MUSIC and RECORDS

Dominion, Volume 22, Issue 116, 9 February 1929, Page 18

MUSIC and RECORDS

By

C.J.M

Musical Successes. Saturday night, January 19, was a memorable date in connection with the J. C. Williamson enterprises, for it marked a notable achievement as regards two of the firm’s musical productions. At His Majesty's, Melbourne, “The Desert Song” reached its 150th performance on that night, and in Sydney, at Her Majesty’s, the 100th performance of “The Vagabond King” was celebrated. This is the first occasion upon which two musical plays in the two cities under the firm's management have simultaneously scored sueh a unique achievement. Erica Mortal. '

According to arrangements made by Mr. E. J. Carroll, Miss Erica Mortal, the famous Viennese violinist, will commence ap Australian and New Zealand tour in the Town Hall, Sydney, on Easter Saturday. Miss Mortal is recognised by the world’s music critics as the greatest woman violinist of the day. Although this beautiful voting Viennese girl is still in her early twenties, she has gained a position in the musical world which ranks her with Kreisler and Heifetz. “It is no idle claim that she is the greatest living woman violinist,” writes the music critic of the Loudon “Daily Sketch,” and visitors to Europe who have been fortunate enough to hear this brilliant young instrumentalist fully confirm this opinion. Her success ’ias been world-wide, and she is equally famous tn America as she is in Europe, and her contract fO’ her Australian and New Zealand tour is one of the biggest ever entered Into by any entrepreneur for this part of the world. Miss Mortal is undoubtedly the highest-paid woman to visit this country, a-.. her fees for thirty cos certs represent a fortune to the average wage-earner. Miss Morlni will give recitals in the four centres of the Dominion. commencing at the end of May

Dusolina Giannini. Dusolina Giannini last year was a “star” at the grand opera season at Covent Garden, London, and so great was her success that she has bee” engaged for the forthcoming season, and will sing in twelve performances of the operas “Madame Butterfly” (Fbceini), “Manon' Lescaut” (Puccini), “Othello” (Verdi), and “Don Giovanni" (Mozart) prim to sailing for Australia, where she commences her tour at the Sydney Town Hall.

Wireless and the Gramophone. “The advantage of wireless (ideally speaking) Is that a constant stream of new music is supplied to the listener without his initiative being called on,’ says the "Evening Standard.” “The advantage of the gramophone is that be can hear again at will what he has once liked. You cannot say to your loud speaker, ‘That was rather jolly: please play it again.’ But you, can sav it to your gramophone, and your gramophone will obey. The best music is not o be understood in a moment even by the most acute and experienced listener. What the wireless begins the gramophone very often continues. Many learn from the gramophone that music can be understood if the effort Is made, and turn with a new expectancy to the unfamiliar works that are broadcast to them. The two nre Working together to a very good end. RECORDED MUSIC The Versatile Friedman. (1) "Rondo Alla Turon" (Mozart), (3) “Pastorale” (Scarlatti), Played by Ignaz Friedman. Col. 03612. ' The harplschord Is a brilliant tittle instrument with a personality all of its own, and the pre-Bccthoven composers were very fond of it. Mozart delighted to make it sing his engaging . melodies. His “Rondo Alla Turca," taken from the Sonata in A Major hubbies along with aristocratic cocksureness. Scarlatti’s "Pastorale,” one of the earliest mediaeval compositions, has a breath of spring in its naive and quiet Joyousucss. It was very plucky of Friedman to desert his piano to give us a taste of the older Instru meat: fortunately, he has ably succeeded, A Lovely Debussy Quartet. • “Quartet in G Minor” (Debussy! Played by the Lener String Quartet Columbia 04210-13-This is superlative-, perhaps the best Lener Quartet have yet recorded. The mixture of clarity and hazy atmosphere, the impromptu way of play, the light touch of sensuousness, yet Gallic directness, without which this impres Monistic music cannot quite hold one's interest, are al) most vividly here. The music seems to have captured the sun light dancing on water, little coloured sparks of light, flower scents and even ing breezes. There is a whole picture of fairyland here, and for all the shim raerlng brilliance of treatment the tone has quite orchestral opulence.

