MUSIC and RECORDS.

Dominion, Volume 20, Issue 60, 4 December 1926, Page 20

MUSIC and RECORDS.

By

C.J.M.

Stray Notes, A special correspondent of the Melbourne “Age” reports that the Royal Albert Hall Sunday concert began their new season in London >ecently, Kreisler giving a recital As is usual, unfortunately, it was a case of Kreisler plus piano accompaniment only, and we are still awaiting the long overdue occasion of a Kreisler recital with the great violinist properly supported by the breadth and range end tolour of the orchestral background his music ought to have. But also, as usual.

this Kreisler recital with only its piano in support was sold out, its advertisements fot some days before the event announcing "All reserved seats sold.” His audience, therefore, once again filled the 10,000 or so places in this concert room, and al] concerned were no doubt amply satisfied The programme included the Mendelssohn Concert©—which with a piano accompaniment becomes, of course, a violin solo —and numerous small pieces. Kreisler delighted everyone by yet another exercise of his power so to play the violin as to give his most critical listener complete satisfaction, and at the same time to charm the merely average listener, there by the thousand who wishes only to enjov the mingled warmth and grace of Kreisler’s performance.

The British Broadcasting Company’s series of orchestral concerts has begun in London (savs the special correspondent of the 'Melbourne “Age") The orchestra, under Sir Hamilton Harty, numbered 150 plavers, and the programme contained the’ second symphony of Brahms, among < ther good things. The Albert Hall itself was only’ half filled—a fact which accounted, no doubt, for the comparative ineffectiveness of this great body of players, whose orchestral tone suffered strange distortion at the hands of the echoes that abound in so vast an auditorium so sparsely occupied. The tempi, all on the slow side, adopted by the conductor, doubtless in view of the emptv spaces behind him, had the result of dulling the noble symphony of Brahms to the level of a tedious confusion of only half-intelligible sounds, and the other orchestral numbers suffered correspondingly. These concerts, however, are intended less for the audience in the hall where they are played than for the far greater audience of listeners-in. They seem to have had the advantage of us who were at the concert, for the reports received speak of the orchestral music as coming through with great richness and brilliancy.

Actually, the word “jazz” is a misnomer if applied to anything you may hear to-day, writes Jack Hylton in “The Gramophone.” The original “jazz” belonged to the war period, and I am ready to admit, frankly, that much of it was “an unholv row.” Bv breaking most of the time-honoured rules some very weird and distressing effects were obtained. Even the motorhorn and tin cans were used And, although that type of entertainment—l cannot call it music—is no longer in existence, the name has stuck, and is now applied indiscriminately, by stupid folk, to our modern syncopated music. But amongst the ashes of this old-time “jazz” a valuable secret was re-discov-ered. The lesson we learned was the undeniable appeal of rhythm to the majority of human beings, for during the previous years the necessity for a sustained rhythm in music had wellnigh been overlooked. In many of the classical favourites we have abundant harmony and melody, but we have to thank “jazz” for reminding us that a third element, rhythm, is an equally necessary ingredient of any music' which is to be universally and permanently popular. Rhythm of anj’ kind, it seems, awakens a sympathetic response in most normal people. I was told recently, when I merely mentioned this incontrovertible fact, that I glory in the Simian type of forehead and that I ought to have a number of tomtoms around me, so savage and uncivilised is my nature! Yet I contend that there is nothing barbaric in an appreciation of rhythm, although I do not give it undue prominence over melody and harmony.

Sir Walford Davies, the chairman of the Welsh National Council or Music, is greatly in favour of music being taught in schools, if one may judge from the following passage quoted from one of his recent works:—“lt seems certain that if we would but teach melody in our ' schools; if we would also but thorougnly accustom man, woman and child to the look of nielody on the page by putting it in their hands on all occasions in all schools, churches, musical festivals and homes, it might in one generation utterly change the face of things musically. Melodic impulse, in the child would not run to waste: intelligent appreciation of good melody would advance ; brainless ballad concerts would cease to be brainless. Good singers would sing good songs to the dear, good public; and the simple truth would dawn that .melody is our real mother-tongue—not harmony, not sonatas, nor cantatas, nor any desperately clever executive skill on piano, violin or voice, but just spontaneous rhythmic melody, the very blossoming of human thoughts into tones, the little creative heaven of sound where the mind builds its houses never made with hands; where it actually tastes simple ratios instead of onl> talking about them in mathematical books—tastes them in tone, in music, in this loveliest of recreations, purest of social jovs, gentlest discipline of our thoughts, a discipline of mental building which renders thought orderly and makes it clear and acceptable to our neighbours, a veritable part, however, small, of the Kingdom of doing Good.”

