MUSIC and RECORDS

Dominion, Volume 22, Issue 92, 12 January 1929, Page 18

MUSIC and RECORDS

By

C.J.M,

The Gramophone as Teacher. It was very interesting to learn from the speakers at the luncheon of the International Educational Society, London, an ‘‘association not for profit,” formed to spread education oyer the world by mechanical means beginning with gramophone records of lectures by famous men, that a large section of our cultured classes evidently knows little about gramophones. Mr. 11. A. L. Fisher, who presided, approached the matter delicately by saying, ‘‘There is an instrument known as the gramophone.” Having thus given dignity to the ugly word he used it more courageously, but still preferred to speak 'of ‘‘this instrument.” Among the list he gave of its advantages he said that “No one was obliged to listen to it unless he liked,” which suggested that he has been singularly fortunate in his neighbors. The Duchess of Atholl confessed with graceful embarrassment that she had little knowledge or experience in the use of gramophones, and added with a rush of candour, “I don’t think either I or anyone belonging to me possesses a gramophone.’’ Sir-Martin Conway, speaking of “one of the clearest records we have, the lecture on Thomas Hardy by the late Sir Edmund Gosse,” said, “we had considerable difficulty in persuading him to make that record. The chief difficulty was that he had never in his life either seen or heard a gramophone.” Sir Martin went on to speak of the great value of these records in preserving for future generations the vocal presence of the dead. “The spoken address comes with far more weight to the individual who listens,” he said, “than if it were read from a book.”

Travelling recently to and from America, Sir Martin tested the value of several records on his fellow passengers, who were immensely interested in Sir Johnston Forbes-Robertson’s Shakespearean recitals and Mr. Fisher’s lecture on the new Russia. He believed these records ■would be very useful to students in foreign countries, and quoted the sad case of Japan, where he had been told the spoken English lessons were usually given by Americans. Mr. H. A. L. Fisher said the experience he had acquired of Indian education when he travelled through India on a Royal Commission just before the war convinced him that the gramophone could play an invaluable part in the education of modern India. He hoped that in the Indian training colleges and elsewhere Indian teachers would be helped to a better knowledge of our language. This was very desirable since the difficulty of preserving any kind of standard English throughout the Indian Empire has been intensified. The use of educational records would also be appreciated in many sequestered English homesteads throughout the distant parts of the Empire. The gramophone could not replace the personal influence of the living teacher, but it had the advantage that the record could be made to repeat the lesson.

An experiment recently carried out in the county of Kent showed that within certain prescribed limits the broadcasting lesson might be a valuable adjunct to teaching. Mr. Fisher said he thought a similar inquiry might show that the gramophone might also be a valuable adjunct. The Duchess of Atholl, Parliamentary Secretary to the Board of Education, quoted Mr. Guedalla’s description of a Government Department as a collection of inverted Micawbers —all waiting for something to turn down. “We are not quite so bad as that at the board,” she said. “In recent years we have seen the development of three new scientific inventions, each of which is destined to have a great influence, whether for good or ill, upon educational problems. It is our business to see that they are used for the good of the intellectual life of the community, not for its degradation.” Broadcasting and the kinema, she said, had already presented their claims to the attention of the educational world, and the improvements made during recent years must have convinced every thoughtful person that the modern gramophone and modern records may have an important influence on our cultural life. The society’s method offered impressive possibilities for great thinkers, great musicians, and great orators to influence the life and thought of their own and succeeding generations. “The record could be used as an obedient and trustworthy parrot. So far from replacing the personal influence of the teacher, this method, if it were to be used to the best advantage, should strengthen and intensify it.” Lecturers would also be able to improve their style and delivery by the "self-torture” of listening to their own records. Co-operation with the teachers was essential in introducing new methods. In Great Britain they had probably the finest body of teachers the world had seen. If good could come of the use of mechanical devices, the teachers would find it.

