MUSIC AND RECORDS.

Dominion, Volume 19, Issue 196, 15 May 1926, Page 20

MUSIC AND RECORDS.

By

C.J.M.

Dal Monte at Auckland.

“I am very happy to be going back to sunny Australia, and I have heard so much about the beauty of your New Zealand that I want to see all I can of it,” said Signorina Toti Dal .Monte, on the deck of the Niagara, on her arrival at Auckland from America on route to Sydney. The famous, although youthful, operatic soprano, did her best to give expression to the feelings of gratitude which she had towards Australian audiences who received her so warmly last year, when she sang with such” success in the Melba ’ Grand Opera Company. When she was last in Australia her command of the English language amounted to about ten words, but by dint of hard study and the conversational efforts of her friends, she has made ' considerable progress. Signorina Dal Monte would be the last to claim that site has yet mastered the subject, but her conversation is charmingly accurate, and her words well chosen. She now sings a number of songs in English. Her success at Covent Garden and in the United Sta tes "have not weakened Signorina Dal Monte’s longing to again visit the countries under the Southern Cross. She chatted gailv about her tours in the northern hemisphere, and was especially proud of her debut at Coveut Garden last June and lier reception at the Albert Hall, while her 22 concerts in the United States last winter were recalled with evident joy. Signorina Dal Monte had not been long in conversation with interviewers when she insisted on telling something of the musical success of Augusto Beuf, an Italian baritone who is accompanying her to Australia, and will assist at her concerts. Like herself. he has been a principal at La Scala, and has been conspicuous on the operatic and concert platforms of Europe for the past six years. Signor Beuf has a very large repertoire, embracing about 42 roles in opera. He gained further distinction at La Scala last September, when he played Neri, a very artistic pant in Uinberti Giordano’s new opera “Cene Delle Beffe. Signorina Dal Monte stated that Giordano had Augusto Beuf in mind when lie wrote the part, and that it was at the request of the composer that he was given the part.

Vocal Curiosities—Russian Double Basses.

Among the passengers on board the Drama, which reached Australia on April 6 last, were the historic Don Cossack Male Choir of 36 voices. These singers have voices of an exceptional ciiaracter and unusually wide range, and have been carefully selected from amongst the Cossacks of the Don, the province famed for its beautiful voices. A French composer gives his enthusiastic testimony to the effect left on him by these voices and by the vocal technique of the singers on an occasion when he was admitted to hear the choit during a stay he made in Vienna last year. ‘‘Church music,’’ he says, _ “is superior of any other kind of music in Russia, because it alone is typical, and is not an imitation of the music of other nations, at any rate as far as the execution is concerned. But what gives their performances the sense of peculiar strangeness is the character of the bass voices, which extend from low A (three lines beneath the bass stave) to middle C, and produce an incredible effect by doubling the ordinary basses at the interval of an octave below them. “These double basses never cease to be singers singing in chorus; their voices if heard separately would be intolerably heavy, when they are heard in the mass the effect is admirable. The first time I heard this splendid choir 1 was stirred with such emotion as I had never felt before. From the very first bars of the piece I began to shed tears. Then, when the music quickened up and the thundering voices launched the whole artillery of their lungs, I found mvself trembling and covered with a cold sweat. The most tremendous orchestra in the world could never give rise to this curious sensation, which was entirely different from any that I had supposed it possible for music to convey. The tenor voices are far from being’ as perfect as the bass, but are, nevertheless very satisfactory.” If Beethoven Wrote To-day!

“Wagner—to take Iris case alone. certainly thought harder about Beethoven than any of his contemporaries did, and perhaps harder than any critic of to-day; and he strained all the resources of German philosophy and the German language to express what he felt about him. It would have been a terrific shock to Wagner to be told that after all he did not understand Beethoven. But when we consider the matter a little more closely we see that all its amounts to is this—that Wagner did not see Beethoven as we see him. Fifty years hence another generation will see him still differently, and will patronisingly tell us that we did not understand him,” writes Mr.. Ernest Newman in the “Daily Graphic.” “The truth is that there is no such thing as Bach or Mozart or Beethoven ‘per se.’ There is only our mental image of him, and that depends upon ourselves almost —perhaps quite—as much as on the music itself. It is an absolute impossibility for us to see, for example, Beethoven as his contemporaries saw him.