Moments of Music. Six “Moments Musicaux” (Schubert -Op. 94). Pianoforte solos by Ethel Leginska. Col. 01817-20. Ethel Leginska is a very enterprising musician. A few years ago she conducted symphony orchestras on the Continent, here, and in America. Now she reappears under Columbia’s banner with an ample offer of four 10-inch Schubert piano records . The melodious fragments receive an impetuosity of treatment which you may not quite agree they call for, but their brilliance is unmistakable and most exciting. The recording is superb—some of the best piano recording yet. Elsa Alsen. “Isolde’s Liebestod”—ln 2 Parts (Tristan and Isolde) (Wagner). Sung by Elsa Alsen, soprano. Columbia 04191. Frank Harris tells us that “Isolde’s Liebestod” remained a favourite excerpt with Wagner all through his days. “I say quite humbly,” he declared, “that the pangs of lore were never more poignantly expressed in music!” Certainly of a rich thematic variety, he has woven a weft and warp that subtly pictures the intricacies of human passion. Elsa Alsen’s rendition is far more than vocally adequate; it is musicianly. and shows great understanding of Wagner’s dazzling structure. La Scala Chorus.

Otello (Verdi) ; (1) "La Tempesta”; (2) "Fuoco di gioia.” Sung by La Scala Chorus of Milan. Col. 02723.

Practice makes perfect, and the two choruses from the First Act of “Otello,” which used to be regarded as almost Impossible to do justice to. are here executed with the utmost ease, and vigour, allied to abundant life and rhythmical energy. These features never flag a moment, while the body of tone is simply amazing. The solo bits

and the orchestration come out with unfailing clearness and accuracy.

Christian Service Hymns. (1) "Communion Hymn” (Mary Baker Eddy); (2) “Mother’s Evening Hymn’’ (Mary Baker Eddy). Sung by George Parker (baritone). Columbia 02724.

All to whom the simple tunes of American hymnology yield sincere pleasure, will welcome gladly the Interpretation of Christian Science Hymns by George Parker. He is ob viously the right man for the task; he knows the hymns well, and Invests them with just the right depth and Intensity of devotional feeling—-that and no more. He has a sympathetic voice and perfect diction. There should be a wide demand for this Christian Science record.

John Coates Back! (1) “It Was a Lover and His Lass’’ (Shakespeare and Morley): (2) “Dlaphenia” (Whitaker). Sung by John Coates (tenor). Columbia 01323. It is a delight to welcome John Coates back to the gramophone lists after all these years, especially when he gives us such acceptable fare as Morley’s “It was a Lover and His Lass,” putting into it even more John Coates than the hardiest of us could anticipate. His breath-control Is as marvellous as ever. Columbia are to bo congratulated on securing uncloud’ ed John Coates’s quality, almost as captivating as his singing.

Will Fyffe. (1) “Sailing Up the Clyde”; (2) “Ye Can Colne and See the Baby." Uy Will Fyffe (Scotch comedian). Columbia 02726.

.After a long absence W|U Fyffe shows that he has lost none of his subtlety or genial humour. You can almost smell the whisky In his breath when he comes “Sailing up the Clyde.” The “patter” is excellent and the tunes just as good as he usually provides. Every word Is clear, and every word is worth listening to. This is one of the few humorous records that will keep.

A New "Paul Whiteman.” (1) “On the Sidewalks of New York”; (2) “Roses of Yesterday.” Played by Paul Whiteman and his orchestra. Columbia 07014. A new Paul Whiteman record Is a music event, and this ope is to be recommended as one of the best. “On the’ Sidewalks of New York” is one of those half-forgotten old tunes with the dust on them. Brought up to date, it makes jolly and reminiscent hearing—a fine old tunc. As usual, the vocnl part of both sides is far above the average. A Ukulele Wizard,

(1) “Anita" (Pollack and Clare) : (2) "I Can’t Give You Anything But Love" (McHugh and Fields). Columbia 01276.

