MUSIC AND RECORDS.

Dominion, Volume 19, Issue 254, 10 July 1926, Page 20

MUSIC AND RECORDS.

By

C.J.M.

A Fine Ideal. Can you picture a large hall under the shadow of Westminster Abbey full of eager children ? Boys and girls with typical Saxon colouring mingling with others whose dark hair and eyes betokened Celtic or Norman descent. All eyes fixed on the platform where men, drawn from famous London orchestras, awaited their leader. Suddenly, a burst of clapping as the young conductor appeared and beckoned his men to stand. Then the National Anthem, and clear treble voices letting off the steam before an hour’s enforced quiet. This is the scene of one of the Children’s Saturday morning concerts, initiated by Mr Robert Mayer, who was inspired by the example of Mr Walter Damrosch in New' York. In Dr. Malcolm Sargent he found his ideal conductor who knows how to get into touch with his audience at once, and how to hold his little hearers entranced. At each of the nine concerts in the series some instrument is singled out, its origin and scope explained, and the various effects illustrated by a member of the orchestra. In this case it was the turn of the trumpet—“that assertive, bold gallant, W'ho may be forgiven for a little conceit, having a long-standing engagement at the Day

of Judgment.” How it developed in length till there was danger of hitting the fellow in front, then was curved—where the notes and valve and mute are placed—a fanfare blown, and then a few bars of the “Minstrel Boy” were played to show how tunes arc produced. “The trumpet must give no uncertain sound or an Army may be going to bed when it should be prepared for breakfast,” and it adds great beauty to a composition at times by sustaining long note. Then the programme was analysed, beginning with the first movement of Schubert’s “Unfinished Symphony.” A few moments were devoted to the life struggle of the composer; the two themes played on the piano several times to that the children would recognise them, followed by an exquisite rendering by the orchestra. The next item was Hadyn’s “Concerto In D,” giving the lovely Adagio and the merry Allegro. The children listened with rapt attention to the air on the piano that recalls “Here we come gathering nuts and may,” and the Rondo was described as one jam sandwich on another, the repeated tune being the jam. Miss Beatrice Harrison appeared with her ’cello to play the solo part, and could never have received a more enthusiastic welcome. “Haydn,” said the conductor, “understood the soul of the ’cello,” and the children were told to notice the effect of high and lownotes, and double-stopping. The Allegro set little heads nodding and legs swinging, and no one enjoved it more than the gifted soloist. When she vanished from the platform, the audience, like Oliver Twist, demanded more, and were given a little Gigue by Bach, to which Mills Harrison announced that, one of her terriers danced in perfect time. Now came “our old friend” Beethoven, and a short description of his character and habits that made the youngsters laugh. The two themes of the Scherzo from the Seventh Svmphony were set to words that will be associated with the music for life, so exactly did thev fit the subjects. The Scherzo is one of the liveliest of Beethoven’s works—“Oh, what a hurry we seem to be in,” was sung with gusto, and the Trio, based on a pilgrim’s hymn, was fitted to “If you go, rather slow, you’ll get there just the same,” like a sturdy boy curbed by a gentle girl, said Du Sargent. The last item was the overture to Smetana’s “Bartered Bride.” First, the proper wav to pronounce the name with trie emphasis at the beginning; the signs of race and national characteristics were pointed out; the overture described; the crowd and shouting; the syncopation and speed, all worked up by the orchestra to an exciting climax.'

There is a great thought behind these concerts. In the days of Queen Bess, England led the world in music for a while; she lost her proud position, but there has always been music in plenty in the soul of the people, and they quickly respond to instrument and song. To teach the children how to listen, and how to interpret the message of the great composers is fine work, and is ' already bearing fruit. Their outlook on music is broadened and taste refined, for only the best is given. At the most impressionable age the world’s masterpieces are absorbed together with a love of beauty, and perhaps a wish to play some instrument and join an orchestra. So a habit and a desire to attend good concerts is formed early in hie, and that not only benefits the child, but will help to support musical art by creating a demand for such music in the future.

