MUSIC and RECORDS

Dominion, Volume 23, Issue 33, 2 November 1929, Page 24

MUSIC and RECORDS

By

C.J.M

An Eventful Week. Between the recitals to be given by the world-famous coloratura soprano, Dusolina Giannini (the first is tonight) and the Royal Wellington Choral Union’s production of “Hiawatha,” In costume (commencing on Thursday next), Wellington musiclovers should have an eventful week. White Magic in Black Africa.

The intense blackness of the night was relieved by 5 the huge grass-fire Hares which garlanded the shoulders of unseen mountains across the mighty Zambesi River. We—two white men in all that waste—threw ourselves on the bank, the day’s work of pitching camp done, and for the first time on our trip into the heart of Africa we opened a heavy square box that hitherto, owing to our many remarks, had been known vaguely as “White man’s magic” by our three-score of native carriers. From the box came a a box of needles and records. A moment later, jaded, fagged to a standstill as we were,, we sat up intently. That patch of the godless wilderness, for the first time since the Creation, was listening to Layton and Johnstone, stars of the Western world, crooning a soft, soulful melody. The song ended, the turntable spun on; neither of us heard the end; neither had thoughts for the other. Back, back through the heartbreaking treks through waterless spaces and under pitiless suns had

flown our thoughts, to the bright lights of drawing-rooms in a distant city where last we heard that sweet, sad air. And what they sang was “The Song is Ended.” It was a great moment. Then came record after record, mad jazz frolics, gentle songs, spirited marches, until the night began to age. I looked about me and—nearly fell dead! Ghostly, silent faces were, all around. Scores of barbaric natives had crept up silently, unobserved, and their staring, half-fearful eyes told that this “magic” was 'to them the greatest of all. The chief of the district came next day, fresh with the story of the “magic.” He brought his sacred “Marimbas” to charm us with his tribal music. It was wonderful. And then we reciprocated with Columbia music. He was staggered. “Bwana (master),” said he, “I: will. give . my favourite daughter if only I can have such magic. Only give me the man who laughs so much and the voice of the woman which goes ‘Chee-ah-aha-chee-ah!’ and my magic will be great Indeed. ” f

That was our little portable, lugged for hundreds of miles on the sweating head of one of Africa’s sons, who later was to sing of his pride in being the bearer of such a treasure. The records that had appealed so strongly to our new friend, the chief, were Charles Penrose in “The Laughing Policeman,” and Ruth Etting in “Blue River” (Chee-ah-aha-chee-ah!).

,One night, after 14 hours’ trekking on a terrible mountain trail, my spirits were underwater, my carriers (a new team) were beaten and almost on the point of mutiny. I consigned them to Hades and called the portable to freshen my nerves. A deathlike silence followed the first record fs r about half a minute. Then the night was shattered by a great ‘E-han.’’ and the carriers swarmed about me, voluntarily castigating themselves for thinking evil of a man who could do such a wonderful feat of magic. Another time strange natives came into camp and stiired up strife until my latest of carriers, who had signed up only that day, became bold and . aggressive in their demands for increased wages and rations. My trusty personal servant. Tembo by name, whispered something in my ear. I smiled. A moment 1 .ter I took out my little portable, and so great was my show of ceremony that the carriers and the trouble-makers crowded round. At the request of Tembo I put on what he called “Wnh-wah-wah 1” meaning “I Scream. You Scream, We all Scream for Tee-cream.” The effect was electrical. Every ..I e gasped iff astonishment. But that which followed was

the record Tembo turned to the crowd and in vigorous language bellowed: “Hey, children of jackals and baboons, did you hear that? My master is a great magician who has many strong men at his command. You heard them in the magic box, and they only await his call to come out and fight all men 1” That bit of strategy, coming from a native, saved the situation, and I often wondered if Tembo really knew the secret of my “magic.” And when I think of it to-day I can still hear his whisper in my ear to “Put on Crum-Bee” —which was the nearest he could get to the name. Good friends and true in many a scrape were old Tembo and my little portable. I was eternally thankful that I had them with me.—Jack D. (Hughes-Rodney Central African Expedition), in “The Gramophone.”

