MUSIC and RECORDS

Dominion, Volume 22, Issue 52, 24 November 1928, Page 20

MUSIC and RECORDS

By

C.J.M.

Brilliant Australian Soprano. An important concert attraction under the J. and, N. Tait management will be a season o£ Evelyn Scotney, the brilliant Australian soprano, who. according to present arrangements, will open In Melbourne. Madame Scotney’s concerts will be entitled “One Hundred Years of Song.” She will appear in a Jenny Lind costume in the first part, and sing many of Jenny Lind’s songs. She will wear modern costumes and sing modern songs in the second part. In private life Madame Scotney is the wife of Mr. Pen Russell, assistant London manager of the Canard Line of steamers. In a newspaper interview in London recently the singer stated that she would take with her to Australia a specially selected repertoire of the newest Russian and French music, and the very latest Paris frocks.

Bach, the Master. In an interesting review of Dr. Charles Sanford Terry’s book, “Bach, a Biography,” the “Musical Times” remarks that “one’s first feeling concerning this book is astonishment at the undoubted fact of its being the first real biography of Bach. Here at last is a volume which aims at being undiluted biography and achieves its aim with success and real distinction. The reader's second reflection will be —or should be —one of pride that this book (in its.own line the crown of Bach research) is by an Englishman, and that it is appearing almost simultaneously in a German edition.” “His thoroughness is staggering,” adds the reviewer of Dr. Terry’s book. “Apparently he has taken nothing for granted. The old authorities have been overhauled and new ones discovered; he lias trodden the ground in the literal sense, having visited the scenes of Bach’s life, viewed the churches, houses, and other buildings with which Bach was associated; and tried—or at least examined —the organs on which he played. “Nor has he stopped at that. In the handsomest way he enables us to traverse the Bach terrain at second hand by adding to his book over seventy plates—excellent photographs and reproductions of old prints. Here we may view old Veit Bach’s mill, the 'Golden Crown’ Inn at Arnstadt where young John Sebastian lodged, Mulhausen as he saw it (a delightful old print), the organ gallery at Lubeck — in fact, book and plates give us a personally-conducted tour in our armchairs.

“The result of this happy and unusual blend of the literary and pictorial is that we see Bach the man as well as Bach the composer. Happily, this detailed and systematic survey of his life leaves him, if anything, even more securely established in the affections of his devotees. It is a wholesome thing for young musicians to discover that John Sebastian Bach was above ail a perfectly normal man, with no affectations or pretensions, who did his duty as a plain citizen. “It is good to read of the touch of stubbornness that enabled him to hold his own with his pastors and masters; the quality was merely another manifestation of the doggedness with which from childhood he fitted himself for his work. Somebody Inquired of him, late in life, as to the secret of his mastery. T worked he he replied: ‘if you are as industrious as I was, you will be no less successful.’ The reply underestimates the part played by genius, but is a reminder of a fact familiar to all who have studied any aspect of Bach’s output in chronological order. “His early works show him wrestling with the technique of composition and failing often —perhaps more often than many a facile student of to-day. The nonsense so often talked about Inspiration being killed by the study of severe models, the absurdity of rules and restrictions, and so forth, needs no better corrective than such a life as Bach's.” “Like Schubert and Haydn, Sebastian’s voice won him the first step of his career,” says Dr. Terry, and later on in the volume he records how Bach secured his first appointment as organist, which started him on his great career. He gives the exact wording of the document, which makes interesting reading:— “Whereas our right honourable and gracious Count and Lord, Anton Gunther, one of the ‘Vler Grafen des Reichs,’ Count of Schwarzburg, etc., hath been pleased to appoint you, Johann Sebastian Bach, to be organist of the New Church, you shall in particular be faithful, loyal, and serviceable to his lordship, and in general show yourself apt and habile in your calling, eschewing other tasks and occupations, and on Sundays, feast days, and other seasons appointed for public worship in the said New Church, shall attend at the organ committed to you and perform thereon as shall be required of you. “You shall moreover use all care and diligence, that if any part thereof fall into disrepair, the fault be notified and amended forthwith, though none may be admitted thereto save with the consent of the Herr Superintendent (Olearius); and at all times you shall take heed that it suffer no hurt and be maintained in good order. In your conduct and behaviour you shall be God-fearing, temperate, well-disposed to all folk, eschewing ill company, and in all ways show yourself an honourable servant and organist before God and your worshipful masters. In return you shall, against your receipt, receive for yearly pay and entertainment 50 florins, and for board and lodging 30 thalers, drawn as follows: from the Beer money 25 florins, from church funds 25 florins, and the residue (30 thalers) from the Hospital.” A little later Bach, as a young organist, began to make experiments, and he was called to order. Dr. Terry tells how Superintendent Johann Christoph Olearius presided and conducted the examination, and how Olearius said:

“Complaints have been made to the Conslstorium that you now accompany the hymns, with .irprising variations and irrelevant ornaments which obliterate the melody and confuse the congregation. If you desire to introduce a theme against the melody, you must go on with it and not immediately fly off to another. And in no circumstances must you introduce a tonus contrarius.” On one occasion he desired to leave the service of his employer, and Bach’s biographer states: “Immediately after* the festival he renewed his application for release from ducal service, with an insistence to which Wilhelm Ernst was not accustomed. Hofsecretar Theodor Benedikt Bormann laconically notes the consequences: ‘On 0 November (1717) Bach, till now Concertmeister and Hoforganist. was put under arrest in the justice room for obstinately demanding his instant dismission. He was released on Uecember 2 with a grudging permission to retire from the Duke’s service.’ His month of detention was not unprofitable if, as has been suggested, he employed it in planning the ‘Orgelbuchleln’ and partially completing Ite design.’’—.

“Bach’s modesty was invincible,” writes Dr. Terry. “If asked the secret of his mastership, he would reply. ‘There is nothing wonderful about it. You merely strike the right note and the organ does the rest.’ He was fond of listening to other players, and, if he heard a fugue played in church, would indicate to his companion how its subject should be treated, nudging him with gratification if his anticipation was realised.” But enough has been quoted to show that Dr. Terry has made this biography a volume that every lover of music should have on his shelves. Referring to Bach’s appointment at Leipzig, the author writes: “None, leas* of all Bach’s assertive •patrons’ and ‘superiors,’ realised that Clio, turning a page, had dipped her pen to narrate such a chapter in the history of music as had not yet been written.” From that day Bach went from triumph to triumph, and his biographer tells Bach’s life story with the earnestness and conviction of a great enthusiast. It Is written with a thoroughness and wealth of detail that only an expert could furnish. This British tribute, which is also being published in Germany, should receive the welcome it merits. RECORDED MUSIC Its First Recording. As previously noted, the gramophone library of classical music received a very important addition with the recording for the first time of Brahms’ violin concerto, esteemed when it was first performed as worthy to be placed alongside that of Beethoven. Time has given little reason to modify this estimate. As with all the big works which H.M.V. undertake, no pains have been spared to do the fullest justice to the music, and no better choice was possible as soloist than Krelsler, who has the co-operation of the übiquitous Berlin State Opera Orchestra, with Dr. Leo Blech conducting. Apart from a pardonable excess of zeal in emphasising the volume of the solo instrument, the atmosphere of the concert hall is perfectly reproduced. There are no echoes or empty hall suggestions, while Krelsler’s incomparably smooth, rich tone, shows that he still maintains his supremacy among the world’s violinists. The concerto is distributed over five double-sided records, and for the convenience of those who wish to purchase a movement at a time, an odd side, created by the first movement having occupied two and a half records, is filled with another piece, leaving the second and third movements each complete on a record. There will, I think, be general agreement that the first movement is the most appealing, the solo part having a lyrical beauty and a variety of rhythm which in Krelsler’s hands become a sheer delight.

Delightful Orchestra Fare. The delightful series of orchestral performances by the Royal Opera Orchestra, Covent Garden, is continued, among the April records, with “Shepherd Fennel’s Dance” (Balfour Gardiner) —noteworthy for the effective use of wood-wind and percussion in its brilliant orchestration —and a scene from Tschaikovsky’s “Sleeping Beauty” ballet, In which the liquid tone of the orchestral strings is used restfully (C. 1469). A record by the Virtuoso String Quartet couples the Haydn movement that contains the variations on the “Emperor” theme, with Mr. Frank Bridge’s beautiful arrangement of the Londonderry Air (C. 1470).

Something Really Fine. The “Death and the Maiden” Quartet is played by the Budapest String Quartet, and the records are especially notable for their astonishingly vigorous reproduction, marking a new advance in the technique of reproducing the playing of a string quartet. The Quartet in D Minor was written in 1826, but accounts differ at to whether it was ever performed during Schubert’s lifetime. Grove says it was, and that Schubert revised the Finale by shortening it very considerably, after hearing his friends’ criticisms. The work is written in a large mould, and in view of the fact that its composition was contemporary with some of the last group of Beethoven quartets we can only marvel that Schubert, who was comparatively immature —especially as regards technique—should have written such an extraordinary work.

