MUSIC and RECORDS

Dominion, Volume 22, Issue 175, 20 April 1929, Page 20

MUSIC and RECORDS

By

C.J.M.

■ Westminster Glee Singers. i The Westminster Glee Singers, who I left behind them such pleasing impressions made during tours of New Zealand, are expected back in the Dominion about next July. Since their last visit to New Zealand they have been reorganised, and, according to report, some particularly line voices have been drawn from such famous places as Westminster Abbey, Worcester Cathedral, St. George’s, Windsor, and St. Paul’s Cathedral. They are at present touring Canada with remarkable success. Their repertoire comprises over 150 pieces of partmusic, embracing all styles, including delightful anthems, carols, old folksongs, sea-chanteys, glees, and partsongs so well known the world over. Mr. Leo du Chateau will again be associated with the New Zealand tour as organiser and manager. “Our Miss Gibbs.” The following is the cast for the amateurs’ season of “Our Miss Gibbs” at tl.j Grand Opera House, about the end of May:—The Hon. Hughie, Mr. R. E. Pope; Earl of St. Ives, Barton Ginger; Timothy Gibbs, W. J. McKeon; Slithers, Doug. Stark; Lord Eynsford, Ray Kemp; Mr. Toplady, W. Jameson; Mr. Beavis, D. Alexander ; Director-General, A. Beckford; Taxi-Cabby, W. C. Webb; Policeman, Vin Wilton; Miss Gibbs, Miss Joyce Woodward; Lady Thanet, Pauline Shotlander; Madam. Jeanne, Mrs. J'l Mears; Duchess of Minster, Miss K. R. Exton; Mrs. Farquhar, MissNgarie Thompson; Lady Trixie, Maisie Oakes; Lady Connie, Gretta Stark; Lady Syble, Marjorie Oakes: Lady Angela, Flora McDonald; Lady Muriel, C. Griffen; Lady Gwen, Mrs. T. King. Dudes: Messrs. J. Cook, P. Paget, E. E. Le Grove, P. Hinge, V. Wesney, E. M. Pankhurst. The Press Critic. Mr. Basil Maine has an interesting, article in the March “Gramophone ■Magazine” on the subject of Press critics of music and the drama. This article is in reply to a question raised by Mr. Edgar Wallace it a recent article in which he quoted a dramatic critic’s remark, “How many musical critics can play or sing?”—implying the answer “Very few.” I Whether the remark represents Mr. Wallace’s opinion or not, I should like to point out, says Mr. Maine, that it is a misrepresentation of the fraternity to which I belong. I have been making a list of London music critics, and find that all but two, to my certain knowledge, are able to play the piano, and some of them are really first-rate pianists. Moreover, the music critics of three of the leading provincial papers are good pianists. As for singing, I shall not be so bold as to make any assertion saye this: a man may have a profound knowledge of the art of singing without being able to deliver himself of a simple song outside bis bathroom. You can buy a piano and even a throat lozenge, but you cannot, buy a tractable voice. In any case, at least three (maybe more) London critics are authorities on voice training. This is merely a prelude. In his article, Mr. Wallace raised another and more important point, and one which may profitably be discussed in connection with music criticism. He wrote: “In England a dramatic critic is expected to be an authority on every kind of entertainment that is played on the stage or in the arena. But men who can appreciate a play by Pirandello, an Olympia circus, and a Frederick Lonsdale play equally