RECORDED MUSIC

Lovely Grieg Sonata. Sergei Rachmaninoff (pianoforte) and Fritz Kreisler (violin), in Sonata in 0 Minor, Op. 45 (Grieg). H.M.V. D 81259-61. Of Edvard Grieg’s three violin and pianoforte sonatas this is unquestionably the most popular. It is indeed one of the most widely appreciated works of its type, for it rivals in popularity the Beethoven Kreutzer (magnificently recorded by De Greef and

more remarkable, for at the close of Isolde Menges, D 1066 and D 1069) and the Cesar Franck (hear DB7Bs_to DB 788, played by Cortot and Thibaud). Moreover, it is a work that will appeal to all tastes. Nowhere does Grieg show more plainly nis. wonderful gift of spontaneous melody, and we fully expect these marvellous records will make this work as well loved as are the Peer Gynt Suites. ' I A Matchless Trio. Cortot (pianoforte), Thibaud (violin), and Casals (’cello), in Trio No. 7 in B Flat Major, Op. 97 (“The Archduke”) (Beethoven). H.M.V. D 8122327. Beethoven’s Trio iu B Flat, Opus 97 (called the “Archduke” because it was dedicated to his friend and the Archduke Rudolf), is generally admitted to be the greatest of all pianoforte trios. It was composed during the winter of 1810, but not performed in public until April, 1814. It is worthy of note that Beethoven made his last public appearance as a pianist in this wQi-k. Cortot, Thibaud and Casals have achieved a great performance. Light Orchestral Music. New Mayfair Orchestra., in “Five O’clock Girl” ~ selection, introducing “Up in the Clouds,” “Who Did—You Did,” “Thinking of You,” “Happy-go-lucky Bird” (H. Ruby). “Love Lies’ selection, introducing: “I’m on the Crest of a Wave” (De Sylva, Brown, Henderson); “You’ve Made a Difference to Me” (Hedley) ; “I Lift Up My Finger and Say, ‘Tweet! Tweet!’” (L. Sarony); “A I-luuse on a Hill-top” (B. Mayerl). H.M.V. C 1658. Here we have the best numbers from these popular musical comedies. Good Band Records. The Band of H.M. Coldstream Guards” (conducted by Lieut. R. G. Evans), in “Down South” and “Teddy Bears’ Picnic.” H.M.V. 82984. Two tine numbers illustrating a splendid performance of this band’s playing. Humorous Records. Grace Fields (comedienne), in “EE. B>' Gum” and “I Lift Up My Finger and I Say, ‘Tweet! Tweet!”’ H.M.V. EA563 We are beginning to know Gracie Fields very well, and we are also beginning to look for her records. Hear this and you will all want it. Leonard Henry (comedian), in “Pokee-Okee-Oh”. and “What Did the Village Blacksmith Say?” H.M.V. 83013. Who does not enjoy a humorous record? Leonard Henry will make you lang! at this until you can laugh no longer.

Dora Maughan and Walter Feb) (vocal duet), “If I Didn’t Know Your Husband.” Dora Maughan (comedi-

enne), in “A Woman Who Knows.” H.M.V. 83011.

Two priceless instances, of vocalists who excel themselves in that branch.

