MUSIC and RECORDS

Dominion, Volume 23, Issue 51, 23 November 1929, Page 24

MUSIC and RECORDS

Bv

C.J.M.

London's Musical Minter. London looks forwards to a musical winter such as it has never had before. Its operatic prospects are brighter than they' have been in a generation,

and the orchestral situation holds out promises of tlie most alluring kind. The wonderful permanent orchestra which Sir Thomas Beecham has been promising right along has not, it is sure, quite materialised in the form •we were led to believe, for, it will be a British Broadcasting Orchestra rather than a Beecham Orchestra; but it will give twenty-three concerts, of which Sir Thomas will conduct eleven. The rest will be in the hands of Sir Henry Wood. Sir Landon Ronald, and Felix Weingartner. Outside the regular series Sir Thomas has promised a Delius Festival of six concerts —rather a large order considering the present state of Delius’ popularity. The Royal Philharmonic Society remains in the field with its usual eight concerts, but its orchestra will be that of the Broadcasting Corporation, for the casual constellation known as the Philmaronic Orchestra has ceased to exist, for the simple reason that most of its members will have to do service in either of the two “permanent” orchestra—the Broadcasting or the London Symphony. The Philharmonics conductors are yet to be. announced. The Lot don Symphony Orchestra, which has now become permanent by virtue of phonograhic and other subsidies and alliances, will give its usual series of ten London concerts with various guest conductors. As the, nefarious “deputy system” has been abandoned the quality of the performances is expected to show a great improvement. Albert Coates will open the series, and will function as the permanent conductor of the orchestra on tour, a post formerly held by Sir Thomas Beecham. Even more interesting than the regular’ series, perhaps, is the special series of six London Symphony concerts announced and subsidised by Irs. Samuel Courtauld. who bids fair to be come the Mrs. Lanier of Bondom The great feature of these concerts is extra rehearsals—as many as are needed to secure first-class performances. London’s conscience in this matter is act adv waking tip.—“ Musical Courier. ’ A burning question to-day in the United States of Soviet. Russia is that of theatre reform and the creation o new operas (writes a Moscow correspondent of the "Musical Courier’). This immense country with its superfluity of political and cultural problems, offers to an observant composer enormous material. Moreover, the present-day public wants to find Its more important life interests mirroied on the operatic stage. Drama lias followed the new path for some years and it is now a question of bringing opera into line. .. A number of the younger as n ell as older musicians have tested- then abilities this year on the creation 01 an effective Soviet Opera, with varying success. The greatest approbation was earned by Moritz Gltere v-itb his ballet. The Red Poppy. The storj’ of this piece, which has won its way to every Soviet stage, is based on a Chinese revolution. \ China is also the scene of another opera. “A Son tlie Suu,” by Sergei M'assilcnko, who has an excellent knowledge of exotic melodics. This opera contains many tine traces of musical ‘orientalism, but seems to have suffered from the influence of an unfortunate text. Ivan Schischoff «has attempted to solve this' difficult problem of “new” opera with a story of Russian slavery. His work, "The Hair Artist,” is based on a well-known novel of Lyeskoff, and pictures an incident of bitter suffering endured by Russian slaves at the beginning of the thirteenth centuiy. ; But the composer has failed to achieve strong, dramatic effects: his music consists mostly of pleasing, sentimental melodies. These two operas and ballet comprise the chief operatic productions of the past year. Concert life in Moscow, on the other hand, goes on at a lively pace, despite the somewhat restricted importation of foreign artists, and niusielovcrs here have had the opportunity of .hearing many important works. Among them was an entire evening of compositions by Bela Bartok, whose acrid art and genuine musicianship left a deep impression. Reproducing artists, too, of the highest rank contributed largely to the season’s brilliance. Otto Klemperers’ symphony concert, for example, at which he gave a really great performance of Mahler's "Song of the Earth,” and piano recitals by Robert Casadesus and Claudio Arrau made deep impressions. A lively interest has been taken, too, in native artists, and organisations, chief among whom is the Soviet Philharmonic—nicknamed Sophie. This organisation, which is supported by the Government, gave no fewer than 100 concerts during the past year. Besides the orchestra Moscow supports five string quartets, two of which (the Stradlvarius Quartet and the Moscow Conservatory Quartet) are among the best of their kind. During the Schubert centenary year (1928-29) they played long Schubert cycles and also much new music, including an excellent work by Nicolai Csemeerdschi. Among the Moscow pianists a brilliant young virtuoso has appeared, Georg Edelmann by name, who is now touring Europe. The "Busker,”

A busker in England is, an itinerant minstrel who plays or sings outside the “pub” doors during the "open” hours, and entertains the drinkers inside. Buskers are not allowed, to make music inside, probably because Hint, would turn the "pub” legally into a music hall and that requires a different kind of license (han driukiug without music. But they may collect pennies from the guests as they come out.. This is a lucrative and widespread branch of tlie musical profession. and teams of "buskers.” often dressed up and with their faces blackened. may he seen going from pub to pub all over the more slummy parts of London of an evening, or livening up tlie street with their tunes. Banjos, guitars, and saxophones arc the favourite instruments, though tlie oldfnsliioned fiddle and harmonium still survive. The monochord, played like n 'cello, with a trumpet-bell to give the tone its required greasy qualities, is more popular tit tlie curb: “pub” patrons arc more exacting in their tastes.