As Mr. Mayer remarks, “The unique position of music is that it is its own interpreter. Its hold is upon men’s moods rather than upon their intellects. It sways their actions through their emotions rather than through their intelligence. As it is the most democratic and universal of all the arts, it claims the whole field of life as the domain of its activities, and he who induces the love of it in any individual does actually open up a new sphere of action for the human spirit. . . . Who will say that lives so enriched are not assets of ever-increas-ing value to the community?” . Many large towns in England and Scotland are holding concerts on similar lines to those in London, and scattered throughout the British Dominions there are millions of children who share in the heritage of the sixteenth century. If this movement can be spread through the Empire it will not only be a fine educational medium, but upon it depends the ‘‘ultimate welfare of music.”—Ethel M. Richardson Rice. RECORDED MUSIC A Great Lietier Artist. To attempt a description of Madame Elena Gerhardt and her singing would be almost futile. She has a soprano voice of very great range, both of notes and in the inflexion ot colour. With her each song is a living thing, she lives in a world of it when she is on the platform. To the ardent “Gramophile” her history dates back to 1907, when her first gramophone records were made for the Gramophone Company. Her reputation was then firmly established. In Germany particularly she was the idol of the concert-going public, and an extraordinary compliment was hers when Arthur Nikisch toured Germany with her as her accompanist A Franck Sonata. Jacques Thibaud and Alfred Cortot has recorded splendidly Cesar Franck’s ‘‘Sonata in A major” for violin . and piano, “Allegretto ben moderate,” “Allegro,” “Recitative Fantasia,” “Allegretto poco mosso.” This is a complete and satisfying recording of one of the most played violin and piano sonatas. After its production in 1886, four years before the composer’s death, it was soon recognised bv the discerning to be the most considerable work of its type Since the Beethoven sonatas, excepting, of course, those of Brahms. The sonata as a whole is a glorious achievement, and the interpretation it here receives is in every way a worthy one. More than that, a great one. The balance is perfect and the result of two such eminent artists collaborating gives us that other delight, exquisitely finished phrasing. The piano tone is consistently good, the violin tone lovely. There is not a harsh note.

Elgar’s Puzzle Piece. Of all Elgar’s larger works the “Enigma Variations” (recorded by H.M.V.) is the most widely known, all orchestras in, perhaps, every country play it. It was first played in 1899 (under Richter’s conductorship, at the St. James’s Hall), and it had an immediate effect in firmly establishing | its composer’s reputation. The plan of . the work is as follows:—A Tune, called i Enigma; Nine Variations upon it; An ( Intermezzo; Three more Variations; A : Finale. The >-eason the tune is call- ; “Enigma” is curious. It seems that it is so written that another tune, and ' one well-known to us all, could be play-1 ed with it, and even, it is said (though j this seems incredible), with each of the j variations. What this ether tune is, I nobodv has ever found out, and the composer has aireadv kept his secret | for a quarter of a century. Another , interesting thing is the general dcdi-

cation of the piece, “To my friends pictured within.” Each of the variations is preceded by the initials or the nicknames of the friend pictured in it. Mark Hambourg.

