MUSIC and RECORDS

Dominion, Volume 22, Issue 81, 29 December 1928, Page 18

MUSIC and RECORDS

By

C.J.M.

Shura Cherkassky in Melbourne. The young Russian pianist, Shuca Cherkassky, has now concluded his tour of Australia and New Zealand. The Melbourne season was extended to eight concerts in the Town Hall, which has a capacity of over three thousand people, and extraordinary scenes of enthusiasm were witnessed when the programme was concluded, the audience used to surge up to the platform, and refuse to depart until the young virtuoso had played at least nine or ten encores. One person in Melbourne who did not like this enthusiasm, was Lady Stonehaven, wife of the Gover-nor-General of Australia. She was seated in the front with a friend, at one of the recitals, and at the conclusion of the printed programme, Shura’s excited admirers stormed up to the platform, and crowded around Her Excellency, to her discomfort, and she looked very much relieved when she was finally rescued by Mr. E. J. Gravestock. Writing to a friend in Christchurch, Mr. Gravestock says: “The lack of support given to Shura Cherkasskys concerts throughout New Zealand will always be a mystery to me. The Australian part of the tour was a wonderful success. He created new records in Adelaide and Perth, whilst Melbourne, Sydney, and Brisbane seasons were extremely successful. We gave eight recitals in Melbourne, and it was only the fact that Shura and his father had to catch the "Ormonde” to Europe, that prevented our giving three or four more concerts, as it was they had to travel overland to catch the boat at Adelaide. The Melbourne critics, who are notoriously hard to please, were unanimous in their praise of Shura, and it was generally recognised that no artist to visit Melbourne has ever had such eulogistic comment from the Melbourne papers. The scenes of excitement at the final Melbourne recitals were most thrilling. Flowers were thrown, on to the platform. and cries for favourite pieces to be played as encores, came from all over the hall. The autograph hunters came in such large numbers after the concerts, that I had to get a facsimile rubber stamp made of his autograph, and after the final recital over three hundred people passed through the

artist room, anxious to say good-bye, and wish him good luck, whilst the scene outside the Town Hall was thrilling. Six policemen were required to keep the crowd back as we left to get into our car.” Music Conductors.

A departing conductor at the end of the last musical season paid a poor compliment to the musical appreciation of American audiences, and incidentally this tribute had a disparaging slant at some imputedly popular conductors. It was Mr. Philip Monteux, guest conductor of the Philadelphia Orchestra, who launched this Parthian shot: “The average American goes to hear symphony concerts in order to watch the conductors and not to hear the music. He even turned on his hosts and affirmed that “Americans, even Philadelphians, prefer slim conductors as ‘gentlemen prefer blondes.’ ” William Wade Hinshaw, in a recent number of “The Musical Leader” (Chicago), comes forward with the generalisation that American musical taste is usually estimated by departing European artists in the measure of their personal success here. Mr. Hinshaw’s principal effort is to clear prominent conductors of the charge of winning approval through their slimness: “In America we have eleven great symphony orchestras, and each one has at least one great conductor; but surely few of these conductors could claim to get their popularity from their looks or their tailors. Neither do they cavort around while conducting, to make a spectacle of themselves. We have occasionally had ‘guest’ conductors in New York who made a great ‘show’ of themselves while directing, but not one of these has gained a permanent foothold in the affections of the public. Looking for a moment at the conductors of the New York Philharmonic Symphony Society, we see Arturo Toscanini. a bundle of nerves and fiery musicianship, a man who conducts altogether from memory, and who stands so quietly that were it not for his tenseness one would scarcely see him at all, but would forget him in listening to his music.

“Then there is Willem Mengelberg, the ‘sawed-off’ Hollander, who comes over every season for a few weeks, and whose conducting has inspired us all

immeasurably. No one could accuse him of trying to make a show of himself. He knows that he is no Beau Brummell, but he makes his music so beautiful that audiences are forgetful of him during a concert. The-- third conductor is our own beloved Walter Damrosch, who looks like a sainr, though no one would go to the concert hall just to watch Mr. Damrosch conduct.

