MUSIC and RECORDS

Dominion, Volume 22, Issue 34, 3 November 1928, Page 20

MUSIC and RECORDS

= By

C.J.M.

Grand Opera in English. In a letter in the London “Daily Telegraph” Mr. George Baker, wellknown in the London musical comedy stage, replies to an article entitled “Opera in English and English Opera,” written in a vein of authority by Mr. Enroll Sherson. The confident manner in which Mr. Sherson gives off bis opinions suggests, says Mr. Baker, that he is one of the large army of musical amateurs who have at all times been enemies of English music and English performers. As long as the Mr. Shersons of the world are listened to there will never be any hope of getting a permanent National Opera Company in Britain. Of course, Mr. Sherson doesn’t want a National English Opera Compauy in this country, although he apparently does not see anything amiss with the existence of similar institutions abroad. In every European country opera is sung in the language of the country, why, then, should English singers be the only singers compelled to sing in several alien tongues? _ I agree that our opera singers lack the tradition and style that the imported foreign artists have accustomed us to, but how in the name of common sense can we ever get an operatic tradition if we never have a permanent opera? The trouble is that singers with sufficiently good voices for opera are not welcomed by the leaders of musical opinion in England. Our critics favour a type of singer that is not to be found in the musical arena of any other country. ’ The type I refer to is the singer who possesses a voice of so poor a quality that he cannot compete in the open market, and is, therefore, compelled to rely pP° n “stunts.” He has no vocal technique, and almost invariably sings out of tune. When our real singers appear they are either damned with fa’int praise or compared unfavourably to foreign artists, however bad. , . I maintain that the general level oi singing in the British National Opeia Company (a touring company) is much higher that that prevailing, folexample, at the Opera Connque, in Bails (a national institution). The singin B in German and Italian opera bousesin all except a few famous ones—is bad beyond description. Music and Manners.

As an aftermath of the opera season the Nfew York “Evening Bost” takes up the question of manners exhibited by opera porous. The chief complaint is against late-comers, but dropping in after the curtain rises so thoroughly permeates theatre life that we take it now as part of the evening ritual. Mr. Ernest Newman, when acting as guest critic in New York two years ago, singled the late-coming and early-going habit of opera-goers, particularly boxholders, as a conclusive sign that pretensions to musical culture were entirely spurious. Mr. Gatti-Casazza shut the doors of the auditorium this year during the prelude to “Parsifal” and kept standing outside quite a crowd of late-comers, to their subsequently expressed indignation. The matter is ventilated in the “Music Forum” of the “Evening Post,” conducted by Olga Samaroff. Nothing could have been better for her purpose than the letter of an indignant “American” who commits himself to cold print in this guise:

“Mv Dear Mme. Samaroff, — “Your Music Forum in the ‘Evening Post’ seems the logical place for the discussion of such happenings as the outrageous action of Mr. Gatti-Casazza in keeping opera patrons who had paid high prices for tickets huddled together before closed doors, missing the mostbeautiful moment of ‘Parsifal.’ “If Mr. Casazza were a German one might excuse him as having been brought up on ‘verboteu,’ but, whatever he was brought up on, he need not think Americans will stand for being treated like a pack of children. “When I buy a ticket for the opera I.expect to be admitted to the opera when I choose. I know it is useless to address a protest to Mr. Casazza’s waste-paper basket, but I hope you will print this expression of the well--founded indignation of a subscriber to your paper as well as a patron of music.—Thomas Benton.”

An offset to this was to be found in another letter whereiil the writer commended the act of Mr. Gatti-Casazza and only wished “the doors had been kept shut until the end of. the first act, because while able to enjoy the prelude I lost much of the succeeding music through surrounding noises.” Germany has successfully solved this problem, because besides being a music-loving people they are tractable to discipline. Toscanini is said to have introduced the reform at La Scala. But of us Miss Samaroff writes:

“The American is theoretically opposed to being ‘educated’ or ‘disciplined.’ He loves to rejoice in fancied freedom, and it is the irony of fate that he, of all living men, should have prohibition thrust upon him., But perhaps we are intelligent enough as a race to realise that complete freedom ceases to exist when the human being comes into association with other human beings. The best form of freedom —or, ' rather, that which leads to the best results —is the voluntary assumption of the inevitable compromise necessitated by the common good. “Let the American who wishes to wander in and out of the Metropolitan Opera House at will buy out the house for a w-hole performance and enjoy his freedom to bis heart’s content.

