MUSIC AND RECORDS

Dominion, Volume 21, Issue 291, 8 September 1928, Page 22

MUSIC AND RECORDS

(Bi,

C.J.M.)

Shura Cherkassky. So astounding are said to be the talents of the young Russian boy pianist, Shura Cherkassky, now in New Zealand, that many writers in America have expressed the opinion that he is a reincarnation of a former giant of the pihno. He could play the piano well at seven years of age, and was appearing in public when he was nine. At cloven he had a repertoire of two hundred works, comprising the great classics in pianoforte literature. Today it numbers nearly four hundred. Theodore Stearns, the well-known American critic wrote: “Theosophists might call this boy pianist the reincarnation of a Carl Tausig or a I'ranz Liszt, I call him the greatest child artist I ever met.” Another American critic, reviewing his performance of Chopin’s “Funeral March” Sonata (B flat minor), said: “As the sonata unfolded under Shura Cherkassky’s hands, there came a revelation —an inexplicable manifestation of musical feeling and understanding that proved sensational. Utterly unlooked-for was the breadth and grasp of spirit, the subtle contrasting, the melodic leading, equally unforeseen the superb conception of the Scherzo and the Marche Funebre, the refusal by the youngster to acknowledge applause between movements. Can this boy, then, be the ruling exception, really combining at his years intuitive musical ability, splendid training, and an unspoiled nature? A discovered paragon of prodigies, if this be true. For Cherkassky undoubtedly rings sincere in his work. He affects no mannerisms, no acrobatics. He enters the stage for music, and not for by-play.” “Father O’Flynn.”.

“Father O'Flynn,” the famous old Irish song, was composed during a walk in a London park, and written at the Home Office (says a London paper). These facts, and the identity of the original “Father O’Flynn,” have just been disclosed by Dr. A. I’. Graves, the author of the song. Dr. Graves, who is eighty-two years old, is the son of a former Bishop of Limerick, and is now living at Harlech. He has written many songs, and was until 1910 inspector of schools. “Father O’Flynn” was the Rev. Michael Walsh, parish priest of Kilorohane, County Kerry. Dr. Graves sold his rights in the song, along with forty-nine others, for £BO, so its popularity has not benefited him very much, but he is now getting small sums from it for gramophone and broadcasting rights.

RECORDED MUSIC

Brahms Delightful Quintet. “Piano Quintet in F Minor.” Played by the Lener String Quintet. Columbia 0416-04110.

This Quintet was lir>;t of all written for strings alone, but the composer on second thoughts chose the more effective combination of a string quartet and the piano. The most noticeable feature throughout, apart from the polished playing of the artists, is the beautiful tones of the strings which is very apparent in the opening unison passage. The interpretation of the vigorous martial Scherzo has many original points. The variations in time and accent make this an individualistic rendering. The entire work is one of a supreme joy in performance. Some of the most beautiful of Brahms music passes before the listener. The Quintet is not of the advanced type or beyond the lover of pure melody. The Younger Bach. “Sinfonia in D Major.” Played by William Mengelberg and his Concertgebouw Orchestra. Columbia 04111. Sinfonia was the eighteenth century introduction to an opera. This one was written for “Lucio Silla.” Usually effective in tone-colour, this Sinfonia will be a favourite with many. An Allegro, a slow Andante and a Presto form its composition. The string and woods alternating tu the Allegro are magnificent, and tlie oboe solo, a long one, in the Andante is a solo of dreamy loveliness. At one time the, younger Bach was referred to as “the great Bach,” and it was considered that he would take the .highest place in the/ musiacl world. After bis death, however, he was eclipsed by the great music of his fathrt’. The younger Bach composed some twenty operas, most of which are worthy of the highest admiration. The fine technique of the orchestra and the understanding they exhibit in this interpretation contribute much to a great record. Peer Gynt Suite. “Peer Gynt Suite No. 2.” .New Queen’s Hall Light Orchestra, conducted by. Georg Schneevoight. Columbia 02632-3.

