MUSIC and RECORDS

Dominion, Volume 23, Issue 45, 16 November 1929, Page 24

MUSIC and RECORDS

By

C.J.M.

Making a Disc.

Now that gramophone records play so large a part in the normal life of those who are in any way connected with the-motion picture industry, perhaps a few words ou how a gramophone record is actually made will nbt be amiss. Very vew of those who handle records, either professionally in a picture theatre, or for amusement in their own homes, can hare any idea of the scrupulous care expended during their manufacture, or the number of processes through which they go, before they are a finised product. Let us start from the actual recording. Most people know that this recording is done in the first place, bn to what is known as a “wax.” This

wax is a soft, but stiff, compound (this sounds like a contradiction in. terms, but is nevertheless a fact) into which tbe recording needle cuts the actual vibrations. The wax is taken from the recording unit into the graphiting department, where it is very carefully covered with graphite, which is brushed in until the surface Is highly polished with the graphite. A copper pin with a flat head is inserted through a hole in the centre, so that the flat head comes in direct contact . with the graphite on tbe face of the wax, and this pin is held taut against thejace of the wax by a small clamping piece on the other side. The wax is then fixed Into'a'circular holder, which has a’groove cut round the circumference, and dropped into a bath of a copper solution, a fabric band fitting into the before-mentioned groove. This band, at its other end, passes over a revolving shaft, tbe wax thus being kept slowly turning during the time of its immersion. Electrical contact is made with the copper pin which passes through tbe centre, and a current of electricity is constantly .passed through the bath. Jn this way a negative, which is known as the “master,” is grown on to the wax, and when the required thickness of copper has been built up, the wax is taken out of the bath, the copper negative taken away from the wax, and the wax prepared for further recording. This master is then cleaned and a nickel matrix, grown from the copper master in exactly the sanies way as the master was grown from tbe wax, except, of course, that the solution contains nickel, instead of copper. This matrix is then polished, and by means of a locking - ring is fixed into the record press. Now let us go to the compound of which the actual record is composed. This compound is a mixture of. shellac, colouring matter, finely ground silicates, and several other ingredients, all of which are ground to very fine dust. They are then very carefully mixed in the required proportions, and passed into a machine which consists of two large heated rollers, practically touching, and revolving in opposite directions. These rollers keep tbe powder on the move, and' gradually the heat from them coagulates the powder until, it .resembles melted rubber.

When this congealing process is at its correct point, a lever Is pressed which allows a certain, amount of the compound to be rolled out as a kind of huge pancake, into a container below. While in its hot. state, it is quickly transferred from this container to a machine, which is called a calender. The calender has a hot plate on which the material is laid, and from this plate it is fed between two highlypolished rollers. These rollers reduce the material to the required thickness, and pass it to a second pair of rollers which have circular revolving blunt knives, which mark the warm material with a crisscross pattern, in much the same way that a perforating machine perforates paper, except that the blunt knives do not puncture the material, but simply thin it, so that when cold it may easily be broken up into rectangles of a predetermined size. Krom these knife rollers the material is next fed on to a series of endless steel bands, which perform the function of an escalator, inasmuch as they carry the material through cooling channels to the other end of the machine. The material emerges from this end of the machine, through another pair of polished rollers as a crisp, brittle substance, which, as it comes from the machine, is broken by an operative into long narrow pieces, and passed on to a second man, who breaks the strips into rectangles of about 9 by sin., which are known as “biscuits.” It is time now to return to the press. The operative, who works this press has on one side of him a hot plate, and on the other a cooling device. A stack of “biseults” stands handy. He first places “biscuits” upon the hot plate in number according to the size of record to be pressed. While they are beating to the correct temperature he fixes the labels, one on each matrix (for of course there are two matrices, seeing that records are double-sided), then with a scraping instrument he makes the now soft, "biscuits” into a ball, and transfers this quickly to the centre o* tli e press. These presses are hydraulic, and as tbe operative closes the press the lower part is forced upward, the record compound is spread evenly over the whole of the surfaces of the two matrices, sufficient pressure being exerted to insure that every vibration which the matrix holds is registered in the pressed record. The press is now opened, the record taken out, the excess materia] dropped away from round the outside into a bin, and the record itself placed into the cooling device to cool off. • When cool it is put into a' box ready to receive it, and taken away to another department to have its edges ground and polished, prior to the final examination. A staff of very highly trained girls is employed in its examination. Every 1 record is first polished, and then examined for blemishes by these girls, who can detect at a glance microscopic faults. . '