Hambourg has provided us with a most interesting and eclectic series of records. Although we may often disagree with his interpretations, we cannot but thank him for his admirable selections, the more so as he appears to have a very fine recording touch. The most striking of bis records is undoubtedly the “Fantasia Baetica” of De Falla, which is not only a considerable feat of virtuosity, but also a very lucid exposition of a by nu means facile piece of music. Another delightful record is D. 644, his Couperin and his Ravel being equally well conceived. D. 580 bears a fine rendering of Chopin’s beautiful “Polonaise in C Minor.’ - The first movement of the “Italian Concerto” is another attractive item (D.GS). A most interesting combination in D.G9—Rachmaninoff, Scriabine and Debussy. An unusual and charming record is D. 692, containing two delightful pieces by Dr. Blow and Dr. Arne. A Great Aria. Mozart’s operatic vision of Beaumarchais’s immortal comedy, “Le Mariage de Figaro,” is one of the masterpieces of musical art, and the aria, “Deb vieni non tardar,” is among the most brilliant gems scintillating in a glorious score. It is Susanna’s great moment ; the one moment in the opera when she is really serious; when she has something to sing that is the expression of her true self, that places her alone "in the limeb’ght” as a woman and a vocalist. The music is the purest imaginable Mozart, and difficult for any but the perfect Mozart singer to do justice to. Hence the fact that there are few first-rate records of this piece. The best is bv Marcella Sembrich (H.M.V., D. 8.433), one of the great Susannas of her day. Symphonic Jazz. Gershwin's “Rhapsody in Blue” is almost a new' art-form. Stravinsky and some of the French “six” have attempted something of the kind; but their compositions are far too self-con-scious to be successful, and their knowledge of the peculiar kind of scoring needed is inadequate. The medium is of far greater interest than Mr. Gershwin’s music, which is extremely derivative. Rimsky-Korsakoff is drawn upon in the opening section, Dcbussv• and Grieg towards the end. There are also many pure ad captandum effects. But something undoubtedly individual emerges The composer plays the piano brilliantly; the whole thing has the air of an improvisation. The saxophones would prove useful as ordinary members of the orchestra. The tenor instrument is verv similar in tone to a clarinet, only more supple; the baritone to a ’cello, but fuller and rounder However, the orchestra of the future will perhaps be no settled body. Instead, we shall have chamber orchestras of varying content. , This example may well be a portent. It is well _ recorded by H.M.V and of peculiar intfrest. Blasting. Wrong needle angle will cause blast, as a needle set at a sloping or gliding angle cannot, in all cases, follow the vertical sinuosities of the track made bv the recording stylus in the original wax. Too thin a needle will cause blast by its inability to deliver to the diaphragm, at the correct speed, the energy imparted to it by the record It may also develop secondary vibrations, which in themselves _ are sufficient to cause unwanted noises, quite apart from diaphragm sounds. _ Too large diaphragms maj’ offend similarly and blast in these may occur _ from their undue inertia, that is their inability to start delivering energy received, and their reluctance to stop vibrating once they start. A loose

needle bar will cause blast; see that the centre screw and pivot points do not rattle. Needle loose in the holder is another cause, and is usually the result of a semi stripped screw. A loose fit between sound-box and tonearm will cause blast. A loose adapter will have similar tendencies. A loose fit at the swing point of the swan neck or main bearing of the tone-arm will also cause rattle—remedy, thick oil or grease. Loose horn joints or connections or too flimsy construction of horn, either internal or external tvpe, will cause buzz or rattle. Remedy, insulating tape tightly wound. Shellac varnish is also useful. Story of the Petrouchka Ballet. For the benefit of those who want to catch the atmosphere _of the H.M.V. recording of Stravinsky s famous “Petrouchka Ballet” here is the story: A Russian fair is in progress—bewilderingly brilliant and noisy. A magi-cian-showman exhibits three puppets: a dancing girl, a Blackamoor, and Petrouchka. To all he has given a sort of fractional humanity, but to Petrouchka most. Petrouchka then can suffer, and does; he is a pathetic figure, where the Blackamoor is but a brutish dolt and the dancing girl not much more than the pretty doll that such girls sometimes are, even in real life. Petrouchka loves the dancing girl. The Blackamoor kills him. The public are shocked; the police appear. The magi-cian-showman holds up the limp corpse. It is but a puppet after all. The crowd, reassured, disperses.- The showman, with the puppet-body Petrouchka in his hands, turns to go in. There on the top of the show, grimacing at his creator, is a puppet soul Petrouchka. Petrouchka has been made human enough to have a ghost! . Two Good Pianists.

All this artist’s records have a good tone and there is very little trace of hardness noticeable about them. The “Prelude in G Minor” (D. 8.410 is splendidly recorded, as is also the hackneyed “Prelude in C Sharp Minor” (D.A.370). After hearing these preludes, amateur pianists should destroy their copies of the score, for Rachmaninoff alone can really play them. “L’Arlesienne Minuet” (D.A.372) is a very clear record and well played. (Rachmaninoff is very original in his interpretation of Bizet and most delightfully pleasing.) All Pachmann records are good and the "Ballad in A Flat” (Chopin), (H.M.V. D. 262), is- very fine indeed. Next to this record I would place the “Nocturne in F Major” (Chopin), (H.M.V. D. 263), the forte passages coming out well. A Bach Sonata.