The latest song hits of the day are retailed in novel form by “Ukulele Ike." who accompanies his agreeable, confidential type of ringing with attractive effects on his "tike.” He is a master player who knows how to make bis Instrument ' blend with his voice. ■ Two excellent numbers, well sung arid lately recorded.- 1 • - -. -•••’

The Celpstc Octet. (1) “Evensong at Twilight” (J. H Squire); (2) "Evening Lullaby” (J 11. Squire). Played by the J. 11. Squire Celeste Octet. Columbia 01322.

J. H. Squire, leader of the celebrated octet that hears his name, shows him self as a composer of no mean order In his latest record. This gives two numbers of his own writing played with the usual erace and felicity of this orchestra, and should be assured, of ii warm welcome among ins many admirers.

Famous Popular Overture. National Symphony Orchestra in "Stradella”—-Overture (Flotow. Zqno phone E.E.llli.

Flotow’s popular opera “Stradellii” is based on the actual experiences of Alessandro Stradella. a famous Neapolitan singer and composer (16451681). He eloped with a beautiful Venetian girl, and tils rival employed murderers to avenge himself. In the Opera the murderers are about to kill him when Stradella sings a beautiful hymn (heard In the overture), which leaves them spellbound, and everything, ends happily. The hymn opens the overture and is also heard towards the .end. The recording is excellent. New H.M.V. Dance Records.

Amongst the new H.M.V. dance records listed for February, Nat Still kret’s Orchestra presents the biggest offering. This excellent dance orchestra has recorded the fox-trots “That’s My Weakness Now”—"You’re Wonder ful" (E.A.383) : “1 Still Love You”— “I’d Rather Cry Over You” (E.A 388) : and “Out of the Dawn" (E.A 398). On the reverse side of the Inst. mentioned disc is the popular waltz “Jeannine." from the moving picture “Lilac Time.” AU nave the usual vocal refrains. The same orchestra, by the way. makes an interesting departure from the usual with two musical novelties by Willard Robison“Truthful Parson Brown” and “The Oevtd ts Afafd Music” (E.A.390)

Paul Whiteman’s Orchestra gives us the fox-trots “Louisiana” and “Dixie Dawn,” with vocal choruses: Charles Fry’s Orchestra, “Sorry for Me” and “Look What You’ve Done!” (fox-trots. E.A.393). Other dance numbers include “Constantinople” (Hamp’s Serennders). and "You’re a Real Sweetheart” (Wolfe Kahn’s Orchestral-fox-trots. E.A. 395; “Cheerie Beerie Bee” (waltz, Whiteman’s Orchestra). "Chiquita” -’tz. Arden and Ohn-an’s Orchestra) — E.A.306; “Kawaihau" (waltz. Hilo Haiawlian Orchestra), and “Persian Rug" (fox-trot. Louisiana Sugar Babes)—E.A.3o7: “Kiddie Kapers” and “Rag Doll” (fox-trots. Arden-Ohman Orchestra) —FA.401: "Oh! You Have No Idea” (fox-trot. Coon Sanders Orchestra), and “Don’t Wait Till the Lights are Low” (foxtrot. Henry Thies’ Orchestra)—E.A 403: “Lovely Little Bluebird” (foxtrot. Wolfe Kahn’s Orchestra), nnd “Sweet Lorraine” (fox-trot, Statler r’ennsylvanians)—E.A.4o6.

“Lilac Time.” The Adelphi Orchestra in “Lilac Time” —Selection (Schubert, arr. Ciiitsam). Zonophone 5086. Here is a skilful selection of the best music from one of the most successful musical plays of recent times. An ideal record for those who favour light orchestral music.

Clever Duettists. Maurice and Sydney (duettists). with piano, in “In Old Vienna” (Nicholls) and "Toy town Artillery” (Lynton). Zonophone, - r lGl. Here are two of the latest and best songs sung as people like them sung nowadays, with a happy combination of harmony, rhythm and expression.