RECORDED MUSIC Hambourg as Beethoven. Mark Hambourg (pianoforte), in the “.Moonlight” Sonata (Sonata in C Sharp Minor, Op. 27, No. 2), (Beethoven) ; Variations on “Nel Cor Pin” (Beethoven). H.M.V., C 1549-50. It was recently announced that a “talkie” of Beethoven, with Mark Hambourg in the title role, was in the making. Mark’s performance includes the playing of the “Moonlight” Sonata. These two records of the “Moonlight” Sonata are' therefore welcome. They replace a disc of his containing a slightly curtailed version which must have delighted an incredibly ■ large audience in its time. It was, by the way, a favourite record of many a dugout in the trenches during the war. There is no need to comment upon the music itself: it should be familiar to most people. The quality of the reproduction afforded .by these new records is extremely fino.

Songs of the Sea. Foster Richardson (bass), in “The Tar’s Farewell” (Adams) and “The Powder Monkey” (Watson). Zonophone 5207.

Here we have two good old English sea songs which ought to come fresh as a sea breeze to jaded jazz appetities. Violin Virtuoso Plays Dance Music. Jascha Heifetz (violin) in “Estrellita” (Ponce, arr. Heifetz) and “Valse Bluette” (Drigo-Auer). H.M.V., D.A. 984.

To get the picture of this graceful dance music imagine a ballet dancer flitting on the tips of her toes about the stage. Then attempt to conceive the sort of music that could most adequately fit her movements. Tbe “Valse Bluette” will fit your imaginary dancer better than any tune in the world. •

Beautiful Solo Singing. Florence Austral (soprano) and tbe Royal Opera Orchestra and Chorus, Covent Garden, as recorded at the Royal Opera House, Covent Garden, London, in “The Golden Legend,” “The Night is Calm” (Sullivan), and “Stabat Mater,” “Inflammatus” (Rossini). H.M.V., D 1506. Florence Austral’s latest record presents abundant opportunities for us to admire the wide range of beautiful tone at the singer’s command.

Fine Schubert Exponent. Wilhelm Backhaus (pianoforte) in “Military March in E Fiat” (Schubert, arr. Backhaus), and “Triana” (from the Suite “Iberia”), (Albeniz). H.M.V., D.B. 1125.

The, Schubert march that Backhaus here presents is bright, gay, and .extremely' tuneful. On the other side of the record is a famous piece by the Spanish composer Albeniz, a colourful little work, brilliant to a degree, and it affords liberal splashes of exotic “Spanish” colouring. Five Notable Recordings.

Here is a list of five notable H.M.V. recordings which ought to be in every select collection: —

Elizabeth Schumann (soprano) — “Standchen,” Op. 17, No. 2 (Strauss), and “Morgen,” Op. 27, No. 4 (Strauss). H.M.V., D. 8.1010. Alexander Kipnis (baritone) —“Valkyrie”—Wotan’s Farewell (Wagner). H.M.V., D 1225. Dtisolina Giannini (soprano) — “Aida”—o patrio mia, and “Aida”— Ritroua vincitor (Verdi). H.M.V., D. 8.1093.. 1

Erica Morini (violinist) —“Introduction and Tarantelle” (Sarasate), and “Romanza Andaluza” (Sarasate). H.M.V., D 1445. Theodor Chaliapin (bass) —“Sadko” —Song of the Viking Guest (RimskyKorsakoff), and “Prince Igor”—How Goes It, Prince (Borodin). H.M.V., D. 8.1104. Rethberg in “Aida.”

