MUSIC AND RECORDS

Dominion, Volume 21, Issue 189, 12 May 1928, Page 20

MUSIC AND RECORDS

(Be/

C.J.M.)

Benno Moiseiwitsch’s Luck. Bemio Moiseiwitsch, the famous pianist, who opens his New Zealand tour at Wellington Town Hall on Thursday, May 24, added to his interesting experiences when he arrived at Adelaide on the Naldera on his way to Sydney. He went to the races and picked a horse on the card named Benoni, because the name looked like his own Benno. Everybody he told about it laughed, but the horse led the field from beginning to end of the race, and the totalisator dividend that the pianist drew was nearly half a century. Moiseiwitsch, now on his third tour, under the J. and N. Tait management, recently completed a remarkably successful tour of the East. He was greatly fascinated by the Orient. “It is amazing,” he said, “how Japanese audiences clamour for Western music and Western artists. In Tokio I gave five recitals on five consecutive nights, and of the large crowds that attended 75 per cent were always Japanese. They are anxious to encourage European artists, and desirous of developing their own talent on European lines.” '

Famous Italian Tenor. Signor Francesco Merit, one of the most famous of Italian tenors, who will sing the principal dramatic roles during the Williamson-Melba season, made his debut at La Scala in “Aida,” and his success was so pronounced as Radames that he now always sings this role at that theatre. On many occasions he has visited South America, and he was the tenor chosen to create the role of Prince Ignoto in “Turandot” at Covent Garden, when it was first staged in London. | This season he has been singing the same role at La Scala, and his fine interpretation of the role places him amongst the most artistic tenors of the present day. Signor Merli is a family man, and he will not go abroad without his wife and two boys, and he is bringing them to Australia and New Zealand with him. Marvellous Boy Pianist.

Five years ago the amazing artistry of an 11-year-old boy pianist caused a stir in musical circles of Baltimore (U.S.A.). He had but lately arrived from war-ridden Russia, where his parents, after years of privation and suffering, finally won permission of the Soviet Government to leave for America.

Mme. Cherkassky, the lad’s mother, was herself a concert pianist and teacher at the Odessa Conservatoire. She had entirely supervised his musical training, which was firmly and sanely grounded. No attempt had been made to exploit his natural precocity. During two years spent in Baltimore, Shura Cherkassky appeared in a number of recitals.- Youthful prodigies are not rare in this day and time, and technical finesse does not provoke unusual comment. But Shura’s mastery of his instrument bore the unmistakable stamp of genius. Musicians and critics alike could but reverently acknowledges its obvious manifestation. He was widely acclaimed as the most precocious talent since the time when Josef Hofmann made his remarkable debut at the age of nine. Tins boy genius leaves America shortly for Australia, where he will make a concert tour, commencing in Sydney at the Town Hall on June 30. The principal towns of New Zealand will be visited after the Australian tour, under the direction of E. J. Gravestock, Ltd. .

RECORDED MUSIC

A Good Bass. Manuel Hemingway (bass), in “Friend o’ Mine” and "Shipmates o’ Mine” (Sanderson). Manuel Hemingway has a fine bass of outstanding quality. The two ballads which he has sung for this record are both famous and popular. He achieves just the right degree of bluff heartiness in “Shipmates o’ Mine.” H.M.V., 82573. - For Violin Enthusiasts. Alfredo Rode (violin), in “Zigeunerweisen” (Sarasate) and Variations on

“A Carnival of Venice” (arr. Rode). H.M.V., Cl3BO. Alfredo Rode is an extraordinary performer. He plays these very brilliant and effective pieces with an abandon and at a speed which makes you overlook the fact that they are first and foremost virtuoso pieces of ex- ( treme difficulty. The tone in the haunting “Gipsy Melodies” (Zlgeunerweisen) is very broad and full, whilst the various violinist-acrobatics which have to be performed for its proper performance are executed with such ease that (unless, of course, you are a violinist yourself) you would never know how difiicult they were. This brilliant artist, who has been revealed to the musical world by “His Master’s Voice,” is sure to go far.