Maurice and Sydney rank with the best duettlsts of the day.

Clarkson Rose’s Latest. Clarkson’Rose (comedian), in "By the Windmill” (with chorus and piano), and “I’m Bucked to Death I'm Married” (with piano). Zonophone 5163. x * Clarkson Rose, one of the greatest of modern variety stars, is as entertaining as ever on this record. What happened "By the Windmill?” Let Clarkson Rose and his chorus tell you about it. Delightful Sextette. String Sextette, in "Chant du Berger” (Op. 17), (Galos), and "Romance” (Rubenstein), Zonophone 5154. Twp delightful compositions played in charming style. There are few more pleasing instrumental combinations than the string sextette, and none capable of so wide a range of expression with so few instruments. Something New.

Charles W. Saxby, F.R.C.0,, (cinema organ solos with vocal choruses), in "For My Baby,” at)d "You Can Tell Her Anything Under the Sun.” Zbnopfione Tills is a fine record, with vocal refrains, especially “For My Baby.” A rhythm number with clever alternation of 'brass, saxaphone, glockenspiel, and xylophone effects.

Popular Band in Popular Music. Black Diamonds Band, in “The Lttfit Good-bye" (Moretti), and “The Gypsy Dance” (George). Zonophope 5153. The Black Diamonds Band is one of the oldest recording bands tn the worldFor many years they have led the way by providing brilliant records of popular music, at popular prices. Today, electrical recording has placed their records amongst the best band records. Popular Ditties.

Maurice Blwin, baritone, with chorus, piano, and guitar, in "Just Give the Southland to Me"; Maurice andl Sydney (dpet). in "I’m Going Back to Old Nebraska." Zonophone, E.E117. Here we have popular recording artists in highly popular ditties.

Saxaphone Excellence. Rudy Wiedoeft (saxaphone), in “Rijebenola,” and “Itchiu’ Fingers.” Zonophone, E.E119. This is a particularly fine instrumental disc, showing the saxaphone at its best The numbers are enhanced by violin, banjo, guitar, and piano accompaniments.

Odds and Ends. Amongst the odds and ends of recent Zonophone recordings should be mentioned Jimmie Rogers’s items, “Away Out on the Mountain,” and "Never No Mo’ Blues,” with guitar (E. E. 109); Bud Bellings’s tenor whimsicality,” I tore up Your Picture when you Said Good-bye, but I put it Together Again,” and the Billings-Robison duet, “Do You Still Remember?” two popular titles capably rendered (E.E 115). Esther Coleman’s fine contralto disc. “The Dear Homeland,” and “My Ain Folk” (5107); and Albert Richardson’s (bass) offerings of old English folk songs, “The Old Sow," and “Buttercup Joe” (5178). A Work of Great Beauty. Judged by the “His Masters’ Voice" records of the Cesar Franck “Symphony in D Minor." played by the Philadelphia Symphony Orchestra, the symphony is a work of singular beauty. It is the sole example in this form which Franck has left us. It is also an exceptionally popular work: a paradox in itself for its essential qualities are just those which, you would Imagine, are not likely to makb a wide appeal to the general public. It would not be any exaggeration to say that this work is "illl beauty,” for there is such a variety that the question of a surfeit of beauty never arises. A Delightful Suite.

Coldstream Guards in "Suite Francalse” (Foulds). H.M.V., 82751. The Coldstream Guards have made a very fine record, Indeed, of the popular “Suite Francaise” of Foulds. It is a brilliant work, arid affords the fam ous military band many splendid op portunities for the display of the superb technique for which it is famous.

From Puccini’s “Turandot.” Lotte Sehoene (soprano).—“Signore, ascolta,” and “Tu che di gel sei cinta,” from “Turandot” (Puccini). H.M.V. E. 503, 10in., 4s. 6d. The two passages allotted to Liu form the happiest inspirations in the opera of “Turandot,” says a critic. They are genuinely original. Puccini has invested them with a world of tenderness and pathos, and Lotte Sehoene brings this out fully in the present instance. Her tone is very pure; her phrases have the ring of true feeling. The orchestral playing is most refined.