“But if he has bought only one ticket and there are several thousand other Americans in the auditorium who have taken the trouble to arrive punctually in order to see and hear a whole opera, it seems to me fair and reasonable that the management should protept the punctual majority against the unhappy disturbance created by an inconsiderate and unpunctual minority. “As for the conductor, musicians of the orchestra, and singers, there would undoubtedly be a great gain in artistic quality of performance if this element of disturbance were eliminated.”

Stray Notes. The following will appear as principals in the performance by the Royal Wellington Choral Union of “The Messiah,” on December 15: Soprano, Miss Christina Ormiston, of Auckland; contralto, Miss Mina Calder, of Auckland; tenor, Mr. Herbert Carter, of Wanganui; baritone, Mr. William Watters, of Palmerston North. Mr. John Prouse will sing the baritone solos in “Elijah” at Palmerston North early in December.

Miss Naomi Whalley will be the soprano soloist in the “Rebel Maid,” to be performed by the New Plymouth Choral Society this month. The Dunedin Choral Society will present Bizet’s “Carmen” next month, with Miss Mina Caldow (contralto), in the name part. ~

Mr. Harison Cook, who has returned from Blenheim, where he superintended the production of the local amateur

opera society, says that the performance was highly successful. Mr. Claude Tanner, the Wellington ’celloist, who has been in England for the last four years, will arrive in Wellington on November 20.

It is understood that Mr. Arthur Jordan, the well-known English tenor, will visit New Zealand next year. At present he is touring South Africa.

The Auckland Choral Society’s third concert on Thursday, November 1, is of somewhat an original character, as every item given will be a maori composition. The society will be assisted by a large chorus of Maori boys and girls from the Oueen Victoria and St. Stephen’s Colleges. Alfred Hill’s “Hinemoa” will occupy the first portion of the programme. The second half will be taken up with songs and choruses sung by the Maori boys and girls with orchestral accompaniment, including “Titi-Torea” and “Huri-Huri” (stick-throwing game), “Song of the Locust” (a very old rhythmic shoutingsong), “Pokare Kare,” “Waiata Maori, ’ “Hine E Hine,” “Moe Mai E Hine.” The concert will conclude with the National Anthem sung in Maori.

/ RECORDED MUSIC

Additions to the Schubert “Masterworks”

Trio No. 1 in B flat (Schubert Op. 99). Played by Yelly d’Aranyi (violin) ; Felix Salmond (’cello) ; Myra Hess (piano) ; parts 1-8. Columbia 04138-41. In this new rendering of Schubert’s lovely trio, Columbia have secured two new artists —Yelly d’Aranyi and Myra Hess. Both combine with that master of the ’cello, Felix Salmond, in producing possibly the most notable recording of this melodious work to date. From the opening allegro moderate to the final allegro vivace, the work is handled in true keeping- with the spirit of Schubert’s writing. It is to be hoped that these three brilliant players will be heard again together.

Viola as Solo Instrument. Sonata in A Major (Mozart, an. Tertis)., Played by Lionel Tertis, viola, with piano. Columbia 04156.

Comparatively few people are aware of the beauty of the viola aS a solo instrument; and indeed it is seldom heard now outside its limited score in orchestral and chamber music. Lionel Tertis is of course a splendid artist, but he will surprise many people with the exquisitely vibrant timbre of his instrument. Lovely in the extreme is this arrangement of Mozart's little sonata, aiid the original score loses nothing in Tertis’s transcription for viola and piano.

Sir Henry Coward and Sheffield Choir. (1) “As Pants the Hart’ (Spohr) ; (2) “Break Forth Into Joy” (Barnby). Sir Henry Coward conducting the Sheffield Choir. Columbia 02664. The solo in the first number is taken by Miss Helen Talbot, who possesses an excellent voice. The part singing is splendidly balanced, and is a delightful example of crisp attack, clear concerted articulation and musicianally phrasing. Nothing quite so good as this choral recording has been heard since “I.'Am Alpha and Omega” was sung by the same choir. We hope some day to hear this body do Bach’s eightpart motet. “Sing ye to the Lord.” If they ever do it, judging by the disc under review, it will be worth going far to hear. . ’’ Lina ScavizzL

(1) Cavalleria Rusticana—“Vol Io sapete o mamma” (Mascagni) ; (2) La Tosca —“Vissi d’arte” (Puccini). Sung by Lina Scavizzi, soprano. Columbia 03540. Lina Scavizzi is without doubt the finest interpreter of the title roles in “Tosca” and “Manon Lescaut” that the world has yet seen. In these two arias above, her glorious voice may be heard at its richest. The Mascagni air is excellently sung, and in Tosca’s “prayer” the rich beauties of her voice are fairly to be revelled in. Scavizzi has not only unusual natural ability but also a culture that is complete in knowledge and application. Felix Salmond.

