MUSIC and RECORDS

Dominion, Volume 23, Issue 80, 28 December 1929, Page 20

MUSIC and RECORDS

The Stradivarius Hunter. There arrived in the port of New York during the month of September last five celebrated and distinguished newcomers whose destination was The Curtis Institute of Music, Philadelphia. This in itself would astonish no one familiar with the institute, for the arrival of celebrities bound for that destination is of regular occurrence. What was astonishing, however, was the fact that the newcomers arrived in beautiful velvet lined boxes, in which they were carefully wrapped in silk and fastened with heavy ribbons: that each one bad one and some bad two passports; that they all came originally from Northern Italy, though by long and devious routes, and that not one was younger than 174 years, while the oldest owned frankly to being 232 years in age I They bore the names of— Antonius Stradivarius of Cremona, Francesco Goffrilie.r of Udine, Petrus Guarnerius of Venice, Johannes Baptista Guadagnini of Milan, and Petrus Jacobus Rogeri of Brescia, Their combined ages .exceeded 1000 years, yet all five, though constitutionally fragile, arrived in the pink of condition after their long and perilous voyage. Stray Notes. “Punch” (London) has the following: “A writer asks, ‘What is the origin of the vibrato in singing?’ One theory is that it was first used by a nervous vocalist in Italy who had heard that certain sections of the audience were armed with ripe tomatoes.” Clemenceau, the War Premier of France, when ihe met Paderewski, then Premier of Poland, said to the latter: “And so you were a great pianist and now have become a statesman. Quel chute, monsieur!” (“'What a fall, Sir.”) “Bitter-Sweet” escaped the common fate of being caught in its own barrage fire (i.e., resounding advance publicity) and dug itself into the first-liue trenches with no chance, one hopes, of being dislodged for some time to come. Evelyn Laye, one of the most grateful personalities seen for some time on the musical stage, won imme-. diate adoration. Mr. Noel Coward, who wrote all of “Bitter Sweet,” music, words, and book, as well as producing it, is well pleased with its reception here, but writing and composing and directing and a host of other things have reduced him almost to a wreck. It is announced that Walter Damrosch has been retained for a period of three years by the American National Broadcasting Company for radio concerts and talks. The course is to be known as the Musical University of the Air, a very happy title and probably devised by Damrosch himself. No one is better qualified than he to deliver such a series, for his long experience as a conductor and lecturer has brought him into half a century (or over) of contact with American audiences, young and old, and he knows exactly their preferences and needs. His talks on any muiscal subject always are as interesting as they are instructive, as direct and unaffected as they are authoritative and convincing.

A most unusual occurrence characterised the opening New York concert of the Philadelphia Orchestra recently. Arnold Schonberg's Variations for orchestra (first heard in Berlin in 1928 and. in Philadelphia recently) was the second number on the programme. ; At the end of the piece, part of the audience applauded, and of the remainder quite a number voiced dissatisfaction by hissing. Thereupon Leopold Stokowski, the.conductor, faced his listeners and made a platform speech . in which he deplored the outburst, said be intended to go on giving what lie considered the best of the old and new music, and suggested as there was a large waiting list of would-be subscribers to the Philadelphia Orchestra concerts here, the present patrons, if unwilling to endorse Ills plan, should step aside and make room for those who are inoiA open minded. More applause greeted his address, but there was also some sullen silence from those who resented his admonitory remarks.

A Musical Advisory Bureau has been opened in London for the direction of students and artists who go to Europe. Except whenjliey take proper introductions with them, which is rare enough, they do not know where to go or what to do. The result is, not infrequently, that they get into the wrong bands and squander their money without result. ' They know no better. How could they? What does the average outsider know about Europe until be has been there? The Musical Advisory Bureau will steer them clear of pitfalls. Students and artists will be placed where they will derive the greatest benefit. The bureau is located in London, and has contacts in Paris, Milan, Vienna, Berlin, Route, Brussels, Leipsiz and Munich.

