of the Viking warships to the island in the northern sea on which be stands. A most effective version of the theme with a triplet passage, at first above on the cornets, and the melody on the horns, and then with the melody on the cornets and

the triplets on the horns, suggests the easy movement of ships over a calm sea. A recitative-like passage for solo trombone represents the interruption of a priest who ridicules the old man’s story. The music becomes more agitated as the Seer describes still further the droad visitation to come. There are some fine effects of tone colour in this part; the soft sonority of the unison of horns, baritones and euphonium in the opening; the gliding triplets—as delicate as any wood wind—of tho cornets, and the splendid quality, rich and dignified, of the solo trombone, are things to dwell on with delight by those who have cars to hear. At the end of Pan 1 there is a cut of about twenty bars ’ before the opening of Part 2, during which tho Seer actually sees the Viking ships approaching. Part 2 opens with a few bars of trombone solo, evidently typifying the old man’s despair at realising the fulfilment of his prophecy. Then comes a wonderfully fine piece of writing as the war-song of the Vikings is I heard on euphonium, baritones, and ; trombones, with a rushing, swirling figure above for the cornets. A won- ; derful piece of playing, too, is this, i for the cornet parts are more the sort of passages generally given to flutes and piccolos, but there is no feeling of effort to spoil the sentiment. Closer come the ships and louder the song, until the Vikings spring upon the shore. The music here is no worse for a decidedly Wagnerian flav - our, a arosfi between the “Flying Dutchman” overturn and the “Ride j

of the Valkyries.” The Seer turns away in despair at the sight of the fight on the shore beneath him. Here we have a passage in most effective contrast to the preceding hurly-bur-ly ; a piu lento for flugel horn and trombones, which leads to the opening of a long love-duet between the chief of the Vikings and the princess of tho invaded island. Phrases impetuous and tender, and finely harmonised, fill tho res* of this P art - Then con , los a cut of six bars that I regret, because it does away with a tolling bit for soprano cornet, and the duet continues on Part 3. Part 3 opens with a flowing duct for cornet and flugel, giving a good opportunity for comparing the tones of these two instruments. The flugel is almost unknown to ordinary folk in this count-.y, for . it is only just beginning to regain its place in tho brass band- It is, us far as tone goes, the true treble of the sax-horn group. The pitch of the B flat instrument, which is the one most used, is the same as the B flat cornet, but the tone is much more “homey” (one might say, thicker), with the consequence that it sounds lower than it really is. The Continental military bands use it a good leal, sometimes to replace cornets, which is a pity, for its value lies in tin effective contrast of tone it allows to that instrument and the trumpet. The Continental brass bands use it to excess, and thereby abuse a valuable tone colour. The duet proceeds, and after a passage for euphonium we reach an animate section in which we imagine the Viking telling of his adventures ] and fight* by land *nd sea. Th*

musical material consists of the “warsong” theme with the rushing cornets. Tho theme is first heard on the horns, and then on horns and trombones. The rushing swirls are occasionally interrupated by a bold, swaggering phrase for trombones and the lower brass, and, after reaching a climax, the music dies down to a i>ianissimo at the end of the pa - t. Part 4 opens with a passage for solo horn recalling the “Seer” motive. I must confess I cannot see its dramatic significance here, but musically it helps to tic the work together. It is followed by a beautiful passage that leads to an enunciation by a solo quartet of another very expressive old Norse folk-song, and here will be realised a point I have often insisted on, that harmony is more effective, on the brass than on any other medium. Tho simplest hymn tune sounds well, but a piece of effective modern writing such as this is just gorgeous. The theme is repeated bv tho full band with a telling part for soprano cornet, and some effective light and shade towards the end. The composer tells us that I his quiet ending to the love duet of the two principal characters typifies their love ecstasy, but it seems to mo to express a desire to settle down for good with three acres of land and a cow. Whatever it means, it > very beautiful, especially the first part of the quartet, the full band portion is not quite sc ouccessful in the way of recording. 'Hie point that appeals to me so about “The. Viking ’, is that, apart from its many melodic and harmonic beauties, it is written in such a wav as to bring out the points in which

the brass band surpasses any other Combination ol instruments. There is nothing like the combined tone of horns, baritones, euphoniums, and basses (with or without the flugel) to be obtained from either orchestra or military band. It is solid, smooth, round, and sonorous, and especially in a piano, possesses a grandeur unobtainable by any other means. MrNichol], too, knows just that semivocal style that brings out the best in tho brass, and the variety of tone colour he gets out of a combination a little inclined to be monotonous in this respect, is astonishing. The playing, by the Black Dyke, deserves very special commendation. Not only is it perfect on the technical side (and, believe me. this is no mean achievement), but the interpretation is a most poetic qne. The light and shade are delightful, and there is a very pleasant feeling of individuality throughout that gives an unusual vitality to the rendering. It is . not so much tho precision of a well-drilled body, as the certainty of a collection of artists, each one more than capable of his job. The . recording is good—surprisingly good in its truthfulness to tone in the softer parts—though there is at times a slight tendency to rattle in some of the more strenuous portions. On the whole, though, the defects are slight oompared with the virtues, and I can cordially recommend these records to everyone who appreciates good music well’rendered. I also hope they may have the effect of disabusing the minds of a good many people who know no better, of the idea that a braes band is, of necessity, reed and ncJqy-