RECORDED MUSIC The Revellers. This male voice quartet has achieved remarkable fame in ' England and America. The combination consists of two tenors —Franklyn Baur and Lewis James —a baritone (Eliott Shaw), a bass (Wilfred Glenn), and an accompanist (Edwin Smalle), who also sings tenor. These artists have frequently appeared as individual soloists, and as members of other combinations. It is said to be a commonplace in ’the United* States for singers of syncopated music to appear also in more serious music, and all four (incidentally having graduated as soloists in famous church choirs) have appeared as soloists in oratorio and festival work, besides with the renowned Mendelssohn Choir in Toronto, the New York Philharmonic, the Chicago and the Philadelphia Orchestras, and the New York Oratorio Society. The following extract from the “Sound Wave” is of special interest After two years and a half continuous ‘straight’ work together, the quartet began to wonder if it would not be possible to evolve a more intimate type of entertainment. The result of their cogitations was the invention of a new ’style—a style unique to 'The Revellers.’ The initial move was the dispensing with an orchestra and the addition of a fifth voice, who would also be the accompanist. This new voice was found through the medium of the never failing gramophone The quartet heard a test record ol Mr. Baur, and they at once realised that this was tile voice they required to complete their ideal combination The intention ol the new ensemble, which was named “The Revellers" was to attempt to do with their voices what Paul Whiteman bad accomplished with liis instruments How far they have been successful we leave readers who have heard their records to judge for themselves The manner in which their "trick” and legitimate singing is combined is astonishing. Such effects

as five-note chords, the using of four voices as an accompaniment to a solo voice, of a constant interchanging of a solo voice, and the almost orchestral colouring, which is frequently achieved in their songs, are all remarkable. Each song is rehearsed and rehearsed again, and the final form of the song is created at these rehearsals. When the first record of the ensemble was being plaved in a music audition studio in New York a serious musician said, "Sure, that's a marvellous record ©nlv niggers could do that ” He was probablv referring to the rhythm and the colour, but we are equally sure that no coloured folk could get the quality of tone which “The Revellers” do. No doubt the man meant well Mengelberg, the famous conductor of the New York Philharmonic Orchestra, said that theirs was the finest ensemble singing he had ever heard, and was particularly impressed with the trueness of their accents. An extraoidinarv record just released is “Diana,” with “Gonna Charleston Baek to Charleston.” This is an outstanding record, and has been described n« one of the liveliest and most interesting pieces of singing ever recorded. The Zonophone Specialty.

Religious music has alwars been ■% “long suit” with the Zonophone Company; in fact, one finds the finest selection of this type of music in the Zonophone general catalogue. The brilliant grand organ solos recently issued have added considerably to an already excellent selection. This music has an almost universal appeal, and it seems to be a sphere in which the gramophone will prove of the greatest boon in bringing the influence of the church into the home, and, perhaps, the only means by which the sick and invalid can enjoy the atmosphere of church. Two magnificent records are “Hallelujah Chorus” (Messiah) and “The Storm.” Of the mass choir records available these are among the best ever issued. Queen Hall’s Organ.