RECORDED MUSIC Excerpts from “Hit the Deck.” “Hit the Deck”—Selection; in 2 Parts. London Hippodrome Orchestra conducted by J. Tunbridge. Columbia 02620. “Hit the Deck”-—Vocal Medley; in 2 Parts. London Hippodrome Artistes and Chorus, with KitCat Band. Columbia 02621. These magnificent recordings are by the original artists that starred in the premier presentation at the London ‘Hippodrome.’ The first disc is cf course- purely orchestral (featuring the original ensemble) but the second includes the inimitable Ivy Tresmand and Stanley Holloway, the Barry Twins, the Prince Sisters and the original Hippodrome Chorus. Accompaniment and incidental music is supplied by the Kit-Cat Band. Very fine records indeed. From “The Girl Friend.” Here we have four excellent records (10-ineh) presenting some of the catchiest tunes in this popular musical comedy. “The Girl Friend” and “Slow River” (Columbia 0794) are by the “Singing Sophomores”—that brilliant male quintet. Layton and Johnstone, those prominent American duettists give us a medley on Columbia 0865. Columbia 0566 offers on one side “Mountain Greenery” fox-trot by Debroy Somers’ Band, and on the reverse, “Step on it Blues” fox-trot by the Kit-Cat Band. The Denza Dance Band on Columbia 0864 provide further “Girl Friend” music in crisp rhythmic time. A wide sale for these intriguing records is predicted this mouth. Waltzes by Strauss. (1) “Artists' Life” (Waltz): (2) "Tales from the Vicuua Woods.” Joli-

ann Strauss and Symphony Orchestra. Columbia 02577. Johann Strauss should know the works of his father, should possess the real understanding and be able to produce the right atmosphere. That he can do so is proved by this record. Rich in tone this beautiful orchestra gives its best. Waltzes are not so oldfashioned as some people believe. This record will help to awaken renewed interest in old-time waltzing melodies. 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 solo is very effective, particularly so in the opeing; 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. Billy Bennett Talks.

“The Real Guy”; “Domestic Blisters.” Talking by Billy Bennett. Columbia 0105. Of comedians, and amongst comedians of note, Billy Bennett holds a high position; the very number of records that Columbia have secured from this comedian marks his popularity. When Bill}’ Bennett talks the listener must laugh, subtle humour of the best that we pre all searching for so much in these days. And broad humour too 1 These recordings do full justice to the clear speech of the “talker.” Two Russian Part Songs.

Chauve-Souris —“A Russian Barcarolle,” Mmes. Birse and Ershova, Mm. Dedovitch and Shevtchenko; (2) “Round The Hay Wain,” Chauve Souris Company with the Vaudeville Theatre Orchestra. Columbia 02525. Recordings of the voices of true artists. The “Barcarolle” is sung by a quartet, the tones of whose voices in the deeper notes are a pleasure. “Round the Hay 'Wain” is an admirably executed Russian song.

A Popular Orchestra and a Popular Selection.

“Il Trovatore” (Verdi) —Selection. Percy Pitt conducting the 8.8. C. "Wireless Symphony Orchestra. Columbia 9185. This is an electric recording of a very old Columbia favourite. Assuming the two performances to be the same, the chief improvements are in the- sweeter quality of the strings, the bettor balance maintained by the brass (apt before to be a little over-strident) and the increased richness and subtlety of the orchestration. Perhaps Percy Pitt still makes the selection sound a little too hearty, but Verdi, in some passages at least, can stand that touch of the seaside-band performance. Splendidly Sung Irish Ballads.

(1) “Kathleen Mavourncen”; (2) “Oft In the Stilly Night.” Sung by Alfred O’Shea, tenor. Columbia 04009.

Every record of O’Shea makes us look forward the more eagerly to his coming here again. By his records he is well-known already, and a newtour should be assured of great success. He is at his best in the singing of Irish ballads and brings to these popular numbers the sympathy that best recommends them. This melodious lyric of Thomas Moore is one of the most agreeable we have yet had on a record. Two Lovely Airs.

(1) “On Wings of Song” (Mendelssohn) ; (2) “Ave Maria” (BachGounod). Flayed by the J. 11. Squire Celeste Octet. Columbia 025G9.

