MUSIC and RECORDS.

Dominion, Volume 19, Issue 208, 29 May 1926, Page 20

MUSIC and RECORDS.

By

C.J.M.

Backhaus on Music as a Career. Back bans, the great pianist, who is to tour Australia, commencing in Sydney on July 3, under the direction oi E. J. Gravestock, was recently interviewed by a young musical reporter, as to his ideas on music as a career. “Do I speak to a musician or not?” asked Backhaus. He had just finished playing Liszt’s “Liebeslted.” The interviewer replied that he had given up music in despair of ever doing anything worth while. “That was a pity,” he said, “you lose one of the gieat delights of life if vou do not cultivate whatever talent von have. ' As a career it is different." Backhaus began his musical career verv early. “My first acquaintance with the piano began at four-and-a-half.” , , , ■ The interviewer must have looked surprised, for Backhaus laughed, and continued: "I fell against one of those old-fashioned upright pianos and I got such a bump on mv forehead that I did not sneak for days! However, I got over that and began to work senouslv. I made my first experiments mvself. I could read and write before I went to school, and I taught mvself the notes. T had no lessons until I was six, which is quite time enough to begin. I played at my first concert in Leipzig when I was eight.

“1 have never practiced a great many hours a day, but I practice with intensity I only work two hours a day, but when I am playing my mind does not wander. Mv whole personality goes into every single note I have always practiced scales, and would practice them this very day if 1 found anything that needed overhauling in my technique ; for one of the fundamentals of good piano technique is to be able to play a scale beautifully.” “What do you think of music as a career?” asked the interviewer. “I would never advise anyone to take it up professionally. It is hard to succeed, because the competition is so keen lam speaking now from the purely practical point of view. There is not the money m it that people think One artist succeeds, and everyone hears about him and envies him; but they never think of the others who are just struggling along.” “What makes the one succeed where the others fail ?”

“That is e thing no one can exactly define. The essentials for success are a combination of qualities, all very rare. Vou must, first of all, have really great talent, great energy for work, and a very strong constitution to stand fatigue. Those are the most important. When you have got them all, you do not know if you can hope to carry the public with you. The talent for a successful career is to make everybody in the audience feel something like what you feel yourself You may be very musical, have a very clear idea of the emotional and intellectual basis of what vou are playing, and yet not be able to get the impression across the footlights to, say, the man in the gallery, the person furthest away from you physiclily, so that he may feel what you feel, so that nothing of the emotional quality is lost before it reached him. This is a matter of a hundred little details which cannot be defined, and which few artists possess the gift to exercise unconsciously. If you can make the public listen you have surmounted the first difficulty. ■‘To make them listen intently is the talent which no one can be sure of possessing until he has tried, and which no teacher can prophesy that his pupils possess until it is found out in the work.”

Anyone who has heard Backhaus play knows that he possesses the indefinable quality of which he spoke, and as I listened, writes the interviewer, I won--dered if sincerity were at least a part of it; for there are the simplicity, the idealism, the sincerity of the truly great in his devotion to his art. Chaliapin’s Views on Singing.

Feodor Chaliapin, Russia's greatest linger, who is to visit New Zealand shortly, has little patience with the conventional idea of what constitutes a great singer—a man with a big voice. He considers it absurd to look upon the voice as in any sense the end when it is only the means. Of course, he admits that a singer must have a good voice in order to sing, but the art consists not in the voice, but in the use that is made of it. According to Chaliapin, a singer’s work is never done. There is always more to learn, even in the most familiar song. A singer who is completely satisfied is a singer lost. That is what he deciares' to be the trouble with much of the singing that is heard . to-day. Singers have grown disinclined to work. When they have obtained applause they cease to make any effort to improve themselves, and lounge back contentedly, believing that they have solved the problem of their art. But applause is really nothing. It is pleasant to have and without it an artist’s life would be bard indeed. Still, its only real use is as an encouragement and an incentive to go on and do better. It saddens Chaliapin to hear singers who are selfsatisfied ‘ although they have scarcely begun the very grammar of singing. It distresses him equally to hear other singers who appear to believe that when they can produce notes and phrases they can sing. Among opera singers there are many whose art consists in voice and nothing more. But in Chaliapin’s opinion, voice is the medium for the interpretation of great poetry and great music. When it comes to an end in itself it is equally fatal to both. Melba’s Farewell