“Take another great conductor, Alfred Hertz, who leads the San Francisco Symphony Orchestra. He is short, heavy-set, bald-headed, blackbearded—anything. but beautiful; but, oh, his music I What charming effects he can bring from an orchestra! But he is the antithesis of Toscanini. Both men were conductors at the Metropolitan Opera House during the three seasons in which I sang with that company, and my appearances were about equally divided between them. Both men are great conductors and marvellous musicians. I will tell about their characteristics at another time, how-

ever. Then there is Frederick Stock, director of the Chicago Symphony Orchestra, and Fritz Reiner of the Cincinnati Symphony, wonderful musi-

cians and among the finest of conductors. But they do not seem to me to make any kind of a ‘show’ of themselves when conducting. They are quiet but forceful men, and all they want is to bring out the beauties of any given score. Evidently their audiences do not go just to watch them conduct, but to receive the emotional message that emanates from their interpretations.

“Many people believe that Ossip

Gabrilowitsch, conductor of the Detroit Symphony Orchestra, is tremendously good looking, and I think myself that he is above the average of conductors when it comes to masculine pulchritude, but I have never thought of him, personally, in that way. He has beautiful hands, however, and they fascinate me when he plays the piano. But no one, I am quite certain, is attracted to his concerts by reason of his exuberant gestures, nor does any one attend his piano recitals solely to watch his hands. It is his fine musicianship that draws the public. I hear his recitals when he plays in New York, because I get from them the quintessence of musical beauty. His art is not only of a high order; it is perfect.

“Rudolph Ganz, erstwhile conductor of the St. Louis Orchestra, is among the best looking of all conductors, as well as one of the most ' witty and charming of men. But his musicianship is equal to that of any other director in the world to-day, although ne has become better known as a pianist. He never makes a ‘show’ of himself when conducting, but is powerful and reposeful, though he does not lack fire. Ido not know Mr. Koussevitsky, Mr. Sokoloff, or Mr. Schneevoigt, and therefore must not speak of them. But I have never heard it said that these men are other than serious musicians and gentlemen of high intellectual attainments.” RECORDED MUSIC Christmas Recordings by the 8.8. C. Choir. (1) “Good King Wencesles”; (2) “The First Noel.” Col. 2612. (3) “God Rest Ye Merry Gentlemen”; (4) “Good Christian Men, Rejoice.” Col. 2613. (5) “Hark the Herald Angels Sing”; (6) “While Shepherd Watched.” Cbl. 2614. (7) “Christians, Awake”; (8) “O Come All Ye Faithful.” Col. 5615. These time-honoured carols and hymns are specially recorded by the British Broadcasting Company’s Choir in St. Mary-le-bow Church, Cheapside, London. Every number on these four discs reminds us that Christmas is not Christmas without these old and wellloved tunes. In New Zealand, where waits are almost unknown and where snow is as rare on Christmas Day as it is at the Equator, one can really appreciate these fine recordings. Something of the church atmosphere can be sensed in them all—the rolling organ notes echoing down the aisles are but a short stop to visualising the frosty breath of the choir and the snow banked up on the window buttresses. Singing is wonderfully crisp and there is real expression in every note. Ideal records, these, for Christmas morning. A Christmas Choir and the H.M.

Grenadier Guards Band. “The Christmas Waits.” In two Parts. Columbia 9146. This disc is an admirable Christmastide fantasia, and introduces the midnight chimes, “The First Noel,” “Nazareth.’ “Christians. Awake,” “Hark the Herald Angels Sing,” “Good King Wenceslas,” “The Mistletoe Bough,” and “Auld Lang Syne.” Voices are finely blended with the Grenadier Guards accompaniment, and provide as happy and as melodious a selection as one could wish for.

The New Sanctuary Quartet. (1) “Christmas Carols”: (2) “Christmas Hymns.” Col. 9140.

These two selections comprise most of the numbers previously mentioned, with the addition of “I Saw Three Ships A’Sailing.” Accompaniment is this time by the grand organ, and splendidly balanced singing by the New Sanctuary Quartet combine to form what cannot help being a. popular disc. Articulation is beautifully clear, and performance on the whole is indeed finely expressive of the Christmas spirit.

Two National Favourites. (1) “Auld Lang Syne”; (2) “Home, Sweet Home” (Payne and Bishop), Sung by the Sheffield Orpheus Male Voice Choir. Columbia 0852.