Playways for Children. Play ways (educational), planned by Mrs. J. Murray Macßain. H.M.V. B 2805-07. Here we have a set of five 10-inch double-sided records for children. The music is specially selected for eartraining, beating-time and other rhythmic activities. * A booklet by Mrs. MacBain gives a full description of how to use the records, price Is. Details of the records include: — 82805 —A Little March Past (arr. Alec Rowley). Part 1: Introducing, “The Minstrel Boy,” “Men of Harlech,” “Mine Eyes Have Seen.” Part 2: Introducing, “John Peel,” “When Johnny Comes Marching Home,” “British Grenadiers.” B2Bo6—Music for Rhythmic Exercises (arr. Alee Rowley). Part 1: Dance Steps: Introducing, “Yankee Doodle,” “On the Bridge of Avignon,” “Hunting the Hare.” Part 2: Stepping, Beating Time and Ball Movements: Introducing, “Once I Loved a Maiden Fair,” “Lass of Richmond Hill,” “Polly Oliver,” “Valse Coppelia” (Delibes). B2Bo7—Music for Simple Dances (arr. Alec Rowley). Part 1: (a) Circle Dance; (b) “Little Peasant Dance.” Part 2: (a) Step-stately (Beethoven); (b) “The Wild Horseman” (Schumann). Another Boy Soprano. Master Norman Ware (boy soprano), in Voice Exercises (H.M.V. B 2808) and Ear Training: Part I—Lullaby (Schubert): (a) Voice and piano; (b) violin and piano. Part 2—Lullaby (Schubert): (a) ’Cello and piano; (b) String quartet. H.M.V. 2809. These are excellent. Glorious Music. Philadelphia Symphony Orchestra '(conducted by Leopold Stokowski), in “Symphony No. 1 in O Minor, Op. 68” (Brahms). H.M.V. D 1499-1503. This set of records of Brahms’ “First Symphony” has little need of recommendation. For sheer voluptuous beauty of tone these records will vie strongly with their distinguished predecessors. Splendid Bass. “O Tu Palermo,” from “I Vespri Sicilian!” (Verdi), and “Dormiro sol nel manto mio regal” from “Don Carlos” (Verdi), Ezio Pinza. H.M.V. DB 1087. A great bass voice, different in quality from that of the inimitable Chaliapin, but very beautiful, is Pinza’s. The airs are in the early Verdi style, but no whit less attractive for that. By an Australian Singer. Anona Winn (soprano), in “Heaven for Two” and “Before I Go to Sleep,” with Harold French and George Baker. H.M.V., EASB4. Two attractive numbers by an Australian artist, assisted by George Baker and Harold French. Anona Winn is one of the great successes in England to-day. i ■ Gene Austin’s Latest. Gene Austin, in “Up in the Clouds” (“Five’ o’clock Girl.” Coupled: Winnie Melville and Derek Oldham in "Thinking of You” (“Five o’clock Girl”). H.M.V., EA567. We all knowHhe popular music from “The Five O’Cloek Girl,” and here we give it you in the best possible style. Gene Austin, in “Dream Mother” and “Garden in the Rain.” H.M.V., EA547. i Gene Austin’s sweet intonation and lovely vocal quality will again appeal to you in these two vocal gems.

On the Wurlitzer. Jesse Crawford (Wurlitzer organ), in “I’ve Got a Feeling I’m Falling” (fox-trot) and “She’s a New Kind of Old-fashioned Girl” (waltz). This is another novel dance record played in Jesse Crawford's inimitable style on the Wurlitzer, assisted by a nuted trumpet and saxophones. (H.M.V. EA566.) How Szigeti Would Like to Make Records. Szigeti has been talking to the “Gramophone” about recording. Although he is only 37 years old, this brilliant violinist made his first record over 20 years ago. He is still trying to buy them back! “I like recording,” he says. “My nerves in the studio are about the same as they are on a concert platform. Electrical recording is a great step forward. I think that its great advantage is that it will, in time, obviate the laboratory atmosphere. As improvements are effected I think the real atmosphere of the concert hall will be captured. Records are sometimes too ‘perfect’ mechanically. In making the record perfection is so striven for, and so many tests made before one is satisfied, that often the spontaneity, emotion and excitement, which are so essentially a part of the music, have disappeared. “Rcently I have been making records of the Brahms Concerto with Sir Hamilton Harty in Manchester. It occupies nine sides, and took the best part of three mornings to make. We finished an hour before our scheduled time. I suggested to Harty that we should make some ‘luxury’ records. By