“By no effort can we sweep our minds clear of all that we have experienced in music since his day; we see him in a focus of our own, that is

determined not only by our knowledge of Wagner and all the rest of the nine-teenth-century music, but by our always increasing knowledge of Beethoven’s predecessors. “I should say that Beethoven means far more to us than be could possibly have done to the most enlightened hearer of 1826. His contemporaries certainly felt his greatness, but they could not have got the thrill from, say, the Scherzo of the Ninth Symphony that we get from it, because we bring to it a vastly heightened and enriched musical consciousness.' “A Beethoven of to-day, though we should assuredly bow the knee to him as the master of all musicians living, would not thrill us as the other Beethoven does, though he might thrill the men of 2026 even more, for they would bring to the study of him a perception as much wider and more intense than ours as our own is wider and more intense than that of the audiences of 1526.” RECORDED MUSIC Treasures on the Shelves. With so much happening in the way of new process recordings and new types of gramophones there is perhaps a tendency to neglect the treasures of past achievements which now lie on the shelves, in danger of being forgotten. This remark is especially apropos in view of the hitherto unrevealed delights which the new H.M.V. model instrument is capable of reproducing from the “old process” records. Past successes, of course, ran rapidly out of stock, but collectors should not fall into the habit of skimming the monthly parcels of new records too lightly. There must be a great field for the enthusiast to delve over in quest of previously overlooked gems.

The writer was browsing about the shelves the other day and was struck by the quantity of “good stuff” which apparently had gone out of demand. The fact really is that collectors have got into the habit of looking forward to what is in store—the human interest in something new—and have apparently lost sight of the good material which passed before them at the time of their arrival, but to which they gave but a cursory glance. For example, there is a large number of really excellent recordings by Edna Thornton, in the writer’s opinion one of the best —if not the best—of our contemporary ••ecording contraltos. Her most recent contributions include the brackets, “Bantry Boy”—“Love’s Old Sweet Song,” “Over the Mountaina”—“When Singing Birds were Mute,” but if you dig back a bit—over a few years—you will come across many fine gems of recorded music by this singer. One of the best things she ever did was Frances Allitzen’s "A Song of Thanksgiving,” while her recording of Handel’s “Ombra mal fu” was a great performance. It is doubtful whether stocks of these old recordings are still available locally, but still, the effort is worth while. At all events, here is one artist whose recordings are well worth an overhauling on the shelves. Her work is uniformly good. Seven Good Orchestral Numbers. If you are keen on orchestral music you ought to have the following, which in the writer’s opinion constitute the best, from all points of view, of recent recordings:— “Symphonic Fantastique” (Berlioz), by the Pasdeloup Symphony Orchestra of Paris—a really brilliant set cf six 12in. double discs. The “Bridal” motif from Goldmark’s “Rustic Wedding Symphony,” to which is bracketed a lively “Malaguena" (Spanish cance), splendidly played by the New L.’gllt Symphony Orchestra. The Royal Albert Hall Orchestra’s “Dance of the Hours” (“La Giocoudo”).

De Groot's Orchestra in Coleridge Taylor’s “Petite Suite de Concert.” Wagner’s “Good Friday” music. Handel’s “Overture in D Minor” (Elgar’s transcription and ng)Wagner’s “Fire Music” (in the H.M.V. “Ring” series). The above are records which are well within the comprehension and pleasure of average listeners. Some are old and some are new process records.

Recorded operas have a way of varying their appeal, especially’ to those of vou who may not have seen the actual works on the stage. It i:. very difficult, for example, to get the meaning of Wagnerian opera if you have not previously seen it, for creation and production come as a complete whole from the composer’s gigan tic genius. You may get over this disadvantage by reading carefully the story of the opera (vide that valuable H.M.V, book ‘‘Opera at Home”), and absorbing bv the aid of your imagination something of the atmosphere of the work. If you do this, you will be surprised at the difference of the ap peal made to you by the music. In the case of certain operas, chiefly of the Gilbert and Sullivan class, and, to a limited extent, of such grand opera works as “Faust” and “Carmen,” understanding is much less difficult. The Gilbert and Sullivan operas, of course, are almost as enjovable off the stage as on—much as Shakespeare is—and this is because music and words are in such perfect accord. Probably the most enjoyable ] of the Gilbert and Sullivan operas as heard from the gramophone are-] “lolanthe” and “Patience,” though j on the stage you would probably prefer the "Gondoliers” or the “Mikado.” After “Patience” one might put the “Mikado” and the “Gondoliers,” then “Pirates,” “Pinafore” and the “Yeoman.”

