MUSIC and RECORDS

Dominion, Volume 22, Issue 264, 3 August 1929, Page 22

MUSIC and RECORDS

= By

C.J.M.

Westminster Glee Singers. The Westminster Glee Singers, under Mr. Edward Branscombe, who are to commence a tour of New Zealand shortly, consists of eight men and ■ six boys, and their singing is characterised by qualities that are rarely heard in this country. The quality of their concerted tone is influenced very largely by the flutey male altos, who are developed so largely in England, though they are a novelty elsewhere. And they have their usual boy sopranos whose voices have a sweetness and a substance peculiar to the Anglican male choirs of the Old Land. There is none of that treble shrillness that rings in the ear like a bell with a high note. Sometimes the beauty of the English boy sopranos is ascribed to the climate, but doubtless it can be traced more logically to a reason to that given f”’ the perfection of the lawns at Oxford: “We’ve rolled 'em for thousands of years.” The tradition of the English boy choristers has been built up for several centuries, and they have not only been carefully and constantly trained, but they have _ lived. in the environment of the Anglican musical tradition. The result is very pleasing to the ear. Imelda Fama.

Under the direction of H. Spencer Hill, Imelda Fama, the distinguished New Zealand pianist who recently returned to Wellington after an absence of some years abroad, will give a series of recitals in the Dominion. Her first appearance will be at the Town Hall on Wednesday, August 7. It is now nearly six years ago since M. Benno Moisewltsch, the celebrated pianist, directed public attention to the talents of Imelda Fama, whom he said was the most talented of all the young pianists he had met, and urged that she be sent abroad for experience in the cultured art centres of the Old World. Acting on this advice, Imelda Fama has spent over five years studying and performing on the Continent. Prior to her departure from Vienna, Sir Gerald Phipps, the British Ambassador in Austria, attracted by the success of the young artist, arranged for her to give a recital at the British Embassy. There were over a hundred distinguished guests, including Royalty, and some of the world's leadipg musical artists present to hear her performance. The criticisms of the Viennese critics speak in high praise of her performances. Her first public appearance in Wellington since }ier return is bound to create widespread interest. “The Harmonious Blacksmith.” In a recent number of “The Weekly Scotsman” it is stated that the Chandos Arms, Edgeware, England’s oldest tavern has ceased to exist, and is to become a booking office for motor coaches. Handel, who was in residence for about two years at The Canons- (a palace built by the Duke of Chandos), used to visit the tavern every evening for a mug of beer. It was at this inn that he first met the blacksmith, whom he afterwards immortalised. We are also told that Dick Turpin, the highwayman, lived at The Chandos Arms. But whether he was associated with the blacksmith, or his famous ride to York took place in the time of Handel, “The Weekly Scotsman” does not say. In any case, the galloping of horses can be distinctly heard in the third and fourth variations of “The Harmonious Blacksmith.— “J3l.” Giannini.

Dusolina Giannini began her Australian season in the Sydney Town Hall on June 29. She will visit other States and New Zealand after her series of recitals there. Miss Giannini’s associate artists are Mr. Sol Deutsch, a young American violinist, and Miss Molly Bernstein, solo pianist and accompanist Spivakovsky’s Sydney Triumph. Jascha Spivakovsky, the famous pianist was greeted by a packed house when he commenced his second tour of Australia at the Town Hall, Sydney. The atmosphere was reminiscent of a Melba night, and enthusiasm ran high. The audience included His Excellency the Governor and Lady de Chair, the Papal Delegate, Archbishop Cattaneo, and practically every well-known musician in Sydney. On his appearance on the platform Mr. Spivakovsky was met by a storm of applause. He repeatedly bowed his aoknowledgment and seated himself at the piano to play the National Anthem. So prolonged was the ovation, however, that the pianist was compelled at length to rise and make a short speech, which consisted of: “Ladles and gentlemen, I am very happy to be with you again.” RECORDED MUSIC A Wonderful Male Voice Choir. (1) “Die Nacht” (Schubert); (2) “Der Tanz” (Schubert). Sung by Wiener Schubertbund and the Vienna State Opera Orchestra. Columbia 02836. Though Schubert was not at his very greatest in choral music, these two examples are so far the best of his experiments with this form that they are fit to rank with his other work. Both have melodious tunes in the true Sehubertian vein, while the performance is distinguished for all-round excellence, with particularly nice balance, one is reminded again that England is still the leading nation tn this respect “Der Tanz” has a certain rowdy jollity that pleases greatly, but “Die Nacht” is not over-clear and is inclined to a meretricious “stuntiness.” A Musicianly Singer.