A Marek Weber. “Wine, Women, and Song,” waltz (J. Strauss) and “Moonlight on the Alster,”’ waltz (Fetras). H.M.V., C 1407. How haunting the Strauss waltzes are 1 They are gay and have a swinging lilt, but, nevertheless, they have just a shade of wistfulness about them. Marek Weber and his orchestra play these two delightful waltzes with an obvious love for their beauty. Weber seems to caress every phrase of “Wine, Women, and Song,” and to send it on its way laughing and sparkling. The New Temple Choir Disc.

"I Waited for the Lord”—“O Come, Everyone that Thirsteth" (Elijah). This new Temple Church Choir record is likely to prove as popular as the first. Certainly for sweet tone it would be hard to beat. The quartet from “Elijah” is preceded by Elijah’s recitative, “I Go On My Way,” which actually, of course, comes a little earlier in the work. The alto part of "O Come” is apparently taken by a boy (not even that rarity, a natural boy alto), and is necessarily rather weak in the ensemble, where, in fact, the balance is altogether far from perfect. The many people who regard “I Waited for the Lord” as the ideal church music will be delighted with this record. H.M.V., C 1398. Oddments.

A long way ahead of all the other duets heard lately is by Aileen Stanley and Johnny Marvin in “Under the Moon” (H.M.V., 82565), which is as well sung as it could be. On the other side Vaughn de Leath sings “Sing Me a Baby Song.” Johnny Marvin (H.M.V. 82529), in "Here Comes Fat-

irna,” is Marvin heard at his best, and we have Gene Austin on the other side singing a belated “Muddy Water.”

Joseph Hislop. Joseph Hislop (tenor), “Saint, demeure chaste,” from “Faust” (Gounod) and “Pourquoi me reveiller,” from “Werther” (Massenet). In French, orcli. ace. H.M.V., D 8944. The opening of "Saint, denieure” (minus the recitative) is the loveliest example of mezza voce that has been heard from a British tenor since the palmy days of Edward Lloyd. The whole air is supremely well sung, and the high C at the end is magnificent. The selection, “Ossian’s Song,” from Massenet’s “Werther” (Act III) is one of the most touching pages i an opera that suffers more from its dull libretto than its music, a good deal of which can be thoroughly enjoyed. Jean de Reszke once sang this “Pourquoi me reveiller” divinely, and its melancholy charm is abundantly realised in the precent instance, thanks to Joseph Hislop’s reposeful method and fine tone, supported by the graceful arpeggiando accompaniment of an excellent harpist. The entire record is mechanically perfect. Grand Opera Stars. .

Two notable grand opera stars with the J. 0. Williamson Company now in Australia are Angelo Minghetti (tenor) and Apollo Granforte (baritone). Each has recorded for His Master’s Voice. The former is a comparative stranger to H.M.V. listeners, as he has but recently made his debut in the studios, but he is well worth hearing in the two “Rigoletto” numbers, “Questa o Quella” and “La Donna e Mobile” (Verdi), (D.A.SOO), the favourite “Boheme” number, “Che Gelida Manina” (Puccini), and. with Luella Parkin, the duet scena from “Rigoletto,” “El il Sol Dell’Anima (D. 8.952 Granforte has a large list of grand opera gems—- “ Largo al Factotum” (“Barber of Seville”) and “0 Lisbona” (Donizetti’s “Don Sebastiano” (D. 8.834 “O Monumento!” (Ponchielli’s “Gioconda,” and “Credo in tin Dio Crudel” (Verdi’s “Otello”), (D. 8.835 “Pari Siamo” and Cortigiani vi Razza” (Verdi’s “Rigoletto” (D. 8.836 ; Il Pagliacci “Prologue” (D. 8.1044 ; and two concert numbers, “La Paloma” and “Alma Llaneri” (D.A.699)'. Famous Variations.