Dame Nellie Melba’s farewell tour, of the provincial towns of Britain, which opened in Glasgow early in January, and ended this month (March) at Cardiff proved a triumph (writes an “Argus’” correspondent). Admiration for Melba’s art and love of her vigorous personality attracted 3,000 people to the Empire Theatre at Cardiff on a Saturday afternoon at a time of the deepest industrial depression. Musicians who knew South Wales well predicted that the theatre would be half-empty, simply because the people of Wales had no money, even for such a treat as Melba’s farewell concert. But the experts were wrong. The Cardiff Theatre was crowded, and the reception right royal. As it was at Cardiff bn the last day of the provincial tour, so it was throughout the two months’ journeyings. At Glasgow, the authorities proposed a civic luncheon in Dame Nellie’s honour on the dav before the concert. It was not possible to accept, as Melba was engaged elsewhere; but she was the guest of the Lord Provost and the corporation at luncheon at Edinburgh on the dav before the concert in the Usher all. The people of Glasgow could hardly be persuaded to let her go, and they ’reduced her to tears when they called her back to the platform for a farewell speech. These scenes were repeated in the Usher Hall. At Aberdeen the police had to clear tire streets after the concert to make way for Melba's car. The warmth of her reception at Dundee was more readily explained, as Melba’s father and mother hailed from that part of Scotland, and the country was inclined to regard Dundee as a sort of second birthplace of the diva’s fame. With her customary generosity Dame Nellie added a charity concert at Kirkaldy to her Scottish engagements, which realised more than £7OO, a wonderful result for a little town.

The triumphs continued when Melba came to the North of England. She was feted at Liverpool, and she gave two concerts to crowded audiences at Manchester, whence she went loaded

with flowers, which later decorated the wards of the Manchester hospitals. Throughout the tour it was customary for great crowds to gather round the hotels where Melba was staying in the hope of hearing a little speech from the balcony or getting a glimpse of the world-famous singer. These generous impulses are trying, and Dame Nellie’s friends were not sorry when the two months’ ordeal ended. Sheffield, Birmingham, Sunderland, Eastbourne, Torquay, and Plymouth vied with Scottish towns in rendering civic honours to the great singer, and in Northern Ireland sh was invited to be the guest of the Duke and Duchess of Abercorn at Governincnt House. The Prime Minister (Sir James Craig) and Lady Craig gave a luncheon in Dame Nellie’s honour at Stormont Castle, and the Lord Mayor of Belfast gave a civic reception at the City Hall. Of these civic receptions the most novel was that at Bournemouth, where Lord Forster made a special presentation on behalf of Australian admirers in the South of England. Performing his pleasant duty, Lord Forster said: ‘‘For five years I had the honour of representing the King in the Commonwealth of Australia, and it was my great privilege to hear Melba —for I think we need but the one word when we refer to her—it was my privilege often to hear Melba’s matchless art and glorious voice. You and I may have long known her as a great artist, but you have to go to her country to realise the woman, for there you will find not only a great artist serving art. but a great woman serving humanity, and both as artist and as woman she has won our deepest respect.” Dame Nellie’s tour convinced _ her that the future of the arts in Britain may well be found in the provinces. London concert hall recitals are driving the best artists to tlie provinces as their only hope of making a livelihood. “Once singers and players get the provincial habit they are not likely to lose it, for more generous and more discriminating audiences are not to be found,” savs Dame Nellie. She went on to recall certain facts which young Australian singers, contemplating a career in Britain, may well lay to heart. “To me, the average ballad concert in London of the unknown, struggling singer is infinitely pathetic. With what high hopes they set out! How they thrill as they see their names printed large on the poster which some sandwich-man is carrying down Regent Street I How bitter is the disappointment when they are brought face to face with reality I For one thing, they incur, only too often, financial loss. The singer who hopes to make a living by singing at ballad concerts in London is about as optimistic as the man who hopes to become a millionaire by selling penny whistles in the Strand. People simply do not go to their concerts. Instead of making a few pounds they lose it. ‘I am only £l5 down on my last concert,’ said a young singer to me the other day. 'lsn’t that splendid?’ Splendid! The adjective is a sufficient comment on the state of affairs. In the provinces rents are high, but they are not prohibitive. Counter-attrac-tions, too, are numerous, but they are not overwhelming. Most important of all, the provinces are not blase.” Dame Nellie might have added that the provinces are the mainstay of the British National Opera Company; though it is to be regretted that their best effort is insufficient to establish opera tn English on a sure financial basis, inasmuch as the company has lost £38,000 since it was founded. Even more useful than provincial grand opera are the amateur operatic societies which have recently come into being, such as Mr. Ronald Cunliffe’s boys’ companv at Burnley,. Miss Stell’s school work at Keighley, and Mr. Sandwell’s opera classes at Huddersfield, to name three out of a score. Purcell’s “Dido and Aeneas” was recently presented by an enthusiastic body of amateurs at Liverpool, under the leadership of Mr. John Tobin. This production coincided with the first professional production of Purcell’s opera at the Munster Municipal Theatre. “Dido and Aeneas” was written in IGB9 for the prize-giv-ing at a Chelsea girls’ school, so Purcell has had to wait some time for professional recognition. A Chamber Concert.