(1) “Sea Wrack”; (2) “There Reigned a Monarch in Thule” CLiszt). Sung by Muriel Brunskill, contralto. Columbia 02830.

What is so good about Muriel Brunskill, besides the quality of her voice, is that she has musicianship which is found in good instrumentalists but few singers, especially sopranos and contraltos. That varying volume of tone, which means so much, seems to come naturally to her. “Sea Wrack,” by Sir Hamilton Harty, is justly fairly well known, and there could hardly be a better recording of it Liszt’s “There Reigned a Monarch in Thule” (sung to Bernhoff’s English version), is well worth knowing—it is distinctly one of his better things. Bach at his Best.

“Concerto in D Minor for two strings” (Bach). Alma Rosengren-Witek, Anton Witek and String Orchestra. Columbia 02846-47. Here is a new recording by two upstanding fiddlers of the splendid double Concerto in D minor. The soloists contrive with adds rent ease the most diffl-

cult task presented to them—they keep the work big and strong, and while being mostly concerned with its broad outlines contrive to regale us with neat competent and intelligment playing. The general sway and control of the music is powerful and praiseworthy, and the energy and phrasing are admirable. A certain author has said of this work that it was mathematically preordained from the first note. Certainly its construction holds one breathless with its flawless beauty, the wonderful balance, and the ebb and flow of masterly contrivance. The Milan Orchestra.

(1) “Overture to Semiramide” (Rossini). (2) “Intermezzo” to Cavalleria Rusticana” (Mascagni). Played by Milan Symphony Orchestra, conducted by Molajoli. Columbia 02840-4 L At last we have a full recording of “Semiramide” on three sides. The recording makes this rather peaky music sound cheekier than ever, which is just how the music ought to sound. Listen to the horn tone near the start—quite different from any of our British quality. Note the way the pizzicato stands out a little later; would any British conductor bring it out like that? As a make-weight this fine Italian orchestra gives us the familiar “Cavalleria” Intermezzo, and here the recording is even clever in catching every shade of the delicious tonal effects. Thus, and thus only, should Cavalleria be poured out, and into melting hearts. Players who tackle this kind of music must be prepared to relish the tonal and rhythmic exaggerations. The Genius of Bach.

“Bach Preludes and Fugues.” Harriet Cohen, pianoforte. Columbia 04273-78.

It is a tradition that is dying hard —but, praise the powers, it is dying at last—that Bach is a musician’s musician, and indigestible pudding for the man In the street. Perish the thought! Certainly there is none of the courtly finesse and repartee of Mozart, none of the turbulent questioning of the soul that makes the grandeur of Beethoven. But in its place we have quigt statements of the last ultimate in beauty. Where Beethoven issues a passionate challenge, Bach has won through to certainty and peace. And if it requires a big mind to appreciate his statements, it requires a yet bigger one to authoritatively retail them to us. These records put Harriet Cohen among the giant pianists of the day, in mind if not in technique. True, she colours the Preludes and Fugues with her own personality, but the playing is the more interesting for this, and even those who fail to grasp the beauteous truths of Bach as she presents them will delight in her intricate pat-tern-weaving, her subtle colours, and her restrained and artistic sense of dynamic growth. The Lucerne Orchestra.