RECORDED MUSIC The Tuneful “Fledermaus” Overture. “Die Fledermaus”—-Overture (Johann Strauss). Played by Bruno Walter and the Berlin State Orchestra. Columbia 0-1315. Here is another recording from Coluniliin's Berlin studio. Bruno Walter is a big man among conductors, and his work with the London ::Royal Phil.” will be remembered for a long time. He takes the Berlin State Orchestra through the overture to “The Hot" with an extraordinary feeling for what is correct in the interpretation of a lypicul Johann Strauss light-opera prelude. No fdnny business with dyna-

mics; no attempt at Wagnerisation. Just fascinating melodies and comfortable armchair harmonies moving along in perfect rhythm. "The Bat” overture will be enjoyed particularly by the ordinary man. But what piece of the “Waltz King's” music is not!

Friedman Again, ' ■ (1) Berceuse (Chopin) ; (2) Minuetto from Suite (J. Suk—Op. 21). Ignaz Friedman, pianoforte. Columbia 04346. Chopin's cradle-song is one of those classical works that everyone loves. The simplest of melodies is carried on dreamily against a glittering fairy-like background of sound. Suk’s “Minueto” is a delicate little movement that is but little known, and is an admirable choice. No one should miss this particular disc. Seldom has Friedman played with mor. dainty sympathy; Thrilling Hungariai Dances. Hungarian Dances Nos. 5 (G. minor) and 6 (D majos)—Brahms; by Sir Hamilton Harty and the Halle Orchestra. Columbia 01677. “ This record is one of the biggest bargains of the month. For the price of a ten-inch jazz record, we have the finest orchestra in England giving Brahm’s two most popular dance movements. Those to whom Brahms is just another name for boredom 'will get a shock when they encounter this disc. Here is thrilling music thrillingly played. Not an atom of the passionate firiness of these gipsy pieces has been lost in recording.

The "King's Thanksgiving.” (a) National Anthem and Psalm of Thanksgiving; (b) Coronation Offertorium. The Choir of St. George’s Chapel, Windsor. Columbia 02936. Sir Wilford Davies himself—Wales’ doyen among, musicians—conducts this service in the King’s own Chapel of St. George, Windsor Cdstle, in thanksgiving celebration of His Majesty’s happy recovery. This is a really historic record —one that is worthy of taking a place beside the remarkable record (Columbia 02802) of the King’s Speech at the opening ceremony of the New Tyne Bridge a year ago.

A Vocal Version of the “Barcarolle.” (1) Tales of Huffman —"Night of Stars and Night of Love” (Offenbach); (2) Madame Butterfly—" Give Me Your Darling Hands” (Puccini). (1) Sung in Einglish by Tsobel Baillieand Nellie Walker; (2) by Isobel Baillie and Francis Russell. Columbia 02935.

Can we welcome yet another version of Offenbach's undying boat song? Yes! We most assuredly can when it is sung by two such artists as Bella Baillie and Nellie Walker. Here is a really hackneyed work rescued from hacknewdom—delicious orchestral prelude and all! The “Butterfly” duet is also assured of a warm welcome. If this disc is not one of the month’s best favourites, it will be a very big surprise. "Tannhauser” Overture on Cheaper Labels. “Tannhauser” Overture (Wagner). Played by Mengelberg and the Concertgebouw Orchestra of Amsterdam. Columbia 02943-46. This re-release of a fine recording is particularly welcome as the latest addition of standard works to the popular price class. This policy of Columbia’s, of making the greatest music by the greatest musicians available at the price of jazz, is worthy of any amount of credit. The “Magic Notes” people would be wiser if they made more of a song about it! The dark-blue-labelled classics deserve a special list all of their own.

A New “Two Black Crows” Record. (1) Esau Buck and the Bucksaw; (2) Foolishments; by Moran and Mack. Columbia 01671.

Parts 13 and 14 of the Two Black Crows’ argumentative escapade have arrived. There is a pleasure merely in hearing their inimitable voices again. No comedy combination has ever attained such phenomenal success as these two Columbia mirth-makers. There must be literally hundreds of thousands waiting to hear this new record.