H.M.V. D.B. 1069-70 (two 12in. records). Alfred Cortot and the London Symphony Orchestra, conducted by Sir Landon Ronald: “Variations Symphoniques” (Cesar Franck). The orchestral work and the balance are really first-rate, and apart from a place at the beginning of the third side, where the ’cellos are a little too heavy, their work deserves the highest praise. But the task of appreciating Cortot is one for enthusiasm. An impeccable technique we have learnt to expect from him, but high as opinion of his poetic instinct has hitherto been, he has amazed by the Insight he has brought to bear on these variations. His interpretation is indeed the most moving, most completely satisfying.

A Great Orchestral Record. Philadelphia Symphony Orchestra, in “Invitation to the Waltz” (Weber), D 1285.

The same truly marvellous qualities which made the Philadelphia Symphony Orchestra’s record of the “2nd Hungarian Rhapsody” of Liszt so sensational, render this new record especially worthy of your attention. It presents to you, with a realism that is really astonishing, the polished performance of a huge symphony orchestra of over 105 performers. The piece chosen for this record was Weber’s “Invitation to the Waltz,” a delightful little “tone-poem” with a naive but charming little story behind it. There is an old lavender background for the little story for the waltz was new in those days; a maiden is in the room next to the ballroom, and—as the music begins—a young gentleman of her acquaintance asks if he may “have the pleasure of this dance.” After a little shy dialogue between them, they move towards the ballroom. As they enter the strains of the waltz the band is playing becomes louder and sweep round the dancers. It is a very brilliant, energetic waltz. From this brief beginning you will probably prefer to make up the rest of the story to your own taste; it is very clearly told in the gay and brightly coloured music. (The number of the Philadelphia Symphony Orchestra’s record of the Hungarian Rhapsody is D. 1296.) Choral Records.

Royal Opera House Chorus and Orchestra, conducted by Signor V. Bellezza, in Bizet’s “Carmen,” Opening Chorus, Cigarette Chorus, Smugglers’ Chorus, March and Chorus (H.M.V. C 1422). At the termination of the Covent Garden season, His Master’s Voice determined to try a very interesting experiment, and on the Saturday afternoon following the final performance of “Carmen” Covent Garden was organised as a studio and engaged the chorus, orchestra, and conductor (M. Bellezza), who had performed in “Carmen” on the previous night in the Opera House, were engaged. The results are that we can now offer an interesting set of “Carmen” records that have the very atmosphere of the Opera House and a brilliant rendition that clearly shows the recent performances and rehearsals which had taken place. The opening chorus and the lovely “cig’arette” chorus sung by the girls coming out of the factory, are from the first act. The “Smuggler’s” Chorus is from the third act and the famous march from the last act of the opera.

A Good Zonoplione. A 326, National Symphony Orchestra: Overture, 1812 (Tchaikovsky).'

The playing is hearty; every instrument pulls its weight. There is plenty for the money, and it does at least give us the essential vulgarity of the music.

Britain's Greatest Basso. (1) “Edward”; (2) “Myself When Young” (From “In a Persian Garden). Sung by Norman All in, bass. Columbia L 1466. Norman Allin is in great voice for this recording, his “Edward” being the most dramatic that this basso has yet given us. The song is not so well-known as it deserves to be. The words hark back to the days of Border minstrelsy, and the setting is starkly tragic. Besides putting any amount of excitement into his singing, Allin takes the two parts—of Edward and his mother—with brilliant skill, and that final great stanza, where Edward calls down the curse of hell on his mother, is most moving, and grlppingly sung.

The “Persian Garden” extract is a typical bit of Woodforte-Finden tunefulness, and save for a single note where Allin is obviously out of tune, is finely rendered.