The following report by “The Minstrel,” writing in the “Sound Wave,” is of interest:—“lt seems but yesterday since the first tentative organ recordings appeared To-day they are sufficiently advanced in technique, and realistic in result, to startle both the casual listener and the seasoned gratnoplitle. Almost incredible progress lias been made in recording the highly complex and powerful sound wave of the grand organ.” The writer then goes on to describe the “His Master's Voice” notable triumph of recording Marcel Dupre in his performance upon the Queen’s Hall organ. He concludes as follows:— “The ‘Piece Herique’ is one of the great imaginative masterpieces of organ music—not in bulk, but in its sheer mental qualities. In the 'mounting grandeur’ of its harmonies, the incessant throb of those sombre accompanying chords, there is something mysterious, almost awe-inspiring. A mood of brooding, impressive, mysticism envelopes the music from the very beginning. It moves implacably, relentlessly onward. Presently, as we near the end of the first part, there is a break, and the tense atmosphere of the music is relieved by a more gracious section. Soon, however, that persistent, almost sinister figure in the bass is heard again. The music urges onward more and more impressively to a tremendous climax. There is a dramatic pause and drawing on the full resources of the organ, the music reaches its culmination in a series of stupendous chords. It is a masterly performance, and the recording, with its almost perfect balance of the organ ensemble, its incredible reproduction of the massive pedal tone, is a triumph of recording technique. It is a disc which will long stand as a revelation of the power of modern gramophony.” Matched Impedance.

The Gramophone Company has often been asked to explain why the His Master's Voice iustruriient differed so little in external appearance from the old type and yet- proved so wonderfully superior in performance. Here is the official explanation given in "The Voice.” “A new viewpoint had to be taken, and sound waves in their action under every conceivable condition were analysed by scientists, who added immensely to their knowledge of a subject which had been somewhat neglected hitherto, and were able to formulate new theories, sinong whic.i was one relating to ‘Matched Impedance.’ Matched impedance is a term borrowed from the science of electricity, in which it is used to signify the even distribution of obstacles in the way of an electric current which is exceedingly sensitive to resistance. Ap plied to the gramophone it means that a path is made for the sound vibrations, instead of heaving them, as was previously done, to fight their way, more or less- from the diaphragm of a sound-box to the mouth of the horn. ‘Matched Impedance’ lays an »ven track for the sound waves, bridging the gaps and banking the sharp curves. It has been compared very aptly to the clearing, out of a river bed which in some places had been choked by weeds, sand, mud, or rocks, all of which impede the flow of water to the mouth of the river, causing eddies and backwash. “In an unscientifically constructed gramophone the sound waves meet al) kinds of obstacles, whirling and eddying among themselves, becoming distorted, some being lost entirelv, and tli«- strongest suffering least. “Each note or combination of notes has its ’frequency’ or number of pulsations to a second. The bass notes have lower vibrations, while the uppet or treble notes vibrate many times more in each second The treble vibrations, being much more rapid than the bass vibrations, stood a better chance of ‘getting through’ in the old type of gramophone, and thus became ntidulv shrill. The bass vibrations, although present, became so weakened in the struggle that they were almost overcome in the fight with their more vigorous companions. The new His Master’s Voice sound box, tone arm. and amplifying horn are constructed in accordance with the strict scientific iheorv of ‘matched impedance.’ All the sound waves have an equal chance, and an untrammelled pathway, while due provision is made for the natural expansion which they undergo after leaving the diaphragm of the sound box. , , ~ ‘.‘That is whv, when vou play an old record on the new instrument, you notice such a marked difference. You get all the music that is in the record including much that was hitherto unheard, while the treble is no longer

shrill or over-prominent. The entire balance of tone has been adjusted, ano unsuspected beauties are revealed in records that you may have had for a considerable time. We stress this point, because of the concurrent oiscovery and development of electrical recording. This coincidence of the new instrument and the new electrical recording has given rise to the idea that the new instrument will only play the new electrical recordings. T his is quite unfounded. The new instrument improves the older recordings to a degree that is little short of maivellous.” Wonderful Organ Records.

The organ is one of the most impressive of ‘all instruments—and up to recently one of the most elusive of all to record satisfactorily. Perfect balance of tone values, from the lowest and most sonorous notes to the nighest harmonies, has not been secured hitherto, and anything like full volume has refused to reproduce with that fidelity and clean-cut definition necessary to success. Many difficulties, however, have been overcome under the new recording methods, and J. P. McClellan s playing of the overture from . “Tannhauser, and sextet from “Lucia,’ for Columbia—2232—has a grandeur and lifelike faithfulness of volume and tone that can onlv be termed wonderful The organ, however, is not confined to classical music, for a very fine musician in Howard Peterson has recently plaved a quartet of the biggest light music “hits” of the day. There is impressiveness, dignity, and happy abandon combined in these two Columbia records giving. “Just a Cottage Small”-and “Too Many Parties” (0502), and “Oh, How I miss You To-night” with “Alwavs” on the reverse (0509). To hear these popular cabaret members in their organ version is indeed a revelation and a happy augury of still greater recording of this class to come. Latest Dance Successes. Dances that are literally all the rag e in the cabarets and dance balls of a dozen countries automatically find expression in disc form before there is the faintest indication of decline in popularity. The Columbia people are i ever behindhand in catering to their legions of record btivers in this matter, and from a select list of recent productions one may pick on anj’ of the following with rhe assurance that there will be nothing lacking in a musical, a playing, and-a technical sense.

