MUSIC and RECORDS

Dominion, Volume 23, Issue 109, 1 February 1930, Page 22

MUSIC and RECORDS

= By

C.J.M.

A Fairy Story. “With' modern gramophones, electrical recording, and the perfect records of to-day, the early days of the gramophone now begin to "take on the atmosphere of a fairy story to me,” writes Mr. Alfred Clark, managing director of the British Gramophone Company (His Master’s Voice). “Here are some of the things 1 remember, strange and otherwise: — .“When there were only half a dozen male singers whose voices would record at ail well. "When it was impossible to make a record of a female voice or a violin. "When artists were paid two shillings for 'each time they sang for recording. • t ‘,‘Wlien only three records were made each time the artists sang. (If a dealer ordered twelve records of one song, the artist had to sing the song four times.) “When a day’s sale of a hundred records seemed stupendous.. (Now we worry if they do not reach .100,000 daily.) “When the business so increased that one artist sang one song, over and over again, all day long. "When every single record had to be listened to through ear tubes, from beginning to end, before it was sent out. “When we first began to copy cylinder records. (This was done by playing one record and recording from it on to another. In this way we were able to make as many as fifty copies from one master.) “When I heard a disc record for the first time, and realised that from one master record hundreds of thousands of copies could be made. “■When disc records were made on zinc plates by an etching process. “When the first gramophone records were recorded on wax instead of zinc. (We thought we had made progress then!) “When gramophones had no spring motors, and were turned by hand. “When the first spring motor built for the phonograph weighed over 300 pounds. “When the taper tone-arm was invented. ' “When the famous Exhibition soundbox was invented. “When the first electric reproducer was heard. “When radio broadcasting was first demonstrated by Marconi at Chelmsford and afterwards by us.” Stray Notes. Bizet’s “Carmen” is the work selected by the Royal Wellington Choral Union for its first concert of the 1930 season. * The Wanganui Choral Society commenced practices this week on “Maritana” for the first concert. Mr. F. G. Gibbs, who has been honorary secretary of the Nelson Harmonic Society for a long period, is leaving next week on a trip to the United Kingdom. 1 The annual meeting of the Royal Wellington Choral Union has been fixed for Wednesday, February 26. “A Tale of Old Japan” is the work decided on by the Dunedin Choral Society for presentation towards the end of May. A choral society has been formed in Greymouth under the name of the Philharmonic Society. The first concert will be Edward German’s “Merrie England.” Mr. E. J. Carroll, the well-known impresario, whose headquarters are ■ now in London, made a brief visit to Sydney at Christmas time and returned via Auckland by the Aorangi last week. When he arrives at New York he will sign a contract with Florence Austral, the famous dramatic soprano, for. a series of concerts in Australia and New Zealand. Mr. Leo Du Cliat•eau will leave for Australia in April to arrange the tour, which will commence at the Sydney Town Hall on May 27. Since their first appearance at Auckland in September of last year, the Westminster Glee Singers have visited no less than fifty-one towns between Whangarei and Ivercargill, and their transit has been confined to the railways with the exception of motor-cars on the West Coast of the South Island, and between Opotikl and Gisborne in the North, and, of course, the steamer service between Wellington and Lyttelton and Nelson and Wellington. Not one connection has been missed, nor one playable night lost. This is surely a record which they credit very largely to the efficiency of the New Zealand rail ways, whose officers they affirm are unique patterns of consideration and courtesy. The Westminster Singers are to give a farewell series of concerts prior to their departure for Australia next month. For the pianist, probably his greatest achievement has been the successful performance of a complete cycle of Beethoven’s sonatas, in a series of six recitals in Vienna, and other Continental cities. There recitals attracted crowded halls, and the pianist is firmly of the opinion that Beethoven is ousting the Polish composer Chopin from his position as prime favourite with music-loters. Backhaus intends to feature Beethoven’s works extensively in the programmes for his New Zealand ‘ tour, and will’doubtless repeat his experiment of a Beethoven recital.