This No. 2 Suite is composed of “Ingrids Lament,” “Arabian Dance” (Columbia 02632), “Solveig’s Song” and the return of “Peer Gynt” (Columbia 02633' It contains the most appealing music of “Peer Gynt.” Truly delightful are these records of Greig’s work, and, conducted with the finesse that a good o.'chestra and well-known conductor are capable of. This Suite No. 2 is the most important rendering of “Peer Gynt.”

The Schubert Centenary. Symphony in C Major” (Schubert). The Halle Orchestra conducted by Sir Hamilton Harty. Columbia 94099-04106.

Interest in the music of Schubert is of the keenest, for it i. his centenary this year. Symphony in C Major was writt n in 1828, the year of the death of the composer. This composition is remarkable for ■ three things, its unusual length (Schumann referred ot its “heavenly ..gth”), its wonderful flow of melody, and its orchestration which was in advance of the times in which it was composed. The C Major is full of joy and high spirits, the first movement with its jolly galloping rhythm, the andante with its dainty march-like accents, the joy in the scherzo and the rushing conclusion in the grand finale, suggest that the music came red hot from the imagination of Schubert. O Major offers a wonderful opportunity for the wind instruments and the Halle Orchestra make the most of it. The lovely tone and phrasing of the oboe in the second movement stands out very boldly. The whole is beautifully rendered. As Schumann, observed of this Schubert Symphony, “(he instruments talk and intertalk like human beings.” A Happy Sonatina. “Sonatina in D Major.” Albert Sammons (violin), William Murdoch (pianoforte). Columbia 0109901100. Another Schubert composition. Bright and happy work. The opening movement has a striking unison phrase as ils chief subject. The andante, in parts three and four, is <iuite a contrast in its deliacy and beauty. The lust movement is full of tripping themes frequently interchanged between the two instruments like a con-

versation of two kindred spirits. Both instrumentalists are famed artists that have their own Interpretation, which is well managed and has a nice individuality about it. Both instruments say the same thing, but they say it in their own way.

A Distinguished Contralio. (1) “Romance” (La Nuit) —Rubinstein) ; (2) “Hili, Dili” (Traditional). Sung by Sophie Braslan, contralto. Columbia 04098. Though born in Russia. Sophie Braslan has enjoyed most of her successes in the United States, where her art is greatly appreciated. In the production of her chest notes she much resembles the more famous Clara Butt, but her style is till her own. Her delicate and sorrowful treatment of the traditional Hebrew melody: “Dili, Eili,” -satinps her at once as a great artist. Fraser Gange.

(1) “O Star of Eve” (Wagner) ; (2) “Slumber On, My Little Gipsy Sweetheart” (Herbert). Sung by Fraser Gange, baritone. Columbia 02574. , , All Fraser Gauge’s work somehow smacks of the entertainer—and this is meant in no uncomplimentary spirit. He seems to make a personal intimate contact with his listeners. His voice is warm, rich; fr’endly, and he is always obviously enjoying himself. particularly noticeable in the Gipsy Song,” but he also proves in the Wagner that the realness of fine art are not too high a flight. A capital recording. A Great Violinist.

(1) “Slavonic Dance No. 2” (Dvorak-Kreisler) : (2) “Hungarian Dance- No. 1” (Brahms-Joachim). Violin solos by Toscha Seidel. Columbia 09504. N To be acclaimed as the most gifted pupil of Leopold Aner, most distinguished of all violin teachers, is evidence of something more than passing greatness. Toscha Seidel is certainly the most brilliant of the younger violinists. Intensely emotional, his interpretations are pervaded by sincerity and boundless feeling. His treatment of both these dances is most artistic, in the Dvorak he produces some extremely rich and beautiful tone. The Kedroff Male Quartet.

(1) “Circassian Song”; (2) “Two Russian Folk Songs.” Sung by the Kedroff Male Quartet. Columbia 01033. . Gramophone enthusiasts will be pleased to hear that the Kedroff Quartet can’ now be obtained in the Columbia "Standard” section. This 10-inch of theirs—an electric recording of an old favourite—is a really beautiful record. The second of the two Russian songs must stand as one of the most perfect examples of part singing yet recorded.

