MUSIC and RECORDS

Dominion, Volume 23, Issue 75, 21 December 1929, Page 24

MUSIC and RECORDS

By

C.J.M.

Some time ago Mme. Tetrazzini retired from the concert stage into matrimony. She has now retired from matrimony to the concert stage. Iler “debut” as a Merry Widow has just taken place in London’s Albert Hall.

A death scene in “Faust” at the National Theatre in Sofia, Bulgaria, was coincident with a real death, that of a ybungg bank clerk in the audience, who shot himself at the exact moment Valentine expired on the other side of the footlights. Fearing a political assassination, the audience experienced a temporary panic, though it was afterwards learned that disappointment in love had caused the suicide.

Perhaps the lives of . our opera stars 'will furnish material for the novelist of to-morrow, but we.doubt it. On the other hand, an attempt has been made by a popular English'writer, Rebecca West, to make a novel out of the life of a much-feted and much talked-about English pianist, disguised under the very thin pseudonym of Harriet. Hume. This young lady’s friendship with a very well known composer, also thinly disguised as Arnold Candorex, makes quite execiting reading for those who like that kind of thing. '.ln-other days such contemporary raking up of the private lives of semi-public characters would have been considered bad taste, but of course, nothing is so mutable as—taste.

News of Vladimir de Pachmann’s illness brings to mind the hope he once ardently expressed retiring from concert life. It was his “dream,” de Pachmann said, to acquire one or two more rare stones tor his diamond collection and to buy a modest little house in a remote corner of Europe. “And then,” he remarked with one of his excruciating grins, “I shall wear ze dressing gown and slippers. I shall play no more for ze damn public, but I shall play for me.”

The Covent Garden Opera Syndicate has announcesd that the coming season, contrary to expectations, will not be the last. Two more seasons have been i arranged for 1931 and 1932, respectively. . The programme for next spring’s season, which will run from

Aprjl 28 to July 4, will include seven operas that have, not been heard in Covent Garden since 1924, namely, Johann Strauss’ Fledermaus; Verdi’s La Forza del Destino and II Trovatore; Flotow’s Marta; Giordano’s Andrea Chenier; Debussy’s Pelleas et

Melisande and Gounod’s Romeo et Juliette. Following a short lapse, The Flying Dutchman, Aida, Otello, Traviata and Rigoletto are to be revived. Norma will be repeated again for Rosa Ponselle, who is re-engaged, and such old favorites as The Ring and Die Meistersinger will be given as usual. Tosca and Parsifal conclude the list.

The University of Oxford has conferred the honorary degree of Doctor of Music upon Frederick Delius, the English composer, in whose honour a slx-day festival has just been held in London.

Kurt Weill, whose ' Drei Groschen Oper has had such an enormous success in Germany, is working on an opera called Lindbergh’s Flight, on a libretto by Bert Brecht. Selections from this opera, some composed by Weill and some by Hindemith, were performed at the Baden-Baden Festival last summer; but now Weill is setting the entire work himself, and Otto Klemperer expects to produce it at the Berlin State Opera in December. The Royal Philharmonic Society has announced its intention of conferring the society’s gold medal upoii Vaughan

Williams and Gustav Holst. The bestowal of this medal has always been looked upon as the highest honour that can be paid to a musician jn England. Other English recipients of this honour include Sir Edward Elgar, Frederick Delius, Sir Thomas Beecham, and Sir Henry Wood.

At a recent recital in London, Beatrice Harrison “featured” General Dawes’ Melody, in an arrangement for ’cello and piano. There was an exceptionally dressy audience, even for Loudon, and American newspaper correspondents not usually seen at such functions were there looking for “copy.” The critics spoke diplomatically of the work as “pleasing,” and nasty people referred to Beatrice as “diplomatic.”

For the benefit of those of her successors who may not be able to “place” the temperamen tab and caustic Sophie, be it said that she was born in 1740, that she made her way into the Paris Opera at the age of seventeen, that “her company was sought by the brightest intellects in the Paris of the second half of the ■ eighteenth century,” and that her life was written by two of the most famous of French novelists, the Brothers Goncourt.