RECORDED MUSIC The Songs of Schubert “You have my heart, but Schubert has my soul,” said the dying Beethoven to his closest friend, and truly that soul sang its sweetest in the. songs that Franz Schubert left behind him. At thirty years of age, but ten months after his adored Beethoven, Schubert was to pass the same way to dust, but not to silence and oblivion. His 700 songs remain to testify that no composer in the whole history of music even nearly approached him in song writing. Necessarily, but a fraction of this glorious treasury has been recorded, but. even that fraction is sufficient to prove that not Mozart, nor Haydn or Bach, not even Beethoven himself could match him in the lovely art of wedding a ballad to music. Perhaps the best known of all is the wild “Erl King.” written when Schubert was only 19 years of age. Sophie Braslau, the famous contralto, gives a thrilling reading of this, changing her voice to suit the three.protagonists in the dialogue with a vivid sense of the dramatic. This is paired with “Death and the Maiden.” a tune of which Schubert was so fond that he based a quartet upon it. (Columbia 04161). “Der Lindenbaum.” as lovely and spontaneous as a folk-song, is paired with “Am Meer” (By the Sea) by the great German basso, Alexander Kipnis (Columbia 04115). Another of his pairings is “Der Wegweiser” (The Signpost), a song with a sad but haunting and appealing melody, and the dark, gruesome “Der Doppelganger” (The Phantom Doublet. Colutu bin 04195).’ One of the most charming of all the song records is sung by Sir George Henschel, accompanying himself at the

piano. The songs are “Das Wandem” and “Dor Lehmann” (The. HurdyGurdy Man). Sir George sings them with, great artistry and feeling on Columbia 03594.' Elsa Alsen, the famous American Soprano, has chosen the exquisite “Du Bist die Ruh” (Thou art my Peace) the loveliest of all Schubert songs, and sings it with incomparable sweetness, paired with “Greatchen am Spinnrade,” on Columbia 04194. New Lionel Tertis Records. (1) Du Bist Die Rub (Schubert), (2) Adagio (Bach). Viola solos by Lionel Tertis. (Columbia 03638). Foremost among violists, Lionel Tertis gets over the difficulty of the scarcity of music written for his instrument by arranging appropriate masterpieces for himself. Schubert’s gracious melody lends itself admirably, and Tertis almost makes his instrument sing like a human voice. On the reverse he phrases a famous Bach movement with grace and feeling. (1) Melody in F (Rubinstein), (2) Chant Saus Paroles (Tchaikowsky). Viola solos by Lionel Tertis. (Columbia 01511). On a 10-inch dark blue label, Tertis takes two of the most popular air iu music, and treats them with his usual artistry. His tone has a velvety smoothness, which wraps itself caressingly round the music. Tertis shows a subtle refinement of mind, even in treating these familiar airs. Edouard Commette on the Lyons. Cathedral Organ. Allegretto (Conimette). Organ solo by Edouard Conimette. (Columbia 02859). Commette, who has the reputation of being one of the most brilliant organists on the Continent, and is. certainly the outstanding composer for that instrument, adds to a series of fine records with an Allegretto of his own writing. It is a work of fine vigour and sonority, and will appeal to everyone who can recognise the master touch of an organ.- If Commette is a little dry in his sentiment, that is a wholesome reaction to the gushing affection with which many classical masterpieces are lathered on the “mighty” kinema organs. Though its richness is not a surface veneer, the thoughtful will recognise that it is here. Two Tasty Morsels From Boccherini. (1) Menuetto; (2)- Allegro Giusto (Boccherini). Played by the Quartette Veenziana del Vittoriale. (Columbia 01513). Choosing two suitable extracts from Boccherini is like dipping into a box of sweetmeats for its most toothsome dainties. The Venetian Quartette have pulled out a pair of elegant sugarplums. Listeners will enjoy relaxing in the soothing strains, whose neat little phrases are rattled off with a courtly elegance. The Venetian Quartette, one'of the Italian bodies whose enthusiasm is so infectious, fiddle with smoothness and certainty, and if they might be inclined to sacrifice hard thinking to polish, Bocberini would be the first to give them his light-hearted benediction. A Famous French Soprano. (1) Blanche Dourga, (2) Tu M’as Donne le Plus Doux Reve. Sung by Mlle. Feraldy, soprano. (Columbia 03040). Now and again a good French record reminds us with a bit of a shock how inclined we are to leave France off the musical map. The exigencies of record production, rather than the quality of French music, has largely caused this-injustice. But now that Columbia lias opened the French market, so to speak, to British music lov-. ers, we should look for a new delight among records. Mlle. Feraldy has qualities we never fi,nd in Italian or British singers. Hbr method of sound production is the product of totally different training. She has a flute-like delicacy, and her voice slides with natural charm over the subtly spaced phrases of Delibes, who writes both numbers. • Doris Vane. (1) “They Call Me Mimi” (from “La Boheme”— Puccini), (2) “One Fine Day’! (from “Madame Butterfly” —Puccini). Sung by Doris Vane, soprano. (Columbia 92864). Doris Vane has a large following on the discs,-and stands in little need of a “puff.” She gives on her latest record a competent reading of two famous Puccini arias. As a vehicle for her splendid voice alone they are welcome, apart from the value of having English versions of two such popular airs When' she conquers that bared hint of tremolo in the upper register/ Miss Vane will have made a big stride, but even now the most captious erit’c will find much to please him in her dear enunciation, her splended breatbeontrol, and the broad, skilful shading of her voice. “The Cocoanuts.” Gil Dech, one of Columbia's younger pianists, gives us bis own private version of “When My Dreams Come True.”. It is doubtful whether the talkie, “The Cocoanuts,” made this such a success, or whether the theme song made ’ the talkie. Probably the latter. Anyhow, together with “Old Timer” theme song of the talkie. “Noah’s Ark,” youu will find it on Columbia 01687.