well, are few and far between.” He goes on to say that things are better ordered in Berlin. Here is raised the whole question of newspaper criticism. First of all, I should like to point out a slight inconsistency in Mr. Wallace’s statement. His consecutive sentences contain the . words “authority” and “appreciate.” There is no sequence. Either he means that men who are authorities on Pirandello. circuses, and modern comedies—on all of these —are few, or that English dramatic critics are expected to appreciate all kinds of stage presentations. ' It is not true that we expect our critics—those who write for daily and weekly papers, I mean—to be authorities on all types of plays or musical compositions or performances. -The most we expect Is that a given critic should be an authority on one small subdivision of his subject and be able to appreciate the other subdivisions so that he may ever be aware of the true relationship between the part and the whole. The specialising critic who has little or no interest in anything outside his own department is useless so far as journalism is concerned. The line between journalism and literature has become so fine that it is sometimes difficult to -realise its presence. The significance of this is that, whereas ' literature has lost some of its finer qualities, journalism ■ has become one of the finer arts. Moreover, it is at i the expense of literature that journal- i ism has advanced its claim to. more < serious consideration. The article and the essay are now so much akin that ; journalistic criticism is constantly : making a second appearance in book J form. There is no real reason why this > should not be so. But we must be 1 wary lest journalism should become so : precious and lofty as to be entirely out > of the reach of the ordinary reader. 1 This is not to advocate levity at the I expense of austerity. Criticism, and < especially music criticism, should be ( detached, self-sufficient, and self-deter- ' mining. Even so, if it Is to be used for 1 journalistic purposes, it cannot afford <, to ignore the claims of showmanship. ’ It is strange to discover Mr. Wallace as the advocate of high-brow criti- 1 eisra I If we took his advice and 1 adopted the Berlin methods, circula- 1 tions would soon drop because of the I dulness of the reading. For the’man 11 who has concentrated upon a small } section of u subject to the exclusion ’■ of all else is rarely able to interest a 8 wide public. a Any editor who decides to send only s eminent voice specialists to song re- r citals, only experts on piano playing to 1 piano recitals, only great authorities :l on the orchestra to orchestral concerts, *- and so on, is asking not for criticism " but for trouble. Their notices would ” be helpful neither to the public nor to the performers. For the public they ® would be too technical, and for the performers they would be too radical.. r There are instances where the dra- fl matic critic of a newspaper is also the S cricket correspondent, and where music A and art criticism are written by the a same man. I have even met a music o critic whose editor required him to tl follow a Channel swimmer in a boat, o to attend the Three Choirs’ Festival, P and to lunch with Jackie Coogan as part of a week’s work. This is going to the other extreme, but it is a far wiser policy than that | ft