A Symphony of “Heavenly Length.” “Symphony No 7 in C Major” (Schuberth by -the London Symphony Orchestra, conducted by D. Leo Blech. H.M.V. D 1390—1395. Schubert’s great “C Major Symphony” is a monumental work. It was written in 1828 during the last few months of Schubert's life. After Schubert had completed the “Symphony” he submitted it to the Vienna Music Society (Musik-Verein), but when it came to be rehearsed it was found to be “too long and difficult.” Ten years after Schubert died the manuscript of the symphony was discovered by Robert Schumann (the composer). He immediately had it copied out and sent the copy to Mendelssohn, who was at that time conducting the Gewandhaus Concerts. Mendelssohn introduced it at one of the last concerts of the season, with great success. In the next, season (1839-40) he had it performed with great success no less than three times. The symphony is admittedly a long one, but as Schumann said it is of “Heavenly length”'jjnd it would be a strange listener indeed who found it hang heavily on him. Its length is entirely discounted by the intense feeling of spontaneity, and. the never-failing beautly and novelty. Schubert’s melodies are strewn through the work ' as lavishly as they are in any of his works.

The Schumann Concerto. Alfred Cortot (pianoforte) and the London Symphony Orchestra, (conducted by Sir Landon Ronald), Concerto in A Minor, Op. 54 (Schumann). The work here, re-recorded is the only complete piano concerto that Shumann wrote. Dr. Spitta writes of it (in Grove’s “Dictionary of Music and Musicians”) as follows:—“It is one of his most beautiful and mature works. In addition to all his peculiar originality it has also the qualities, which no concerto should lack of external brilliancy and striking, powerful, wellrounded subjects.” The concerto is too well established a favourite in the concert Hall to need further introduction, s, we proceed at once to a brief consideration of the music itself.” (H.M.V. D 81062.)

Favourite Piano Pieces. Mark Ilambourg (pianoforte), in “Tra merci” (Schumann), and “Humoreske” (Dvoratk).

The two pieces which Mark Hainbourg has played for this record are both so well known that they need no description; they have the sort of melodies which you cannot always pin down with a name. H.M.V. 8.2685.)

On tlie Wurlitzer Organ. Wurlitzer organ music is represented on the H.M.V list this month by Reginald Foort in “A Brown Bird Singing” (Haydn Wood) and “Schon Rosemarin” (Kreisler). Reginald Foort appears to be as nearly infallible as is humanly possible. His records seem always to be the most pleasing, novel, and charming imaginable. His new record is an example of this. He has given an exceptionally piquant performance of Kreisler’s famous waltz tune, "Schon Rosmarin” (82664). Then we have Jesse Crawford, with Schubert’s “Serenade” and Tosti’s “Somewhere a Voice is Calling” (E.A.325). two favourite melodies capably played.

Latest Musical Comedy Selections. Amongst the latest musical comedy successes and the operetta, “The Gypsy Baron” (M. J. Strauss), and “Hit the Dock” (Youmans). The H.M.V. September list lias an excellent selection of the high lights of the former by Kaufman’s Orchestra (C 1393 while the Savoy Orpheans are in excellent form with lively selections from the latter, introducing “Join the Navy,’’ “The Harbour of My Heart,” “Nothing Could Be Sweeter,” “Shore Leave,” “Lucky Bird,” “Hallelujah” (CI4OS).

Four Fine Concert Waltzes. International Concert Orchestra, in Zonophone E.F. 15, “My Treasure” (Beeucel), and “La Spagnola” (DI Chiara ).

B.l’’. 18, “Sari” (Kalaman); “Waltz Dream” (Strauss). “My Treasure” or "Tcsorio Mio” is one of tlie old familiar waltz favourites

plavcd with vivacious style, whilst m “La Spagnola” Hawaiian guitar and jazz effects are introduced. The other two are equally attractive waltzes, and which will prove quite delightful.

New Zonoplione Dance Numbers. The following new Zouoplioue dance numbers will be found very acceptable: Ber t Firman’s Dance Orchestra (EE 103), in'“Janette,” waltz, and ••The Trail of the Tamarind Tree.” The Rhythmic Eight E.E.104), in “Momsy” (waltz), and “So Tired (foxtrot).