The chamber concerts given by Miss Ava Svmons (violin), Mr. George Ellwood '(’cello), and Mr. Gordon Short (at the piano), are now well-established in- public esteem, and there should therefore be a good attendance at the recital of three trios in the Concert Chamber on Wednesdav evening next. The programme for this occasion will include Beethoven’s “Trio in C Minor” (Op. 1), Brahm’s “Trio in B (Op 8),” the first performance of this in Wellington and the Arensky “Trio in D Minor.”

RECORDED MUSIC Revelation in Choral Recording. There is no doubt that the new H.M.V. process of recording, taken in conjunction with the capacity of the new model instrument to recover from the record everything that is imprinted thereon, has made possible a thrilling revelation of the beauty of really great choral music. The June records from the H.M.V. recording rooms include two remarkable discs by the Leeds Festival Choir of 250 voices. Three sides are devoted to Arnold Bax’s “Mater Ora Filium” and the fourth to Purcell’s splendid “Soul of the World” (“St. Cecilia’s Day"). “Mater Ora Filium” is a wonderful example of modern choral writing, and considered one of the finest choral compositions produced during the last twentyfive vears. It is based upon an old carol found in manuscript in the library of Balliol College, Oxford. It is a difficult piece to sing, as the harmonies are at times complex, but the Leeds Festival is a virtuoso choir and surmounts any difficulties very easily. There are 'moments of extreme beauty at which an emotional fervour of exceptional intensity is reached: some of the climaxes are 'thrilling. The superb “Amen” (which occurs at the finish of the first side and which is heard again in expanded form at the end of the

work) achieves a remarkable effect of pious exaltation. The listener will probably experience a little difficulty in picking up the thread of the music. Several replays are necessary. Also, a soft tone or fibre needle may be preferred for home listeners. German Lieder.

There are some exquisite gems in the musical literature of Germany, and of these there is probably, with the possible exception of Frieda Hempel, no finer exponent than Elena Gerhardt, who gives us this month a Brahms bracket—“ Von Ewiger Lieb” (“Eternal Love”) and “tamer Leiser Wird Mein Schlummer” (“Fainter, Eainter, Grow My Slumbers” (H.M.V.). Gerhardt is regarded as one of the greatest lieder singers the world has yet produced and her interpretations in. these two records are models to all singers, particularly in the matter of phrasing and breath control.

There are few songs in the repertoire of German lieder to equal Brahms’ “Von Ewiger Liebe” in sheer beauty and intensity. Contrasted in mood, but none the less emotional is the same composer’s “Immer Leiser Wird Mein Schlummer,” tbe very epitome of resigned sadness I Two "Traviata” Duets.