It is good to have a complete Bach sonata —“No. 11. in A major”—played by William Primrose and H. Y. Tempieman. The opening movement of this work ("Andante”) consists of a highly figurate melody announced by the violin and answered by the piano both in treble and bass. Just before the end an unexpected modulation lends a touch of awe to the music. His serious preluding done, Bach dashes off into an “Allegro assai,” in which pianist and violinist are kept busy all through. The tune is given out by the latter, who is again answered by the pianist in semi-fugal style; a usual method in Bach’s music. A most exhilarating movement this. Now comes a movement, “Andante un poco,” in canon form. Note by note the piano repeats what the violin says, even until the end. While this is proceeding the violin goes on with the next sentence, as it were. Two people talking together thus would produce an unpleasant noise, but two strands of melody combined, intensify one the beauty of the other Bach ends with a question mark resolved in the “presto” of the last movement.

Mayer Gordon, Violinist. As an exponent of the technique of violin playing, Mayer Gordon lias few equals anywhere. He has an amazing mastery over the instrument, and the most difficult and intricate compositions are shorn of all their terrors when he wields the magic bow. His execution of the tremendously, complicated “Ronde des Lutins,” with its mixture of pizzicato and arco passages, is something to be admired and remembered. Vientemp’s “Polonaise,” which goes with Bazzini’s beautiful work, is child’s plav in comparisn, delightful as it is. It gives Gordon better opportunities for displaying his true tone and his ability to convey the meaning of melody. He might have found something a little livelier than Dvorak’s “Slav Dance,” which,, with Wienawski’s very intricate “Tarantelle,” forms the subject of another fine Columbia violin record. This last piece, again, is full of difficulties, but his handling of it is that of the true virtuoso. In Mayer Gordon England has one of the foremost violinist's playing to-day. Jean Lensen’s Orchestra.

Jean Lensen’s Orchestra has earned a deserved popularity among the many who prefer and appreciate the happy medium afforded by lighter orchestral music between the classics and the restaurant type of syncopated amusement. This combination is well heard in Paderewski’s charming “Minuet m G,” Op. 14, and in the piece coupled with it by Columbia—di Capua’s wellknown Neapolitan air, “Maria-Mari.” A later emanation from this orchestra is the “Chanson Hindou” ("Song of India”), with Toselli’s “Second Serenade,” each colourful and melodious. On the way to New Zealand is another Lensen disc, giving “None but the Wearv” and “Les Tresers de Columbine.’’ Your Motor.

Gramophonists who are not yet fully an fait with the mechanical make-up of their machines should from the first regard the motor as a delicate rather than as a strong piece of mechanism. True, it will, with proper use, give years of satisfactory wear, but improper use will soon shorten its life. Overwinding is the chief danger. A motor should never be wound up to its full capacity—three-quarters wound is, in most cases, enough. Neither •mid the owner fail to let the motor run nearly—but not quite—down before putting the machine, away. This obviously eases the tension on the springs, and helps a lot to preserve their temper, and save the owner’s by lessening breakages. “Betty in Mayfair.”

“Betty in Mayfair” is now one of London’s best musical comedy successes. Most of the music .is singularly attractive, as gramophonists will find by listening to the Columbia record, of a selection of the most oustanding vocal numbers (with orchestral accompaniment). These are effectively sung and recorded, and include such popular songs as “Love,” “In June,” “Grandma’s Days,” and “I’ve Got a Secret.” Thev "are given a disc definition that makes this issue as. successful in its way as was that giving the “Mercenary Mary” and “No, No, Nanette” selections.

