MUSIC and RECORDS

Dominion, Volume 22, Issue 70, 15 December 1928, Page 20

MUSIC and RECORDS

By

C.J.M.

Musical Successes. J. C. 'Williamson, Ltd., have two big musical successes running simultaneously in Sydney and Melbourne. In Sydney, at Her Majesty’s, “The Vagabond King” is drawing packed audiences. At His Majesty’s, Melbourne, "The Desert Song” commences its tenth week next Saturday night. Each of these productions Is not only a box office but also a popular success. Already music-lovers are speculating as to when New Zealand will see these musical plays, but it will probably be the middle of the New Year before they reach these shores. Strella Wilson. Strella Wilson, now taking the leading soprano role in the J. C. Williamson musical production, “The Vagabond King,” was born in Broken Hill. When she was in America not so long ago one of the papers featured her as “The Silver Voice from Australia’s Silver City.” In New York she sang regularly in concerts, and at times in grand opera. She also appeared in grand opera In Chicago, and in Canada. Discussing her early stage career, Miss Wilson said: “My father, though he was determined that I should never go on the stage, allowed me to learn singing from Melba at the Albert Street Conservatorium, and I studied there for two and a half years. In fun I applied for chorus work with the Frank Kigo Opera Company, when it was formed, and to my astonishment, having sung the aria from ‘II Trovatore,’ I was offered the role of Leonore. Trembling all over, I showed my father the letter, but he was so proud of the idea of seeing bis daughter in a leading part that he said: ‘Go to it, my girl, and do your best.’ ” By the way, Austral Wilson is the young singer’s real name, but for stage purposes it was adapted into Strella. The Songs of Edward MacDowell. Edward MacDowell began the study of piano at the age of eight, and throughout his career as a composer, instrumental music received the major part of his attention. In his compositions he came as near being himself as any composer of his day. There is something characteristic, something individual in everything he wrote. There is nothing reminiscent in his songs. All composers must use the same material, but his way of using it was his Own. He did not find it necessary to copy anyone.

In studying his songs one is amazed at his harmonic resources and the unerring skill with which he uses them in creating moods. I have been told that at one time in his study of theory he devoted two years to harmonising eight-measure themes in the attempt to exhaust as nearly as possible their harmonic possibilities. However that may be. the accompaniments to his songs show an unusual grasp of the harmonic possibilities of a melody. MacDowell’s theory of song-writing, like that of Hugo Wolf, was that the music must grow out of the meaning of the words. His melodies grew out of what he called the proper declamation of the poem. This will be clearly seen if we recall some of tlic natural laws of expression. For example: As the emotional intensity of the words increases it. is natural to increase the power of the tone and raise the pitch. As the emotion subsides the power diminishes and the pitch gradually descends. These natural tendencies in vocal expression are present in some degree in all good writing. MacDowell was so sensitive to these things, and lie found so many unsingable words in the average run of poems that he formed the habit of writing his own verses. Why are the MacDowell songs not found more often on recital programmes? When that questiuo is asked I usually reply, “Because they are too good.” This demands explanation. Music of every kind requires a proper setting. “Sound an Alarm” from “Judas Maccabaeus” is at its best in a large auditorium with a ringing tenor voice and an orchestral accompaniment. On the other hand, what is called “Chamber Music” requires smaller and more intimate surroundings. MacDowell’s songs are of the chamber music type. Further, unless one understands composition sufficiently well to analyse be will miss many of the most beautiful things in the MacDowell songs, for here the piano tells as much as the voice. In his Op. 26 “From an Old Garden” he was confronted with the task of creating moods for the “Pansy,” the “Myrtle,” the “Clover,” the “Yellow Daisy,” the “Blue Bell.” the “Mignonette.” Here lie is unerring in portraying these entirely fictitious moods. An artist can make these songs attractive. An amateur cannot do much with them. In Op. 56, “Four Songs,” MacDowell did some of his best writing. No. 1, “Long Ago, Sweetheart Mine,” is a perfect song. Words, melody, and accompaniment all in the same mood. I call it a gem. No. 2, “The Swan Bent Low to the Lily,” is another example of master workmanship. Fine imagination with just enough richness of harmony in the accompaniment, but not overloaded as is so’ often done. No. 3, “A Maid Sings Light,is an example of light, airy and withal deft writing, which in both melody and accompaniment could scarcely be excelled. A mood, no matter what, was always something definite to MacDowell, and he had little trouble in translating it into music. But where MacDowell reached his heights was in his Op. 47, “Eight Songs.” This set begins with the famous “The Robin Sings in the Apple Tree,” which George Upton once said was the best song ever written in the English language. Where can be found a better example of mood in tones than in No. 5, “The West Wind Croons?” Notice the mockery in the harmonies under the words “Maud there’s scorn.” Throughout it is a remarkable bit of imaginative writing. No. 6, “In the Woods,” another faultless piece of writing, vivid colouring of exactly the right kind.