The Gilt Edged Four have Hieir name to "Honey Bunch” and “Tentin’ Down in Tennessee.” The Ipana Troubadours, with lively vocal chorus, play "I Found a Roundabout Way to Heaven” and “At Peace with the World.” Paul Specht’s Original Georgians, also with vocal chorus, give us “Horses” and “Spring is Here” (fox trot). The Denza Dance Band issues include “Melodie du Rove” and “Julian” (tangoes), while the Clioquot Club Eskimos incline to the sentimental type of music, with “Lonesome and Sorry” and “Somebody’s Lonely” (fox trots).

Song Successes—Concentrated. Those who make a point of securing records of the accepted song hits of the day should jot down number 9112 This is a Columbia record, coming, which gives a number of some of the biggest song successes of the year in one. “Popular Songs,” in two parts, includes “Always,” “I’m Sitting on Top of the World,” “Moonlight and Roses, ’’ and “Then I’ll be Happy”— all on part 1. Reversed, there are “Picador,” “Good Night," “Speak," and “Headin’ for Louisville ” These tuneful numbers have orchestral accompaniments, and are sung by the Columbia Vocal Gen: Company, making a record of its welcome kind that is of unusual interest and value.

A New Tertis Record. The Dolmanyi Sonata in C sharp minor, a fairly recent Columbia production, proved to gramophiles what a superb player of the viola is Lionel Tertis, and what exquisite music this form of the violin can produce. The same artiste is brilliant in the extreme in a gem of a record containing an “Old Irish Air” (arranged b>' Tertis himself), and “Hior Au Soir,” his own composition. In this disc (LI7GI), now on the way here, the new recording brings out all the alluring tone-colours of this mysterious instrument. The playing is faultless, both in the arrangement of a lovely old Irish tune and in the delightfully romantic trifle of his own creation.

There is piano accompaniment of good tone.

Written for Two Violins. A very fine three-movement work, for two solo violins, is Bach’s Concerto in D Minor, a three-record Columbia subject (L 1613-15 in which Arthur Catterall and John S. Bridge combine with beautiful effect, with a Hamilton Harty orchestra. The interest of the first movement—vivace—lies in its happy, bustling tunes, played alternatively by the two violins, with an accompaniment for violins, ’cellos, and basses. The second movement, largo, is the most attractive feature of the work, and is considered to stand in the front rank of all Bach’s movements, wherein pure and beautiful melody is the motif. This movement is in the form of a violin duet, with string accompaniment, and is a delight to the ear throughout. Even those who believe Bacli lacks melody will listen to it with enjoyment. The third movement—allegro—is very much on the lines of the first, although a passage that occurs twice, different in style to any other in this concerto, is one where the two violins repeat, with lovelv effect, quaver fournote chords (each violin in double stopping), with the accompaniment running about in semi-quavers. Re-enter Lappas,

It is some time since that remarkable Greek tenor, Ulysses Lappas, scored a distinct success through Columbia .with “Hxomologissis” (Confession) anil “Kanena,” both sung in his native toncue. He now re-enters the vocal limelight with a verv fine rendering of the famous “Celeste Aida” aria from Verdi’s opera, and with it the suave and flowing “Ciclo e Mar" from “La Gioconda.” Although both these numbers were bracketed on another Columbia J record sung for by Francesco Morli, an Italian tenor, Lapnas’s version is notable in so far as it shows the wonderful capacity of the new recording process.

Some Edgar Coyle Songs. A baritone, who has had a solid reputation 'or good work for twenty vears, and ’ho has his name on dozens of tlu uost popular of Columbia vocal records, is Edgar Coyle.