Mullings and Licette. Columbia records of Verdi’s greatest opera “Otello” are numerous and meritorious, and this company is fortunate in having one of the finest operatic artistes in England at its disposal. Ibis is Frank Mullings whose “Otello” in a splendid record is very finely supported by that cultured soprano., Miriam Licette, as Desdemona. They sing the famous duet that ends the first Act—- “ Stilled by the Gath’ring Shadows” and its continuation “Could I But Die Now.” Miriam Licette is in first-class form, though her tremolo might cause an ear or two to be cocked, as it were. Mullings is intensive and powerful, as is his wont, though there is a shadow of throatiness here and there that is doubtless the result of an illness he had just before he sang for this record. It reproduces splendidly, and the orchestral accompaniment is excellent m all respects.

The Geiger Viennese Orchestra. True waltz music, orchestrally played, as distant from the interpretations of’the liberty-taking syncopated orchestra or band, is always delightful and fascinating. And when the genuine Viennese made waltz is played by such a reputable combination as the Geiger Orchestra, one is certain of the real article. This very talented band (“band” being used in a collective sense) excels with the very attractive compositions of Johann Strauss, the creator of the waltz as we moderns know it. For Columbia they have played his “Lagunon” and "Voices of Spring”— both of captivating flow and rhythm. Then their “Moonlight on the Alster” by Fotra.', and “On the Beautiful Green Narenta” (Komzak) make another charming record that will appeal to all who appreciate the value of the beauties of a form of music that, in its class, is as important as many of the greater symphonies. Wireless Artistes’ Record.

The British Broadcasting Company have a Symphony Orchestra that is heard by millions every night throughout the length and breadth of the Old Country. Through the medium of a recent Columbia record New Zealanders can now “listen in” to a spirited interpretation of Rossini’s “Semiramide”—a record that is not only a very good example of the work of an orchestra little known outside of wireless circles, but one that shows that the one-time antagonism between wireless and gramophone is now of no account. The ability of Percy Pitt, conducting, is widely known, and gramophonists will appreciate his handling of this very animated composition. The details come out with a realism that says a deal for both players and recorders. Stracciari Translated. The many lovers of the magnificent singing of that fine Italian baritone Stacciari, may be interested in this translation of “A Tanto Amor” from Donizelli’s La Favorita, which with “Leonora,” forms a Columbia record recently noticed in these columns:— For such love do not be ungrateful; To such love, Leonora, let yours respond. When he has only you for his sole happiness, When he, in his happiness, find life in you alone; When he trusts that he will be always loved Fondly encourage the hope within his heart. Do not ever drive him from your heart. That he may never, never have to curse your faithlessness. ‘‘Merry Wives of Windsor.” An excellent new orchestral record is Columbia’s treatment of Nicolai’s “Merry Wives of Windsor,” played by the New Queen’s Hall Orchestra, Sir Henry J. Wood conducting This, although only a two-part piece, is in point of quality, tone richness, and technical capacity, comparable with the more ambitious productions Sir Henry's combination has recently given to the record world. He has had as one of Rug-

land’s greatest conductors, a very marked influence on gramophone music, and the string quality of his orchestra has done as much for it as that of any orchestra or chamber music body playing to-day. The “Merry Wives” record contains some brilliant moments, with a purity of tone that is most pleasing. Available shortly.

A Mullings’ Bracket. Frank Mullings, appropriately forceful in Quilter’s “Blow, Blow,” is a shade too much so for the lovely companion song, “O Mistress Mine.” There is a tiny laxity concerning some notes, and a trifle of slurring, but the singer's natural robust good sense, and his well-used voice, combine to give much pleasure here (D. 1547 Stracciari, in “0 Star of Eve” and the “Te Denin” from “La Tosca,” sings in full-throated glory—even when, as in the “Tannhauser” song, the accompaniment seems to have got lost (7372). Fine Band Music.

Record 9080 gives a long and strong dose of Elgar's first "Pomp and Circumstance” march. On one side is the whole march, played by the Grenadier Guards, a soloist and chorus joining in tile trio (the chorus somewhat overpowered by the band) ; on the other side the trio alone, as the song, "Land of Hope and Glory,” is sung by Mr. Harold Williams, again with the choir’s support. Mr. Williams is a fine upstanding singer. Both he and the Guards do full justice to the famous air. New Vocation Discs.