No. 7. “The Sea,” has often been called the greatest short song in English language. Here is a melody that is diatonic almost throughout, but he has put into bis accompaniment all of the sullen mystery and tragedy of the mighty deep. Here he shows his astounding harmonic resources and transcendent skill in their use.

RECORDED MUSIC A Grand Tschaikowsky Trio. Trio No. 2 (In Memory of a Great Artist) (Tschaikowsky). Arthur Catterall (violin), William Murdoch (pianist), and W. H. Squire (’cello)'. Columbia W163-68. It is good that this work has been recorded in its entirety. The theme and variations out of it, on one

record, was among the precious early chamber music records of pre-electrlc day, but that sort of thing is not good enough for to-day, and therefore the same three artists have played the whole work on six records, very much to the credit of Columbia. The performance is good. The best playing is to be found in the variations, which also are more in chamber music style than the first movement. It is an extremely enjoyable performance which is sure to be welcomed by the many lovers of this fine work. There is no need for me to add anything in the way of analysis, since this is well done in the album itself.

A Brilliant Violinist (1) “Pale Moon” (Kreisler) ; (2) “To a Wild Rose” (MacDowell). Violin solos by Saseha Jacobsen. Columbia 01146. Such a brilliant violinist as Saseha Jacobsen, whose outstanding success has been a feature of the American musical season, on Columbia standard records is pretty good value for money. She plays two melodious fragments with taste and poetry. Her performance is vital. Listen to the superb vigour of her tone in every part of the register; notice her clean technique. There is a big future awaiting this artist.

A Ketelbey Album. Compositions by Albert W. Ketelbey. Eight records in Album. Columbia 02688-95. One would hardly class Albert Ketelbey’s works, as Columbia have done, as'“masterworks,” but in his world of make-believe there is room for everyone except the musical pedants and snobs. The playing and recording are admirable throughout, expressing for the most part the utmost tenderness and feeling, while the melodic line is invariably interesting. The album itself is well got up, with a portrait of the composer and notes on the various records. It contains rerecordings of “In a Monastery Garden,” “In a Persian Market,” “Bells Across the Meadow,” “Sanctuary of the Heart,” and “Chai Romano”; and two first recordings of the “Three Fanciful Etchings Suite” and the “In a Fairy Realm Suite,” both of which will appeal to those who have learned to love the better-known pieces.

A Popular Baritone. (1) “Laugh, Clown, Laugh!”; (2) “Felix the Cat.” Sung by Jack Cannot, baritone, with orchestra. Columbia 01273.

A pleasant record of two popular hits that will be sure of a good bearing is one by Jack Cannot, the popular Australian baritone. A fine singing voice, excellent enunciation, and an engaging manner. Good recording.

Hits from “The Vagabond King.” (1) “Song of the Vagabonds”; (2) “Only a Rose.” Fox-trots from “The Vagabond King” (Frlnil). Piccadilly Revels’ Band. Columbia 01270. The Piccadilly Revels have made a dance record well above the average out of two fine songs from “The Vagabond King.” “The Song of the Vagabond” goes with a rare swing, and is finely contrasted with the dreamy “Only a Rose.” Rhythm is excellent and the band makes some bold, bright tone.

Monty at it Again! w The Meanderings of Monty—No. 21 —“My Boy’s Career.” Monologue by Milton Hayes. Columbia 01212.

The ever-delightful Monty can si ill produce a winner, and gives us one of his best in “My Boy’s Career.” He speculates in his usual inimitable style on the chances of a dozen different careers, but the strange reason why he turned them till down is one you must find out for yourselves.

Poetic Prelude by Wagner. “‘Lohengrin’: Introduction Act 1.,” in two parts (Wagner). Willem Mengelberg conducting the Concertbouw Orchestra. Columbia 04069.

The orchestra is suited to Wagner’s ethereal and exquisite prelude. The richness of tlie stringed and the barmany of the wood-wind instruments form a delightful tone colour, and the recording is good. The hall in which this recording was done is famous for its acoustics, and the result is particularly pleasing. The crescendos gradually reaching fortissimos are marvellously executed in the Wagnerean prelude played by a famous orchestra.