Anyone who is as yet unacquainted with the Orpheus Choir of Sheffield should immediately hear this disc. The rendering of these two simple airs provides unaccompanied part singing that has few equals. Balance, pitch, tone, enunciation and phrasing are alike, perfect.

Wonderful Choral Recording. (1) “Adeste Fideles" (0 Come All Ye Faithful); (2) “John Peel.” Associated Glee Clubs of America. Col. 9048. j Eight hundred ' and fifty trained voices—in perfect Itime and harmony. This is perhaps the greatest choral record yet made. “John Peel” is sung with a rousing vigour that would do credit to the finest of English Choirs. “Ade Ste Fideles” is a truly wonderful piece of work. In this number the audience of the Metropolitan Opera House join, four thousand strong—making a total number of voices recorded 4,850. As may be imagined, this record has volume!

The Sheffield Chc‘ . The Messiah (Handel) — (1) “Hallelujah Chorus”; (2) Worthy Is The Lamb.” The Sheffield Choir, with orchestra. Col. 9008.

No Christmas music is complete without an excerpt from Handel’s immortal “Messiah.” These two choruses, two of the most powerful numbers in the whole work, are rendered by this famous choir with an attack and a stirring intensity of feeling that must be heard to be properly appreciated. Another fine tribute to Sir Henry Coward’s brilliant conductorship and intuitive musical genius. Herman Finck and His Orchestra. Bacchanalia—“ Drinking Songs Fantasia” (arr. H. Finck). In two Parts. Herman Finck’s Orchestra. Columbia 02541. Twenty-five drinking songs, and rol-

locking songs, most of them —starting with “We Won't Go Home Till Morning,” and ending up with “Auld Lang Syne.” Every song in praise of good English cider and English ale, and every ballad dealing with the “daughter of the grape” has a place in this merry medley. Both old and new tunes are represented, and all are played in Herman Finck’s best style. This mixed hymn to Bacchus should prove a big favourite in helping on the Holiday Spirit. The Hilarious “Vicar of Mirth.” “The Parson and the Christmas Party” (In two parts). Columbia 4162. “The Parson’s Christmas Address” (In two parts). Columbia 3812 (by Vivian Foster). These humorous monologues by our old favourite, the “Vicar of Mirth” should help to keep up good spirits at many a Christmas party. The same old sparkling humour that delighted us in his original records, the same deliciously farcical intonations and bursts of spontaneous wit. No better records have been made of the lighter side of Christmas. A Novel Record. “Crossing the Line” (descriptive). In two parts. The Comedy Sketch Company. Columbia 01223. This is a very clever record indeed—replete with every conceivable nautical effect. This graphic recording of the time-honoured custom of “dipping the novices” is funny in the extreme. Sea chanties, ships’ bells.. sirens, laughs, giggles, splashes b and fun in general is most vividly reproduced. Quite the most novel recording of recent months. Brilliant Fun by One of the “Black Crows.” (1) “Our Child”; (2) “Ehler Eatmore’s Sermon on Throwing Stones.” Monologues by Charles E. Mack (the latter assisted by Moran). Columbia 02619. Some say that this is the funniest record yet. made. After hearing it two or three times, we are inclined to agree. No doubt it is one of the cleverest records that these two dark-town entertainers have produced. Recording is especially good, and Mack’s deep fruity voice is heard at its best. There are few people who, on hearing it once, will not want to take it home. And' 1 it is by no means a record to get tired of. The tenth hearing is even more enjoyable than the first I Columbia’s Marvellous Boy Soprano. The Creation (Haydn)—-“With Verdure Clad.” In two parts. Master John Bonner, boy soprano. Columbia 02570. Recorded in Manchester Cathedral—a building famous for its magnificent acoustic properties. The richness as well as the purity of this boy soprano's voice is astonishing. High, and gloriously clear above the organ, his voice rises at times to superb heights of vocalism in this by no means simple aria. Until Master Bonner’s voice breaks, he may be assured of a tremendous popularity.

Two Excellent Oratorio Choruses. Appropriately for the season of the year there comes from Zonophone two excellent oratorio choruses—“ Worthy is the Lamb,” from Handel’s “Messiah” and “He Watching Over Israel,” from “Mendelssohn’s “Elijah.” The recording is first-rate, finely reproducing the excellent singing of these splendid choruses. The singers are the Mormon Tabernacle Choir (A. 341 Old Favourites.