Zlatko Balokovic, the. popular Crotian violinist, had a narrow escape when the steering gear of his car broke while he was returning to London after a concert in Hull. Balokovic and his accompanist, Hellmut Baerwald, were thrown through the wind shield and badly cut, while Mrs. Balokovic, an American by birth, had her foot badly wrenched. Two Stradivarlus violins were also in the car, only one of which, fortunately, was damaged. Edgar Istel, German musicologist and composer, has completed a new threeact comic called Wie Lernt Man Lieben? (How Does One Learn to Love?), on his own text. The work will have its first public performance at the Duisburg Municipal Theatre during the present season. The German Tonkunstler Festival fqr 1930 will be held at Konisberg, and will probably coincide with the celebration of the city’s 700th anniversary. Paul Scheinpilug has been unanimously elected successor to ■ Eduard Morike, as conductor of the Dresden Philharmonic Orchestra. Frank Sheridan, American pianist, opened the musical season at Sala Sgambati, Rome, and won such a success that he was immediately re-engag-ed. He played an elaborate programme consisting of works by Bach, Tartini, Beethoven, Schumann (Symphonic Etudes), Chopin, and a number of modern Italians. RECORDED MUSIC Two Famous Numbers by the Grenadier Guards. (1) “Lo! Here the Gentle Lark” (Bishop); (2) “La Benediction Des Poignards” (Meyerbeer). Played by the Band of H.M. Genadier Guards. Columbia 02931. The quality of the instrumentalists in the Grenadiers’ Band is strikingly ‘shown in a new record that gives the famous ballad, “Lo! Here the Gentle Lark,” as a duet for clarinet and flute. The solb parts are admirably taken by Sergeant Matthews and C. E. Bowen, who give us some coloratura effects of astonishing sweetness, and purity. The reverse side is taken up -with “Blessing the Daggers,” from Meyerbeer’s masterpiece, “Les Huguenots,” and illustrates one of the most dramatic moments in this famous opera. The band plays with surprising rich-, ness of colour, arid exert their utmost ingenuity in variety of tone and wealth of incident. Two Choruses from “Tannhausen”, (1) “Pilgrim’s Chorus”; (2) Grand March, from “Tannhauser” (Wagner).

The 8.8. C. Choir, conducted by Percy Pitt. Columbia; 02933.

Percy Pitt, the veteran Covent Garden conductor, directs the 8.8. C. Choir and 8.8. C. Wireless Symphony Orchestra to telling effect in the two stirring Wagner choruses. The voices are remarkably well balanced, with a superbly controlled rise and fall. Pitt knows, as few others, how to contrive this blending, and we have the sense of complete satisfaction that a workmanlike jpb always gives us. His phrasing is beyond reproach. Those who enjoy good chorus singing should on no account miss this splendid example. A thrill is in store for them.

A Beautiful Soprano—Anna Case. (1) “Doreen”; (2) “Alleluya” (Mozart). Sung by Anna Case, soprano. Columbia 01669.

It is a decided compliment to say of this record that Anna Case is heard to better advantage in the Mozart than in the modern ballad. Her melodious and beautifully controlled voice is one of the most flexible now recordingsings out with inspired fervour in the “Alleluya.” Her chief quality, most critics will agree, is a simple, unaffected charm that is missed by most highlytrained prima donnas, and this is. the quality that, Mozart rejoiced in and wrote for.’, <