A Disc of Stars. Six supreme, shining, scintillating stars on one disc 1 Such is a whitelabel record whereon such world-famed vocalists as Galli-Curci, Homer, Gigli, de Luca, Pinza, and Bada unite in rendering the sextet “Chi mi frena” from “Lucia” on the one side, and the first four named to give the “Bella flglia” quartet from Rigoletto on the reverse (raves an enthusiast!) Apart from its value as permanent testimony to six such magnificent voices, the record is as one would expect, a great and distinctive performance of two difficult and exacting passages wherein the slightest over-emphasis by any one of the vocalists will ruin the ensemble. In both instances the balance is wonderful, and especially so in the sextet where Galli-Curci stands out clearly but not unduly.

A Fine Organist. Mr. G. Thalben-Ball’s playing of the organ of the Temple Church, London, has been heard incidentally in the

records of the Choirboy Lough’s singing, of which another example, “I know that my Redeemer liveth,” occurs in this list (8.2656). Now he has a record to himself, giving the popular Handel “Largo" on one side, and the Choral Prelude on “Now thank we all our God,” by Karg-Elert, on the other. A dislike of the “Largo” on the organ, because of the inevitable lumpiness of the chords accompanying the melody, prevented appreciation of Mr. ThalbenBall’s playing, but the sample of the music of Karg-Elert, one of the best of modern writers for the organ, was welcome. The recording, on both sides, is an excellent instance of the new success of the experts with regard to organ-recording. Two Fine Songs.

Percy Kahn is the accompanist in the two songs—“ Passing By” (Purcell) and “King Charles” (White—sung by John Brownlee, baritone (111.483). Mr. Brownlee takes “King Charles” rather more slowly than other singers of it; he does the c. escendo on the long note at the end in fine style.

An Attractive Mezzo. Two attractive songs by Armstrong Gibbs —"When I was one-and-twenty” and “Song of Shadows” —are sung by Anne Thursfield, a mezzo-soprano who is a good model in song-interpretation (E. 462). This record also gave better results when fibre was substituted for steel in the needle-holder. With the loud needle there was too much suggestion of a mouthing of the word's. The songs have Pianoforte accompaniment. As Brilliant As Ever.

It was noted the other day that Amelita Galli-Curci’s name had reappeared in a record list after a long interval in association with a record which certainly will be wanted by those who have her earlier records. The songs are of no great musical value; their sole purpose is vocal display. Benedict’s “The Gipsy and the Bird” has a flute obbligato; on the other side is Arditi’s vocal waltz, “Parla !” Galli-Curci is as successful in these as in all her records. She follows Melba and Tetrazzini in her own style, and Caruso, among others, in the list of artists who may be heard at their best through the gramophone. (D.A. 928.)

Refinement Well Marked. Of refinement in the details of performance no 1. ter instance could be given than the playing of Alfred Cortot and Pablo Casals in Beethoven’s “Variations on an Air from ‘The Magie Flute.’” It can be studied in the two ten-inch records (D.A. 915-16) included in “His Master’s Voice” first March list. Both piano and ’cello tone are conveyed successfully by these records, and it is with that delight which is stirred by all true artistic achievement that one notes the perfect agreement between the two players. These “Variations” are early Beethoven; the individual touch that we can identify in the light of the later Beethoven is not lacking, but the style is still that of Mozart. Repeated playing of the records in an endeavour to decide which is the most attractive “side” has led only to the conclusion that every record-buyer will want the complete performance.

The Stop Trot. We may expect shortly on records Monsieur Pierre and Miss Meredyth Owen, who have been giving successful demonstrations and judging competitions in “The Stop Trot,” those at the Hammersmith Palais de Danse and Crlcklewood Dance Hall attracting large crowds, both of spectators and competitors. They have also introduced their new dance in Liverpool at the Grafton Rooms and at the Casino in Rochester, and were booked to do it at the Palais de Danse, Southport, during the last week of April. Messrs. Lawrence Wright are publishing the. original “Stop Trot" music composed by Roger Sinclair, with words by E. Melvin, and His Master’s Voice are recording it in a manner in which the actual steps being danced by M. Pierre can be heard between the stops of the music. An Index of Taste.

The immense demand for the Schubert Symphony in C Major and the Quartet in D Minor, lately issued by His Master’s Voice, is perhaps to some extent explicable by the fact that music lovers in general, with the Schubert Centenary in mind, are refreshing, and in some cases adding to the knowledge of the great composer. But the steadily Increasing call for the works of all the great composers on the part of the general public, has a significance not so simple of interpretation, unless the obvious explanation .... that as a nation we do, in spite of our traducers, love great music .... be accepted. In the last few months alone His Master’s Voice has issued records of Bach, both on the organ and the piano. Beethoven excerpts from “Die Walkure,” the before mentioned Schubert, Brahms, Mendelssohn, Haydn, Schumann, Tchaikovsky; and contrary to the popular fallacy, it is amongst these records that the “best sellers” of the gramophone world are to be found.