“Orpheus in the Underworld” (Offenbach). Overture in two parts. Played by the Lucerne Kursaal Orchestra Columbia 02839. Another Continental Orchestra, now brought by the gramophone into the limelight of world-wide popularity is the Lucerne Kursaal, well-beloved of visitors to Switzerland. They make their debut with the ever delightful “Orphee aux Eufers”—an overture with a real Gallic wit and glamour, sparkling like champagne, with Orpheus not taking the Infernal Flames too seriously. Offenbach’s Hades is evidently a very cultured and hard-liv-ing gentlemen’s club, from which boredom has been expelled to the middle heavens. The Marches of the Guards.

Regimental Marches of the Brigade of Guards. Played by the Band of H.M. Grenadier Guards. Columbia 0285 L

Everybody loves a good military band record—and the Grenadiers are famous for their inspiring efforts in this direction. But here they have excelled themselves. Put this record on in any company, highbrow or lowbrow, and watch it take effect in stiffened shoulders and head thrown back. They give us a selection of the famous marches of the Brigade of Guards, and play with a steady irresistible rhythm. You know the tunes by heart —and will like this record all the better for that. ( A Mendelssohn Pot-Pourri. Memories of Mendelssohn. Played by the J. H. Squire Celeste Octet Columbia 02838. The Squire Octet who gave us “Memories of Tchaikowsky” a month or two back, now carry on the series with a Mendelssohn “lucky-dip.” This is obviously a sort of souvenior for lovers of Mendelssohn, and does not break any fresh ground. All the tunes have been familiarised for us by Concert Hall and Band playing. The selection, played with singular sweetness of tone and clever instrumentation, includes: Part 1 March Funebre; Song Without Words; Duetto; Rondo Capriccioso. Part 2—The Bees’ Wedding; Andante from Violin Concerto; Scherzo from Midsummer Night’s Dream; Finale from Pianoforte Concerto in G. A Groat London Humorist The Fourth Form at St. Michael’s (Will Hay). Comedy sketch by Will Hay and his scholars. Columbia 02852. “Will Hay” on the boards of a London music hall means a packed house, and now that he has made his first record he will Inevitably, join the ranks of “best sellers” in that sphere, too. It is surprising how much of his richly comic personality “comes across” in recording. The record is full to the brim of capital jokes, broad and subtle humour and witty repartee, and will be heartily enjoyed by anyone who is not afraid to lose a few buttons in a hearty laugh. Recording is excellent in every respect Grand Opera Gems from Gigli. Beniamino Gigli (tenorj, in Verdi’s “La Traviata” —“Dei miei bollenti spirit!” (“Wild my dream of youth”); and, with Metropolitan Opera House Orchestra, “Lucia di Lannnermoor” — “Tombe degl’ avi miei” (“Tomb of my sainted fathers”) (Donizetti). H.M.V. D 81222. Gigli has that quality of voice that causes his hearers to exclaim that they could “listen to him all day.” He is supreme among lyric tenors of the Italian school, and in these two arias—the first serene and full of happiness (he sings of his joy in his life with “Violetta”), the second a sombre salutation to the graves of his ancestors, in the opera based on Scott’s “Bride of Lammennoor” —one hears the two extremes of his art. A New 11.M.V. Baritone.