Gladys Moncrieff. , Australia’s glorious Gladys also sings “When My Dreams Come True.” On the reverse is “Heart o’ Mine” (Columbia 01683). “Smiling Irish Eyes” is another Gladys Moncrieff success, paired with "A Wee Bit of Love. ‘ (Columbia 01779). Noble Contralto Singing. Sigrid Onegin (contralto) in “11 segreto per esser felici” (“It is Better to Laugh”) (Drinking Song) (“Lucrezia Borgia”), Act 111 (Donizetti; “Alleluia” (Motet “Exultate”) (Mozart). H.M.V., D.A.1046. “Il segreto per esser felici” is the Drinking Song from Donizetti’s obsolescent opera “Lucrezia Borgia. It is sung by Count Orsini (a male part, but always' allotted to a contralto or mez-zo-soprano). who imparts to his fellow guests in the great banquet scene, “The secret of happiness.” Note the fullness of Onegin’s lower notes—they have an organ-like richness. The ease ami accuracy with which she accomplishes very difficult scale passages in Mozart’s lovely “Alleluia” are worthy of the most gifted coloratura soprano. Kreisler Plays Organ. Fritz Kreisler ' (violin) in “Rondino” (on a theme by Beethoven), and “Fair Rosemary” (“Schon Rosmarin”). H.M.V., D.A.1014. Kreisler’s style is both individual and unmistakable. He has a warmth and lusciousness of tone that is quite without compare, and it is-heard to particular advantage in his own fascinating compositions, of which these are two of the most enchanting. Tuneful Orchestral Work. Berlin Stale Opera Orchestra (conducted by Dr. Leo Blech), in “Capriccio Italie.” Op. 45 (Tschalkovsky). H.M.V., D. 1593. i Tscbaikovskx’e “Capriccio Italien”