(1) “To a Wild Rose” (McDowell); (2) “Berceuse de Jocelyn” (Godard). Played by Felix Salmond (vialin’cello). Columbia 03591. Here are another two items this week from the bow of Felix Salmond. These solo pieces, comparatively simple as they are, demonstrate that he is a virtuoso whether he plays in solo or trio. He is, in fact, the leading as well a£ the most popular ’cellist in America to-day. Whether he will continue in the United States is a moot point, for he has been invited to head the ’cello department of the Berlin “Hochschule,” a Conservatory of Music second to none in Europe.

Two New Ketelbey Pieces. (1) “By the Blue Hawaiian Waters”; (2) “Jungle Drums”— Patrol. Tlayed by the band of H.M. Grenadier Guards. Columbia 02671. Columbia are first again with the first two fully scored renderings of Albert W. Ketelbey’s two new works. The Hawaiian tone picture is of course founded on the native musical idiom and introduces the spirit of the Hulu and Karaka dances, and also the dance of the Bethrothal Ceremony. . The “Jungle Drums” is sufficiently barbaric to appeal to the senses of everyone. With admirable restraint Ketelbey manages to keep actual drum music out of the score. The awesome rhythm of the march is obtained through clever, phrasing in the heavy reeds and brass basses.

Sheffield Male Voice Choir. (1) “There is a Tavern in the Town”; (2) “The , Lincolnshire Poacher.” Sung by the Sheffield Orpheus Male Voice Choir, with piano. Columbia 01175.

These two traditional airs are so well-known as to require no introductory praise. Not so the singing of them, however. Both of these old songs are sung with a stirring sincerity that is delightful to hear, and the exaggerated pathos in “For Remember that the Best of Friends Must Part is quaint to the point of laughter. As usual, diction is faultless and the balance. of parts perfection—thanks again to Columbia'electrical recording.

Massenet’s “The Dream.” (1) Manon —“H Sogno” (Massenet). Sung by Enzo de Muro Lomanto (tenor). (2) “Il Trovatore —“Tacea le notte plaeida (Verdi). By Lina Seavizzi' (soprano). Columbia 03552. The beautiful tenor arm. Hie “Dream,” is wonderfully beautiful as sung by Signor Lomanto. This brilliant tenor, It will be remembered, is at present in Sydney, and his artistic.

singing of opera there is causing a furore. The reverse side gives us another song by Lina Scavizzi, also at the moment in Australia, and her interpretation of, “How Peaceful is the Night” is a sublime piece of art. The accompanying orchestra in both pieces also deserves credit for the richness and crispness of its playing.

Signorina Arangi-Lombardi. (1) “Cavalleria Rusticana”—“Voi lo Sapete” (Mascagni) ; (2) “Aida”— “O cieli azzurri” (Verdi). Sung by G. Arangi-Lombardi (soprano). Columbia 03518. Here is a further recording this week of Pietro Mascagni’s “Voi lo Sapete,” and it is interesting to contrast this rendering with that of Lina Scavizzi reviewed above. Signorina Lombardi is the dramatic soprano of the opera qompany now in New South Wales, and undoubtedly possesses a superb operatic voice. The “Aida” aria is artistically sung and provides easily the best recording of this solo heard for a very long time.

Verdi’s “Othello.” (1) “Otello”—“Ora e-per sempre addio” (Verdi). By Francesco Merli, tenor. (2) “La Boheme”—“Doude lieta usic” (Puccini). By Bianca Scacciati, soprano. Columbia 03520. Francesco Merli is another tenor at present in Australia, and his Sydney debut was made as Rhadames, in “Aida.” His singing of the scene from “Otello” on this disc will explain his instant success with the Australian public. He is a tenor who delights in robust arias, and he carries them through with a gusto that is most captivating. The “Otello” air proves that in really dramatic vein he is at his best. W. H. Squire.

(1) “Andante Religiose” (Thome): (2) “Melodie” (Gluck-Squiree). Played by W. H. Squire, ’cellist. Columbia 04159.

This is a re-recording of Columbia’s old disc, L 1477. His re-playlng of these

old favourites is as flawless as ever, and the electrical process now gives it added enchantment. Thome’s “Andante” i.. a masterly piece of work, and a double accompaniment is played on piano and organ. The Gluck “Melodic” is, of course, Squire’s happy transcrip tion of the air for violincello playing. Another disc that remaking has vastly improved.