Elizabeth Rethberg in “Aida” (H.M.V. D 1451) is a revelation. Rethberg is a great singer possessing not only a voice of remarkable purity and power,' but a great capacity for dramatic effect. Her rendering of two

arias from “Aida” with the Berlin State Opera Orchestra, conducted by Fritz Zweig, provides a record of exceptional charm. Famous Salon Artist.

De Groot and the Piccadilly Orchestra in “None But the Weary Heart” (Tchaikowsky) and “Friend o’ Mine” (Sanderson). H.M.V. 82857.

This is an admirable disc. De Groot plays these two little pieces with great charm. His is the true artistry that preserves the soul of the music, and the bloom of its tone colours.

Moorish Tint in Spanish Music.

New Light Symphony Orchestra, in Spanish Dance, No. I—Orientate, No. 2—Andatouse, No. 3—Rondalla Aragonesa (Granados), and “Triana” (Albeniz), H.M.V. 0.1553-4. A very strong Moorish influence is still extant in Spain. As a result, the rhythms of tbe national music are free and elaborate. Once heard, the charm of Spanish rhythms and cadences never fails.

Giannini Sings. Dusoluia Giannini (soprano), in “Just a-Wearyin’ for You” aud “I Love You' Truly” (Jacobs-Bond). H.M.V. DABOS).

In the above two songs the beautiful voice, artistic phrasing and sincerity of Miss Giannini cannot fail to make a fine impression. The present New Zealand tour of Dusolina Giannini is one of the important events of tbe 1929 concert season.

Eight Lovely Songs. Gramophonists should hear, if they have not already heard, eight lovely songs from Schubert’s “Winter Journey” cycle and miscellaneous songs, sung in German by Elena Gerhardt, (mezzo-soprano), for His Master’s Voice. They are well worth while:— D 1262, “Gute Nacht” (Good Night), “Der Lindenbaum” (The Linden Tree). D 1263, “Wasserfluth” (The Watercourse), “Fruhlingstraum” (A Dream of Spring). D 1264 “Der Leiermann” (Tbe Organ Player), “Der Wegweiser” (The Guide Post). E4GO, “Die Post” (The Post), “Die Krahe” (The Raven). Gilbert and Sullivan Gems. Zone’s are the only records issuing “Vocal Gems.” from each Gilbert and Sullivan Operas ou one, or at the most two records. The Gondoliers (A 350 is a perfect delight. One should also hear the other operas on A 312 (“lolanthe”) : A 317, (“H.M.S. Pinafore”) A 321 (“Yeoman of the Guard”). A 323 and A 344 (“Mikado”). A 325 (“Gondoliers”), A 332 (“Pirates of Penzance"), A 336 (“Patience”), A 342, (“Princess Ida” and “Ruddigore”). “La Bolieme” Latest Recordings. The recently-published records of “La Boherne” (the complete opera, H.M.V. C 1513-1525) are quite remarkable for their dramatic atmosphere. The musical quality of the records is excellent in every way, but their speci- 1

al values lies in this sense of t theatre which in some subtle way conveyed by the recording.

Fine Piano Recording. Mischa Levitzki’s clear, polished technique is admirably suited for gramophone work. His playing of the Liszt “Campanella” and Rubinstein’s familiar “Staccato Etude” (H.M.V., Dl-IS9) is excellently reproduced.

Schubert in Church. One is grateful to H.M.V. for bringing out a set of three records by the Philharmonic Choir (DI47S-1480) of .Schubert’s “Mass” in G major, one of the earliest of several “Masses” while Schubert was still in his ’teens. It is essentially music of its period, owing nothing to the earlier liturgical music of the Catholic Church; hut it is exceedingly charming, full of exquisite phrases, and in its way quite devotional in expression, although more suited, according to modern ideas, to the concert-room than to the church. Alexander Ripnis.