’ of subdivision, and is more likely to produce good examples of what all ’ criticism should be—a just appraise- - ment of things pereeieved. J RECORDED MUSIC ; Hits that arc Talked About. Gramophone enthusiasts are in a very happy position when it comes to buying a popular song or tune. Take the two big hits of the moment, “That’s My Weakness Now” and “My Inspiration is You” (H.M.V. recordings). One of the Best Piano Records. One of the best piano records beard for some time (writes Mr. Compton Mackenzie) is the one which Mischa Levitzki has made for H.M.V. of Liszt’s “Campanella” and Rubinstein’s “.Staccato aud Etude.” I do not mean by this that either piece has a poignant musical appeal, but as an example of virtuosity, during which the recording is hardly less “virtuous” than the playing, I fancy this H.M.V. disc will ' be hard to beat. Really, for the first time I have heard a trill on the piano which challenges comparison with such - 1 trills as Szigeti knows how to give us on the violin. A Light and Gay Symphony. A light and gay symphony is the TMo- j zart in E Flat (No. 39), contributed by the Berlin State Opera Orchestra under Erich Kleiber (only three discs, . though the complete symphony, H.M.V. D 1448-50). It is less Mozart ian than the three most frequently played 1 symphonies by this coinposer, retain- 1 ing all his usual flourish and tuneful- , ness, but displaying less of those tricks ] and phrases of which he was so fond, r and so often employed in the betterknown works. It is a remarkably fine performance, every branch of the or- ’ chestra perfect and the recording im- 1 peccable. Almost the Perfect Record. ( As near the perfect record as we c are ever likely to get is Elisabeth Rethberg in two popular passages from s Verdi’s “Aida,” “Return Victorious” / and “0 Pai ria Mia” ( H.M.V. D 1451, 12in.). The accompaniment is well g done by the Berlin State Opera Or- a chestra under Fritz Zweig, and gives j just that final touch of thoroughness r to complete so grand a performance of E Elisabeth Rethberg makes of these f items. Her steadiness, perfect phrasing and evident sympathy with the $ material is very striking. A Famous Orchestra. p Once on a time the Vienna Philhar- t monic Orchestra was the most polish- o ed orchestra in Europe. From the point of view of joyous and brilliant j instrumentation the H.M.V. records of b its playing of Beethoven’s “Pastoral n Symphony” are amongst the best made s so far. The Vienna Orchestra’s char- o acteristic qualities in the old days was S of a dancing orchestra, compact, of ti sounding air—perhaps the most rhyth- f mical orchestra in the world. ti Fine Old Music. T In the past two years the various j, gramophone companies have devoted considerable attention to the recording c of church music, but I have often felt n (says a reviewer) that the psalms and a the paraphrases, with the beautiful, p moving tunes, such as are sung in our p Scottish churches, have been neglected. u It is good, therefore, to be able to an- p nounce that the His Master's Voice p Company has just issued six 12-inch records devoted to Scottish praise. . 1 A Wonderful Boom. There is no question about, the boom s in the gramophone industry. “There t are two reasons for it,” said an official b of H.M.V. “The first is the electric recording and the second the durabil- P ity and high quality of the modern re- * cord. We use microphones for all re- s cording now. Electrical recording is d universal in our studios. It is done by b means of a microphone which is al- * most exactly the same as those used t for broadcasting. Sometimes, where a an orchestra is concerned, about six 0 microphones arc used simultaneously' f ' Thus we can pick up practically every s sound. I do not think we are damaging wireless at all. One of the most ® popular items in the wireless pro- s grammes is the broadcasting of gramo- s phone records. Wireless certainly helps ® us. Each time a new song is broad- u cast effectively the gramophone sales a go up. The sale of records last year s was half as much again as in the pre- b vious year. At Hayes 7000 operatives b are working.on full time. The factory fl works all the 24 hours of the day.” I’ li Bach, the Master. fl For spiritual, fundamental, abiding T happiness, one must go to Bach, ri wherein," as in this record, the essential h pathos of loveliness is grandly revealed s| in the depths of a peace that passeth V understanding and fills the soul with a tl joy unspeakable and full of glory, ii Bach, who has been held to be a coin- ti poser for the few, is enjoying quite a t< vogue nowadays. A remarkably good ct example of what the gramophone can m do for Bach is in the H.M.V. records g of the Philharmonic Symphony Orches- T tra’s rendering of the Bach “Toccata p and Fugue in D minor.” Again, there ;n are the two Bach preludes—E flat yi minor and “I call upon Thee, Jesus.” X Resonant and firm in rendering, the v i music' has a strong appeal. There is p no mighty climax; there is no climax rl at all, in fact. There is hardly any p modulation; the key of F minor suf- e( flees, with an occasional reference to j> the relative major. There are no decorative passages, nor any intellectual r( extravagances. The music flows on its j n way calmly and sweetly, yet withal in c;1 the valley of the shadow of death. -I Sweet aud Gentle Music. a