More than 200 folk songs and over eighty phonograph records of them that Percy Grainger collected in Jutlat. I with his recently deceased 86-year-old friend, Evald Tang Kristensen, in 1922, 1923, 1925. and .1927, were presented to the “Danish Folk-relics Collection” of the Royal Library, Copenhagen. Grainger’s familiarity with Jutish (Danish) dialects made possible the gathering of this peasant music. The “Dagens Nyheder-National-tiende” says of this gift: “Pecuniary success makes most people unhappy or ineffective because it generally creates tastes and habits of living that lessen the working hours and working powers of the successful man. But Grainger’s frugal habits of life leave him quite as ‘independent’ to-day as he was In his early years of poverty and struggle—just as free to follow his aesthetic passions. Thus Grainger, both o and off the concert platform, sets a good example worth emulating.”

The festival in honour of Delius, blind and paralysed English composer, came to an end with a performance of his “Mass of Life,” performed by 100 instrumentalists and 250 choristers, under the direction of Sir Thomas Beecham, whose great admiration of 'be Delius music led to the holding of the festival. Sir Thomas did all I he preparatory work with loving sympathy and the generous giving of his entire artistic talent, and it is a great tribute to London music lovers to report that the conductor was supported with tender and whole-souled response

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on their part Crowds attended the concerts and the composer was feted without stint. On the closing evening he received a memorable ovation, many of the audience weeping when Delius, seated in an invalid’s chair in the balcony, waved a feeble band and expressed his thanks to the people he could not see. After receiving an honorary degree of Doctor of Music at Oxford this week, Delius was taken back to his retired home in France. The evening of his life should be more cheerful with bis memories of the brilliant honours and loving attentions bis countrymen heaped upon him during what probably was his last visit to his native land.

“Rhythm is not a series of notes. It is not time. Time goes up and down,” said Mr. Plunket Greene in a lecture recital reported by the “Brighton and Hove Herald.” “Rhythm goes straight on. Time is vertical. Rhythm is horizontal. Time is the policeman who regulates the traffic. Rhythm is the traffic. It is not only in music that rhythm exists. There is rhythm in a team of horses ploughing: in the footsteps of a child taking a path through the snow; In a train coming round a curve into a station; there is a perfect rhythm in the moving staircase of the tube. All these things go on inexorably, monotonously. Why has jazz made such a tremendous appea' to the world at large? It has the most monotonous rhythm ever invented. You may think that what is appealing to you is the saxophone, or the frying pan, or ill the other kitchen utensils that go to make up the jazz orchestra —but you are wrong. It is the strum-strum of the banjo—the monotonous beat that is the foundation of jazz—that sets your blood pulsing and your feet moving. How a man who plays the banjo in a jazz orchestra doesn’t go mad.” RECORDED MUSIC “The Pirates.” “Pirates of Penzance” —Recorded under the personal supervision of Rupert D’Oyley Carte. Conducted by Dr. Malcolm Sargent. Cast: Major-General Stanley, George Baker; The Pirate King, Peter Dawson; Samuel (His Lieutenant), Stuart Robertson; Frederic (A Pirate; Apprentice), Derek Oldham; The Sergeant of the Police, Leo Sheffield; Mabel, Edith and Kate (Daughters of the Major-General), Elsie Griffin, Nellie Brierciiffe and Nellie Walker; Ruth (A private maid-of-all-work), Dorothy Gill. H.M.V. D 16781688. This splendid issue of Gilbert and Sullivans’ extremely popular comic opera belongs to the new series of electrical works of which “The Mikado,” “The Gondoliers,” and “The Yeoman of the Guard” have been such brilliantly successful examples. A Gem of 1929.

Elizabeth Schumann (soprano).— “Wiegenlied” (Strauss), and “Freundliche Vision” (Strauss). H.M.V. D.B. 1'065. Here is a faultless H.M.V. record of two of Strauss’s most captivating Lieder by an artist who never fails to appeal and enthral. The smooth, even flow of lovely tone all through the “Wiegenlied” is just what the music needs. ■ So, too. the charm of “Freundliche Vision” is caught with rare felicity. every phrase delivered in a delicious mezza voce with a perfection of legato that may serve as a model for any singer. Both, in fact, exemplify the ideal rendering.

Popular Wagner Overture. National Military Band, in “The Flying Dutchman” Overture Parts 1 and 2 (Wagner). Zonophone A 364. Zonophone here puts out a big work and does it well. Hear it yourself. An Ideal Christmas Record.