Two Organ Records. “Light Cavalry Overture” (Suppe); organ solo by Quentin M. Maclean, in two parts. Columbia 01007. Quentin Maclean is the organist of one of London’s Pavilions, and a master hand at his art. The registration in this organ 010 is very effective, particularly so in the opening; the ending, too, is exhilarating. The organ records well, and this is one of the best recordings I have heard. A really delightful record for organ enthusiasts. Alfred O’Shea.

(1) “Parted” (Tosti); (2) “I Hear You Calling Me,” sung by Alfred O’Shea. Columbia 01024.

Alfred O’Shea is a name New Zealand is very fond of. The crowds who heard him recently went away charmed with the magnificent voice he possesses.

His voice is full of lyric qualities in these recordings, and his enunciation leaves nothing to be desired. The violin obbligato played by Mowat Carter helps the singer inexpressibly iu the depth of feeling he puts into his songs. Those who heard him recently will appreciate this record, and those who were not so fortunate will find in it compensation' for their loss in not being able to attend his concerts. Clara Butt.

(1) “Abide With Me” (Liddle) ; (2) “God Shall Wipe Away All Tears” (Sullivan), sung by Dame Clara Butt, contralto. Columbi 09503.

Of all the songs which immediately suggest Dame Clara Butt, the one most intimately associated with her Is Liddle’s “Abide With Me.” Her singing of this inspired setting has become a tradition, and now the new electric recording has given us a record of it such as even the experts could not have hoped for, ce it brings out new beauties of the song and its singer in a way never thought possible.

Joseph SzigetL (1) “Menuet” (Debussy); (2) “Tambourin Chlnois” (Kreisler), violin solos by Joseph Szigeti. Columbia 04076.

Szigeti is not only a master wizard in every executive trick in violin technique, but he produces a tone that Is supremely beautiful. Tone and masterly phrasing are the leading features of his wonderful reuuering of Debussy’s Menuet, while delightful delicacy, phenomenal double-stopping, and astonishing virtuoso passages distinguish Kreisler’s fantastic “Tambourin Chinols.” This violin record is a gem of pure artistry.

Brilliant Toti dal Monte Disc. Toti dal Monte (soprano) and members of La Scala Orchestra and Chorus, in “The Daughter of the Regiment”— “ ’Tis Known to AU” and “To My Heart What is Wealth” (Donizetti). This new record is a remarkable one: the great soprano indulges in the most spectacular vocal “fireworks” and caps them by throwing herself con amore into as rollicking an air with chorus as anyone could wish. A feature of the record upon which no hearer can fail to comment is the exceptionally fine effect of “atmosphere” which has been obtained by the record having been made in the La Scala Opera House (Milan) itself. The Opera House is famous as having by general acknowledgement the finest accoustics (Covent Garden excepted) of any Opera House in the world. (H.M.V., D.8.H52.)

Galli-Curci as Fine as Ever. Amelita Galli-Curci (flute obb., Clement Barone), in “Air and Variations” (Proch) and “Zemire et Azor” —“La Fauvette” (G retry). Galli-Curci’s most recently issued record of “The Gypsy and the Bird” and the “Parla!” Waltz received great praise for the cheerful, fresh spirit of the singing. Exactly the same freshness characterises this record. The great soprano does not thrust her greatness upon you: when you listen to the famous showpiece provided by Proch’s “Air and Variations” you are held irresistibly both by the sheer beauty of the singing and that something else which seems to lie behind both these songs: a quality of light-heartedness. (H.M.V., D. 8.1144.) Lawrence Tibbett in Ballads

Lawrence Tibbett (baritone) in “Drink to Me only with Thine Eyes” (Calcott) and “Believe Me, if AU Those Endearing Young Charms” (Moore).

Lawrence Tibbett is a young baritone who earned a success that was quite phenomenal at a performance of Verdi’s opera “Falstaff” at the Metropolitan Opera House. New York, three years ago. You hare beard his Pag-

liacci “Prologue,” reckoned amongst the best ever recorded. His voice is of rich, rather “dark” timbre, and he refrains from mannerisms and affectations. The record is a most pleasant one, and will please all who admire an exceptionally good voice used with refined artistry. (H.M.V., D.A.886.)