Beethoven's “Pastoral” lias been newly recorded by the Vienna Philharmonic conducted by Franz Schalk (H.M.V.. D 1473-1477). In this symphony Beethoven escapes from mental anguish and the problems of the universe. He takes a country walk, lie is at peace with the world. The homely sights of lane and field turn into sweet and gentle music iu his mind. The symphony ambles on its way. There is not a problem or a difficult turning. But —Beethoven being Beethoven—it is all consummately beautiful; and what the composer makes out of his calmest mood is hardly less wonderful than his wrestlings and stirrings in other works. One of the Best Things. One of the best things in orchestral records lately is the set: of Brahms’s first Symphony, played by the London Symphony Orchestra conducted by Abeudroth. Imperfections there are. as is inevitable iu so long a work, and one with scoring on the thick side. But throughout it gives us the right feeling of size and grandeur. The Finale is particularly good. (H.M.V., D14.14-SS). A Fine Anthem. A very cordial welcome may be extended to a recording (H.M.V. C 1541)

Of Dr. S. S. Wesley’s tine anthem •■Blessed be the God ami Father,” sung by the Temple Church Choir, London (writes a critic). Those who are accusomed (o hearing this piece at Leeds Parish Church—where the composei was once its organist—may perhaps feel that the record does not.quite do justice to the music. Nevertheless, Mr. G. Tlmlben Ball’s choir has the knack of sounding effective on the gramophone and they may be commended upon their choice of subject. J* A “Spiritual” Star. To hear Robeson sing Negro spirituals is in the nature of a revelation. He does things that a highly trained singer would never do. He will let the tone go on a note and then draw it back again. In other singers it would

be wrong. With Robeson it is right. His voice docs remind one of Chaliapin. In fact, one critic, after Robeson’s first concert, suggested that if Chaliapin could be conceived as singing Negro folk songs as his own, he would sing them as Robeson does. Here are some of his recordings for H.M.V.: — B2IS7 —“Water Boy” (Convict Song, arr. IL T. Burleigh); “Steal Away” ' (arr. Lawrence Brown); B2l26—“Were You There?” (arr. H. T. Burleigh). Robeson and Lawrence Brown. “Bye and Bye” (arr. H. T. Burleigh). 32320 —“Ou Ma Journey” (arr. Boatner) : “Sometimes I Feel Like a Motherless Child” (arr. Brown). 32727—“ Witness.” Robeson and Lawrence Brown. “I Got a Home in Dat Rock.” 82019 —“Deep River” (arr. Burleigh) ; “I’m Goin’ to Tell God All My Troubles” (arr. Brown). B2339—“Swing Low, Sweet Chariot” (arr. Brown). Robeson and Lawrence Brown. “Joshua Fit de Battle of Jericho” (arr. Brown). 82771 —“Sinner Please Doan’ Let Dis Harves’ Pass” (arr. Burleigh) ; “Scandalise My Name” (arr. Burleigh). 82777 —“Seem Lak’ to Me” (Johnson) : “Down de Lover’s Lane” (Cook). (Orchestral accompaniment.) CISO6—“OF Man River’ ’(from “The Show Boat”—Kern). Paul Whiteman and bis Concert Orchestra, with Paul Rohes'on and mixed■ chorus. (On the reverse side of this record, Paul Whiteman and his orchestra play vocal gems from “The Show Boat.’’) A Brilliant Recording of “William Tell” “William Tell Overture” (Rossini), played by the New Queen’s Hall Orchestra under Sir Henry Wood. Columbia 01375-6. The old recording by Wood and the N.Q.H., was bn three sides of two light blue discs, with the intermezzo from “Cavalleria” on the odd side. The rending suffered as a result of compressing "Dawn” and “The Storm” on one 12in. side; too fast a tempo with not enough working up before the climax of the storm. But now! Snugly fitting on two ten-inch discs—dark blue labels, mind you 1 Brilliant playing and yet more brilliant recording; pianissimos down to a real whisper; the cumulative crescendo and triple forte of the “storm” movement a cataract of sound. Banal as much of the music really is. it nevertheless produces a real thrill when played and reproduced like this. Yes, undoubtedly the finest record of “William Tell” that we are ever likely to hear. The Glory of the Russian Ballet. “Petrouchka”—Suite (Igor Stravinsky). played by the Symphony Orchestra, conducted by the composer. Columbia 04225-7. Stravinsky, the most discussed composer of recent years, is at present in England, and the Columbia Company some months ago persuaded him to direct a performance of “Petrouchka,” his finest work. This recording, altliought it does not give quite all of the music originally written, is indeed an historic event. “Petrouchka” is. of course, a ballet — a sort of terpsichorean pantomime. The story is very briefly this. The first tableau, or scene, represents a Russian provincial fair. One of the side-shows is a puppet play. The showman introduces three puppets— Petrouchka (a genuinely pathetic figure), a Moor (merely a brutal one), and a dancing girl—merely a doll. The showman plays his cornet and winds his barrel organ. A musical box on his little stage begins to play. He performs a conjuring trick, plays ou his pipe and brings the three puppets to life. They dance (and the end of the first record concludes their dancing). The second tableau shows that Petrouchka is in love with the emptyheaded dancing girl, who does not respond. She favours the swarthy Moor, who dances first by himself and then with her. Petrouchka curses in shattering trumpet arpeggios! The two puppet suitors do not get on well together.- ’The fourth scene shows the carnival again—all gaiety, with nursemaids dancing with coachmen and grodms and much other amusement. Threatening sounds are later heard proceeding from the little puppet theatre. Out rushes Petrouchka, the .Moor on his heels with a large sword. A screaming downward swoop on the violins, a crash on the cymbals, and Petrouchka is put definitely out of the running with the dancing girl. Silence. Funeral music. The people are shocked, l;ut the showman reassures them — Petrouchka is only a puppet after all. Much of the incidental music is really amusing—all of it is entertaining. “Brows.” both high and low. can thoroughly enjoy the music of "Petrouchka.” Another Great Organ Record.