From the "Damnation of Faust.” (1) “Les Sylphs”; (2) “Hungarian March.” From "The Damnation of Faust” (Berlioz). William Mengelberg conducting the Concertgebouw Orchestra of Amsterdam. Columbia LISIO. This record will give great pleasure to lovers of orchestral music. Mengelberg’s reading of Berlioz is comfortable. The sylphs are a wee bit solid for the imaginative Berlioz, but very neat, and the texture of the music is well reproduced. The March is first-rate. The knife-edged keenness of the lash of it is the thing we want, and that is well conveyed here. Brightly coloured and attractively orchestrated, this music will be found acceptable to the great majority of my readers.

The Don Cossacks. (1) “The Twelve Robbers” (Serge Jaroff); (2) “On the Road to St. Petersburg” (Folk-song). Sung by the Don Cossack’s Choir. Columbia 9155.

All the Don Cossack records are so good that choice between them is purely a matter of taste,' but there has been such a demand for their “Volga Boatmen” that it is well to remind oneself that some less hackneyed are equally good, if not better. All the extraordinarily vivid effects that delighted us in their actual singing are on this record, for instance. The curious though slight vagueness of tonality may be due to a tendency to tremolo in individual singers, but the general effect is superb and the soloists worthy to “star” in any Celebrity Section.

Beethoven’s “Eighth Symphony.” “Symphony No. 8 in F” (Beethoven). Felix Weingartner conducting the Royal Philharmonic Orchestra. Columbia L 1903-5. Three records in album with descriptive notes. This is the Symphony that is so full of Beethoven’s liveliest humours. The tick-tick effect in the Allegretto is one of the composer’s little jokes prompted by the invention of the metronome by his friend Maelzel; the Minuet is an amusing contrast with earlier forms; and the last movement bubbles over with boisterous whimsicalities. Weingartner’s reading is clear and jovial, and on account of its simplicity as well as its cheapness, this would be the first of the Beethoven Symphonies that I would recommend to the ordinary purchaser. Great music, and finely recorded. For the Wagnerite. .

“Rienzi Overture” (Wagner). Bruno Walter conducting the Royal Philharmonic Orchestra. Columbia LlB2O-1. “Rienzi” is Wagner’s first opera, and in spite of certain weaknesses is still periodically revived. The weaknesses, it may be said,do not extend so much to the overture. A trumpet call opens, and is followed by the beautiful and impressive Rienzi’s prayer, played by the ’cellos. The vigorous second theme is based on the battle hymn of the first act. This recording easily supersedes the old Columbia one which in its time was the best obtainable. Bruno Walter gives a fine and energetic interpretation of the fine work and the recording is full, rich, clear, and realistic.

“The Messiah.” Following the magnificent set of Bayreuth Festival records, Columbia will be issuing in a week or two eighteen records which, issued in two albuines, constitute a complete recording of “The Messiah.” No one can deny the tremendous hold “The Messiah” has on the affections of the public, whatever the critics may say, and from all reports Sir Thomas Beecham’s interpretation should create a vast stir of interest. He has insisted upon giving us what he considers the composer’s true intentions with regard to the oratorio. When Sir Thomas conducted the great work in London last year, critics were unanimously agreed that he had succeeded in infusing new dramatic life into it. Columbia recording should guarantee that his records have recaptured this vitality, and therefore we look forward to the production with keenest interest.

An Old Paclimann Favourite. (1) “Rigioletto Paraphrase” (VerdiLizst); (2) “Waltz in G Flat” (Chopin) ; (3) “Ecossaise in D Flat” (Chopin). Pianoforte solos by Vladimir de Paclimann. Columbia LllO3. The beauty of new electric recording should not blind us to the fact that many rare treasures are left to us from pre-electric days. Paclimann, for example, has recorded some exquisite things for Columbia, and one of the best of them is the sparkling and melodious “Rigoletto Paraphrase.” His touch is something to gasp at, so perfect and so debonair. On the reverse are two lovely Chopin fragments, of which the waltz is an especial favourite. Other pianists have greater depth and understanding, but for brilliance of technique Pachmann is, and always will be, uncomparable. A Great Tenor.