Charles Hill, the popular Zonophone tenor, presents in “Annie Laurie” and “Afton Water” two world-famous old favourites which should have a wide appeal. They are finely sung and recorded (A. 339

Chimes cn the Disc. One likes to have one or two novelty records in one’s collection, as, for example, the “Weymouth Chimes” and “Christchurch Chimes,” which are played by the National Military Band, and recorded on Zonophone No. 5119. The band does some clever work here.

Four Good Wurlitzer Recordings. The Kinema organ under a capable player can be made to produce some wonderful effects. Excellent examples of the tone-colours possible on this instrument are presented by Charles W. Saxeby in “Les ■> Millions d”Arlequin Serenade” (Drigo), Mendelssohn’s “Spring Song,” and “Bees’ Wedding” (Zonophone A. 335) and “Dance of the Blue Danube” (Fisher) and “Sing .Me to Sleep With a Twilight Song” (Gilbert), a ten-inch Zonoohoue disc (5123). A Fine Contralto.

Esther Coleman’s contralto singing for Zonophone has found her many admirers. Her latest disc (5125) includes Gounod’s “Ave Maria” and Piccolomini’s “Ora Pro Nobis,” both of which she sings with her usual accomplished full, rich-toned artistry.

A Humorous Duo. Maurice and Sydney, two clever Zonophone humorists, supply two good hits in “How Long Has This Been Going On?” and “Without You, Sweetheart” (5127). The titles of these numbers suggest their character perfectly. Light Orchestral Fare.

Amongst recent light orchestra numbers one can heartily recommend the New Light Symphony Orchestra's latest contribution to the Zonophone list —Tobani’s intermezzo, “Hearts and Flowers,” and Lincke’s idyll, “The Glow Worm.” Lineke, who wrote that popular hit, “In the Shadows,” some years ago, revels in dainty musical motifs, of which “The Glow Worm” is an excellent example. (E.F.20.) New Frankljm Bower Disc.

Franklyn Bower’s melodious tenor voice is excellently suited for appealing renditions of the popular type of song, as shown in his new Zonophone disc, “I’m Away from the World when I’m Away from You,” and “Just Across the Street from Heaven.” (E.E.107.) Lancers and Barn Dance.

Bert Firman’s Dance Orchestra introduces quite a new feature in “Community” Lancers (four figures, on Zonophone No. 5117), and “My Lady Dainty,” barn dance (5118). The reverse side of the latter has the fifth figure of the “Community” lancers, so the discs make a good pair. The same orchestra also presents the foxtrots “Hooray Hooray! It’s Ray, Ray. Raining." and “Playground in the Sky.” The Arcadians Dance Orchestra has a good bracket in “Love Lies” (fox-trot), and'“Just Like Darby and Joan” (waltz), on Zonophone 5132. A Tribute. A London contemporary has this approving tribute to, the Philadelphia.

Symphony Orchestra’s splendid recording of Cesar Franck’s “Symphony in D Minor” (H.M.V. D 1404) : “The Franck symphony is thus divided: first movement on four sides, each of the others on three. The qualities that strike me in the discs are the breadth of tone, the beautiful bits of wood-wind work, the spaciousness of the slow movement —a quality that I like very much, and the chivalrous fire of the last movement (I shall go through this again with great interest, for I can hear, in passing, many things that deserve closer attention)? On the whole, that last movement raises my interest and curiosity very much. It seems to rise to the measure of the stature of Franck.”

A Magnificent Duet. Only antipathetic persons will be proof against the appeal of the new H.M.V. record of the love duet from the first act of “Madame Butterfly,” writes a London critic of Margaret Sheridan’s and Ameliano Petite’s recording of the scene (H.M.V.). The new record represents the highest standard of modern recording. The (Continued on next page)

duet is sung by two favourite artists of Milan, the city which provides in its opera audiences the proper judges of Puccini performances: and the orchestra is that of the celebrated La Scala Opera House at Milan, playing at the full strength required for the rich Puccini music. This perfect ensemble is reproduced w’ith most sensitive faithfulness. On the record’s two long sides the last pages of the act are given without cut, and it is a great joy to have in this form the beautiful orchestral symphony that accompanies the movement of the bridal pair into their idyllic dwelling-place, and the fall of the curtain on the empty stage —a passage almost overpowering in its effect on the emotions of every audience at a “Butterfly” performance.