William Heseltine. : (1) “Lilies of Lorraine”; (2) “Just Because the Violets.” Sung by William Heseltine, tenor. Columbia 01668. Heseltine is not quite up to grand opera strength, but in charging ballads of this nature he is more than adequate. More than superb vocalism is necessary: we demand sincerity, feeling, a way of getting in intimate touch with his hearers. ■ Heseltine manages all these admirably. We feel he is singing directly to us, which is as it Should be. His pleasant tones blend agreeably with; the sentiment of the two charming songs. A Unique Choral Record. (1) “Adeste Fideles” (O Come, All Ye Faithful); (2) “John Peel.” , Sung by the Associated Glee . Clubs of America. Columbia 9048. Surely one of the most striking, as it. is one of the, most beautiful, choral records ever made, is a wonderful version of that simple and solemn, hymn, “O Come, All Ye Faithful.” 4850 voices rise and fall in flawless unison, giving a volume of richness of tone of moving grandeur. This purity and fervour is deeply impressive. On the reverse side a male voice choir of 850 voices gives that grand old hunting song, “D’ye Ken John Peel?” with great gusto. A record well worth hearing. Two Festive Medleys. Right in the Christmas spirit are a couple of records by Herman Finck and his Orchestra, played with inimitable gusto. The first is called . “Bacchanalia,” and is a riotous pot-pouri of all the bibulous drinking songs that we love best. It starts with “We Won’t Go Home Till Morning,” and ends with “Auld Lang. Syne.” (Columbia 02541). The second is "Christmas Memoirs,” and introduces all the favourite' carols and other tunes with a Christmassy flavour. (Columbia 02743). These are just the sort of records to set a party singing choruses at the top of their voices.

From the Church of the “Bow Bells.” Organ Medley of Christmas Carols and ; Hymns. Clarence Raybould on the organ of St. Mary-le-Bow Church, London. Columbia 9139).

Clarence Raybould’s beautifully played Christmas selection on the Bow Church organ includes:--“First Noel”; “God Rest Ye, Merry Gentlemen”; “Good King Wenceslas”; “A Virgin Most Pure”; “Good'Christian Men, Rejoice.” Part 2: ,“As with Gladness”; "Once in Royal David’s City”; “While Shepherds Watched”; “Christians, Awake!” “Hark! the Herald Angels Sing”; “O Come, All Ye Faithful.” For the Kiddies, “The Children’s Party,” by. Vaughn de Leath, with piano accompaniment. Columbia 01619). . That engaging comedienne, Vaughn de. Leath, stops raising a snigger on the face of the tired business man, and unbends in delightful mood for the children. They will find her singing of the old-fashioned ■' nursery rhymes quite irresistible. All the old favourites are here, starting with “Here We Go , Round the- Mulberry Bush” and “Jack and Jill,” to “Hickory, Dlckory, Dock," and “Hey Diddle Diddle,” with lots of others in between. The Doings of Dismal Desmond. Billie Gray, Charlie Penrose and Company have created in Dismal Desmond, a character of unfailing merriment for the kiddies. His adventures occupy six of . the jolliest records imaginable, and the youngster who hasn’t heard them has missed a real treat. This, set would make ah ideal present for a family. Columbia 0121601221. Nursery Rhymes for Christmas. Ideal for. a children’s party, and for kiddies to listen to at all times, are the Nursery Rhyme records by Gilbert Girard. Gilbert has an irresistible way with the children, and they are bound to be tickled with his clever animal imitations, which are sprinkled all over the records. Five or six of the most familiar rhymes are oh each of the two 10-inch records, Columbia 2990-91.

Lyric Gems trom Grand Opera. . Margaret Sheridan and Aureliano Pertile (vocal duet), with members of La Scala Orchestra, Milan, in “Manon Lescaut”—Tu! Tu! Amore!” (You You My Love), and “O tentatrice!” (O Fatal Temptress). H.M.V., D. 8.1281. “Manon Lescaut” is an opera of great lyrical charm. Puccini had a particularly happy genius for writing singable melodies, and they are as profuse in the score of “Manon Lescaut” as that of “Boheme” or "Madame Butterfly.”

Elgar’s Delightful “Wand of Youth.” Loudon Symphony Orchestra (conducted by Sir Edward Elgar, 0.M., K.G.V.0.), in his “Wand of Youth”— Suite No, 1.- H.M.V., D.IG3G—3B; “Wand of Youth”—Suite No. 2, H.M.V., D.1G49—50). ' • - The “Wand of Youth Suites’’ were sketched when the great composer was fourteen. The “Minuet” from “Beau Brummel.” which, occupying the sixth side (D.IG3S), is the most recent thing that has come from his. pen, was composed in ids seventy-first year. The “Wand of Youth Suites” have an interesting history. They, were originally Intended as incidental music for a stage-allegory to .be performed by the Elgar family in their Worcestershire home. Some of the numbers were completed, others merely sketched; and, when the. fascination of the children’s play had passed, the music composed for it lay untouched for many years, but in the composer’s keeping. In 1906, however, by way of diversion, Elgar looked through his-early- efforts, and

determined to revise and reorchestrate them, and we have, as the result of what the composer tells us, “was really fascinating work,” two of the most delightful orchestral suites extant.