(1) “Dai Campi dai prati”; (2) “Giuuto sul passo estremo.” From “Mefistofele” (Boito). Sung by Francesco Merli, tenor. Columbia DI 545. Merli is a robust tenor of undoubted merit; has a splendid voice, with only a slight occasional vibrate, and phrases with dignity as well as with dramatic sentiment. His scale mounts evenly and comfortably to the B flat which he requires. These two numbers from “Mefistofele” are highly commendable, though the “Dai Campi” is a bit too strong and forceful for a peaceful “Faust” at Eastertide. Recording is good.

Szigeti. (1) “Zephyr” (Hubay); (2) “Siciliano and Rigaudon” (Francouer). Violin solos by Joseph Szigeti. Columbia LI7SB. The naively coquettish little Francouer piece is altogether delightful, especially in the first part, and an excellent foil is provided in Hubay’s “Zephyr,” which may be humble enough musically, but is very interesting from a technical standpoint. The record shows palpably the vast improvement in violin-recording, for “Zephvr” is a severe test for any method. Very little of the usual “edge” is noticeable, however. Both renderings are discreet and intelligent, and make a very pleasant record.

Rossini. “Barber of Seville Overture” (Rossini). Percy Pitt conducting the 8.8. C. Wireless Orchestra,. Columbia 9106. The overture to the “Barber of Seville” is one of the best known operatic overtures in existence. It is very bright and graceful, and is admirably played by the now famous British Broadcasting Wireless Orchestra. Recording is remarkably good, and volume and richness of reproduc-

tion being more than satisfactory. Pitt gives us the music as it should be played—spontaneously and with a firm line of melody.

Harold Williams. (1) “When the Sergeant-major’s on Parade”; (2) “The Company Sergeantmajor.” Sung by Harold Williams, baritone. Columbia 4159.

Williams has excellent vocal qualifications for the offices of the sergeantmajor. His is a fine big voice, and he knows how to give these rousing ballads the infectious touch of joviality. Of course, the real "Sar-major” is a hard-bitten regular of the Home Army, but old “diggers” will remember the type, and others can easily picture him from hearing this disc. They say he won the war, and Harold Williams sings as though he thought so, too.

Tlie Famous Sheffield Choir. (1) “Strike the Lyre” (Cooke) ; (2) “The Sea Hath Its Pearls” (Pinsuti) ; (3) “A Secret” (Coward). The Sheffield Choir, conducted by Sir Henry Coward. Columbia 9159.

Those who, like myself, confess to a liking for nineteenth-century past songs will be delighted with the Sheffield Choir, and also with the pleasant tonal reproduction. , Pinsuti’s lovely piece is well-known to choral bodies, and “Strike the Lyre” shows us some remarkably clear ensemble singing. “A Secret” is a leg-pull whose humour is not top subtle or deep, and is provided with an excellent setting. Parlophone.

The best Scottish record issued by Parlophone is “A Nicht wi’ Burns,” No. 2280, a unique descriptive record by John Mackay and Company. Part 1: Opening speech; ‘“There was a Lad was Born in Kyle” (song) ; “My Love is Like a Red, Red Rose” (violin solo) ; “Green Grow the Rashes, 01” (song) : “A Man’s a Man for A’ That” (song and vocal chorus, with orchestra). Part 2: Quotations from Burns (recitation) ; “Duncan Gray” (song) ; “Corn Rigs” (violin solo) ; chairman’s closing remarks (speech); “Auld Lang Syne,” by the entire company (song). Tl.j first and only record of its kind. John W. McKenzie, baritone, sings “I Can’t Forget Auld Reekie” and “Bonnie Jeanie Deans,” No. 2281.

Duets by the Scottish artists Robert Watson and Anne Ballantine are: -—2282: “The Crookit Bawbee” and “Ye Banks' and Braes o’ Bonnie Doon.”

