MUSIC and RECORDS

Dominion, Volume 22, Issue 140, 9 March 1929, Page 20

MUSIC and RECORDS

By

C.J.M

Erica Morini. Miss Erica Morini, the world-famous Viennese violinist, who commences her Australian tour under the direction of bl, J. Carroll at the Sydney Town Hatl on Easter Saturday, has arranged some fine programmes. In addition to some of the rarely-heard standard classics, Miss Morini will introduce some new works, and favourite compositions will be reheard. Concertos by Glazounow, Wjeniawsky, Mozart, Tschaikowsky, the, “Kreutzer” Sonata, Cesar Franck Sonata, Brahms’ Sonata In D Minor, Fruhling’s Sonata, by Beethoven, are set down for performance, supported by lighter works. Mr. Jacob Hlmpel, a noted Continental accompanist, will support Miss Morini.

Stray Notes. / Erica Morini, the Viennese violinist, who commences her Australian tour at the Sydney Town Hall on Easter Saturday, plays on a Strad worth £BOOO. | She received her first lesson from her father.

Brailowsky, the Russian pianist, who will commence a season at the Town Hall, Sydney, on May 18, is considered by many American critics to be the greatest Chopin player of the day.

.Arthur Benjamin, the Australian composer-pianist, who is returning from Europe by the Orford, will give two concerts in the Town Hall, Sydney, on April 20 and 27, the first with the State Copservatorium Orchestra conducted by Dr. Orchard.

Miss Dorothy Helmrich, the Sydney soprano, has been scoring big successes in Europe, particularly in England and Holland, and is now touring the United States, en route to Australia, and will give two recitals in the Conservatorium Hall, Sydney, on May 8 and 11.

’ Signorlna Dusolina Giannini, the Italian 'grand opera and concert star, is appearing at Covent Garden grand opera season, London, prior to her Australia'n tour, which commences in August.

A private cablegram received in Melbourne, states that Florence Austral, the Australian soprano, scored a big triumph at the Metropolitan Opera House, New York, in a special Wagner concert. .Miss Austral will tour Australia next year.

Backhaus, the famous German pianist, is giving a series of six recitals in Vienna this year entirely devoted to a complete cycle of the Beethoven Sonatas. He is to repeat the series in Paris. Backhaus was announced to give a recital in the Queen’s Hall, London, on February 23. He is to tour Australia next year. “Tristan and Isolde.” The promised H.M.V. issue of recorded gems from Wagner’s "Tristan and Isolde” has now come to hand, and was worth waiting for. In “Tristan” Wagner breaks completely loose from all' conventioned forms of opera. The prelude begins with that subtle, elusive love theme, and like the passionate flow of tide rushes on uninterruptedly with dramatic intensity and overpowering emotion. His Master’s Voice has made an excellent job of this with the following cast: —Isolde, Gota 1 Ljuugberg; Tristan, Walter Widdop; Kurvenal, Howard Fry, Eduard Habich, Charles Victor; King Mark, Ivar Andresen; Brangaena, Genia Guszalewlcz: Melot, Marcel Noe; A Shepherd, Kennedy McKenny; orchestras, London .Symphony Orchestra, (conducted by Albert Coates)., Berlin State Opera Orchestra (conducted by Dr. Leo Blech). Introducing a Fine New Orchestra. La Scala Orchestra, Milan, conducted by Ettore Fanizza), in Dl4BB, “Secret of Susanna,” overture (WolfFerrari), and “Don Juan,” the Song of the Nightingale (Napravnik). H.M.V., Dl4BB. The 'orchestra of the La Scala Opera House in Milan is said to be one of the finest orchestras in the world. It now records- exclusively for His Master’s Voice. The overture to ’’The Secret of Susanna” is a wonderful piece of recording and a delicious little trifle of music. - The reproduction does not set out to impress by sheer "weight” but achieves its enchantment by its clarity and delicacy. Famous Actor on the Disc. John Barrymore, in (a) “Hamlet,” Hamlet’s Soliloquy, Act 11, Scene 2, (b) “Henry VI,” Gloucester’s Soliloquy, Part 111, Act 111, Scene 2. H.M.V., D 81177. John Barrymore has won for himself a place of distinction in the hearts of American theatre patrons and “movie” patrons the world over. Here are two famous passages . from Shakesperean roles for which Jolih Barrymore is renowned. This record is something unusual, something extraordinary for the clearness of enunciation. A Another Temple Church Recording. Choir of the Temple Church, London, in “Blessed be the God and Father” (Wesley). H.M.V., C 1541. Every one of the records that the Temple Church Choir has made has been of a striking nature; not only by reason of the splendid singing but also because of the unfailing choice of original and attractive subject matter. For this, the latest record, the choir has sung a motet by Wesley. Wesley (though the name is better known to the ordinary man as that of a great reformer and founder of a sect) was one of the finest writers of Church music England has produced. This is an excellent sample of his work.