The polished technique and finished playing of tlie Celeste Octet always make perfect records and their popularity is such that while they fully satisfy music-lovers with their effective renderings of classic airs, they are frequently requested to give their performances of modern lighter music. And in each class they are conspicuously successful, as these two remarkable contrasts in records go to show. Saint-Saens’ Musical Joke.

“The Carnival of Animals” (SaintSaens). Sir Hamilton Harty conducting the Symphony Orchestra. Columbia L 1617-19. Sir Hamilton Harty and his orchestra are in merry mood as they give us what remains of one of the most delightful burlesques in musical literature. The humour of this jolly suite keeps fresh and roguish throughout. Saint-Saens’ pretty wit is well shown by the inclusion of “Pianists” among his Animals’ Carnival—they are made to play exercises clumsily, as if by beginners. “Fossil” too is a dry bit of fun that comes off very well, and the “Long-eared personages” is given out as realistic brays by two violins. But there are also moments of rare tunefulness, and on all counts this set of records is to be heartily recommended. Another Saint-Saens Masterpiece—in a different mood. “Danse Macabre” (Saint-Saens). In Two Parts. Sir Henry Wood conducting the New Queen’s Hall Orchestra. Columbia 04021. This bizarre work begins with the striking of midnight, when the wild orgy of skeletons commences. The solo violin impersonates Death, playing a very sorrowful and beautiful melody. Eventually the cock crows, everything quietens down and vanishes. The work, by the way, has additional interest because it first used the xylophone in a concert orchestra (to represent the rattling of the skeletons’ bones).

The Danse Macabre reveals the best of Saint-Saens’ perfect command of the technical process of expression, and his extreme readiness in thematic development and superb orchestration. This recording by Sir Henry Wood and his famous orchestra, secures all the appropriate eeriness in this rendering of the fantastic music, and the record ranks high as a triumph of recording. Past Glories Recaptured.

'Truly there is a whiff of the atmosphere of the pr-ewar days that conies from the re-recording of some operatic extracts from Verdi and other operas which in those halcyon days were the property almost completely of Caruso and his exact contemporaries. Now we have the sextet, “Chi mi frena” from “Lucia,” sung by Galli-Curcl, Homer, Beniamino Gigli, De Luca. Riuza, and Bada, and the great quartet from “Rlgoletto,” recorded for H.M.V. by the first four of these singers. Alas that such singing is no longer to be heard in London, but, that being the ease, it is good to have records of the fact that, it is still possible to hear such superb yocal tone.

Hats Oft’ to Stokowski. I have a strong predilection for the record of the Philadelphia Orchestra under Stokowski of Bach’s “Toccata and Fugue iu D Minor” (H.M.V.). Purists, no doubt, will declaim against the choice of the transcription of such music for the whole body of strings of an orchestra, but I fear I am no purist where the effect is so superb. Really old Papa Bach had almost more vitality in his music than any composer since his day. Here he fairly and squarely sweeps one off one’s feet. It appears that Stokowski himself was the arranger. I take my hat off to him. "Russet anti Gold.” Walter Glynne, the English tenor, reproduces well again in two English ballads from Sanderson’s cycle “Russet and Gold” (H.M.V. 82G77—10in.) ; he sings “Shepherds Gay” and “RusseJ Maids" with fine vocalism, pleasing sentiment, and clear enunciation. “The Best of 400 Celebrities.” My “gramophone” friends (says a correspondent in a contemporary), are always keen to hear such Plancon records as "Grand Isi, Grand Osiri” and “Qui sdegno,” both from “II Flauto Magieo,” and the “Berceuse” from ‘Mignon,” and several have stated that the former double-sided record (H.M.V. D.8.G57) is one of the very best in my collection of nearly 400 records, nearly all celebrity discs. Schubert for Melody.