After a season at ’Covent Garden, Kipnis, the great German basso, has been singing at the Berlin and Munich Summer Festivals. He is now singing in America, and the news is that his early triumphs there have already caused his tour to be considerably extended. Kipnis is known throughout the Continent as a foremost Wagner exponent, and readers will doubtless remember the excellent work he did in the Columbia Wagner Bayreuth Festival recordings. He has produced a series of magnificent. .Schubert records, instinct with deep feeling Possibly bis finest is a pairing of “Der WegWeisser” (The Signpost) with “Der Doppelganger” (The Phantom Double). The first has one of the loveliest of Schubert’s many exquisite tunes, while the second reveals the intense dramatic gifts of Kiwnis. (Columbia 04195).

A new record of two Brahms lieder prompts us to hope that this is the first of a long series. Brahms, who ranks second only to Schubert, as a songwriter, is to meagerly represented on records in this respect. The enchanting number referred to is “Sapphische Ode” and “Auf dem Kirchofe” (Columbia 03G45).

The Two Black Crows. Nobody needs any introduction to the famous comedy pair, Moran and Mack, whose famous “Two Black Crows” records have been the most popular humorous records ever issued. We hear that they will shortly be heard in the talkies in an all-talking Paramount picture. “Why Bring That Up?” which will be screened here in the near future. Simultaneously, Columbia will be releasing a further new record by the famous comedy pair, “Esau Buck and the Bucksaw” and “Foolishments.” America, which has already heard the record, declares it to be as funny as the rest of them. Coming Shortly.

An advance Columbia leaflet gives information of several works of great interest which will be released very

shortly. These have already been issued at Home, in some cases more than twelve months ago, and gramophone enthusiasts in touch with English news have anxiously awaited their appearance here. Perhaps the warmest welcome will be extended to the Beethoven A Minor Quartet (Op. 132), played by the Capet String Quartet of Paris. Readers of “Point Counterpoint,” by Aldous Huxley, will recall his enthusiastic comments on this very recording.

Another work of immense interest, which has fluttered the musical dovecotes of the Old Country, is “Mon Lac,” by Witkowski, a pianoforte concerto played by Robert Casadesus and The Orchestre Symphonique de Paris. Its up-to-the-minute modernism has torn music-lovers into two violent pro- and anti-camps, but even the storm of adverse criticism proclaims that the work is too significant to ignore. Another French Orchestra, the Orchestre de la Societe des Concerts du Conservatoire, under the able baton of Philippe Gaubert, gives us two Debussy nocturnes of unquestioned charm — “Nuages” and “Fetes.” Both are so popular that an immediate welcome is assured them. A further controversial work by a brilliant modernist is Poulenc’s Trio for Piano, Oboe and Bassoon, Poulenc himself taking the piano part. Other attractive records on the way are some further viola solos by that acknowledged master, Lionel Tertis; some songs by Bella Baillie, proclaimed as the musical “find” of the London season; and a host of operatic records.

Georges Thill. Georges Thill is one of the leading tenors of the Paris Opera. Young in years and experience, his career reads like a story book. He was a stockbroker in Paris, interested in music as an amateur. Persuaded to make a record, the result was that Thill gave up his business to study for opera. lie studied in Naples with De Luca, the famous tenor, and returned later to build his career in France. Voice, appearance and enthusiasm carried him on, and last year, he was engaged for the Covent Garden season. Swift on the heels of this engagement came a. contract to sing at La Scala. Scandiani heard Thill rehearsing at the Paris Opera for “Turandot” and at once secured him for La Scala. In July, 1928, he sang at. the al fresco performances of this opera at Verona, Italy. In 1929 he saug the opera at La Scala and had the honour of repeating his “Turandot” success at the opening performance of the Colon, Buenos Aires, with the great Rosa Raisa singing the title role. His greatest success is as Romeo, In Gounod’s opera. His work is described as “a superb piece of singing and acting,” and when Thill and the soprano carried the stage together, the Opera, crowded with a widely international audience, rose with enthusiasm and the curtain calls were numerous. Those who heard his first record will never forget the thrill of his amazing voice in the “Air de Jean” from Massenet’s “La Traviata” (Columbia L 1964). Other records are:—Romeo et Juliette: Cavatina ,Gounod), Carmen: Flower Song (Bizet), Columbia' i