“Rigoletto” Complete. “Rigoletto” (Verdi), by soloists, chorus, and orchestra of La Scala Opera House, Milan. Complete on 15 12-inch double-sided His Master’s Voice records, Plum Label, Nos. C 1483, to C 1497. This and the first His-Master’s Voice complete electrical recording of a grand opera should meet with the success it fully deserves, for the recording is great, and the soloists, chorus, and orchestra give a superb performance. Cast: Gilda ..N. Pagliughi Maddalena V. De Cristoff The DukeSgr. Folgar Rigoletto .Sgr. Piazza Sparafucile Sgr. Baccaloni Conductor ....Maestro Carlo Sabajno

Lay Vicars Sing. Lay Vicars of Westminster Abbey (unaccompanied), in “The Little Sandman” (West) and “Stars of the Summer Night” (Cruickshank). H.M.V. 8.2781. Tiie Lay Vicars of Westminster Abbey form a charming little combination of male voices. The ensemble has an advantage over that of many similar bodies in that it is composed of voices chosen in the first place for their exceptional excellence. This new record is particularly well sung and reproduced with a clear rich tone of good volume. Strauss Waltzes Divinely Played. Chicago Symphony Orchestra (conducted by Frederick Stock) in the Strauss waltzes, “Wine, Women and Song” and “Roses of the South.” H.M.V. D. 1452. Already there is a distinct sign that the somewhat gloomy type of waltz that has recently found favour is being overthrown by a return to an overwhelming popularity of the Johann Strauss waltzes. The great success of a record recently made by the famous Philadelphia Symphony Orchestra, of the “Blue Danube,” is now to have an echo in this delightful record of “Wine, Women and Song” and “Roses of the South,made by the Chicago Symphony Orchestra. Fun on the Disc. Cliff Friend (comedian), in “Daffy Ditties” (Friend). H.M.V., E.A.419. A very humorous record, introducing another fine comedian to the list of H.M.V. successes. Good Old Popular Choruses. His Master’s Voice (E. 8.25 present some fine old-time Choruses, admirably recorded, as follow:— Mixed chorus: Sea songs—" Sailing,” “Larboard Watch,” “Rocked in the Cradle of the Deep,” “Life on the Ocean Wave,” “Asleep in the Deep,” “Nancy Lee,’ “Anchored.” Male chorus: War songs—“ Tramp, Tramp, Tramp,” “Just Before the Battle, Mother,” “Marching Thro’ Georgia,”' “Vacant Chair,” “Tenting To-night,” “When Johnny Comes Marching Home,” “Battle Cry of Freedom.” This record is a very fine ’example of chorus work and the voices blend perfectly. All the airs are well known and the record should be a bigger success than any previous issue of mixed voices. A Waltz Potpourri. Marek Weber and His Orchestra, in “Potpourri of Waltzes” (Robrecht). H.M.V. C. 1544. Marek Weber has a wonderful way with waltz tunes. Under his hands a waltz seems to leap into a sparkling new life and have a new spring in its step. This particular performance has extraordinary liveliness and polish. Famous Band’s New Recordings. The Baud of H.M. Coldstream Guards (conducted by Lieut. R. G. Evans), in “Semper Fidelis” March (Sousa), and “The Bells of St. Malo” (Rimmer), H.M.V., 8267. For tonal quality and excellence of execution all records made by the Coldstream Guards Band are in a class of their own. Two well-known items splendidly recorded and executed under the able direction of Lieut. R. G. Evans. Happiness Boys and Johnny Marvin. The Happiness Boys (Jones and Hare), in “Giggling Gertie” and “Must You Wear a Moustache?” (H.M.V., E.A.409), and “Sing,- Sister, Sing” (E.A.423). Johnny Marvin in “Old Man Sunshine” (E.A.423). Good comedy songs by the famous Happiness Boys. These numbers are well done, and should please all. On the Wurlitzer. Jesse. Crawford, in “My Angel” (theme song of the motion picture, “Street Angel”), and “Out of the Dawn” (theme song of “Warming Up”), with male trio. H.M.V. E.A.418. All Jesse Crawford’s offerings are well done, and this is no exception to the rule. Gene Austin Puts Two Over. Gene Austin (tenor), in “Old Pals are the Best Pals After All” and “Memories of France.” E.A.413. Gene Austin has a way of putting things over. These two songs are very well done. The Columbia Prize Symphony. “Symphony No. 6” (Atterberg). Played by Sir Thomas Beecham and the Royal Philharmonic Orchestra. Columbia 04210-19. Columbia’s enterprise in offering a prize of £2OOO for a composition “dedicated to Schubert’s memory on the occasion of his centenary “has been amply rewarded by the production ..of a work of real genius. Kurt Atterberg shows a good grip of broad emotional effect. Its moderate length and lively, vivid ■ style should make it extremely popular in concert repertoires. Of the three movements the best is perhaps the Finale with its Beetovenish false starts of the fugal subject and its spirited writing. Elsewhere one can detect the happiest hints of Mozart. The second movement shows great individuality with something of the serene aloofness of Sibelius. The players are Sir Thomas Beecham of the “Phil,” and both playing and recording are firstrate.