“Count” McCormack Re-recordings. One supposes that there are still people who will be thrilled bj’ the mere news that McCormack has re-recorded “I Hear You Calling Me” and “Mother Machree” for H.M.V. Certainly few tenors could make them more thrilling. His words are particularly clear, though his brogue is conspicuous. But this is perhaps apt in the imitationIrish “Mother Machree.”

Compliment to Peter Dawson. If “The Admiral’s Yarn” comes up to your standard of broad humour, you will fully approve Peter Dawson’s recording of it. “At Santa Barbara” would be called saucy; as usual, Dawson leaves nothing to be wished. So says a London critic of one of Peter’s latest successes for H.M.V. Brunswick.

Amongst recent Brunswicks, the Regent Club Orchestra play four good waltzes very well: “A Kiss Before the Dawn,” and “Linger Longer Lane” (3744) and “Together” and “WhenLove conies Stealing” (3745). Others include:

3737. —“Beautiful” (Slow F.T.) and “I’ll Think of You” (Ch.), King Solomon and His Miners. 165.—“ Smile” (Ch.) and “Here am I, Broken Hearted” (Ch.) (Fred Elizalde and his Music). 169.—“H0w Long has this been going on?” (Q.S.) and “Tea Time” (F.T.) (Fred Elizalde and his Music). ■ 3740. —“Lonely Melody” (F.T.) and “When You’re with Somebody Else” (F.T.) (Bernie Cummins and his Orchestra). 3749.—“ My Honey’s Loving Arms” (F.T.) and “Song” (F.T.) (Ray Miller and his Orchestra).

Parloplione. Dajos Bela—-Famous Continental violinist and orchestra leader is heard to great advantage in “The Flowers Dream” by Waldteufel —“Whispering of the Flowers.” This delightful disc demonstrates plainly the Parlophone Co.’s genuine desire to make firstclass music available to the general record buying public. Among the lighter releases of recent date one of outstanding quality is the “Blue Room” and “The Girl Friend” by Sydney Burchall. This artist is a big figure in Australian vaudeville, and is already well known to the New Zealand public through the medium of Parlophone records on which he has released many big sellers. Arriving in Australia from England about 15 years ago, he was so very successful in that country that he decided to stay there. Certainly a baritone who sings popular music as he does would be a decided loss to any recording company and incidentally to the general recordbuying public. More numbers like this will be verv welcome.

Lovers of a good soprano voice will be more than satisfied with Lotte Lehmann in Schubert’s “Ave Maria,” and “Standchen” Serenade by this artist which are very pleasing to listen to. Mme. Lehmann differs from the usual interpreters of the former by taking it at a good pace throughout with the exception of the beautifully floating high note at the end of each verse. It is here she lingers much to our joy. The accompaniment by piano and strings is well recorded as also is the voice.

“Jeanine”! Readers who require this popular record are advised to hear it by Joe Green’s “Royal Music Makers. The reverse side “King for a Day” is out of the usual run of modern dance records and should prove a good double. “Cavaileria Rusticana” — Easter Hymn.” Verdi's wonderful creation has surely never been heard to better advantage than on the Parlophone record.

The Berlin State Opera Orchestra and Chorus give a : tendering that reaches a pinnacle of perfection almost unbelievable in its brilliance, the brass tone being exceptionally clear and vibrant while Mme. Emmy Bettendorf, the famous German soprano, sings with the choir in a. manner which leaves no doubt as to her justly earned international reputation? This record can be described as a revelation and will prove inf. zesting to everyone whether a love: of the classics or of the popular lighter music. The recording makes ns realise the tremendous advance of the Parlophone electrical system.

“Gotthelf Pistor” well known on the continent as a powerful dramatic tenor, will make a host of friends with his latest Parlophone release Wagner’s well known "Siegfried” Final Act 2in two parts. This disc gives the singer great scope for his wonderful voice. Leslie Pearce has travelled New Zealand so often that be needs no introduction. lie is at present tenor of the “Good News” Co. (now doing Australia) from which musical comedy his tw- latest issues are drawn, namely “Luck in Love” and “The Best things in Life are Free. Both of these numbers being in the popular vein will gain him an even greater host of a