Keith Falkner (baritone), in (a) “Port of Many Ships”; (b) “Mother Onray"; and “Ixada .Winds” l"Thre*

Salt Water Ballads”) (Keel). H.M.V. 82917. This record introduces Keith Falkner to the lists of distinguished artists who make “His Master’s Voice” records. He has a splendid voice and a really musical intelligence. For his first record he has sung the popular “Three SaltWater Ballads” and marvellously enough, he has captured a suggestion of the tang of salt-water in his breezy performance. Charming Vocal Transcriptions. Winnie Melville and Derek Oldham (vocal duet), in “Love’s Dream” (“Liebestraum” No. 3), (Liszt); and “The Old Sweet Song” (“Caprice VienHOis”). H.M.V. 82937. These two excellent singers have made several splendid “His Master's Voice” records, some of which have been already issued and which have been received with great acclamation. Their newest record will undoubtedly be extremely popular for the music is of the most tuneful description; an arrangement of Liszt’s “Liebestraum, and an arrangement of Kreisler's “Caprice Viennois.” The singing is of the finest and the reproduction does justice to it. Spanish Nights. Symphony Orchestra (conducted by M. Coppola, and Madame Van Barentzen at the piano), in “Nights in the Gardens of Spain” and “Andaluza ’ (Madame van Barentzen) (De Falla). H.M.V. D 1569-1571. De Falla is one of the greatest living composers. He is a “modern but not in the fearsome sense that some of the Central European and Parisian composers have made us think of that term. “Nights in the Gardens of Spain” is a short symphonic poem in. three movements. The pianoforte is used more as an instrument of the orchestra than as a solo instrument in the conventional manner of a concerto. In the last movement of all the pianoforte plays a curiously eastern melody—a long arabesque of sound, seemingly without either beginning or end which melts into the orchestra. . This arabesquelike passage is very similar to many folk songs of the South of Spain where the Moorish influence lingers still. On the second side of the third record is the “Andaluza,” a dance from the composer's “Four Spanish Pieces.” An Operatic Potpourri. Marek Weber and his orchestra, in “La Tosca” Potpourri (Puccini). H.M.V. 01413. In these attractive selections from Puccini’s “La Tosca,” the electrical recording is magnificent in volume and clearness. Another Fine Bach Transcription, London Symphony Orchestra (conducted by Albert Coates), in Fantasia and Fugue (Bach, arr. Elgar). H.M.V. D 1560. Records were made of this work under an earlier process and were' issued actually before the first performance in public. The advent of the new His Master’s Voice electrical recording has made possible to obtain a more faithful

representation of the orchestral tonecolours, and the new record made of the Fantasia and Fugue and announced here is of a rare beauty.

The “Merry’ Widow” Returns. De Groot and his orchestra, in “Merry Widow,” selection (Lehar). H.M.V. 82945.

A brilliant record. De Groot’s selections are famous, and in this potpourri of airs from Lehar’s masterpiece he and his orchestra excel themselves. “Wedding March” and “Rosamunde.” San Francisco Symphony Orchestra (conducted by Alfred Hertz) in “A Midsummer Night’s Dream,” Wedding March (Mendelssohn); “Rosamunde.” entr’acte (Schubert). H.M..V. D 1568. Mendelssohn was little more than a youth when he wrote his dazzling incidental music to Shakespeare’s comedy. It is veritable “fairy” music and one is almost led to think that the composer still believed in the “little people.” The pomp of the famous “Wedding March” is portrayed magnificently by the San Francisco Symphony Orchestra, who also give the entr’acte from Schubert’s lovely “Rosamunde.” Fine examples of music that is ever young and ever welcome. Humorous Duologue. Angela Baddeley and L. Du Garde Peach, in “Motoring Without Tears.” Part I—ln1 —In the Garage. Part 2—On the Road. H.M.V. 82813. If you have an opinion either way, if you are a motorist yourself, or if you are merely an agile pedestrian you will find “food for thought” in this record. Backhaus “Does” Chopin’s “Etudes.” Wilhelm Backhaus (pianoforte), in Chopin’s Studies (Op. 25)—No. lin A Flat Major, No. 12 in C Minor, No. 2 in F Minor, No. 11 in A Minor, No. 3 in F Major, No. 4 in A Minor, No. 8 in D Flat Major, No. 5 in E Minor, No, 6 in G Sharp Minor. H.M.V. D 81179. Backhaus has already given us a superb set of three records containing the first group of Chopin’s “Studies.” He has now made a companion set of three records containing the second group (those comprising the Opus 25). These are the first of three records. Backhaus has an ideal technique for reproduction and the piano tone afforded by these records Is remarkably faithful. Six Lovely Piano Pieces. Una Bourne pianoforte), in “Cracovienne Fantastique" (Op. 14, No. 6), and “Legend” (Op. 16, No. 1 (I. 1 J. Paderewski). H.M.V., 82510. Miss Bourne plays these two little pieces by the great Polish, composerpianist with delicacy. She achieves her effect by a most attractive lightness of touch which is most happily reproduced. A very charming record. "Berceuse Arabe” (Op. 166), and “Nocturne” (Op, 165) (Chaminade). H.M.V., 82524, Two delightful compositions played with great refinement and splendidly recorded. “Marche Grotesque” and “Nocturne” (Bourne). H.M.V., 82655.