that I meant that we should go straight through the work with the barest pauses after each side. We did. When the various ‘test’ records were sent to me for approval I noticed that nearly all' those I chose were the ‘luxury’ ones. ' ' •’ , “Indeed, my idea .of a studio Utopia is a place.where gramophone records are taken like snapshots. I imagine myself surrounded by a battalion of recording machines, one of which will surely give the perfect result, one machine perhaps making a test while one is keeping a permanent record of that test. The number of machines employed would eliminate. the present unnerving waits between, sides.” William Murdoch, Pianist. William Murdoch in his early years travelled . all over Australia carrying off prizes at tbe various Eisteddfods in the country, eventually gaining a scholarship that entitled him to four years’ study at the Royal College of Music in . London. From that time he has leap- . ed from success-to success, touring Great Britain and the Colonies, and enthusiasm everywhere. His tastes incline to modern music more than the ancients, but while he has won great admiration for his playing of Debussy and similar composers, his interpretations of the older masters like Chopin, Liszt and Schubert, are class-i ed high among pianoforte achievements of the day, ‘ The character of his playing is marked by a flhe interpretative sense, and the individually of the man finds impression at all times without any sacrifice of the composer’s intention. Perhaps his finest work for the gramophone is a recording of two Beethoven sonatas for Columbia —the “Pathetique” (Columbia 02011-12), and the . “Appassionata” (Columbia 0261345). With sensitive feeling and a high, sense of poetry, he throws himself info the emotional richness of both pieces. Another delicious disc is a pairing of two modern Spanish works, Albehiz’s “El Puerto’’ and de> Falla’s “Cubana”—sparkling fragments shimmering with rich colour (Columbia 02609). The famous “Ballade in A Flat” by Chopin he treats with romantic tenderness and an exqusite sense of melody. (Columbia 02600).. Harold Williams. 1 Born in Sydney, this world-renowned artist, commenced his singing activities as a soprano, but deserted the musical field for sport, being-a New South Wales representative against the All Blacks, and playing cricket for the Waverley Club. • ’ Art, however, could not be suppressed, and whilst awaiting repatriation after active service in France, Harold Williams'took up singing in a serious way. Following initial recitals, engagements literally flowed in upon him, 4 and then' followed successes through- ’ out the United Kingdom.' Singing at Covent Garden in both the French and German seasons served to enhance a well-won reputation. Harold Williams has a vigorous, Upstanding manly type of voice, which shows up best in such songs as “When the Sergeant-Major’s on Parade” and “The Company Sergeant-Major" (Columbia 4159), or “The Ginchy Road” and “Limehouse” (Columbia 0902). He, sings Hilaire Belloc’s amusing “Cautionary Tales” with rare fun on a series of 10-inch discs (Columbia 3224-26). But he shows powers of; subtle expression are not beyond- him in a feelingly sung “Water Boy” and “Gwlne Away” (Columbia 0823). La Scala Chorus in “Turandot” Excerpts. The “Invocazione” contains some of the finest music Puccini has ever created—the blending of luscious Italian and weird Oriental elements, combined with the wayward clarinet—all are gloriously rendered. Milan’s renowned chorus give a fascinating and uncannily barbaric interpretation of