Newest Dance Numbers. Paul Whiteman lifts his saxophones and gumblehorns to the tuue of “Reaching for Someone and Finding Nobody.” They are uot lifted in vain. On the reverse is that nifty fox-trot “When My Dreams Come True” (Columbia 07024). Paul Whiteman js something more than a mere jazz conductor. His long musical training, his novelty of thought and in instinctive feeling for rhythm ensure that records of his. orchestra are indeed well above the average.

Two Bright Fox-Trots/ “Sposin”’ aud “Laughing. Marionette” are paired ou Columbia Record 07027 —two numbers played with the usual Whiteman verve and precision. Both these fox-trots are well worth hearing in their “King of Jazz” arrangements. A Phenomenal Success.

“The,, Toymaker's Dream” is having an extraordinary successful rum It has been chosen by Miss Phyllis Bates, the Dominion’s leading exponent of ballroom dancing, as the ideal recording for the new style of quick fox-trot. What more can w.e say but to add that the number is Columbia 01686. Great Contralto in Five Numbers. 1 Maria Olczewska (contralto) and the Berlin State Opera Orchestra, in “Samson et Dalila”—“Mon coeur s’ourvre a ta voix” (“Softly Awakes My Heart”) (Saint-Saens), and “Rinaldo”—“Lascia ch’io pianga” (“T.et Me Weep”) (Handel). H.M.V., D 1465. lu this fine record she has made a fine rendering of the, great air “Softly Awakes My Heart” from “Samson and Delilah.” On the reverse is an old Handelian air. Maria Olczewska has a wonderful voice, deep and of ringing resonance, and of velvet-like quality in moments of mezza-voce singing.

Brilliant ’Cellist's Debut. Arnold Foldesy (’cello) in “Koi Nidrei” (Max Bruch). H.M.V.. C 14.11. A Hungarian ’cellist of the first rank, this musician has all the charateristics of a truly great artist and plays Max Bruch’s majestic and inspiring “Koi Nidrei” with great feeling and fine mellow tone.

Gem for the Collection. Ossip Gabrilowitseh (pianoforte) and the Flonzaloy Quartet in “Quintet in E Flat Major, Op. 44” (Schubert). H.M.V.. D 81194-1194. There arc four movements in this beautiful work. The first is-essential-ly lyrical in quality and breathes an air of warm romanticism. In contrast to this lyric outpouring, the Second Movement has an air which at times approaches a gentle melancholy; it is in a rigid march rhythm hut interspersed are many passages in which (he steady rhythm is submerged in outbursts of a different and more poignant nature. The Third Movement is a scherzo aud the Finale a brilliant

movement in which the nice balance of piano and strings is emphasised again and again.

World-famous Band. Orcbestre Royal Des Guides Beige (conductor, A. Provost), in (a) “Brabanconne,” (b) “Vers I’avenir” (Gevaert, arr. Prevost), and “Legere Artillerie” (Jongers). H.M.V., 82565. The Royal Band of the Belgian Guides is a large and magnificent body of players which has appeared with -reat success in London on several occasions. It is noteworthy for the delicacy and for the verve of its playing, and, as the record will show, it aims at producing a beatiful quality of tone rather than mere quantity. “The Bat.” Benno Moiseivitcb (pianoforte) in “The Bat” Paraphrase (Strauss-Godow-skv). H.M.V., DI 496. One of the finest of the Johann Strauss works is the light opera “Der Fledermaus” (“The Bat”). Moiseivitch here gives us an attractive concert fantasia of the work. The National Symphony Orchestra also presents the “Die Fledermaus” overture on Zonophone EF2S - . The overture is full of tuneful waltz melodies and reflects the bright music of the opera itself, which as may be imagined is practically a succession of waltz and polka motives. The main plot of the opera is the impersonation bv one of the leading characters, at a ball, of a bat, but like all operas it unravels itself at the finish and everyone is happy.

Superb Baritone Singing. Apollo Granforte (baritone) in Verdi’s “Otello”—Era la notte (It was Night) and "Un Ballo in Maschera” — Eri tu cbe macchiavi quell” anima (And would’st thou thus have sullied a soul so pure). H.M.V. D 8937. Granforte’s record of “Eri tu is ot outstanding quality and excellence. The noble phrases have been rarely sung with such splendid effectiveness.

Lovely Grieg Sonata. Marjorie Hayward and Una bourne (violin and piano), in “Sonata in U Minor” (Grieg). H.M.V. Cl3BB-1390. Here we have an exceptional set ot records of the lovely Grieg violin “Sonata lu O Minor.” The reproduction is peculiarly good; the volume is excellent and the quality is full, rich, and faithful. For anyone not already acquainted with this work, but who'wishes to have records of music which can give him many hours of increasing pleasure, these records are to be recommended.