A further contribution of charming tunefulness to the Schubert centenary commemoration is found in the “Sonatina in G Minor,” Op. 137, No. 3, played by Isolde Menges (violin) and Arthur de Greef (piano). I would ask those people who think a sonatina to be something very dry, to try this really cheerful and melodious work; if anything would alter their views, this H.M.V. recording should. Faust “Ballet Music.” The “Faust” ballet music by the Royal Covent Garden Opera Orchestra (H.M.V.) is excellent for a large room or the open air. The performance is clear, crisp, sometimes rather like that of a military ban—a little too loud and square-toed for my liking. You can play about with this music. It is so charmingly serious and unselfeonscious; it ought to be taken out and flirted with, very gently and urbanely. Liszt’s “Eighth” Rhapsody.

If all the Liszt’s Hungarian Rhapsodies are not as popular as the second it is rather a case of their being overshadowed than anything else. Mark Hambourg (H.M.V.) is doing Liszt a service, therefore, in providing a record of the less known Hungarian Rhapsodies. The "Eight” Rhapsody is very brilliant and affords him an exceptional opportunity. Scottish Folk Song.

Charles Hill (tenor) in “Afton Water” (Hume) and “Annie Laurie” (Scott), A. 339 (12in„ 45.) \This is the beautiful setting of the words of the familiar Scottish folk song “Afton Water,” which Hislop so finely recorded for H.M.V. recently. For anyone who cannot afford the Hislop record this Zonophone disc by Charles Hill will serve excellently. He has the voice to go a goodI’way, 1 ’way, and in “Annie Laurie” confirms the impression that he is already well worth listening to. A Popular Organ Record.

One of the most popular of the many distinguished artists who record for “His Master’s Voice” is Mr. Arthur Meale. Mr. Meale’s latest record is typical of his'productions and contains a very attractive performance of the well-known Raff “Cavatine” and the perennial “Blue Danube Waltz.” The arrangement of the latter might be thought to be rnther difficult, but it actually achieves a most delightful effect. “The Cocoanuts.”

The “His Master's Voice” record of vocal gems from “The Cocoanuts’- —- the new “musical-fantasia” that lias just been produced at the Garrick Theatre, London, will be very welcome to everyone who cares for light music. It is magnificently sung. On the reverse side of this record is a performance of a “symphonic” version of that very melodious fox-trot "When Day is Done.” (C.14G0.) Good Dance Records.

Of recent H.M.V. dance records. “I’m Going Back to Old Nebraska and "Playground in the Sky” (from “Will o’ the Whispers”) (85444), recorded by Jack Hylton, might be singled out as one of the best. “Just, a Memory” and “Souvenirs” (B 2701 played by Jesse Crawford on the Wurlitzer organ can be recommended as an interesting and unusual dance record. Schubert’s “Heavenly” Symphony. The London Symphony Orchestra, conducted by Dr. Leo Blech, are to be congratulated on their fine performance in the recording of Schubert s “Symphony in G Major” for H.M.V. The record is very satisfactory, although the unorthodox scoring of that natural genius, Schubert, must have made the work something of a problem to get on to records with the faithful balance of tone attained. But for the gramophone, Schubert’s . last and greatest work, too long and difficult for average orchestras, might remain unheard by the majority of musiclovers. A Delicate Task. ,

The most careful recording is required for any of the major works of Brahms, because of the intellectual subtlety and depth of the composer, and because a blurred phrase or a point of construction missed will ruin many bars of supremely beautifully music. Hence the wisdom of H.M.V. in securing Kreisler as the soloist in this latest wonderful production, the Brahms “Violin Concerto.” and in setting the extremely difficult task of accompaniment to so masterful a combination as the Berlin State Opera Orchestra under Mr. Leo Blech. The work is, in the first place, magnificently performed. Kreisler’s reading of this great work has passed into tradition as one of the freaks of interpretative art. Now that there is opportunity to listen again and again to the splendid reproduction on the gramophone, music lovers can find out for themselves how well merited is Kreisler’s fame on this score. The work is recorded on five records, occupying nine sides, the tenth being used for a charming Schumann Romance played by Kreisler, with an -■Waordinarilv effective directness of 1