“.Fantasia in G Minor” (Bach). played by Edouard Commette on the Lyons Cathedral organ. Columbia 02746. This disc was recorded actually in the famous Cathedral of St. John, Lyons. Tin' celio as the pedal notes reverberate through its vaulted spaces gives real atmosphere Io the recording. Purists would no doubt say that from this point of view it is too realistic! But for those who love the finest sort of organ music, this record is going to give untold pleasure. Schubert's Last Quintet. ‘■Quintet in C” (Schubert, Op. 163). played by the London String Quartet and Horace Britt (’cello). Columbia 02751-02756. I'o lovers of chamber music this first recording of the great double-’cello quintet will be a real boon. To lovers of “just music” it will be equally welcome. Written just before Schubert died, this work has a significance almost premonitory. The slow movement is particularly wonderful, and as a single fragment it would still stand as one of the greatest pieces of pure music of all time. As may he expected from the London players, performance is superb, admirably supported by splendid recording,

' La Bolienio Duets. “La Boheme” (Puccini) "Nci cieli bigi” and "Ah! Mimi, tu pin non torui”; sung by Dino Borgioli and Gino Yauelli. Columbia 03626. Borgioli and Vanelli are two of the newer /(alien celebrities, and their not inconsiderable fame is well merited, judging from the two performances recorded this month. The second duet quoted is of course tin old favourite, but finely sung and well worth hearing again. Rich voices are the endowment of both of these singers, and their style is free from the ghastly Italian vibrato and similar vices. Both execution and recording are tip-top. Sparkling Carmen Music. “Carmeu—Extracte” (Bizet). In Two Parts; played by the Garde Republieane Baud. Columbia 027-17. There is no better baud in France to-day than that of the Republican Guard, and they could have chosen nothiug more aptly to their style than the “Carmeu” extracte. From the brilliant opening bars right up to the point where it leads into the song of the Toreador, thus band gives us a magnificent display of disciplined playing. The sparkle and colour of old Spain come very close indeed while this music is being played. MacCriiumon’s Lament. “Lament for Donald Ban MacCrimmon”—Pibroch solo by Pipe Major John Macdonald. As part of Columbia’s new list of Scottish recordings, we have MacCrimmon’s Lament played by an outstanding Inverness piper. Both the theme and the first variation are given, dating back to about 1745, when Callum MacCrimmon is supposed to have evolved it. Comment on such a record is unnecessary further than to say that recording is particuularly vigorous and lifelike. Those who love pipe music will certainly add this disc to their collections. Columbia Popular Dance Hits. (1) “I Loved You Then as I Love You Now”—the Cavaliers. (2) “If You Want the Rainbow /You Must Have the Rain).” Ben Selvin and his orchestra. Columbia 01401. “I Loved You Then” is a waltz. It is also the theme song from the motion picture, “Dancing Daughters,” now being screened throughout the Dominion. Ben Selvin’s item on the other side makes this pairing well worth having and all dance enthusiasts should note Columbia 01401 for immediate attention. From “Lido Lady.”