Scenes from “Lohengrin.” (1) “Lohengrin”—Finale, Act 1; (2) “King’s Prayer,” in English (Wagner). Sung by Miriam Licette, Muriel Brunskill, Frank Mullins, Kingsley Lark, Thorpe Bates and Grand Opera Chorus, with orchestra conducted by Sir Hamil ton Harty. Columbia 02592. Here is. indeed, an English ensemble that has really entered into the spirit of Wagner. Both scenes are'brilliantly sung and played, and come as a most interesting contrast to the Bayreuth Wagner Festival music recorded almost a year ago. This disc again makes us realise the tremendous ad vance in -choral, reproduction that Columbia's microphone process has achieved.

A “Thais” Opera Set Worth While. Massenet’s fine opera “Thais,” based on Anatole France’s brilliant romance of the monk and the courtesan, has some very fine musical numbers, many of which have a classic vogue on the concert platform. It is possible to obtain from the H.M.V. recordings a sound and representative glimpse of the opera, in the following titles: —

“Aliime! fanciullo ancora” (Act I), Buffo, D.A.354;» “Voila done” (“Ecco dunque), Ruffo. D.A.354; Whitehill, D.A.437; “Quite fait si severe?” Edvina, D.A.447; “Meditation” (Violin), Chemet, D. 8.472; Elman, D. 8.235; Kreisler, D. 8.319; “Ah! je suis seule” (Act II), Lewis, D.B.810; “L’amour est une vertu,” Edvina, D.A.447: “D’acqua aspergimi” (Act III), Battistini-Janui, D. 8.215; “Baignes d’eau,” Heldy-Ans-seau, D.A.94,0: “Te souvient-il (Finale),” Farrar, D. 8.247; Lewis, D.B. 810; “O Messager de Dieu,” Fanny Hel-

“Blue Danube” on the Organ. Arthur Meale (Organ), in "Cavatina” (Raff), and “Blue Danube Waltz” (Strauss), has an extraordinary gift for finding melodious pieces for his wonderful organ. The two he has played for this record are likely to prove the record to be the most popular he has yet made. The performance of the immortal “Blue Danube Waltz” is noteworthy, for the waltz melody is played with dignity and grace entirely anpropriate to the organ. (H.M.V., 8.2695.)

Two lovely Melodies. Isolde Menges (violin), in “Ave Maria” (Schubert, arr. Wilhelmj), “Salut d’Amour” (Elgar). Isolde Menges gives us two morceaux, which, if they are neither calculated to dazzle us with sheer technical acrobatics nevertheless will provide us with some good solid music. Schubert’s lovely “Ave Maria" becomes a very effective violin solo, and its long languishing phrases make an attractive contrast to the more vigorous “Salut D’Amour” of Elgar. (H.M.V., D. 1513.) A Unique Disc. tt

The Victor Olof Sextet (instrumental), in "Cherry Ripe” and “Minuet.” Here, in this record, is to be found a truly delightful contrast between the old and new—Cyril Scott’s delightfully piquant arrangement of "Cherry Ripe” and the famous/Boccherini “Minuet.” The Olof Sextet plays both pieces with considerable polish and suavity. (H.M.V., 8.2G97.) y Two Discs With Four Laughs.

Two discs that will provoke smiles come from the Happiness Boys, dependable fun-makers, and Leslie Sarony, a comedian of the irresistible quality. The former present “He Ain’t Never Been to College,” and “She’s the Sweetheart of Six Other Guys” (H.M.V., E.A.351). Needless to say, these two items have a strong American flavour. Leslie Sarony, on his disc, gives us two “don’ts”— “Don’t Be Cruel to a Vegetabuel,” and “Don’t Do That to the Poor Puss Cat.”

Salon Orchestra Items. The Salon Orchestra’s contributions to the H.M.V. list are always welcome. Nothing intricate, or even “classy,” but charming and frequently haunting morceaux of the popular variety come smoothly . and artistically from their perfect ensemble performances. This month they gave us Kawelo’s “Aloha Sunset Land,” and “Chanson Bohcmienne,” two delightful numbers. A Splendid Martinelli Disc.

There are many who prefer Martinelli to Caruso. Certain it is that this superb tenor has a delectably mellifluous quality of tone and ease of production not surpassed by Caruso. In the ever-popular Verdi air, “La Donna e Mobile,” from “Bigqjetto,” and Puccini’s favourite “E Lucevan le Stelle,” from “Tosca,” he gives us a most acceptable disc (H.M.V., D.A.842).

Favourite Overture Re-recorded. Lovers of orchestral music have been looking forward to a re-recording by the H.M.V. electrical process of Weber’s brilliant overture to “Oberon.” This has now arrived. It has been recorded this time by the Symphony Orchestra, under Albert Coates (D 1311 and comes magnificently off the disc. “Oberon,” by the way, was first presented in London in 1825, under Weber’s personal direction, a few months before his death. It is very melodious, and richly orchestrated.