Delius and “Brigg Fair.” Sir Thomas Beecham recently referred to Frederick Delius, the York-shire-born composer, as the most distinguished and precious mind in music the world has produced for the last fifty years, the bulk of whose -work was quite unknown in the land of his birth. The composer’s rhapsody. "Brigg Fair,” was recently Included in the programme of the 8.8. C. Symphony concert,, broadcast from Da ventry, Belfast, and other stations. More, of the music of Frederick Delius has been heard in Germany than in England, and such experience as England has had of his work has been due almost entirely to the efforts of Sir Thomas Beecham. Now gramophony and “the wireless” are spreading knowledge of this remarkable composer’s work-. The H.M.V. Company recorded “Brigg Fair” some time ago. Parlophone. No. 4038. _ Any time seems to take on an engaging melodiousness under the masterly musicianship of Dajos Bela. Imagine then the beautiful “Morgenblatter” (Morning Leaves) and “Marian Klange,” two masterpieces of that great waltz king, Johann Strauss. Both are played with typical Viennese spirit by this inimitable combination, making a disc that is pleasing for any person to listen to, be they a lover of the classics or an adherent to lighter music. It makes an ideal record for the holidays, and is sure to be popular on the river, for garden parties, or indoors. No. ARlol3.—Turandot “Ministers Trio.” After playing over this very fine number, it seems surprising that only one previous attempt has been mafic at recording it, and that a rather mediocre one. Certainly Puccini would be very pleased with his composition if he could but hear it interpreted by Signors Nessi and Venturini, tenors, and Signor Baraachi, baritone. This fine trio, being the principals of the La Scala Opera House, Milan, have the assistance of the orchestra of that famous house, and although not detracting in any way from the quality and humour of the voices, it must be admitted that the orchestra lends it extra charm.

No. 2598. Two piano solos by Raie Da Costa, billed throughout England and America as “Dance I‘ianiste Supreme.” She will delight all with her two latest big hits from “Good News,” “Lucky in Love,” and “The Best Things in Life are Free.” Quite recently some eminent European reviewers suggested that, should this vivacious American girl take up more serious music, a great career awaits her. No. 2611. “Jeanine.” Two new recordings of this title are available on Parlophone. No. 2611, by Richard Jordon, a pipe organ, with vocal refrain, is really meritorious and can be recommended with safety. No. 2617, by Marie Castona, a newcomer to gramophone records, also merits approval. Miss Castona proves to be a violinist of no mean talent, and by selecting such a fine number for her debut, she cannot fail to create a good impression. The reverse side, “Angela Mia,” is very tuneful, and provides a fitting double. No. 4039. "Barber of Seville” (Ecco Ridente) and “La Favourita” (Spirito Gentil), by Nino Ederle, are exceptionally well sung and thoroughly deserve all the good things that will, be said about them. It is gratifying to see that a lyric tenor of the rare quality of Nino Ederle chooses two such popular arias to make his initial acquaintance with us. His voice being sweet and mobile, suits them to perfection.

Brunswick. Verbruggbeu and the Minneapolis Orchestra have recorded for Brunswick Alfred Hill's celebrated "Waiata Poi,” which is bracketed with Guiroud’s “Melodrama”—a fine disc. (15117.) “Moonlight on the Danube” and “That Melody of Love,” on Brunswick 3526, are two excellent waltz numbers by Joe Green’s Orchestra. Katzman’s Salon Orchestra presents a charming double in McDowell’s “To a Wild Bose” and Schubert's “Serenade.” (3SGI.) Frederick Delius.