His speciality is airs and songs that are as British in sentiment and structure as Shakespeare. Indeed, Covle’s selections from old English songs alone marks him as one of the most notable vocalists of our day—certainly in a gramophone sense. Recently he' has given us such unchallengeable favourites as “The Arrow and the Sone” and “Oft in the Stilly Night” (3899), each of which his richIv' pleasant voice fits admirably. His “Eleanore,” by Coleridge-Taylor, and “A Memoiv,” bv Gorifm Thomas, are. again, two of the “parlour” type of songs that ever find fresh admirers. A delightful record for a quiet mood. Following this is his fine interpretation of Poe’s "Eldorado” and Stevenson’s “Bright is the Ring of Words” (3916), the piano accompaniment in both being a delightful feature.

“Three Idylls.” The London String Quartet has plaved on scores of occasions for the Columbia Company, their name appearing on single and multiple records of the works of the world’s master composers. Thev have done nothing better than their rendition of a British composerconductor’s greatest work —Frank Bridge’s “Three Idylls.” Mr. Bridge is one of the few who have done something to establish a real British school of chamber music, and in the production in record form of the present composition he left it in Columbia’s hands with eminently successful results, for as a piece of recording alone the two “Three Idylls” records, Ll7Ol- - are as near “the real thing” as the science of music reproduction has given us. The volume of richness of the four instruments are extraordinarily natural, particularly in the lovelv, if melancholy, first part (Adagio Moltol, full of pathos and dramatic expression The second disc (Allegretto) is of a deliciously lyrical character, verv charming’ and brightly coloured

Vocallon Reviews. A welcome record is that issued oi Frank Titterton iu four fine songs by Roger Quilter. Tittertou is a very cultured singer, and gives these beautiful lyrics with understanding and dignity, indulging in no cheap musical tricks for the purpose- of display. The four are “Come Away, Death,” "O Mistress Mine,” "Damask Roses,” and "Brown is my Love.” “Damask Roses” is the most successful of all, though each one of the songs will commend itself to the discriminating. The pianoforte accompaniments are well played by Stanley Chapple. All four numbers are on the one disc.

“The best of recent issues”, is the phrase won by Moschetfo and his orchestra, which plays at the Savoy Hotel, London, for their recording of a selection from “La Boheme.” It is an admirable little arrangement ' full of dash and sentiment in turn, and played most capably by instrumentalists who have won their place in one of London’s best small orchestras by the possession of unusual tone. The selection covers both sides of a 10-incli record.

Two favourite Elgar numbers for contralto have been recorded by Margaret Balfour. Thev are both from the “Sea Pictures,” "Where Corals Lie” and "Sabbath Morning at Sea,”, aqd both have being only when the singer owns a voice which is distinctly above the usual order. This Margaret Balfour possesses, and she has art as well, as her singing of the second number proves triumphantly. AH Elgar admirers and all contraltos too, should hear this record. It is an education in stvle.

A provoking record of chamber music has just been issued. It is the Impromptu and Divertissement from Eugene Goossens’s Suite for Flute,. Violin, and Harp, an unusual combination, but one most effective. Goossens is a clever composer, and has produced a stimulating and challenging piece of music in this suite. There are no influences to be traced in it save the hand of Goossens, and it is well played by a trio consisting of Charles Stainer, Charles Woodhouse, and Marie Goossens. One is always glad. to welcome back such a singer as Gladys Moncrieff, particularly when she comes in good music. Her latest release is in two duets, “A Paradise for Two” (“The Maid of the Mountains”), and “The Letter Song” (from "Sybil”). In both she sings with Robert Chisholm. The song from the “Maid" is marred a little by a suspicion of roughness in Chisholm’s voice, but the second duet is absolutely brilliant. The tonal beauty and passionate urgency of “The Letter Song” make it one of the best things in modern musical comedv.

With certainty one can predict a ball-room vocue for at least one of the fox-trots of the month. “Hello! Aloha! How Are You?’’ owns all those things which make for popularity and is bound to get it. Good melody, good playing, and snappy words combine to make ibis dance outstanding With this dance is bracketed “Who Taught You This?” Both are recorded by Billy Mayerl and his orchestra.