A Record Recording. Without a doubt, Tito Schipa’s recording for H.M.V. of the “Harlequin’s Serenade,” “O Colombina,” from >“I Pagllaccl,” is one of the finest things ever done in that opera. It is a gem. On the reverse side is the “Dream” from Massenet’s “Manon,” one of the Imperishable numbers in that opera. A disc well worthy of a place in the gramophile’s collection (D.A.875). Three Favourite Piano Pieces. There are many musical enthusiasts who are never tired of hearing Guiding’s haunting “Rustle of Spring,” Mendelssohn’s delightful "Bees’ Wedding,” and Chopin’s fine “Study in B Flat.” Here vye have all three on one disc, recorded brilliantly by that gifted pianist, Irene Scharrer (D 1303

Popular Songs. Two of the most popular songs of their day were undoubtedly Tate’s “Somewhere a Voice is Calling,” and Sterrington’s “Sweet Early Violets.” As reedrded for H.M.V., by John Turner, they are given, a fresh attractiveness. A good tenor disc. (82452).

Lamond at the Piano. Frederic Lamond is one of the few remaining living pupils of Lizst. His playing is eminently sound and polished. As an interpreter of Beethoven’s pianoforte sonatas, he has no equal in Britain. In his latest disc he gives us Lizst’s “Ronde des Lutins,” and Beethoven’s “Sonata No. 2, Op. 10, in F Major.” (D 1274

New Dance Numbers. The November H.M.V. list Includes some good dance numbers. Paul Whiteman’s Orchestra presents two good foxtrots, with the usual vocal choruses — “I’m Winging Home,” and “When You’re with Somebody Else” (EA346). The Troubadours give us two waltzes —“Cielto Lindo,” and “La Golpndrina” (“The Swallow”), two numbers which should be very popular in view of the increasing vogue of the waltz (EA349). Ted Weems’s Orchestra presents the fox-trots, “Nothin’ on My Mind,” and “He’s Tall, and Dark, and Handsome.” (EA347). Coupled with the Troubadours, who give us the waltz, “Ah! Sweet Mystery of Life,” from “Naughty Marietta,” Nht Shilkret’s Orchestra present “The Bells of St. Mary’s,” as a good swinging foxtrot (EA345). The latter, in “Just a Little Way from Home” (fox-trot),.are coupled with Waning’s Pennsylvanians, in the fox-trot “Hello, Montreal” (EA352). Another good waltz disc is EA349, with the Troubadours and the Ted Weems Orchestra respectively, in “Beloved,” and “Dream River,” two captivating waltzes.

Parlophone. Full marks to Edith Lorand’s Orchestra in Offenbach’s “Orpheus in the Underworld” selection (E. 10728 and in “The Last Waltz” and “Donauwellen” (E. 10729 Also an excellent performance of the “Marche” and “Fete Boheme” from Massenet’s “Scenes Pittoresques” played by the Opera-Comique Orchestra under Cloetz (E.1072C). “Cavalleria Rnstieana” selections are capably played by the Dajos Bela Orchestra (E. 10727 Emmy Land (soprano).—“Einsam in truben Tagen” (“Elsa’s Dream”) and “Euch Luften die mein Klagen” from “Lohengrin” (Wagner), in German (E. 10732. —This is quite good. Light fare is provided by The Rose, Trio. They play for Parlophone on' E. 10730 two Schubert arrangements, namely, “Ave Maria,” the “lied,” and the “Scherzo in B Flat” (piano), and do it very pleasantly indeed, charming in tone and most musically.

Brunswick. The new Brunswick releases include the fox-trots “One Alone” and “My Heart Stood Still” (3410). The Miniature Concert Orchestra plays the “GlowWorm Gavotte” (Pavlova) and “Narcissus” (3820). The “Crooning Troubadour” (Nick Lucas) presents “It Must Be Love” and “I Can’t Do Without You” (3925). “Ramona” and “The Girl of My Dreams” appear on an organ disc, with effects (3928). Leopold Godowsky, at the piano, gives us Guiding’s “Rustle of Spring” and McDowell’s “■Witches’ Dance” (15125). Wendell Hall is nearly always worth hearing, and this month proves no exception. He gives us “Will You Remember?” and “I Told You I’d Never Forget You” (3786). Alice Morley in “Oh! you’ve no idea” and “Ev’ry Time My Sweetie Passes by” are the kind of songs one expects her to sing (179).