Verdi’s melodious "La Traviata” is drawn upon by Galli-Curci (soprano) and Tito Schipa” (tenor) for two fine duets—"Un di Felice, Eterea” (Rapturous Moment”), from Act 1, and “Parigi, O Cara, Noi Lasceremo” (“Far from Gay Paris”), Act 3. The bright tuneful music of “La Traviata ’ has an undeniable charm and freshness, and these duets have been well recorded for His Master’s Voice., There is a pathetic contrast between the joyful hopes of the first act duet and. that from the end of act 3. In ”Un di Felice” Alfredo meets Violetta in an anteroom adjoining the ballroom and decl are r his love for her. Violetta laughs gailv at him—keeping him at a distance, and warning him it . would -be wiser to forget her. "Parigi o Cara” is reached, a poignant situation has been achieved: Violetta is dying of consumption, and Alfredo, reconciled to her, sings of the happiness that is to be theirs once more, in a cottage "far from Paris.” Poor Violetta knows in her heart that it can never be—it is too late. Exhausted bv the excitement she falls back; the end is near.

Delightful Old English Opera. Dibdin’s delightful old English ballad opera, "Lionel and Clarissa,” has been recorded for H.M.V. by the singers engaged at the recent successful production of the piece by Mr. Nigel Playfair at the Lyric Theatre in London. There are three discs. The singing is quaint yet delightful, while the orchestral work is really charming. A certain amount of editing and rearrangement has been required, and this has been well accomplished by Mr. Arthur Reynolds, who conducted the performances at the Lyric Theatre. The ballad opera is something peculiarly British; ideally suited to our temperament and again ideally suited, thanks to the shortness of its numbers, to “recording.” “Lionel and Clarissa” was first produced in 1768. The music was composed by Thomas Dibdin of “Ben Backstay” and “Tom Bowling” fame—but airs by other contemporary composers such as Galuppi, Vinci and others, were inserted and have remained.

“The Emerald Isle.” The (Sullivan-German) “Emerald Isle” has every element needed for s completely captivating light opera This selection contains many bright tuneful airs by two of. the most famous composers in this genre, Sullivan and Edward German It would be a fascinating procedure for the listener to guess exactly how much of the piquant music, which has been recorded for H.M.V. by the Coldstream Guards Band in a large double disc, came from tbe respective pens of the two composers. Certainly Edward German’s hand is easily distinguishable in the jolly jig with which the second side comes to a brilliant close. Three Fine Instrumental Discs. The June H.M.V. list is conspicuous for the excellence of its instrumental section. The best of these is undoubtedly Renee Chemet’s recording of Sai'nt-Saens’s “Introduction and Rondo Capriccioso” (Op. 28), for the violin, in two parts. The “Rondo’-’ is a sparkling work, not without its moments of more serious poetry. It is well suited to such an artiste as Madame Renee Chemet, f<s: she herself is French and understands Saint-Saens’ idiom completely. The technical difficulties (and they are considerable) are nothing to a virtuoso of her standing, and the fleeting moments where a more serious note creeps in give Mdrne. Chemet an opportunity for displaying the rich tone of the lower strings of her instrument.

Next in order of merit and attractiveness is Piatti’s arrangement for thg ’cello of Boccherini’s “Sonata in A Major” (in two parts), recorded for H.M.V. bv Quilhermina Suggia. There is nothing of the superficial about Madame Suggia’s playing; she concentrates completely on her. music, , and gives us an intensely poetic reading of everything she plays, lending it in the process something of her magnetic personality. This poetic quality finds ample exposition in the sonata, a pleasant tuneful work, characteristic of its period and composer, abounding in suave melodv. Needless to say, under the brilliant light Madame Suggia casts upon it, the work is turned into a fabric of sound, of pure loveliness. Then there is a pretty de. Groot bracket, finely plaved bv, this wellknown leader’s canable orchestra and the Toselli’s “Serenade” (No. 2), and Bakalainikow’s wait? lullaby “Cradle me close in vour arms.” Vocal Records Worth While, Well worth while is Madame Evelyn Scotnev’s charming soprano bracket. “The Bird in the Wood” (Jaubert) and Ponce’s “Estrellita” (“Little St-’r”). “Estrellita” is a pensive little song with a melodv haunting and elu-