John Goss and the Cathedral MaleVoice Quartet, with piano. The “Corpus Christi Carol” (traditional, music by Martin Shaw), “The Keeper” (arr. Cecil Sharp), "Caleno Custereme” (arr. Taylor Harris), and “I am a bright tind sprightly lad” (arr. Hullah). H.M.V., 8.2483. From some points of view the ideal Christmas record is this by Goss and the Quartet. The “Corpus . Christi Carol” is one of the most beautiful of all our ancient carols, and Martin Shaw’s music to it is one of the best things he has done, worthy to take place beside the very best traditional. Of the other three songs, “Caleno” is a lovely melody, and tlje other two are of the jolliest. The singers are as good as usual, except for very slight faults of intonation. Songs that have Lasted. Foster Richardson (bass), in “The Bandolero” (Stuart), and “Bedouin Love Song” (Pinsuti). Zonophone 5388. These ate two popular numbers by Foster Richardson. They had a great vogue some years ago. Brilliant Show Pieces. Lucrezia Bori (soprano).—“Ciribiribin,” waltz song (Pestalozzi), and “11 Bacio” (Arditi). H.M.V. D.A.900. Showy encore pieces brilliantly sung by one of the most accomplished Italian sopranos of her time. What a musical timbre, and what marvellous neatness and precision of execution! Patti never knew “Ciribiribin"; but she made “11 Bacio.” I 1 ,e never heard it to such perfection since she sang it (remarks a London enthusiast). Fine Organ Music.

Two records by Dupre (H.M.V.. E.471). of two Bach “Choral Preludes,” “Christ came to Jordan.” and “Sleepers. awake.” are superbly done and the clarity of the part-playing in the first of them is astonishing. Dupre’s registration is discreet but very interesting: the experiment of using a powerful 4ft. stop on the pedals to emphasise the melody of “Christ, unser Herr” is bold, but (says a critical listener) it is completely justified by the event. Secret of Musical Longevity.

The music of “The Arcadians” and “Veronique" is of the good, light type that bears well periodical resuscitation. carefully done as one finds it in the latest revivals by H.M.V. of certain vocal selections with orchestral accompaniments from these two successes of past years. It is not always easy to tell why some music wears

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well, and others quickly date. Wellturned phrases of melody, and strong, unfaltering rhythm make for long life in a composition. Both qualities are abundantly evident in these two works. (H.M.V., 0.1684). Broad Smiles for the Broad. Douglas Byng (comedian), in "Lots of Little Things are Done by Kindness,” and “Hot-handed Hetty” (“The Vamp of the Jetty”). Zonoplione 5377. 1 Here are some broad smiles for broad minds. Racy numbers full of snappy humour. More “Spirituals.” Utica Jubilee Singers, in “Balm in Gilead,” and “Leaning on the Lord” (Negro Spirituals). Zonophone, 5378. Zonophone “Spirituals” suggest that this company goes to the home of the “spirituals” for them. Two Old Favourites. Barrington Hooper (tenor), in “Ninetta” (Brewer), and “Until” (Sanderson). Zonophone 5390. These are two old favourites and Barrington Hooper’s sweet, sympathetic voice especially commends itself to this style of music. A Dixie Novelty. National Symphony Orchestra, in “The Evolution of Dixie” (Lake). Parts 1 and 2. Zonophone EE.178. This is the “Good ole Dixie” we know so well, served up to us in the most novel, manner. New Dance Records. Amongst the new Zonophone dance records should be noted the following, which are described as “Grand records for restless feet” :— Zonophone Salon Orchestra, in “Destiny” Waltz (Baynes), and “Ecstasy” Waltz (Baynes). Zonophone 5387. This new electrical re-recording of these two popular numbers should be very welcome. P. Frosin! (accordion, with banjo), in “Vision of Love” (Visione D’Amore) Waltz (Curtis), and “Beautiful Heaven” Waltz (arr. Frosini). Zonophone EEI76. Two novel instrumental numbers. Arcadians Dance Orchestra, in “Giovanna” Waltz, with vocal refrain (Kountz), and “Empty Hours” Fox Trot, with vocal refrain (Zona). Zonophone 5356. Arcadians Dance Orchestra, in “Tell Me More About Love” Fox Trot (Page), and The Rhythmic Eight in “Dig a Dig a Do” Fox Trot (FeildsMcHugh). Zonophone EE.175. Grand records for restless feet and all picked titles. “The Loves of Burns.” Eve Gray, who has been released from her London stage part in “The Flying Fool” to play Highland Mary in “The Loves of Burns,” a new talking aiid singing film, is an English girl who went to Australia as a child and made a reputation as an actress there. Joseph Hislop, the well-known tenor, is to play the part of Robert Burns in this picture, which is being made at Elstree by British and Dominion Films in conjunction with the H.M.V. Gramophone Company. Two New Songs from Gladys Moncrieff. (.1.) “Just for a While.” (2) “Just to be Near You.” Sung by Gladys Moncrieff, soprano. Columbia 01685. Tljis record is a gem of theballad singing art. Gladys Moncrieff, the brilliant. Australian, does more than sing them : she breathes pulsating life into them by sheer force of personality. Her voice has a sort of silken sheen of smooth purity. Notice those exquisitely taken notes near the end of “Just for a While.” and how suavely she floats from forte to mezzo. She is a natural “pleaser,” and this record will appeal strongly to her enormous public. A Famous English Soprano. (1) “A Song of Thanksgiving.” (2) “Love, the Pedlar.” Sung by Doris Vane, soprano. Columbia 02938. During the last few years Dorjs Vane has become an established fixture of the London concert season. Her recordings have won her a still wider circle of