Brilliant Polish Waltzes. Ignace Jan Paderewski (pianoforte), in “Valse Brilliante in E Flat Major” (Op. 18), Chopin, and “Valse Caprice” )Rubinstein). H.M.V., D. 8.1273. Waltzes by two great Polish composers are the subject of a record by the incomparable Polish pianist. The Chopin number is one of the most brilliant and outstandingly attractive of his many exquisite waltzes, and Rubinstein’s “Valse Caprice” is a worthy companion. Both are played with the amazing fire that is among the most prominent features of the great artist’s style. You Must Hear This! De Groot, David Bor, H. M. Calve, in “Ave Maria” (P. Kahn), and De Groot and his orchestra, in “When Summer is Gone” (Harrison-Wilhite). H.M.V., 8.3035. The simple devotional fervour of Kahn’s “Ave Maria,” played by De Groot, Bor, and Calve is in admirable contrast with the brilliance with which

De Groot and his Orchestra invent the delightful “other side.”

A Contralto “Find.” Marguerite Carlton (contralto), in “Abide With Me” (Liddle) and “God Shall Wipe Away All Tears” (Sullivan). H.M.V., C. 1573.

Marguerite Carlton is a “discovery." This is her first H.M.V. record. She has a fine contralto voice of an exceptionally pure, rich, velvety tone. The subject matter which she has chosen will give infinite pleasure to a very large number of people. The record has a definite and remarkable quality of reproduction that cannot fail to impress all who hear it. Christmas Hymns. Choir of St. Margaret’s, Westminster, in “Hark I the Herald Angels Sing” and “Oh, Come All Ye Faithful,” organ, choir, and bells. H.M.V., 8.3126. These grand hymns, loved familiar old tunes, are magnificently rendered.

Successful Syncopaters. The Whoopee Boys (male trio), in Brandt’s “I’m on My Way South” and “All I Want is Happiness.”—H.M.V. 83062.

The Whoopee Boys here make a big score. First-rate songs—thrilling voices —marvellous syncopation.

Philadelphia Orchestra Again. Philadelphia Symphony Orchestra, in “Carmen” —Prelude to Act 1, and Ent’racte, Act 4 (Bizet). —H.M.V. E 531. Bizet has a great gift for portraying the colour and movement of a scene and nowhere in his work are there more striking examples of this art than

in these two excerpts. In the Prelude to Act 1 his joyous martial music prepares us for the gay Spanish street scene that will be revealed when the curtain rises. The “Entr’acte” coming between acts three and four is full of tense excitement that will hold us throughout the last act, which takes place outside the bull ring. Paul Robeson in “Spirituals.” Paul Robeson (bass), in—(a) “Oh, Rock Me, Julie” and (b) “Oh, Didn’t it Rain,” and (a) “Git on Board, Lil Chillun” and (b) “Dere’s no Hidin’ Place.” —H.M.V. 83033.

Here are four more spirituals which Paul Robeson sings with the same childlike simplicity that is characteristic of all negro spirituals and that so appeals to our more sophisticated minds. Both his voice and His Master’s Voice recording are fully up to standard.

Gems from Famous Operas. Grand Opera Company, in vocal gems from “Tales of Hoffman” (Offenbach) and “Mignon” (Thomas).— H.M.V. C 1641. These operas are seldom performed nowadays, and on hearing this record of gems from both, one realises why they were so popular in their day. Rousing Songs by Dawson. Peter Dawson (bass-baritone),, in “The Smuggler’s Song (Mortimer) and “Boots” (McCall).—H.M.V., 83072. Mortimer’s fine setting of “The Smuggler’s Song” is a joy indeed, while “Boots” is one of the finest marching songs ever written. (Rumour

has it that McCall is the bushel under which a great singer is hiding his light.) Who is McCall? Peter Dawson is “McCall,” and this magnificent song was written while the famous baritone was on a train journey to Margate, where he was to give a recital. He had as a travelling companion a volume of Kipling’s poems, and reading through “Boots” felt how easily its wonderful word rhythm would set to music, , and so he jotted down the tune on a sheet of notepaper he had with him, and now it has been published under the pseudonym “McCall.”