“Together.” Particular attention is drawn to the fact that His Master’s Voice has made three recordings of altogether different treatment of the waltz “Together.” First we have It played by Jack Hylton and his orchestra, which might be termed the English dance band version.

Next we have it recorded by Paul Whiteman and his Concert Orchestra, which is done in the very best Whiteman manner. Finally, we have a very fine recording by De Groot and the Piccadilly Orchestra. “Together” is the most popular waltz now being played in America, and it is predicted that it will have an equal success here.

The New Humour. We have grown tired of songs, sentimental and comic, which tells us of cold, black mammies, picanninles, roses and cotton fields, so that it is the greatest relief to find that Leslie Sarony, the well-known song writer and vocal comedian, has written two very funny new numbers which are recorded in the latest issue of His Master's Voice Records. They are: “Don’t be Cruel to a Vegetabuel,” and “Don’t Do That to the Poor Pusseat.” In addition to the humorous sentiment, the melodies go with a good swing. The Blue Danube.

“Blue Danube”—Waltz, Op. 314 (Johann Strauss), in two parts. Played by Felix Weingartner and the Royal Philharmonic Orchestra. Columbia 04169.

Of all the greatest waltzes the “Blue Danube” stands out pre-eminent. Here, at last, is a record well worthy of its entrancing beauty. Under the masterly control of Weingartner the Philharmonic Orchestra have made a superlatively beautiful recording of this classic, waltz, including the delicious introduction. The wonderful richness of the strings is a revelation. It is a fascinating record of supreme excellence.

England’s Greatest Violinist. (1) “Elegie” (Massenet); (2) “Thais” — Meditation (Massenet). Played by Albert Sammons. Columbia 02687.

These two extremely charming Massenet solos make an unusually delightful record. The “Meditation” from the opera “Thais” is played with glorious tone, bringing out all its seductive beauties. An excellent contrast is made with the "Elegie” in its more sombre but passionate phrases. The electric recording does full justice to Sammon’s very impressive playing.

W. H. Squire. (1) “Melody in F.” (Rubinstein); (2) “Silver Threads Among the Gold” (Danks). .’Cello solos by W. H. Squire. . Columbia 04178. If Squire lays the sentiment on with a trowel he does no more to these pieces than they require. How else can they be played? We predict an enormous public for this record, for Squire’s deftness of phrasing, and, even more, the glorious singing tone that he gets out of his instrument have a wonderful hold on the musical public.

Alfred O’Shea. (1) “Love’s Garden of Roses”; (2) “When My Ship Comes Sailing Home.” Sung by Alfred O’Shea, tenor. Columbia 04117.

Alfred O’Shea, the ever-popular, throws off these two engaging ballads with all his usual ease and freedom. You could almost make each note the subject of a singing lesson. He contrives to meet the most difficult demands of production without seeming in the least disconcerted, and shades his great power with the nicest discretion. These will be among his most popular contributions.

A Great Composer. . (1) “Sanctuary of the Heart” (Albert Ketelbey), in two parts. Albert Ketelbey conducting his Concert Orchestra. Columbia 02690.

Ketelbey’s career reads like a page out of. a story book—how from his childhood .days nothing could keep him away from musical composition—how he swept away every prize at the Royal College of Music, London—how he attracted Elgar’s attention, and how, in the last few years, his works have spread, all over the world. The first virtue of “Sanctuary of the Heart” is its deep sincerity. The composer’s • own orchestra plays it With the utmost feeling and sympathy, and his record has astonishing tonal beauty. Straeciari.

Rigoletto—(l) "Par! siamo”; (2) “Cortigiani, vil rnzza dannata (Verdi). Sung by Riccardo Straeciari, baritone. Columbia 04174.

Allowing for the improvement in recording, it is still obvious on heaving the new Straeciari records that the world-famous baritone’s voice is finer than ever before, while his management of it evinces a higher order of maestria. Each of these lovely ex-, tracts from “Rigoletto” is a model of its kind, alike for the traditional rendering and the vocal characterisation. They are truly masterful in their variety, and the contrasts of tone, colour and character. The whole series of new Straeciari records, of which this is but a fair sample, confirm his position as the greatest living baritone. The Grenadiers.

The Meistersingers — Selection (Wagner). Played by the Band of H.M. Grenadier Guards. Columbia 02697.