Perfect Playing and Recording. As a demonstration of almost perfect plaving and recording, the bracket presented by the Band of the Royal Air Force—'“First Heart Throbs,” atia the comedy overture “Vanity Fair,” is to be commended. The music, though attractive, is not very profound, but it has a distinct appeal. The balance of tone and perfection of ensemble is very striking.

Country dance nutsic has not a great vogue in New Zealand, principally

because old-fashioned country dances arc not popular. In fact, they are practically unknown. , If one is to enjoy •them then it must be entirely from the musical point of view. From this aspect the writer unhesitatingly recommends the Scottish Dance Orchestra’s bracket of country dances, “Triumph” (traditional) and “The Haymakers.” These are perfectly delightful numbers. The rhythm is splendidly sustained, the music attractive, and the. playing brilliant. To “homies” these should be especially welcome. Your Sound Box.

Deal very gently with your sound box, especially if the diaphragm is of mica. Mica ’(says an expert writer) surpasses all other materials. It seems to be the least subject to fatigue and to have the quickest “recovery.” Mica has often been blamed for the so-called “metallic” quality of some gramophones and sound-boxes. On the contrary, the mica diaphragm is the least open to the charge of adding any quality of its own to the forced vibrations ’ which it converts into sound. The main defects of the mica diaphragm are its variability and its fragility It is very difficult to find two micas which have the same quality. You may get two of the same size, thickness, weight and ring, and yet they will give quite different results when mounted in the same soundbox. The laminations, which are the source of the mica’s general efficiency as a sound-box diaphragm, are at the same time the source of its variability. And since the quality of the mica varies the only satisfactory way of obtaining uniformly good results appears to be to vary the quality of the stylus and the springing to correspond. The best sound-boxes achieve their success either by accident or by careful attention to the adjustment of the stylus and the springing to the particular piece of mica. The fragility, likewise, is the defect of the mica’s virtues. A mica sound-box requires much more delicate treatment than it usually gets. The slightest jar on the stylus' will crack the centre of the diaphragm, and have lamentable results on the reproduction. Moreover, apart altogether from the readjustment which may be necessary, the insertion of a new mica is not a simple operation. Any but the most expert operator will crack the new diaphragm as often as not. But a blob of wax covers a multitude of cracks, and the public are often fobbed off with a faulty diaphragm suitably disguised. Any reader who finds his gramophone blast or give an edge or tliroatiness to vocal records, should examine the sound-box carefully, both back and front, under a good light, to see. if the diaphragm is intact. For the Children.

“Where, in all this plethora of good things for grown-up ‘grammy’ people, do we come in?” Hearken to the voice, the collected voice, of the children. Although it must be insisted that all good gramophone music is as beneficial for voting listeners as it is for their elders, there are times when the younger ones sigh for something their very, very own. Which introduces “Uncle Charlie** and “Auntie Agnes,” two relatives who aie catering in the H.M.V. recording rooms for a vast army of nephews and nieces all over the world. “Uncle Charlie s’ latest stunt consists of four double discs: “The Cuckoo Clock” (in two parts) ; “Miss Priscilla Prim”—“At the Blue Moon Fair”; “Bubble Land”— “Bubble Town Frolics”; “Jack-in-the-box, or Fun in a Toy Shop”—“The Brown Family." “Auntie Agnes” gives us "The Pixie Fiddler”—“Stars and Moonbeams,” and in company with “Uncle Charlie” a combined entertainment called “General Jack.” These are delightful records for the kiddies. Good Dance Records.

One of the most delightful dance brackets published in recent months is the Savoy Orpheans’ and Havana Band s “Moonlight and Roses” (fox trot by the Orpheans), and “Always” (a rhapsodical confection of alluring charm. Dance to it and see for yourself.

Although we do not tango much m New Zealand, there is nothing in the world of rhythm to prevent us from getting a good dance of our own out of the bewitching music recently recorded for H.M.V. by the Varaldi Band, a South American combination that has given us that unusual blessing, good rhythm and good music. Hear them in “Hasta la Vnelta” and marvel. There are three double Varaldi discs so far, and ore hopes there will be many more, if nothing else than for music’s sake.