Two Inspiring Marches. “Pride of the Wolverines,” by Sousa’s Band, and “Dress Parade,” by the Interational Band. H.M.V., 82752. Here are two fine band marches, brilliantly played.

Parlophonc. t 5007 “Mirella” (O d’amor' messagera) (Oh, messenger of love, “Lucia di Lammermoor” (The incense rises). Sung by Margherita Salvi, soprano. This air takes its place with Gounod’s two other famous essays in the same genre, the waltz songs in “Faust” and “Romeo and Juliet,” and yields to neither in brilliancy. Madame Salvi .is perfectly at ease with the difficulties It presents, and sails most gracefully through it The “Lucia” aria is the second half of the great “Mad Scene” in the opera which has always been a “test piece” for coloratura sopranos. The music is by no means all slow, and one applauds the way in which Madame Salvi brings out its dramatic character and romantic charms. She comes triumphantly through her trial of strength in the long cadenzas with the flute, and never sings a hard note. 5006. “Te deum Laudamus” and “To Rex Gloriae,” by Anton Bruckner with orchestra. Bruckner’s music is little known in Australia—he was born in 1824, became organist of Linz Cathedral (a town Schubert was often in), and then of the Hofkapelle, in Vienna, 1867); he gave, six recitals at the Albert Hall in 1871. Bruckner’s works include eight Symphonies in which the influence of Wagner is strong. And this is a fine sample of his music. The strong opening phrases for choir and orchestra are succeeded by passages for solo voices, and the Sanctus is beautifully treated. Very impressive, too, is the setting of part 2, of the words “Thou having overcome the sting of death,” quiet phrases for the soloists to the words “O Lord save thy people and bless thine heritage concludes th'e section recorded.

.4048, “Forest Murmurs” (Liszt) and “Prelude in D Flat” (Chopin) by Professor Pembauer, piano solo. The musical historian of to-day is by no means disposed to look down on Liszt’s original works. Now and then his ideas may be commonplance, but he is never less than a fine workman. In “Forest Murmurs,” he is heard at his best, and the poetic programme is beautifully carried out. Professor Pembauer brings order and purpose out of the glittering cascades of notes, which suggests not only the rustling of leaves on the treetops, but the sunlight glittering down through the branches on to the leafy carpet of the forest. The fifteenth of Chopin’s “Twenty Four” preludes, the one in D flat, has often been called the “Raindrop” prelude, owing to the constant reiteration of one note almost throughout, and to the semblance of a storm followed by a gleam of sun through the more gently* falling rain at the end. It must he admitted that though Chopin never authorised such a “programme," it does fit the scheme of the music well.

4044, Johann Strauus Fantasia, by the Edith Lorand Orchestra. We see many preparations on the market nowadays advertised to contain “Vitamin B,” the essential prihciple of the sun’s rays. Surely the waltzes of the Viennese school are as effective a substitute for sunlight as could well be devised. As played by Miss Lorand, this fragrant pot pburri of Johann Strauss waltzes and airs is hereby guaranteed to impart happiness and vigour to the most depressed, and to make the fit feel even fitter.;

2599, “The Varsity Drag” and “Good News,” by Rale de Costa, piano solos. This lady has already been eulogised sufficiently to make it unnecessary for us to again introduce her. Her two latest numbers are listed above, are played with all the pep and brilliancy she commands, and will be really welcome to. those who appreciate a wellplayed and well-recorded hit Brans wick.

“Beloved” and “Early in the Morning” are two good Regent Club Orchestra waltzes, with vocal chorus, recently issued by Brunswick (3868). Also good, are the waltzes with vocal chorus recorded for Brunswick by Joe Green’s Novelty Marimba Band —“Dream River? and “You’d Rather Forget Than Forgive” (3896). The All Star Entertainers present the Brunswick waltzes “You’ve Found the Only One” and “Gipsy Love Song,” from the “Fortune Teller” (3974).