Harry Lauder’s Laugh. Zonoplione Ims issued a good disc by Sir Harry Ladder, with orchestra (G O. 78), in “The Waggle o’ the Kilt” and "Nanny (I Never Loved Another Lass But You”). Interest never wanes in the records of this great Scotch comedian. The following is a sample full of the broad humour, broad aceent and infectious laughter we all associate with the great Sir Harry. You should never be without a few Lauder records. They are a tonic at all times and are appreciated by every class of audience.

Popular Waltz-time Songs. Franklyn Baur (baritone), in “Four Walls” and “Together.” This is a line record, having two titles in the waltz manner of the moment, with conventional lyrics. The accompaniments are conceived and played in a . spirit of beauty. (Zonoplione E.E. 91.) “Patience” on Zonoplione.

The Zonophone Light Opera Company (A 336), in “Vocal Gems from ‘Patience.’ ” ' The Zonophone Vocal Gems from the Gilbert and Sullivan operas have proved very popular. They are indubitably excellent and remarkably cheap. This is the sixth issued ; do not fail to hear it and its live splendid predecessors.

A New Clarkson Rose. Clarkson Rose (comedian), in “C-O-N-S-T-A-N-T-l-N-O-P-L-E,” and “She’s Gone Crazy.” You may rely on getting a laugh out of a Clarkson Rose disc. This excellent comedian was recently selected for a Royal Command performance in London —a notable imprimatur of quality. (Zonoplione 5091.)

Chaliapin and the “Volga Boat Song.” Chaliapin’s re-recording of the "Volga Boat Song” is well worth while (H.M.V. D.B.1103). The song on this occasion carries a most interesting annotation : “You must picture to yourself a wide, dreary landscape, flat ami marshy. Through it a great river flows slowly yet with an irresistible sweep. Great reeds and rushes fringe the river, amt a silence that is as vast as tlie spectacle itself is broken only by the harsh cry of an occasional waterfowl flying overhead. But now another sound is beard, faintly at first, but growing louder. A barge is be-, ing brought up the river, and the little group of haulers are singing their age-old song. It appears presently round a distant bend, heralded by blocks of startled wildfowl. It is still far off, but sound travels far in such stillness. The haulers’ chant growls louder as they come nearer, it comes slowly, but its plodding, pel - sistent rhythm (like an echo of the steady pulse of time) beaten out by their feet makes time as of little value. They are close now and the words of their song echo across the marshes. The haulers are strange men, their faces wrinkled into a million fine creases by the wind, the rain and the extremes of heat and cold they endure; some show their Mongol blood more distinctly than others, some are Nordics with hair that might have been flaxen, and with rheumed blue eves that have long since lost all but the dregs of their colour. . . They pass slowly to the tune of their chant and the creaking of the hauling rope, and they are presently far off, mere specks on the great rim of the river bend. A light breeze springs up, and the faint echo of their song is puffed out.” Here, then you have the background for Chaliapin’s superb performance of the "Song of the Volga Boatmen.” “The Prophet,” on the reverse side of the disc, is an inspiring song by Rimsky-Korsakoff, and is superbly sung. Famous Operatic Love Duet. Margaret Sheridan, Aureliano Fertile, and La Scala Orchestra, in "Mme. Butterfly,” love duet, Act I (Puccini) (D.B.1119). This record marks the debut of a tenor voice that is in every way exceptional, and during the last Covent Garden season lie was mentioned by several of the leading critics as one of the finest Italian tenors they had heard since the days of Caruso. Margaret

Sheridan needs no further introduction. She, like several other British artists is one of the most popular opera singers in Italy to-day. Both Miss Sheridan and Signor Pertile were announced to appear at Covent Garden this year. The famous “Love Duet” is sung magnificently. The record gives, a surprisingly vigorous reproduction and an important feature is the wonderful atmosphere and tone of the famous La Scala Orchestra.