Another “Symphonic Fantastique.” Felix Weingartner, conductor of the London Symphony Orchestra, is included in the company of those whose orchestras record for Columbia. His latest achievement is Berlioz’s “Fantastic Symphony,” a wonderfully graphic work which, but for the gramophone, is not likely to be heard frequently in New Zealand. It has, just been released, and should presently be obtainable in the Dominion. Musicians will be greatly interested in this colossal and unusual work, as Weingartner has interpreted it. He is described as the last of the great con-

ductors of the school of which Nikisch was so distinguished a member. Those familiar with \V<wngnrliicr’s conducting of Beethoven’s symphonies for Columbia will scarcely need to be reminded of the kind of presentation he will give of the “Fantastic Symphony.” The work is in twelve parts, but will be obtainable in separate parts.

“Lohengrin” is the work from which a record has been made by Columbia, including soloists, chorus, and orchestra, Sir Hamilton Harty conducting. The record is on the way to New Zealand, and the selection made from the opera is the “King’s Prayer,’’ in German, “Me in Herr und Gott.” The prayer comes just before the close of Act 1, when Henry the Fowler, King of Germany, invokes divine aid in deciding the combat between Lohengrin and Telramand. The principals in the selection _ made for recording are:—Miriam Licctte (soprano), Muriel Brunskill (contralto), Frank Mullings (tenor), Thorpe_ Bates (baritone), Kingsley Lark (baritone). The whole number is contained on the one 12-inch disc. One might describe the selections of the Band of the Garde Republicaine

of France, “The Grenadier” and “La Revanche de la France,” as commonplace for so fine a body of instrumentalists; but in the excellence of their performance the nature of the pieces named does not matter very much. This band is the finest military baud in France. Its record of the “Carnival of Venice” will probably be preferred to these two new marches; but there is no gainsaving the tunefulness and heartening effect of them. Russian Music.

The balalaika of Russia, the national form of the guitar it might be called, is evidently an instrument that in the hands of artists can be relied upon tot splendid effects. The previous records for Columbia by the Russian balalaika Orchestra were so successful that there has been an insistent demand for more. The latest selections taken for the purpose are Mozart’s melodious and markedly rhythmic "Rondo a la Turca,” together with a Polish polka, called “Ojra,” a lively dance measure, well suited to the spirited artists whose work is here recorded.

The Cherniavski’s latest record to reach the Dominion is the “Gipsy Rondo” of Haydn (“Rondo a I’Ougarese”), together with Widor’s delightful little "Serenade” —not unknown at organ recitals. These are excellent little pieces with which to begin collecting the classics, leading up to the great masterpieces. The Cherniavskis —Leo (violin), Mischel (’cello), and Jan (piano)—always did play well together, and this record shows that they continue to do so. Grand Opera in English.

Miriam Licette is one of the sweetest of sopranos singing grand opera in English. The most recent examples of her are the Prayer of Elizabeth, from “Taunhauser,” and the Prayer of La Tosca, from the opera of that name. It is evident that some momentous changes are at hand in recording, ' for in these Evo famous arias from opera, as Miriam Licette is heard in them, they reproduce without suggestion of sound box or amplifier. The clarity with which the notes of the singer are heard is astonishing, considering how often the sounds seem to come from “inside a box,” no matter how good the instrument, how excellent the record

Strikingly clear and rich in character is the recording by Columbia of Frank Bridge’s “Three idylls” as performed by the London String Quartet. The Idylls are good examples of the modern school of English music. It will take time to get most people accustomed to this music; but aside from all considerations of taste and preference (or prejudice) no one on a first hearing of the solemn first of these Idylls, Adagio molto, will deny that the composer is seeking to say something in terms of music because he Jias something worth while to say, .and he feels what he is saying. There is something unusually fine, too, in the recording of the London String Quartet’s performance of these Idylls. What, it is difficult to define; but there is no question at all that chamber music in the future, if it is to be heard with 'all the richness of tone colour that characterises these records of the London String Quartet, will be demanded tremendously.