(1) “Try Again To-morrow” (from “Lido Lady”), duet by Cicely Courtneidge and Jack Hulbert, with Gaiety Theatre Orchestra. (2) “Atlantic Blues” (from “Lido Lady”)—Phyllis Dare, soprano, accompaniment by same orchestra. Columbia 01402. Two more vocal gems from the popular “Lido Lady”—sung in fine style, too. < Both to those who know this entertaining musical play, and to those who do not, this fine record of two splendid vocal excerpts is warmly commended. The Celeste Octet.

“Mignon” (Thomas). (1) “Polonaise.” (2) “Introduction and Romance.” Played by the J. H. Squire Celeste Octet. Columbia 02749. What a wide public this instrumental ensemble must have! Every record they produce Is eagerly welcomed by thousands upon thousands throughout the world. The Squire Octet records must be among the best sellers of recorded music to-day. The reason is uu-

doubtedly due to the choice of items— always melodious, and. this time as ever, really well recorded. Parloplioue. Amongst recent Parlophone London releases, the Dejos Bela Orchestra play two waltzes by J. Strauss —“Morning Leaves” and "Roses of the South” —•• while the Edith Lorand Orchestra provide us with an attractive rendering of a selection from Offenbach’s "Tales from Hoffman.” There is a splendid organ record of the "Hallelujah Chorus,” from Handel’s "Messiah.” and "Vision of Joan of Arc” (Gounod). The artist in this case is Paul Mania, who performs on an instrument of the most: perfect type. To organ and harp accompaniments Maria von Basilades (mezzo-soprano) sings with taste “Amlora nini fa” (Handel) and "Come, Sweet Death” (J. S. Bach). Fine renderings (in German) of “What Come O’er You. Lovely Forest?” and “It is God’s Decree,” both by Mendelssohn, are given by the Sieber Choir.

There are some'capital vocal records Franz Steiner (tenor) and Richard Tauber (tenor) sing songs by Schubert. The former gives praiseworthy interpretations of “The Inquirer” and "The, Phantom Double.” while the latter sings with deep feeling “To the Sea” and “The Wanderer.”

Ninon Viillin (soprano) has made two dises which are occupied with arias from De Fala’s “L’Amour Sorcier” (Love, the Magician), and there is a novel charm in her singing, and Nanny Larson-Todsen (soprano), provides equally interesting renderings of excerpts from Wagner’s "Gotterdammerung.” Bruiiswielfc Recent London Brunswick dance records are said to be bang up to date, and most of which have vocal refrains, have been made by the ’Varsity Four. “Snow Flakes” and “Rag Doll”; Ben Bernie and the Roosevelt Orchestra. “Just Like a Melody Out of the Sky” and "Because My Baby Doesn’t Mean ‘Maybe’ Now”; Abe Lyman’s California Orchestra and organ, “I Think of What You Used to Think of Me” and “Rag Doll”; Herb Wiedoeft and bis orchestra. “Rendezvous” and “Swing Along”; Herbert Gordon’s Whispering Orchestra, “It was the Dawn of. Love” and “Adoree”; Charley Straight and his orchestra, “Too Busy”; Hal Kemp and his Carolina Orchestra. “Get Out and Get Under the Moon”; Joe Green’s Novelty Marimba Band, “There’ll Never be Another You”; Abe Lyman's Sharps and Flats, “Weary Weasel” and “San”; and Jimmy Joy and his orchestra, “Chilly Pom-Pom Pee” and “Today is To-day.”