A Duet from “Il Trovatore.” Duet from “11 Trovatore” (Verdi) (a) Udister, (b) Qual Voce! Sung by Arangi-Lombardi, soprano, and Carlo Galefll, baritone. Columbia 04224.

Seldom can the famous duet from the fourth act of II Trovatore have been heard on the stage to such advantage as it Is lu this record ; on the gramophone, never. The voices are both fine, even when at their most strenuous, and the dramatic energy of it all is powerful and vivid to the final note. Madame Arangi-Lombardi reveals a sense of the dramatic more intense than she has ever shown, and shows herself, here at least, in every way the equal of Galeffl. Magnificent record, helped by the clearest diction.

More from Murdoch. (1) “Berceuse iu D Flat” (Chopin); (2 “Romanze in F Sharp Major” (Schumann). Pianoforte solos by William Murdoch. Columbia 04222. That fine Australian pianist, William Murdoch, who is more at home these days in London and New York, provides two brilliant performances iu his latest Columbia record. The Chopin cradle songAs distinguished by remarkable delicacy of touch ,and though not among the most famous of the composer’s works is transformed into a gem among piano records. The Schumann is more lively and is played with brilliance and poetry. It is enough to say that Murdoch adds considerably to his repetition. When are we to have a major work from him? Schubert Centenary Records. “Impromptii in A Flat” (Sbhubert). Pianoforte solo by Ethel Leglnska, Columbia 02737. Columbia’s policy of issuing masterworks by first-class artists in their popular section provides the economical gramophile with some rare bargains.. A 12-inch Ethel Leglnska at 9s. If might be unkind to enquire how much fame she would have gathered under her former name of Ethel Liggins. These are much better than the Moments Musicaux by the same artist —the tone is mellower, the touch far more delicate and the general understanding more in the accepted genial Schubert vein. Recording is truer' to the piano, too. Brilliant Organ Solos. (1) “Toccata” (Boellmann); (2) “Toccata” (Glgout). Organ.solos by Edouard Commettee, on the Lyons Cathedral Organ:, Columbia 02732. A truly notable organ record is that of Edouard Commettee, the brilliant French organist—a couple of familiar French Toccatas; Boellinann’s from the “Suite Gothique” and Gigout’s less known but very effective example in B minor. This is certainly one of the best organ records yet issued, with enough 6cho to take away dryness and not enough to confuse. Commettee’s