“Glra la cote,” which contains actual fragments of original Chinese tunes. (Columbia No. 02918.) Clever Orchestral Renderings. Paul Whiteman’s concert recordings are unique .incomparable. Hear his symphonic arrangements of these wonderful melodies—you will marvel at the cleverness of tbe scoring, and wonder how he does it. That’s Whiteman’s secret. . But don’t forget. the lovely ;tone and brilliant technique of his orchestra. (Columbia No. 07510). Popular Tenor Sings Two Charming Numbers. ‘I Kiss Your Hand, Madame,” and “Heartstrings.” Hubert Eisdell will give pleasure to additional thousands of gramophonists in these delicate and appealingly melodious songs. His pure, lyrical tenor has never been, recorded with greater fidelity. (Columbia No. 01616). Garde Republicaine Band Plays “Two Pigeons” Ballet Excerpts. Andre Messager has written much delightful music of the lighter sort—was he not composer of the wellremembered “Veronique” and “Monsieur Beaucaire”? None of his works is more thoroughly enjoyable than “The Two Pigeons” ballet, and these excerpts, so cleverly scored and so brilliantly, played by the great French band, make a brace of very beguiling records. , ■ ! Recordings of “The Mighty Deep” and “The Stormflend.” “Ahl could we but fathom the mighty deep” are the significant words which commence this song. It is a charmingly sentimental and very tuneful ballad,: sung with tenderness, warmth and restraint by the great bass singer, Norman Allln. “The Stormflend” is a swaggering sea air, sung in caressingly rich tones, without being overpowering, while the splendid reproduction must be mentioned. (Columbia No. 01637). ' Capet Quartet excels in Beethoven’s “A” Major Quartet. ■ln this wholly delightful example of Beethoven’s, .earlier manner, the Capet String quartet show themselves to be as understanding as in the more profound moods of the “last period” works. One cannot praise too highly -the perfection of the ensemble, or the happy spirit which is made evident throughout. (Columbia Nos. 03647-50).. Parlophone. ' x “Weary River,” and “I’ll Always be in Love With You,” sung by Jill Manners, soprano. Already well-known as a theatrical star, Miss Jill Manners makes her first appearance before the ■phonograph public in this outstanding Australian recording. Her singing is admirable in every way, and her voice deliciously sweet and certain. On one I side of the disc she sings the theme song from the film “Weary River” and on the reverse, the theme song from “Syncopation.”—(Parlophone 2835). - ; “I’ve Never Seen a Smile Like’ Yours,”, and “Old Pals Are the Best of Pals After All,” by Clem Williams. Clem Williams is one of Australia’s .leading baritones, as radio listeners-in and concert-goers well know. That he has,a flair for the singing of popular songs is proven in this new record, which', should ,gpd;_A.‘big; market, -.-He sings the theme song from the film “Alibi,” while Vai Martinez provides the number on the reverse.—(Parlophone 2850). •» “Down South,” banjo with piano, novelties not to be missed, and “Serenade,” by Gabriel Lordy. This banjo recording is startling for two reasons — the extraordinary reproduction of the banjo tones, and the wizardry of Gabriel Lordy’s playing. — (Parlophone 2843). ' -

“Toy Symphony,” allegro, and “Toy Symphony” menuet. Finale allegro by

the Orchestra of the State Opera* House, Berlin. It is delightful to find a great musician condescending to 1 play; though indeed with Haydn there was no question of condescension, he being a true child at heart. Everyone who buys toys ostensibly for their children, but really for themselves, will love this little symphony with its Cuckoo, rattle, and other juvenile effects. —( Parlophone 4122). “Tristan and Isolda,” Act 2 and 3, sung by Meta Seinemeyer, soprano with Berlin State Opera House Orchestra. It is obvious now that Meta Seinemeyer cair.essay the greatest roles in opera. No limits need be set to such a glorious voice, such a complete artist. Only a great artist, also, can do justice to King Mark’s music. In inferior hands it is insufferably boring; in Ivar Andresen’s indescribably moving. — (Parlophone 5032). “Carmen,” by Cernay, Lebard, and Fenoyer, sopranos of the Opera Comique. Three prominent sopranos of the great French Opera House combine in the dramatic “Card Scene,” from Act 3 of Bizet’s Opera. The recording is perfect.— (Parlophone 4120).