In this record the eminent Australian pianiste proves that she is an accomplished composer of two very attractive little works. A Delightful Disc.

De Groot (violin) and Terence Casey (Wurlitzer organ) in “Parted (Testi) and “Cavatina” (Raff). H.M.V., 82920. This record has more than a most attractive performance of these two songs, for Terence Casey has accompanied the great violinist on the Wurlitzer organ of the New Gallery Kinema, London. The effect is most remarkable ; the accompaniment is rich and colourful and sets off the violin tone to advantage. A Fine Violin Bracket.

Renee Chemet (violin) in “Berceuse” (Groolez) and “Feuillet d’Album” (Album Leaf) (Chabner). H.M.V., D.A.SI2. This famous French violinist has chosen two pieces that suit admirably her lovely tone and clean technique—a crooning lullaby and a suave flowing “Feuillet d’Album” that gives fine opportunities for the lower register of the violin. For Orchestral Students.

Instruments of the orchestra, re-re-corded electrically with new passages added and others reconsidered. Part 1 (string section) —Violin, viola, violoncello, double bass; Part 2 (wood wind section)—piccolo, flute, oboe, cor anglais, clarinet, bassoon, wood wind ensemble. H.M.V., Cl3ll. Part 3 (brass section)—French horn, trumpet, tenor trombone, bass trombone, tuba, brass ensemble; Part 4 (percussion section) —Timpani, side drum, cymbals, tambourine, castanets, glockens’piel, tubular bells, celeste, harp. H.M.V., 01312. These records are uniquely valuable for school and study purposes.

Parlophone Notes. . Parlophone 5023—" The Mastersingers” Act 3; Sacht’s arias, “Verachtet mir die Meister nicht.” “Drum sag’icb Euch" (Wagner). Sung by Josef Lindlar, baritone, with the orchestra and chorus of the State Berlin Opera House, conducted by Dr. Weissmann. Waltber has just sung his “prize song; the tremendous acclamations of the populace cease. Pogner offers him the freedom of the Masters’ Guild, but he refuses.- The wise and kindly Sachts thereupon advances, saying, “Disdain not thus our masters’ friend, and in the noble monologue which follows bids Walther honour the spirit if not the too rigid letter of the laws of their art. These wise words are accompanied by that passage from the overture in which the themes of Walther’s song and the two themes of the mastersingers are so wonderfully combined. Sacht’s part is therefora a fourth strand in the texture in our most treasured possession and inspiration. Parlophone 4090—“ I Pagliacci.” selection (Leoncavallo), by the Dajos Bela Orchestra. Another operatic selection from the inimitable Dajos Bela Orchestra. This orchestra gets right away from the customary hurdygurdy stylo of selection playing. This “Pagliacci” pot-pourri should please particularly with its fine scheme of popular arias interpreted with the real fire of the opera house. Again the recording is remarkably fine. George Sortie’s latest songs are 2740. “Where the Shy Little Violets Grow,” coupled with “Away Down South in