sire, familiar and strange. Of quite a different character is Taubert’s song “The Bird in the Wood,” in which there are some felicitous touches of “imitation.” A wonderful long held trill on a high note comes towards the end of the record. In both songs Miss Scotney. sings delightfully; particularly pleasing are her soft high notes. Wie have heard Greig’s “Solveig’s Song” from “Peer Gynt” and Bishop’s “Lo, Here the Gentle Lark” sung in more illustrious company than one could honestly place Miss Mavis Bennett, but this singer has a very sweet voice, which she uses skilfully and expressively. These two numbers, recorded for the H.M.V. “plum label” series, and therefore quite a moderatepriced bracket, are quite worth while Greig's "Solveig’s Song” from the incidental music to the famous play “Peer Gynt” of Ibsen is hardly more famous than Bishop’s “Lo, here the gentle lark” and is in pleasant contrast, tinged as it is with the dreaminess of the Scandinavian countries. Any record by Betty Chester, the attractive mezzo of the famous "Cooptimists,” may be regarded as a winner. From the company’s latest show, she gives us “The Land You’ve Never Heard Of” and “Prairie Moon” (music by Melneti Gideon). These are to be recommended as excellent sandwich material, for intervals between dances, or odd moments at parties. The Revellers’s (male voice quartet) record of “Dinah” and “I’m Gonna Charleston, Back to Charleston,” is described as a wonderful piece of work, which a hearing at once demonstrates. “Dinah,” bv the wav, appears amongst this month’s fox-trots recorded by the Savoy Orpheans.

Sfracclari in Grand Opera. Stracciari in his latest Columbia production, presents two beautiful airs from La Favorita—“A Tanto Amor” “Vien Leonora,” Giese the Italian baritone typically demonstrates the restrained power and wonderful quality of his voice. He has that not common faculty of convincing listeners that his every song is die one he is pre-emin-ently qualified to render to perfection. These very fine numbers afford a striking instance of the sympathetic understanding investing this singer’s work. Both songs are in Italian, and are unique additions to his repertoire. The London Svmphony Orchestra’s recording of Berlioz’ “Symphonic Fantastique". (conducted by Felix Weingartner) is an ambitious Columbia production in 12 parts (six 12-inch discs), and is. demonstrative of the degree of perfection reached by modern recording methods.

The first two part ("Visions and Passions”) Have a mysticism and a dramatic aura that add value to the portentous and forceful passages exquisitely portrayed in Part 3. A delightful contrast is afforded by die subtle melodiousness of parts 4 and 5 ("A Ball”) while the central theme, indicated in parts 6 to 9 ("Scenes in the Country”) ranges through the gamut of delicate nuances and the ultra bizarre to crashing climaxes. The three closing parts are fascinating with their suggestion of mystery and dramatic power. Irish Pathos In Music. In his setting of "An Irish Melody” 'the Londonderry Air) beautifully played by the London String Quarter, (•’rank Bridge shows a deep insight into the possibilities of the instruments he writes for. The composer’s modern dressing of the old tunes that are threaded through this delicate and plaintively sad composition, give it a peculiar attractiveness. There is throughout a definite suggestion of that melancholy and mysticism unmistakeablv Irish in their nature, and if it was Bridge’s intention to verge near the “sob stuff” line in music he has been wonderfully successful Relief is here and there given in the greater animation and vigour expressed in the second part. Tonal purity is beautifully apparent and consistent, an.l this Columbia disc is undoubtedly one that will have very many admirers. A delightful little song, characteristically delivered and notably suited to the rich and mellow beauty of Dame Clara Butt’s art, is "Peace,” Fomr’s setting of a selection from Tagore’s "Songs of Love and Life.” and it may fairlv be termed one of the best examples of Columbia recording of this artist’s voice. On the other side of the record is Stephenson’s “Ships j ‘hat Pass in the Night.” \n Attractive Waltz-Song. Hubert Eisdell has seldom been more advantageously recorded than in this Columbia presentation of his “The Little Green Balcony,” ■ a waltz-song with a most seductive lilt Eisdell’s fine full tenor makes this an acceptable addition to one’s repertoire of "popular” melody discs. He sings with feeling and restraint in "I Love the Moon,” given on the reverse side of the “Balcony” record. Opening with refreshing vigour and spirit, the two-part Columbia record