Brownlee Does the “Prologue.” John Brownlee (baritone), in the “Prologue” to “Pagllacci.” John Brownlee’s record of the “Pagllacci” Prologue is a superb one. He is a singer of a quality far and away above the average. It is of a satisfying full quality, of exceptional range, and. when required, extraordinary volume. In every way this record is one to be highly recommended. (H.M.V., D. 1385.) Rousing Songs By Peter Dawson. Peter Dawson (bass-baritone), in Stanford's “Songs of the Sea”—“Homeward Bound,” “The Old Superb” (H.M.V., C. 1479), “Drake’s Drum,” “Outward Bound” (H.M.V., 8.2743) and “Devon, O Devon” (with Andrews’s “He Heard the Great Sea Calling”). H.M.V., 8.2747. Stanford was one of the finest song writers of the last fifty years. Of all his songs, “Songs of the Sea” are probably the best known. They are a magnificent essay in the patriotic style. The choice of Peter Dawson to slug these splendid songs was inevitable: few singers could approach him in any department of song, and the clear, incisive diction for which he is so justly renowned is au asset of great value. The songs are recorded here in their original form, with solo-voice, made chorus, and orchestra.

Delightful Tenor Songs. Sydney Coltbam (tenor) in “Little Lady of the Moon” and "Bird Songs at Eventide” (E. Coates).

Sydney Coltham has such a host of admirers that any new record of his is sure to be welcomed. There is no denying the attractive quality of his voice and in this record of two delicate little ballads it is given every opportunity for the fullest display. (H.M.V., 8.2742.)

A Charming Contralto. Essie Ackland (contralto) in “Down Here” (May Brahe) and “O That We Two Were Maying” (Nevin). It is only a little while since Essie Ackland’s first “His Master’s Voice” records were issued, but her reputation as one of the most pleasing contraltos of the day has been firmly established by them. There is a quiet beauty about the rich tone of her voice. (H.M.V., 8.2740.) Two Vioiin Gems. Erica Morini (violin) in Sarasate’s “Romanza Andaluza” and "Introduction and Tarantelle” (Sarasate). Erica Morinl’s latest “His Master’s Voice” record is a performance of the utmost brilliance, and the reproduction is of such nature as to suggest the immediate presence of the artist. It would be strange if any person hearing this record did not become enthusiastic both" on the playing of Mlle. Morini and on the technical quality of the recording Itself. (D. 1445.

A New Cortot. Alfred Cortot (piano) in “Rigoletto Paraphrase” (Verdi-Liszt). Liszt’s “Rigoletto” Paraphrase is entirely based on the famous quartet “Bella figlia dell’ amore” from the last act of the opera. Alfred Cortot gives a most brilliant interpretation, which is wonderfully recorded. This is one of the greatest piano records ever issued, the volume and clearness being astounding. (H.M.V. D. 8.1105.)

Schubert “Sonatina." Isolde Menges and Arthur de Greef (violin and piano) in “Sonatina in G Minor,” Op. 137, No. ,3 (Schubert). The “Sonatina in G Minor” breathes a cheerful,, happy air that is so spontaneous that it would be hard to refrain from responding to its cheerful gaiety.- It is virtually a wealth of happy-sounding melodies, and if all the people (and there are quite a number) who believe a sonata or a sonatina is just a dreary five-finger exer-

cise could only hear this little work there is no doubt whether they would be “converted” or not. (H.M.V. D. 1398.)

Channing Instrumental Music. Virtuoso String Quartet in “Tambourin” (Gossec) and “Molly on the Shore” (P. Grainger). Contrast is a feature of this fine record by the Virtuoso String Quartet. For, whilst the little “Tambourin” of Gossec will remind you of a delicate Dresden china, shepherdess—all pink and white and' very fragile—you will find Molly on the Shore to be a buxom young woman dancing a reel with energy and abandon. Both pieces are beautifully played. (H.M.V. 8.2589.)

Bach on the Organ. Marcel Dupre (organ) In Bach’s chorales, “Sleepers, Awake,” and “Christ Came to Jordan.” These two very beautiful chorales are beautifully enshrined in the pattern of sound which is woven round them. The tones of the organ are magnificently reproduced, with a breadth and grandeur that are truly inspiring. Marcel Dupre is one of the greatest living organists. (H.M.V. E. 471.)

Grand Opera Duet Scena. Apollo Granforte and Hilda Monto, with members of La Scala Orchestra, in “Aida”—“Rivedral le foreste imbalsamate,” and “Su dunque!” (Verdi).

The great Nile scene from the third act of “Aida” is one of the most remarkable pages in the opera. Aida’s father, Amonasro, has sought out his daughter. He knows of the fascination and love she has for Rhadames and bids her obtain from him certain military secrets. Aida is torn between patriotic love of her native land and her love for Rhadames. She knows that if she does not obtain the information required her countrymen will perish miserably before Rhadames* Egvptian armies and she will remain a slave. (H.M.V. D. 8.1153.) (Continued on next page)