2253: “When Yc Gang Awa’, Jamie and “O Wert Thou in the Cauld Blast.” 2284 “Bonnie Banks o’ Loch Lomond” and “Braw, Brawf Lads.”

Duets by Robert Watson and Ella Gardner:—22Ss: “Bonnie Wee Thing” and “My Love is Like a Red, Red Rose.” 2286: “Afton Water” and “The Rowan Tree.’” Robert 'Watson, Scotland's favourite baritone, gives us :—2287 : “Scots, Wha Hae” and “My Nannie’s Awa’.” 2288: “The Standard of the Braes o’ Mar” and the “Border Ballad.” 2280: “Kirkconnel Lea”—"Green Grow’ the Rushes, O!” 2290: "Willie Brewed a Peck o' Maut”—"The Wee Toon Clerk.” 2291: “The Lass o’ Gowrie” —“Maiden of Morven.” 2292: "The Land o’ the Leal” —“Turn Ye to Me.” 2293: “The Wee Cooper o’ Fife” —“Sound the Pibroch”. 2294: “Maney’s Hair” —"My Love She’s but a Lassie Yet”—“The Lass o’ Patie’s Mill.” 2295: “A Mau’s a Man for A’ that”—“The Nameless Lassie.”

Of the Scottish baritone, Mr. lan McPherson, a Perth (Scotland) paper writes: “Completely captivated his audience. Few have listened to the songs of Robert Burns rendered so charmingly and with such perfect phrasing as Mr. McPherson endowed his interpretations.” His records are as under:—2296: “'When the Kye Comes Hame” —“Scotland Yet.” 2297: “Skye Boat Song”—“Macgregor’s Gathering.” 2295: “The Lea Rig”—“Lochnager.’l 2299: “Hurrah for the Highlands”—“Mary Morison.” 2300: “Jessie, the Flower o’ Dunblane”—“Gae Bring tae Me a Pint o’ Wine.” 2301: “Bonnj.e Gallowa”—“Mary” (“Kind and Gentle is She”). 2302: “Corn Rigs”—“The Hundred Pipers.” Reginald Talbot, another popular Scottish baritone, sings:—2303: “My Ain Folk” —‘‘The Dear Homeland.” 2304: “The March of the Cameron Men”—“The Piper o’ Dundee.” 2305: “Annie Laurie” —“Duncan Gray.” 2306: “The Road to Loch Lomond” — “Hail, Caledonia.” 2307: “Auld Jo Nicholson's Bonnie Nannie”—"Johnnie Cope.” 2308: "Bonnie Dundee” — "Willi’s Gane to Melville Castle.” 2309: “The Laird o’ Cockpen”—“O Gin I were a Baron’s Heir.” Brunswick.

State Opera Orchestra, Berlin, conducted by R. Strauss. Waltz from the opera “Intermezzo” (R. Strauss). 80027. A new R. Strauss waltz is always worth hearing. This is not so good as the “Rose Cavalier” waltz; but what could be? It has not the sure aim, it does not move with the spacious, easy swing of that incomparable waltz. The opera, produced in 1924, turns on a domestic incident of a farcical nature. Alfred Piccaver (tenor) —“Sicliana,” from “Cavalleria Rusticana” (Mascagni) and “Questa o Quella,”s from “Rigoletto” (Verdi). In Italian. Brunswick 15181. One admires as much as hitherto the warm, round, sympathetic quality of this Continental favourite of British origin, and that “gift of the gods” he will not lose in a hurry. The singer’s breath-control is certainly remarkable.

Sigrid Onegin (contralto). —“Sapphische Ode” and “Auf dem Kirelihofe” (Brahms). In German. Orchestral accompaniment. Brunswick 10255. Two of Brahms's most beautiful lieder, sung with rare poetry and charm of style in the most generous and opulent of mezzo-soprano voices.