playlug is fine in Rs rhythmic swing and drive —one famous London critic calls the playing “a perfect marvel of rhythmical clarity” — the recording “superb to the nth degree.” A New Sullivan. “New Sullivan Selection” (arr. Dan Godfrey). Played by the Band of H.M. Grenadier Guards. Columbia 02711. Sir Dan Godfrey arranges the popular Sulliyau melodies with fine taste and judgment und his ochestration is vivid and colourful throughout. Many of the old favourites make their bow in brighter robes than before, and as playing is well up to the Grenadiers’ standard and recording as good as Columbia have yet done, this should be the best seller of the mouth. More from the “Grenadiers.” (1) “Flanders Poppies”; (2) “Wreaths On The Sea” (Carlton). Played by the band of 1-LM. Grenadier Guards. Columbia 01349. Though this record arrived too late in New Zealand to be as appropriate to the tenth Armistice Day anniversary as it was in Loudon, it is sure of a warm welcome. It Is an inspiring performance, and the Grenadiers, both as individual soloists and in the ensemble, play as well as ever, and the recording is splendid. Flotsam and Jetsam. (1) “Only a Few of Us Left”; (2) “The Alsatian and the Pekinese”; (3) “The Postcript.” Sung by Flotsam and Jetsam. Columbia 01347. These two capital vocalists, who have the happy ability to write their own lyrics and music, subtly blow their own trumpets In “Only a Few of Us Left.” But they do it so cleverly that no one will take offence. “Only a Few of Us Left” refers to the few Britishers who have survived the demaud for a Yankee mammy-song and hustledance. But one might point out that' Flotsam and Jetsam owe their success not to their nationality but to their clever material and fine singing. A most acceptable record. (Continued on page 21)

Two Fine ’Cello polos. (1) “Melody in F” (Rubinstein); (2) “Silver Threads Among the Gold” (Danks). ’Cello solos by W. H. Squire. Columbia 04178. What is there new to be said about W. H. Squire? For some years he has contributed .to Columbia’s monthly supplements, and the musical public have repaid his industry with steadily increasing patronage. This record is bound to be popular. It has all Squire’s technical accomplishments, all his fruity voluptuousness of tone, and the tunes themselves are in great demand. O’Shea.

(1) “Love’s Garden of Roses”; (2) “When My Ship Comes Sailing Home. Sung by Alfred O’Shea, tenor. Columbia 04117. Thia gifted Irish singer was in particularly fine voice on the day he made this record. Notice the growing subtlety in his use of mezzo-voce, the delicacy of his shading,, the power always kept in reserve, and the royal ease with which he. strikes the upper register. The two ballads he contributes this month are pleasant and melodious. Particularly pleasing is “When My Ship Comes Sailing Home. Parlophone.