Gems from “Marltana.” Light Opera Company (concerted), in vocal gems from “Marltana” (Wallace), introducing “Angels that Around Us Hover,” "Pretty Gitana, Tell Us,” “Yes, Let Me Like a Soldier Fall,” “In the Name of the King,” “Oh, Misfortune,” “What Avail,” “Scenes that are Brightest,” “What Mystery Then.” — H.M.V., C 1693.

The ballad opera is practically a thing of the past, but seventy years ago this form of entertainment enjoyed a very great vogue. If, however, such works as “Marltana” and “The Lily of Killarney” have failed to keep the stage they contain too much music to fade from our memories. The best melodies from Wallace’s opera as sung by the Light Opera Company form a veritable banquet.

Say It on the Wurlitzer. Jesse Crawford (Wurlitzer organ), in “Why Can’t You” and "Little PaL” —H.M.V. EA594. This combination from “Say It With

Songs” is beautifully played by Jesse Crawford. Both numbers have that dreamy sentimental air that can be featured so well on the Wurlitzer.

Sousa “En Marcne." Sousa's Band, in "Golden Jubilee” and “Riders of the Flag” (Sousa Marches). Here we have two stirring, spirited marches, even more melodious and catchy than some of Sousa’s older anj better known tunes. —H.M.V. EA6O3. Another Theme Song.

“Say it With Songs,” presentjng Johnny Marvin (comedian), in “Used to You” and “I’m In Seventh Heaven.” H.M.V. EASB9; and Gene Austin (tenor) in “Why Can’t You?” and “Little PaI.”—H.M.V. EAS9O.

These “hits” from the motion picture are sure to be popular. They are equal to the sweetest and most tuneful of theme songs and are sung in both Johnny Marvin and Gene Austin’s best style.

Tenor Sentimentalism. Morton Downey (tenor), in “You’re Just Another Memory” and “There’s a Place in the Sun for You,” from the film play “Mother’s Boy.”—H.M.V. EA579.

Two melodious sentimental numbers sung by one of the sweetest tenor voice?, which added to that extra bit of feeling that Morton Downey puts into his singing must achieve widespread popularity for this record.

Parlophone. Few native people are endowed with a sense of music 'so charming as Maoris. They are, themselves, a deeply musical race, and their voices have a peculiarly sweet timbre. In 1927 Parlophone recorded two of the finest Maori singers, Ana Hato and Deane Waretlni, in a series of disc commemorative of the visit to the Dominion by the Duke and Duchess of York. Now the soprano and baritone have made a number of electrical records. For sheer harmony and novelty they are a revelation. • No. 2801 Epari Ra, particularly, is a good melody, well done, while the special hit recorded, No. 2798 “Honey,” the only number not Maori which these artists made us, are sure to attract attention. Others which will prove agreeable are 2800 “Hoki Hoki” and 2802 “Waiata Pol.”

“Smiling Irish Eyes.” This is the pretty theme song from the film “Smiling Irish Eyes.” The beautiful sentiment is very well expressed by George Sorlie, baritone. A feature of this is the very fine clarinet player, of Wellington, Abe Romaine. The reverse side “A Wee Bit of Love” is sure to be popular. (Parlophone 2874.) “Christmas Medley,” by the Coldstream Guards, is comprised of all the old favourites which will be remembered by many members of the community. Just the record'-for a good Christmas community sing. (Parlophone 2582.) “Silent Night,” organ, with “Hark the Herald Angels Sing,” organ with voices. Two nicely-recorded versions of well-known melodies. This is a very welcome release, and helps to create a real Christmas atmosphere. (Parlophone' 2652.)