Electrical Ke-recordings. The following list of H.M.V. electrical process of re-recordings of favourite numbers of popular artists is of interest :—

Beniamino Gigli (tenor)—Mefistofele, “Dai campi, dai prati,” and “Giunto sul passo estremo” (Boito), D.A. SB3.

Peter Dawson (baritone) —“Follow Me ’Ome” (Ward Higgs), and “Thou’rt Passing Hence” (Sullivan), C 142:. Cedric Sharpe (’cellist) —“Melody in F” (Rubinstein), and “Simple Aveu” (Thome-Popper), 82614. Royal Opera Orchestra, Covent Gardent—“Berceuse” and “Praeludiuin” (Jarnefeldt), B2GIB. Bass Gems from Opera.

Marcel Journet (bass), in “La Boheme”—“Vecehia zimarra” (Puccini), and “Marta”—“Chi mi dira” (Flotow). The famous French basso's fine voice is heard to admirable advantage in Colline’s song to the old coat, from the last act of “Boheme,” and in the “Drinking Song” from “Martha.” (H.M.V., D.A.771).

Latest Popular Song Hits. Amongst the popular song hits in the H.M.V. September list, we have Johnny Marvin and Ed. Smalle in “Rain,” and “After My Laughter Car • Tears” (E.A.307) ; Dolhout, Rolnson, and Hood in “Oh! Susanna,” and “When the Sun Goes Down Again” (E.A.309) ; Johnny Marvin, by hiinself, gives us “Keep Sweeping the Cobwebs off the Moon,” t‘ls She My Girl Friend?” (E.A.324). On another disc (E.A.324), he sings “From Midnight Until Dawn,” on the reverse side of which the Crescent Trio sings “Bungalow of Dreams.” The irresistible Frank Crummit (E.A.323), sings “Kingdoih Coming,” and “Bohunkus,” two remarkable old time numbers. There are two good things from the musical comedy hit “Good News,” on E.A.325 —“The ’Varsity Drag,” sung by the Nevilles, and “The Best Things in Life are Free,” by Jack Smith, the “whispering baritone.” Gene Austin has a good disc with “Girl of My Dreams,” and “Ramona,” in this singer’s best style (E.A.341).

Military Band Selections from Opera.

U.M. Coldstream Guards Band, in selections from “lolanthe” and "Pirates of Penzance” (Gilbert and Sullivan) are in excellent form, and give a brilliant performance of gems from these two popular operas (01368). Popular Song Numbers.

Maurice Elwin (baritone) with harmonised chorus and piano, in “Janette,” and “Can’t You Hear Me Say I Love You?” (Zonophone 5074).

The demand for Maurice Elwin’s records is increasing. His fine, deep voice with its expressive power, already has many admirers. These are two delightful numbers.

Parloplione. The vogue of the Yale Blues in the dance halls should create some demand for the Parlophone disc “The Yale Blues” (2475), on the reverse side of which is “Coquette,” a pleasing foxtrot.

The “Rio Rita” hits. “Rio Rita” and “Following the Sun Around,” have been recorded as baritone solos for Parlophone, by Leslie Pearce, with piano, violin, ’cello and bells accompaniment. Quite a good disc. (2455.) Four hits from “Princess Charming” —“Every Little Maid,” “Babying You,” “Palace of Dreams,” and “Swords lind Sabres” —have been excellently recorded for Parlophone by Ronnie Munro’s Orchestra. (24G7-2465.)

The Parlopbone “Radio Favourites.” Clapham and Dwyer, present an entertaining and amusing disc in “Arguments” (A 2435 Another good comedy disc comes from Syd. Beck, in “You Can’t Walk Back From an Aeroplane ” and “My Egyptian Mummy” (A 2440). Bnniswick.

“Together We Two,” and “What’ll You Do?” are two sprightly dance numbers recorded for Brunswick by the Isham .Tones Orchestra. (3685.) Two rather unique piano solos recorded for Brunswick by Lee Sims — "Some of These Days” and “Meditatibn” (3764)—have respectively incidental trumpet and violin effects. Two good dance waltzes by Carter’s Orchestra are “Till We Meet Again” and “Beautiful Ohio” (Brunswick 3542). The latter has an effective whistling chorus.