“Siegfried.” Extracts from “Siegfried” (Wagner). H.M.V. D 1530-1535. -J The “Siegfried” dises present Rudolph Laubeuthal, a very fine tenor, Frida Leider (soprano), Emil Schipper (bass), and Marla Olczewska (contralto), with the Berlin State Opera House Orchestra in the most notable scenes from this wonderful opera. Salt Water Ballads. Keith Falkner (baritone), in l (a) “Port of Many Ships”; (b) “Mother Carey”; and “Trade Winds” (“Three Salt Water Ballads”) (Keel). H.M.V. 82917. Keith Falkner has a splendid voice and a really musical intelligence. For his first record he has sung the popular

“Three Salt Water Ballads” and ma vellously enough he has captured suggestion of the tang of the sea.

Australian Contralto. Essie Ackland, the young Australian contralto, is heard with organ accompaniment in Nevin's “The Rosary,” sung with great conviction and sincerity, and Bond’s “A Perfect Day.” A good disc, this. (H.M.V., 82964.)

Pcrtile in Italian Ballads. In tho Italian ballads, “Non t’amo piu” (Tosti) and “Matlinata” (Leoncavallo), Aureliano Pertile's fine tenor voice is heard in striking contrasts in light: and shade. The delicacy and charm of the Tosti song should make it a popular number. “Mattinata,” sung with spirit, is in striking contrast. (H.M.V., DAIOOS.) The King’s Gramophone. Among the King’s gramophones is the very latest “His Master’s Voice” instrument, the distinguishing feature of which is that the records are not reproduced by means of an ordinary acoustic sound-box. but by an electric pickup and amplifying valves which actuate an improved type of loudspeaker. The volume of tone can be regulated so ns to suit all areas in which the instrument may be called upon to play, and the reproduction is uncommonly faithful. Of the records supplied His Majesty prefers music performed by such orchestras as the London Symphony and the Philadelphia Symphony Orchestra to jazz and the extreme modern music which is prominent to-day. “Innocents of Paris.”

“Innocents of Paris” —Maurice Chevalier, in “Wait Till Y’ou See Ma Cherie” and “Louise.” H.M.V. EA542. “It’s a Habit of Mirie” and “On the Top of the World Alone.” H.M.V. EAS6O.

Maurice Chevalier’s amusing French accent lends a very piquant flavour to these songs. The picture has created a sensation in Australia on account of the wonderful artistry and vocal achievements of Chevalier. The "Rose Cavalier.”

Strauss’s “Der Rosenkavalier”—lch weis auch—nix —Gar nix (trio from finale, Act III), and the closing scene in Act 111. H.M.V., D 1629. “Der Rosenkavalier” has a melodic richness redolent of the period of the plot. The two passages on this record come from the end of the opera. The record was ma.de during an actual performance at the. Berlin State Opera House. Parlophonc. “Pagan Love Song,” coupled with “When My Dreams Come True,” sung by Sidney Burcball, baritone. The name of Sidney Burchall is a household word to Australian record-buyers. He has earned for himself enviable popularity as a theatrical principal throughout the Commonwealth, and has gained a further immense popularity through his splendid recordings. A convincing manly style, a rich flowing voice, and a personality which comes beyond the microphone, have combined to make Mr. Burcball one of the most successful artists recording locally. This record is a particularly good one. (Parlophone 2844). “Fledermaus” (The Bat) finale, in two parts, by Lotte Lehmann, Karin Branzell, and Richard Tauber, with Berlin State Opera House Orchestra. It is hard to write of this record in terms that will not sound extravagant. You have on it a regular galaxy of stars, including one of the world’s greatest prlma donnas and lyric tenors. Then you have music from the world’s finest light opera sung as it should be sung, that is, not by half-baked bleaters, but by great singers and with the utmost artistry. Here, then, is a really sensational disc in which the tone, the verve, the nuance of original are recorded with truly astonishing fidelity. (Parlopbone 1029). “Twenty Thousand Scotchmen

Shouted No,” and “I Only Met Her on Sunday,” by Elsie and Doris Walters. A clever comedy number which should not be missed. (Parlophone 2854). “Solvieg’s Song,” and “Nignon,” Emmy Bettendorf!, soprano, with orchestra. This, without doubt, is the most beautiful record MMe. Bettendorff has ever made. She is right in the middle of every note and the soft high B flat at the end of the refrain in “Solvieg’s Song” Is perfectly done. A record to cherish and play over and over again. The accompaniments are first-rate. (Parlophone 4139). “I’ll Always be in Loye with You,” and “I’m Just a Vagabond Lover,” from the picture “Syncopation,” Smith Ballews orchestra This is the theme song and it has a particularly taking swing to it “Rainbow Man,” vocal and instrumental, coupled with “Sleepy Valley,” the theme song from “Rainbow Man.” which is so popular at present. Sung by Janetzki’s Trio. This also ia very good. (Parlophone oajS),