04019; Pagliacc!: On With the Motley (Leoncavallo), La Tosco: When Stars are Shining (Puccini), Columbia 03557. Eva Turner. Eva Turner (Columbia) returning the United States for her second sea!» son with the Chicago Opera Company,, was recently feted for her performance of the title role of “Isabeau” (Mas* . cagni) at the old Roman arena. of Ve»» ona, Italy. With Miss Turner in tM cast was the tenor Lazaro, as Folco. , Eva Turner is one of the very English sopranos who carried Italy MJ storm before reaping the harvest of her! fame in London. She has made a won* derful record of two numbers fronj! “Turandot” (Columbia 03610),’ iffi which she took the part of Pin in UStk Italian premiere. Cesare FormicM. The ceaseless energy of the Cohtnsr bia bass-baritone, Cesare Fornflehi, been active lately in Europe. SinaS July this popular member of the CM* cago Opera Company has sung two penformance at Vichy and several at les-Bains. He was to sing last montty in Berlin, being booked afterwards fot a Scandinavian concert tour. Thit season he is due to open in Bordeaux, and thence will return to America to sing at the opening performance in the new Civic Opera House, Chicago. John Coates. , (1) “Take a pair of Sparkling Eyes® from “The Gondoliers" (Gilbert art® Sullivan). (2) “The Knotting .Song.* Sung by John Coates, tenor. Columbia 02775. This veteran tenor still delights miV lions in English-speaking countries aU over the world —both in person ana through his records. The voice may be nearing the close of its perfection, but the art of singing such songs is a possession that John Coates win enjoy and almost exclusively—as long s!s he lives. He is a singer of singeysf we will let it rest at that Parlophone.

“Poet and- Peasant” played by Berlin State Orchestra; This moet popular overture is brilliantly played and recorded (Parlophone 4116). “Parsifal” (duet), Ivar Andresen bass, and Gottelf Pistor. Ivar Andre* son has been called the finest bass itt the world. One may very well believe such a statement after hearing these really magnificent “Parsifal” records. (Parlophone 4113). “Louise,” and “Coquette,” by Williamson, tenor. Vocalists make new records. This young Australian tenor from the West has never sung more beautifully than in these two them* songs, the first being from the “Innocents of Paris,” and the second from Mary Pickford’s first “Talkie, • “Coquette.” (Parlophone 2783). “Fledermaus” Finale, Act 2, Straussj Orchestra. Sung by- Lotte Lehmann* Karin Branzel, Grete Merram-Nlkisch, Richard Tauber and Waldemat Staeg* maun, with tl e Berlin State Orchestra, The music in this number Is what ft recognised as the finest light operi ever written, and the recording excdJ» lent (Parlophone 1029).

“Solvieg’s Song,” coupled with “Mignon,” sung by Emmy Bettendorff, and recorded by Parloplioue (4139). It is gratifying to note the return of Emmy Bettendorff, singing better than ever, and recording in this case, two exquisite numbers. This record is described as faultless. ' “Cavalleria Rusticana” introduction' by the chorus and orchestra of La Scala, Milan. This is a startling piece of orchestral work. The orchestra is conducted by Ettore Fanizza, while the choral director is Vittore Veneaianl. This record is a particularly good one. (Parlophone 4134). “Mill in "Black Forest,” and “St. Petersburg Sledge Drive.” An excellent organ solo this. (Parlophone 2810).

“Stille Nacht,” “Heilige ■ Nacht,” meaning (Silent Night, Holy Night) and “Hallelujah Chorus,”, sung by Grand Irmler Choir. Specially for Christmas purposes these flue pieces have been re-coupled by the Grand Irmler Choir. These should be particularly popular. ,