warm admirers. The “Thanksgiving” song is gloriously clear and eloquent with its swinging rhythm and delightful piano accompaniment. By contrast, the light merriment of German’s wellknow “Love, the Pedlar,” shows her in happier mood. A Complete Oratorio.”

Oratorio. “Crucifixion” (Stainer). Sung by Francis Russell, Robert Easton and the 8.8. C. Choir, conducted by Stanford Robinson. Columbia 02868Very few oratorios have the universal appeal of Sir John Stainer’s “Crucifixion,” which has won widespread admiration both for its reverent. sincerity and the strength and originality of its music. Columbia have done a service for which all music lovers will be grateful, in recording it on six 12-inch records. The two soloists, Francis Russell and Robert Easton, have both won their spurs, and they give out the impressive and rich melodies with sureness and authority. The singing throughout impresses, and rises at times, in such striking passages as “King Ever Glorious” and the choral passage, “Fling Wide the Gates,” to lofty beauty. The recording in a church gives a beautiful resonance and amplitude to the voices, which are enhanced by a finely played organ accompaniment.

Old Songs of the Organ. Organ Fantasia of Old Songs.- Organ solo by W..G. Webber. (Columbia 02908.) W. G. Webber, who usually plays the organ of Christ Church, the big Presbyterian Church in Westminster Bridge Road, where the singing is so fine, comes off his solemn perch to give us a bouquet of favourite old songs. The tunes include John Peel, Grandfather’s Clock, Little Brown Jug, the Mistletoe Bough, Old Folks at Home, and Auld Lang , Syne. Mr. Webber plays them simply and unaffectedly, leaving the happy associations he evokes to provide the chief charm of this excellent record. His tone is full and clear.

New William Mac Ewan Records. William Mac Ewan, whose inspired interpretation of sacred songs has earned him the title of “The Sweetest Gospel Singer,” has now produced four new records that will be eagerly welcomed by his admirers. The titles are: “Lead Me to Calvary,” and “Behold, I Stand at the Door.” (Columbia 01649). “I Need Jesus,” and “In My Heart There Rings a Melody” (Columbia 0.1650.) “Your Best Friend is Alwavs Near,” “By and Bye” (Columbia 01651), “Sail On,” and “Satisfied” (Columbia 01512.) His rich tone and fervent expression are heard at their best.

Well-Known in New Zealand. (1) “Abide With. Me”; (2) “The Promise of Life.” Sung by Fraser Gange, baritone. (Columbia 02S11.) Most of us carry happy memories of magnificent ballad singer. It may be some years before he conies here again, for hi's American tour promises to be prolonged almost indefinitely. However, we have his records, and I venture to prophesy that his latest will be one of the most popular of the lot He sings “Abide With Me” with a fine sense of its grandeur and repose. The setting is Liddle’s, and the record owes much of its beauty to a magnificent orchestral accompaniment. The Milan Orchestra.