The Columbia recordings of the new musical comedy “Wildflower” were on

the London market the day before the show was produced. The music has proved very popular. A large doublesided record contains “Bambalina” and

“April Blossoms,” the original performers, Miss Kitty Reidy and Mr. Howett Worster, being the artists. Both Miss Reidy and Mr. Worster record well. They also combine in making a small record, “I Can Always Find Another Partner” and “Wildflower.” Another good disc is “Good-bye, Little Rosebud,” by Howard Worster, and “There is Music in Our Hearts,” by Evelyn Drewe. The chorus and orchestra play an important part in these records. A selection of the music by the London Theatre Orchestra should be a popular record, for it contaisn all the best numbers in the show.

From Columbia comes Sir Alexander C. Mackenzie’s bustling and characteristic “Britannia,” with familiar tunes used as themes, tl is played by the New Queen’s Hall Light Orchestra, conducted by the composer, and is in two 12inch parts, as is also the “Semiramide” of Rossini, done by the 8.8. C. Wireless Symphony Orchestra, conducted by Mr. Percy Pitt. These make pleasant additions to the overture section of the gramophonist’s collection.

The steel guitar records by Frank Ferera are now well known. He has just added a new one to his list. On one side there is a fox trot, “Drowsy Waltz,” and on the other side “My Hawaiian Evening Star.” It is as good a record as his previous ones.

A good choral record by the Sheffield Choir, conducted by Dr. Henry Coward, presents “On Going to My Lonely Bed” (Edwards), which appears to have been altered considerably, but at the same time it is quite pleasing It is, however, the reverse half of the record, comprising “The Bell of St. Michael’s,” which I will take special notice of. There are remarkable bell effects boomed out by the choir at the beginning which are very realistic, but if one desires to hear this record at its best a loud needle should be used and the gramophone be placed in the next room MacFarren’s “You Stole My Love,” which goes with the Edwarde’s work on the other side is e. good example of choral singing by a great choir. The recording is very good.

The Columbia version of the Wembley Tattoo will have many admirers. It is made by the Grenadier Guards Band, assisted by drummers of the Ist Grenadier Guards and pipers of the Ist Scots Guards, conducted by Lieut. George Miller, with the Stadium Choir, directed by Mr Henry Jaxon. If a little imagination is brought into play the effect is both thrilling, and realistic

Miss Miriam Licette, Miss Muriel Brunskill, Mr. Frank Mullins, Mr. Kingsley Lark, Mr. Thorpe Bates, with chorus and orchestra, conducted by Sir Hamilton Harty, present the closing episodes of Act I of “Lohengrin.” On the one side is the King’s prayer, before the duel between Telramund and Elsa’s champion, and on the other the music is continued to the end of the act. It is something to have attempted all this on a gramophone record, and the result certainly justifies the experiment.

Mr William Murdoch in his latest recording is heard in “Les Collines d’Ancapri” from Debussy's first book of preludes and “Bruyeres” from the second book, played with lightness and f.-mcr

Parlophone. Madame Emmie Bettendorf in her latest Parlophone recordings presents two very difficult melodies from Richa*t “Strauss’s “Ariadne in Naxos.” The music portrays Ariadne deserted by het Athenian lover Theseus, and the former. o’*--r*n-*ie with welcomes t*’e anntonrh of death. The lone-drawn-out phrasing makes the work difficult

to sing, but, needless to say, Madame Bettendorf rises to the occasion with case. This tender, sweet, and sympathetic music, sung so well, makes the record one that should be purchased by all music lovers.

Mr Robert Burg, a baritone, in the first rank of opera singers on the ,Continent, gives us an aria from “Das Rheingold” (Wagner) and on the reverie an excerpt from “Tannhauser, from the second scene of the first act, when Tannhauser’s bosom friend invites him to return to Elizabeth. Mr. Burgh has a fine, strong voice with a good tone.

Beethoven’s “Spring Sonata” for violin and piano, played by Edith Lorand and Michael Rancheisen, occupies thiee large records (10,414 to 10,416). The "Spring Sonata” is of Beethoven’s first period. He was at that time still leaning towards Haydn and Mozart, and was just cutting out an individualitv of his own in his compositions. Beethoven did not give this work of his the name of the “Spring Sonata,” but it fits it very well, for there is the freshness of spring in the hapoy music. Miss Lorand is a talented violinist.. She has on this occasion found an ideal collaborator at the piano in Michael Raucheisen.