Scena.” Part I, Recit. A5OOB, La Travlata (Verdi), Violetta’s Scena”; Part I, recit., “E Strano, aria “A fors e lui.” Part 11, recit “Folie Folie,” aria “Sempre libera. Sung by Margherita Salvi, soprano, with orchestra. y ■ Stage consumption is a maiaay which, fortunately,' is no bar to its victim giving vent to high notes and brilliant roulades, so that though Violett is far advanced in the disease she is able to give a glittering display of her art in this famous aria. A young country squire has declared his love for her. The beautiful courtesan is attracted to him; more, she believes she Is experiencing real love for the first time. This she sings of in the recitative, a slow tune on the first side, on the second side Violetta reflects on the gay life she leads in town, and decides that a country would bore her to death. It is in this rapid music that the singer is called upon to display vocal gems of technique as brilliant as the diamonds that glitter round her neck. There Is no question as to Margherita Salvi’s ability to do this, and she gives a fine performance which should not 1 blind us, however, to the quiet beauty of her singing of the first part and her dramatic recitatives. A 4056 “Vienna Bon Bons’ (J. Strauss), “Roses of the South” (waltz), by the Dajos Bela Orchestra. One Imagines that Strauss would understand, if he could, hear this record, that one does not think so much of the music as of the amazing rhythmic playing of the Dajos Bela Orchestra. The ever-charming music is there, but these other points force themselves on one’s attention and give one the feeling that the orcehstra and talented conductor are themselves at hand. A 4051, “Hallelujah Chorus” ( The Messiah”), Handel; “Vision of Joan of Arc” (Meditation) , Gounod. An organ record by Paul Mania, grand organ, with trumpets. Parlophone have; succeeded here in achieving a fine reproduction of the “King of Instruments.” A grand organ of the latest and most perfect type has been specially built in a vast hall designed exclusively for recording purposes. As a result complete realism of reproduction is now attained. The so-called “hall effect” or "atmosphere" is obtained, and complete naturalness is achieved without undue echo or any of the other drawbacks which most Inevitably mar recordings made in makeshift surroundings. A 4057, “Scenes Plttoresques” (Massenet), “Fete Boheme,” “Marche.” By the Opera Comlque Orchestra. This is a really charming record. Massenet has surely depleted in his music one of those jolly festivals in some little French town when everyone Is on merry-making bent. First a march piquant in rhythm and attractive In colour, a march past, perhaps, of the performers in some local spectacle. Then the noise and bustle of the fair, merry-go-rounds, cocoanut shies, peasants dancing about in their gay national dresses—all expressed in the lively highly-coloured measure of the Fete-Boheme. The Opera-Comique Orchestra Is naturally the. ideal interpreters of this typically French music. A 4055, “Hungarian Rhapsody," No. 12 (Liszt). By Karol Szreter, pianist. The pianistlc fireworks of Liszt are easy obstacles for the wizard fingers of Karol Szreter. Those cascades of pearly notes and disturbing rhythms could only be adequately played by a master, and that Szreter surely is. He has already proved It with his “Soiree de Vienne” and “Voices of Spring.” (A 4013 and A 4048). Some of Parlophone’s latest 10-lnch hits: A 2655, “Sonny Boy” f.t. with vocal chorus, Ed. Klrkeby; “My Blackbirds are Bluebirds Now,” orchestra. A 2638, “Someday, Somewhere" (vocal), Barney Bernard; theme song from “The Red Dance.”

‘Sally of My Dreams” (vocal), Barney Bernard, theme song from “Mother Knows Best.”

A 2640, “That Old Love Song” (vocal and instrumental), David and Queenle; “Angela,” vocal and instrumental, Kalil. , A 2625,“ While You’re Away,” “Tired Hands.”

A 2626, “I Just Roll Along, Having My Ups. and Downs”; “If you only had my disposition.” A 2600, “Angela,” “An Old-fashioned Locket.” By George Sorlle (vocal). . Brunswick.

“Sonny Boy,” a theme song from the Vltaphone production, “The Singing Fool,” has been recorded for Brunswick by Al Johnson, the artist who created the role. (4033.) Brunswick has recorded Leopold Godowsky in Chopin’s “Waltz in C Sharp Minor” and Rubinstein’s “Melody in F” (15137). A great pianist he is indeed, and his beautifully controlled placing of the waltz is remarkable. A very happy record conies from Brunswick, containing “Divertimento Np. 4,” by Mozart, for flute, clarinet, and bassoon, played by members of the Gewandhaus Wind Quartet, from Leipzig. (80035.) This gay music is most charmingly performed. The somewhat academic touch which one is sure to find in any Gewandhaus performance is rather becoming to the little work, the playing is brilliantly clear and precise.

Two interesting Brunswick orchestral novelties were recently released in London-—Dvorak's “Symphony in G Major,” the Fourth, played by a symphony orchestra under Basil Cameron (30125—30128), and Mozart’s “Elne Kleine Nachtmusik,” played by the State Opera Orchestra of Berlin under Oscar Fried (80036, 80037). In addition there is another version of de Falla’s “El Amor Brujo" by a welcome addition to recording orchestras, the London Chamber Orchestra under Anthony Bernard (30129, 30130).

For Brunswick, Albert Spalding has played a violin version of “Walter’s Brize Song” (from ‘‘Mastersingers”), and Chopin’s “Nocturne in B Flat” .(30124.)