Overture to “11 Matrimonio Segreto” (Cimarosa). Molajoli conducting the Milan Orchestra. Columbia 02877. This overture is a happy example of the high-spirited Italian operas of the latter half of the eighteenth century, and is full of fun and dainty swagger, moving with a dapper sort of politeness very refreshing after the strained and i>orapous period that followed it; The Milan Orchestra plays it with inimitable gusto. Though Molajoli con-trols-with deftness and precision, the discipline does not show in the play-

ing, especially in the hue quality of the wood-wind, for which the orchestra is' justly famous. The forte passages come out strongly, with a nice juicy quality that the recording brings out to splendid effect. Anyone with half an ear for light but well-con-structed music will relish this happy recording to the uttermost.

Arbos and the Madrid Orchestra Again.

“La Procession del Rocio” (Turina). Arbos conducting the Madrid Symphony Orchestra. (Columbia 028S0).

Turina is a typical Spaniard in his love of gorgeous, fiery colours, which he lays on with a heavy, but none the less artistic, hand. This work of his has an almost Eastern vividness, and paints the annual summer festival held at Triana in honour of the Virgin. We can almost see the illuminations. the silver car drawn by oxen, the bells, the glowing robes of the priests, the songs and dancing.’ One could scarcely wish for a better performance, or one that gives better values to the glare aud glitter of the scene. The Madrid Orchestra have given us another very effective recording.

A Famous Basso. “O Re del ciel”—from “Lohengrin” (Wagner). Sung by Tanceedi Pasero, bass. (Columbia 04333.) Pasero, whose fame as a bass is steadily growing, delivers this broad theme of King Henry’s prayer from the first act of “Lohengrin” with fine thoughtfulness and great vocal power. After sweeping successes in Italy, he has had a brilliant year in U.S.A., and great things are prophesied for him. This recording is paired with another excerpt from the same act, “Grazie Signore,” sung by that fine baritone, Armando Borgioli.

A Great Swiss Orchestra. (1) “Der Freischutz,” Overture (Weber), in three parts; (2) “Rosamunde,” Entracte No. 2 (Schubert). Felix Weingartner conducting the Basle Symphony Orchestra. Columbia 02874-75.

Weingartner, the great German conductor, has now undertaken the control of the Basle Symphony Orchestra. In convincing style he has captured the eerie glamour proper to the work —some passages, indeed, are among the most “other-worldly” in feeling that music has to offer. The playing is impulsive and spirited, and the richly fabricated tone speaks volumes for the grasp of instrumental makeup by this genius of the baton., The lovely Schubert Entre’acte is given with line understanding and sympathy. Parlophone. “Agatha’s Aria,” from “Der Freischutz,” sung by Lotte Lehann. A very big clientele has grown up for Lotte Lehann’s records, and there is no doubt that she is one of the greatest living sopranos. It is certain that this contribution will do more to spread her popularity than any of her previous records. Undoubtedly this is a triumph of singing and recording. (Barlophone 1031.) Ninon Vallin is at her best in the well-known “Serenata” of Braga, and a lovely old number of “Martini,” “Plaisir d’Amour.” (Parlophone 1030 ) “Rpse Marie,” in two parts, sung by Richard Tauber (tenor), with Grand Symphony Orchestra. A number having bestowed on it the work which it merits. Tauber seems to bring his unique art to bear with success <m everything he touches, and it is certain that this record will revive interest in these two principal numbers. Richard Tauber is famed throughout the Continent as a musician of extraordinary versatility. He is an orchestral conductor, composer, and certaimy one of the world’s most gifted lyric tenors. As a singer he is an operatic idol and is even more popular as an'| exponent of Leider. His beautiful Parlophone records are widely sought. (Parlophone 4142.) “Hilo E,” coupled with Lei E, by Kalama’s Quartet with yodelling. Captivating novelties which you should not miss. (Parlophone 2881.) “Prelude in C Sharp Minor” and “Liebesiier,” Edith Lorand Orchestra. An old favourite, this delightful double requires no comment. It is Edith Lorand and her forces at their best, with the recording on the same level. (Parlophone 4040.) “Pique Dame” Fantasia, Dajos Bela Orchestra. This selection from

Tschaikowsky’s setting of a version of Pushkin’s famous short story, “The Quen of Spades,” is full of delightful music of the kind we associate with this composer. Particularly charming is the Mozartian strain that Opens Partll sung in the opera, during the Watteau ballet that takes place in the house of the old countess. (Parlophone 4021.)