V“Mercenary Mary,”.by the “192 a Orchestra, is alive with catchy, melody, spritely and irresistible with its tnckv and fascinating contrasts. Percival Mackay’s interspersed piano solos are delightfully novel, while the jazz, effects have their full value in as lively a disc "pick-me-up” as one could wish for. A musical tonic trom opening to coda. Percy Grainger Record. Percy Grainger’s interpretation of Chopin’s "Sonata m B Minor’ is now available in > disc form. This masterly six-part record of the third of Chopin’s piano sonatas is not only wonderful testimony to Grainger s superb technique and clean phrasing, but is a fine example of Columbia perfection in recording. There is no audible flaw in the remarkable fidelity and tone purity that holds one from the bold and imposing three-part opening movement to the impressive climax. In view of the forthcoming visit of this brilliant pianist to New Zealand, this record should have a very special attraction to the many who will in due course flock to hear him in person. Few New Zealanders were lucky enough to witness the thrilling military tattoo at Wembley, a spectacle that was one of the most magnetic attractions of the exhibition. We here, however, can now revel in the musical side of that famous military side show in Columbia’s recorded “Wembley Military Tattoo,” in four parts (two discs), now available. These reproduce with much realism the atmosphere of the occasion, through the medium of the band of the Grenadier Guards. The music recapitulates popular old military airs and' those never-to-be-forgotten war marching songs immortalised from August, 1914. A feature of tlie production .is the choral accompaniment (by the Stadium Choir) skilfully intersperses, which adds much to the spirit and verve of the music. Here we have bugle calls, drums and fifes, and such popular war-time tunes as “Pack Up Your Troubles,” "Tipperary,” "Long, Long Trail.” Two Good Violin Records. Of recent violin records, "La Roncte des Lutins” (Bazzini) and "Polonaise” (Vieutemps), recorded by Mayer Gordon, will appeal to many. Full of time, with some wonderful pizzicato action, “La Ronde” is a fascinating piece indeed. In "Polonaise” Gordon shows technical mastery of his instrument, investing this delightful number with vivid colour and feeling. He proves himself, although not a player of universal reputation a real acquisition to Columbia’s recording artists. Doris Vane charmed and delighted big audiences at the Dunedin Exhibition, and is well known to Wellington music lovers as well. This accomplished soprano is responsible for an. attractive trio of Columbia discs, and in each of the half-dozen songs they hold the high ouality of this artist's voice is happily demonstrated. Of the net, per- , haps "Sleepy Hollow Tune” is the most praiseworthy—a decidedly sweet and fascinating effort, giving the singer ample scone to display her enviable talent. “Devotion,” on the reverse side of this record, is charmingly effective Her other songs, "Summer" and "So this is Love” and “O Flower Divine.” and Waltz Song from “Tom Jones.”

The New Queen’s Hall Light Orchestra invest their Columbia version of "Britannia Overture” with all the vivacity and gaietv looked for in tin’s kind of music. There is strength with restraint throughout a breezy tuneful decisiveness, making this. two-part record well worth listening’ to. Flutes and oboes onen the piece in lively fashion, while clarinets and violins control the quieter second theme, preceded bv the irresistible appeal of the hornpipe. Several favourite old airs are incorporated. Light Orchestra and Dance Numbers. Four sides seem perhaps rather excessive for a selection from "Il Trovatore,” but the abounding tunes have been so well contrasted and are so well played, particularly Miss Lorand’s solos and a ’cello solo, that no feeling of monotony is induced. A good Parlophone record. <"I Love the Moon,” partnered by “Dead Roses,” both played by the Edith Lorand Orchestra (Parlophone) make a good dance bracket. The latter is melodious and romantic and has a. slight hesitation, the former, a waltz of the old school, is played very artistically and with fine rhythm. "When I was the Dandy and You were the Belle,” played by the Lanin Orchestra (Parlophone) is also good. For vigorous and well-bSlanced orchestral recording, Parlophone’s selection from “No, Nd, Nanette,” filling both sides of a disc, is worth hearing. From Irving Berlin’s “The Music Box Revue” there is "Tokio Blues” and “Tell Her” on one disc. Edith Lorand’s Orchestra plavs “Passione,” valse-inter-mezzo by Virgilio Pangato, just as' it should, be played.