Frederick Delius was born in 1563, in Bradford, Yorkshire. All the composer’s early life was spent in Yorkshire, and one of his most inspired compositions, “Brigg Fair,” has 'ts emotional source in early memories, awakened, it may be, by the Dorian folk-tune which Mr. Percy Grainger collected in Yorkshire and gave him (writes Herman Ould in the “English Review”). His songs—which are but a fraction of his large output—reveal a cosmopolitanism which is entirely unconcerned with nationality. In choosing words for musical setting he lias shown a preference for the acknowledged best —Verlaine, Shelley, Ibsen, Nietzsche, Bjornson—with occasional excursions into the works of lesser-known Scandinavian poets. Scandinavia, and particularly Norway, has always attracted him, and among the minor influences which shaped his course, Grieg takes a prominent place. The “Five Lieder from the Norwegian, are not dated at all, but were certainly among his earliest attempts at writing songs. The words are by Bjornson, Kjerulf, and other Norwegian poets, but are given in German and English versions only. Each of these unpretentious little songs is in its way charming, but gives little hint of the power for individual expression the composer afterwards developed. They are cast in the usual German “Lieder” mould, with a touch of Grieg’s influence here and there. Perhaps “Sehnsucht” claims the most attention. The Scandinavian influence has generally tended towards simplicity, and the emotional content of these five songs, the words of which are translated from the Danish, is always forthright and uncomplex. The first of them, “The Violet,” is altogether delightful in its naivete and directness, and so is the graceful “Silken Shoes”; while the Eastern flavour of “In the Garden of the Seraglio” is more deli‘cately transmitted than is usual with songs of this type. The gently flowing “Autumn” has several of the characteristic Delius progressions and is not without a tendency to let the piano part take its own course independently of the vocal; but the fifth song, “Irmelin,” a ballad in subject and in form, is a fairly straightforward piece of writing which should present no difficulties to a competent singer. Entirely simple in structure and execution is “The Homeward Way”—a little masterpiece of restrained sentiment musically, expressed. It has the inevitableness of a folk-song, yet delights the ear with some charming modulations. In two of the three Ibsen songs, Delius shows his dramatic power, the “Minstrel” recalling Schubert’s “Erl King,” not because of the repeated octaves with which it opens, but on account of the feeling of suspense which is aroused at once and held as long as the composer wishes to maintain the tension. “The Bird’s Tale,” an elaborate song, with some attractive but not too easy work for the pianist, has a vocal line which the inexperienced singer will not find easy to cling, to in defiance of the somewhat complicated accompaniment, but, having mastered it, be will rejoice in its fine sweep and the splendid ecstasy of the last verse. The ecstatic note is one which Delius often strikes. It rings out finely in the setting of Shelley’s “Indian Love Song,” the gentle opening lilt of which is presently transformed into a tumult of passionate feeling, rising to a splendid climax. In this song, as in some others, the composer plays pranks with the words, repeating what Shelley was content to say once; but in the song the descent from overcharged emotion to the tranquillity of exhaustion is musically so satisfying that one is prepared to forgive the meaningless repetition of the phrase, “Where it will break at last.” The two other songs from Stielley, “Love’s Philosophy” and “To the Queen of My Heart,” also supply that white-hot passion, sublimated and etherealised till it seems to have nothing earthy about it, which Delius so well understands and so finely expresses. The writing for the piano is sometimes awkward, and it need not be denied that the singer has a hard task; but modern English song-writers rarely give him one better worth accomplishing. < Hearing Delius’s work at intervals, one might be disposed to imagine that its range was not especially wide. His idiom is so marked that one song of his Inevitably recalls another, and it is only when one has an opportunity of examining a number of compositions in close succession that it is possible to appreciate the variety and scope of his art. For instance, although his individuality is stamped as clearly on one side as on the other, nothing could offer a greater contrast to the Shelley songs than the Verlaine songs. The rhapsodical luxuriance of the English poems gave the composer a chance to express one important side of his genius; the Verlaine poems reveal another. Here the contemplative quality so often manifested in his larger works is allowed utterance.

Four Old English Lyrics make no attempt to imitate an ancient idiom. Never has Delius been more Delius than in these songs, which have all those arbitrary departures from conventional harmony associated with bis name, and a failure to employ the obvious intervals iu the vocal part which the average singer would regard as perverse; yet there is something peculiarly English about them. “So White, So Soft, So Sweet is She,” the simplest of them in conception, and the easiest to play and sing, has a rare delicacy. “It Was a Lover and His Lass” meanders through a variety of keys, and is probably the most individual setting of words which have been set time and time again. There is a strange wistfulness about it the words do not usually evoke. “Spring, the Sweet Spring” is very bright, very English, and very Delius, and “To Daffodils” is one of the most charming of his songs.