The Grenadier's let themselves go with rare gusto on Wagner’s only comic opera. Emotion all round is pitched in a higher key, but that little bit of emphasis we expect from a band. What we had not so much right

to expect, but which Is certainly given to us, is an unusual quality of true beauty. The instrumentation is at times beautifully subtle. A Fine Band.

(1) “Switchback”; (2) Pagliaccl—“On with the Motley.” Played by the Australian Commonwealth Band. Columbia 01233. The “Switchback” is an attractive number chiefly remarkable for some particularly fine solo trombone work—an instrument handled with as much skill as ever I remember. "On with the Motley,” too, is very fine, and the brass most sympathetically used.

An Old Favourite Re-recorded. (1) “Scottish Medley”; (2) “American Medley.” One-Steps by Debroy Somers and his Band. Columbia 02698.

No dance record collection can possibly be complete without these two jolly one-steps, that mix some of the best known tunes in the world into an inspiriting pot-pourri. I defy anyone to keep their feet from tapping or their lips from humming while these are on the machine.

The Indian Love Lyrics. Four Indian Love Lyrics (Amy Woodforde-Finden). Organ solos by Pattmonn, on a Compton Theatre Organ. Columbia 02696. Much as we like to hear the Love Lyrics again, most of us will enjoy this record for the superb quality of the Compton Theatre Organ, which “knocks the Wurlitzer into a cocked hat,” as one famous London musician put it. Pattman brings out all its richness and variety. Parlophone.

Those who want to buy “The Song is Ended” will probably like the Parlophone version, sung by John O'Grady, more so as he sings “The Beggar” so well on the other side. (Parlo. E. 5994). Another fair effort of the same company is John Curtis singing “Ev’ry Minute, Ev’ry Hour, of Ev’ry. Day” and “Tired Hands” (E. 5995 Parlophone has two records by Victor Staub of the Paris Conservatoire playing Chonin’s “Waltzes in F and G Flat” (R. 3513 and Debussy, “Minstrels” and “Golliwog’s Cake Walk” (R. 3544 The last mentioned benefits much from the player’s Gallic clarity and also is more successfully recorded.

Amongst recent Parlophone records of April one is greatly taken by the selection from Tchaikovsky’s “Pique Dame,” played by the Dajos Bela Orchestra. This is crammed with good tunes.

A good Parlophone disc is that by Kate Winter (soprano), “Oh Tell Me, Nightingale” (Liza Lehmann) and “The Pipes of Pan are Calling” (Wimperis and Monckton). R. 119. Kate Winter is almost all that is really wanted in these two songs. Her voice and singing are very pretty, and a modest cadenza at the end of “The Pipes of Pan” is neatly executed.

Excellent is the work of the Parlophone artist Ninon Vallin (soprano) in “Depuls le jour,” from “Louise” (Charpentier), and “Le Roi de Thule” from “Faust” (Gounod). In French. Oreh. acc. R. 20059. Many sopranos have essayed “Depufs le jour” without approaching this all-round success. The rich, full timbre of the medium is especally notable, and it has a characteristic quality of which you never tire. One admires the “Thule” air from “Faust” all the more because both verses are sung, nnd in the opera we never get more than one. Brunswick.

The new Brunswick discs just arrived include "Danny Boy" and "In an Old-fashioned Town,” sung by Dan Beddoe, a pleasing tenor (3848). Harry Richman, a favourite Brunswick comedian, presents “I’m Riding to Glory” and “That’s My Mammy” in his usual inimitable style (3800). On the Wurlitzer Lee White presents the popular hit, "‘Just Like a Melody Out of the Sky” and “My Angel” (based on the theme of “The Street Angel” (3956). Amongst the new fox-trot offerings Bernie’s Orchestra gives us “Just Like a Melody Out of the Sky” and “Because My Baby Don't Mean ‘Maybe’ Now” (3953). The Six Jumping Jacks make the most of “She’s the Sweetheart of Six Other Guys” and “He Ain’t Never Been in College” (3017).

The Waitaki River is in splendid order, but owing to the late season the sea fish have not come into the river yet in any numbers, although they have begun (says the “Oa'maru Mail”). ‘ One v> iticeal feature last week-end was the large quantity of small fish from a half to one and a-half pounds weight. Most of the anglers secured some. The biggest fish recorded was a six-pounder. Whitebait is running freely, and the Maoris were getting good quantities. There are also' fair numbers of sllveries and other small fish running into the river. Provided the weather remains good and the sea calm, no doubt soon the big trout will follow this feed in and anglers will get good sport. Reports from up the river are fair. A number of good fish have been taken at the bridge and at Kurow and Hakatarqmea there has been good fishing.