A beautiful and mellow contralto voice is owned by Paula St. Clair, whom Vocalion have just recorded in two attractive ballads, “Melisande in the Wood” (Goetz) and “Daffodil Gold” (Robertson-Hodgson). The melancholy charm of the first song is in contrast to the lightness of “Daffodil Gold,” and both are cleanly sung. The enunciation is particularly clear. The Vocalion Company has a way or giving us good band records, and here is the Life Guards in the popular Edward German “Nell Gw.ynn” dances, lively, attractive music which fully uses up all the space available on a 12-inch record. The band plays under one of the most famous conductors in the United Kingdom, and the present record is well up to its standard for the past. After classical music the lighter moments. Vocalion have just issued two records of selections from popular musical comedies which fill an idle moment agreeably. They are from “Wildflower” and “The Blue Kitten.” “Wildflower,” by one of those theatrical whims, has just gone in London, and is proving liighlv successful. “The Blue Kitten,” originally an American production, was played in the States for a long period, and now is amusing English audiences. Here they arc, plaved bv the Revue Orchestra, and both attractive. It may be added that the music of both discs is danceable if vou so desire. To the array of jazz records, Vocaliou have just added another which dancers will find worth while. It is one of those which have a soundly, satisfactory’ dance number on both sides, and the names of the pieces record are “Lonesome” and “Marguerite.. The first had a gay melody which is later ragged, the second possesses a fascinating syncopation—a record worth having.

Parlophone Records. . A few notes from English reviews ot recent Parlophone issues—Berlin Opera House Orchestra, Mozart’s ‘Jupiter Symphony (five sides), and the same composer’s “Idomeneus overtu re (sixth side), from the little-known opera of that name; Overture to “Martha” (Flotow). Edith Lorand Light Orchestra, Popy’s “Suite Orientale.” “]upiter” is a strong, virile performance Upper strings are a little too powerful for wood-wind, and rarely achieve a “piano.” Of this one has most frequently to complain in orche. tral records. The performance is good value for money. The "Idomeneus Overture” is a good, clear-cut bit pf work. The opera did not take wel , but its overture is well worth b There is a martial ring in it, befitting the high estate of Idomeneus, King ot Crete The “Martha Overtuie’ is crisply played, but the inner parts a little pale in soft passages, lhe Suite Orientale” is like all its class-mates-of the kinema, kinematic. l’ ,e S a P; able Lorand Orchestra puts over as effectively as everything it The diversified and quite effectiv orchestration is the best part of it. Alfred Jcrger and Emmy Bettendorf, in “Guten Abend” and “Hat einst ein Weib ” from “Die Meistersinger (Wagner). All lovers of the scene between Hans Sachs and Ev’chen in the second act of “Die Meistersinger -one of the most remarkable tor its fine imaginative feeling and subtlety in the whole opera-will be ready to welcome so artistic a rendering as the one here presented. There is no blending of voices in this duet; it is merely a conversation full of smart repartee set to snatches of gracious melody with a background of suggestive orchestral motives. Not a note is cut, yet the two sides of the large disc suffice to take in the whole duet.

Some Recent Homochord Discs.

Amongst recent Homochord discs one should not neglect two on which are recorded three lovely songs from Greig—“l Dove Aou,’ Hie Swan,” and “Solvetg’s Song, fwm “Peerlgvnt.” The second side ot the Fitter disc is given to Reger’s pretty “Marien Wiegenlied.” The singer is Emmy Bettendorf, who needs no laudatorv introduction. An instrumental bracket that sliould appeal are two Scherzos by the Rose Chiartet, one from Schubert s D minor Quartet,” and the other from Tscliaikovskv’s “D minor Quartet.” Azucena’s “Narrative from II Trovatore,” and the “Smcido” aria from Ponchielli’s “La Gioconda are capably sung by Karin Brouzell (mezzosoprano) . .