was composed on his return to Russia after he had been wintering in Florence. and its geniality and animationrare qualities in Tschaikovsky’s music —were directly inspired by the gaiety of the Italian street scenes and ■ the charm of Florentine canti popolari. Two Fine Songs. Essie Ackland (contralto) in 'Down the Vale” (Moir) and “Parted” (Tosti). H.M.V., C. 1702. With her wonderful record of “Poor Man’s Garden” and “Love’s Old Sweet Song” (C. 1410 Essie Ackland made a successful gramophone debut ini the historv of the gramophone. A firstclass electrical recording of “Parted is long overdue, and we are confident that this record by Essie Ackland is so immeasurably superior to any other version that when you have heard it you will agree that the wait has been worth while. Listen to the Band. The Band of H.M. Coldstream Guards in “The Belle of New York” (Kerker), and “The Geisha” (Jones). H.M.V. C 1703. , , , A magnificent full-toned record of selections from two of the greatest musical comedies of all time —the everpopular “Belle of New York” and “The Geisha.” Galli-Curci Warbles. Amelita Galli-Curci (soprano), in “Lo, Here the Gentle Lark” (Bishop), and’“Chanson Solveig” (“Peer Gynt”) (Grieg). H.M.V. D 81278. “Merrie England” combines with sunny Italy in this astonishing record. The words are as English as can be, and though the melody is in the Italian coloratura it is' English in spirit, too. Shakespeare wrote the words, and Sir Henry Bishop the music J and Amelita Galli-Curci, Italian to the core, sings it in English, in a style to make anyone stop and listen with delight. Another Peter Dawson. Peter Dawson (bass-baritone), in “The Garden of Allah” (Marshall), and “Star of /he East? (Lohr). H.M.V. Cl 689. These two Eastern love songs are sung with fervour by the popular baritone. The Revellers Revel. The Revellers (male voices with piano), in “Ploddin’ Along” and “Wake up! Chillun, Wake z Up.” H.M.V. EA6O9. .Two particularly attractive southern songs, sung charmingly to a piano accompaniment. Mark Hambourg. Mark Hambourg in “Jardins sous la pluie” (Debussy), and “Hark! Hark the Lark (Schubert, arr. Liszt). H.M.V. 82990. The inspiration for “Hark! Hark the Lark” came to Schubert as he sat among his friends in a beer garden, and he jotted down the wonderful melody on the only piece of paper handy—a menu. Hambourg has made a brilliant record of Liszt’s dazzling arrangement of it, and with it is paired Debussy’s fascinating “Jardins sous la pluie.” Paul Whiteman Scores. * Paul Whiteman and his Concert Orchestra in "Caprice Futuristic,” and “High Water.” H.M.V. C 1607. Paul Whiteman’s latest record contains what t’he “cognoscenti” will consider a real gem in “High Water.” It has a melody which is something in the nature of a “spiritual,” and a vocal refrain of a highly novel and dramatic nature. On the other side is a “Caprice” of a diverting nature. v 1/2/30 ' Magnificent Tenor Disc. Giovanni Martinelli (tenor), in “Un di all’ azzurro spazio” and “Come tin bel di maggio” (“Andrea Chenier”). H.M.V. D. 8.1143. Giovanni’s “Autlrea Chenier” is au opera which combines in a, most pleasant manner the lyric and the hectic. Chemier, the hero, is a poet, and these two famous passages constitute Ills poetic recitations. Martinelli has long been one of the greatest Interpreters of this role, and he has made a magnificent record of these two fine outpourings of lyric sentiment. 1 Light Opera Gems. Light Opera Company (concerted), in (a) “Chocolate Soldier,” vocal gems (O. Strauss), introducing: “The War is Over.” “Sympathy,” “Chocolate Soldier,” “Falling in Love,” “Letter Song.” “My Hero,” (b) “Lilac Domino,” vocal gems (Cuvillier),. introducing: “Let the Music Play.” “What is Done,” “For Your Love I am Waiting,” "Lilac Domino,” “All Line Up in a Queue.” H.M.V. C. 1705. The Light Opera Company adds a riothet' pair to its wonderful run of successful “vocal gems.” These selections from “The Chocolate Soldier” and “The Lilac Domino” give you the essence of two delightful musical comedies in a fascinating way. They are admirably sung and recorded. Rousing Songs. Stuart Robertson (bass-baritone), in (a) “The Mermaid,” (b) “Polly Wolly Doodle” (arr. W. H. M.) ; (a.) “Little Brown Jug,” (b) “The Three Crows” (Eastburn). H.M.V. 8.3082. Sung with tremendous gusto by Stuart Robertson and a lusty-voiced chorus (but nevertheless capable of subtle shading), this record of rousing, rollicking songs should have its place in every collection. “The Three Crows” is a classic. A New Levitzki. Mischa Levitzki (pianoforte), in “Sonata in A Major” (Scarlatti), and “Ecossaise” (Beethoven). H.M.V. E. 537.

Levitzki’s 'crisp, clean touch is particularly suited to recording, and all his records have been up to the higii standard he set himself in his gramophone debut with the “Sixth Hungarian Rhapsody” (D. 1383 This latest one is magnificent—he gives a truly musicianly performance of Scarlatti’s crystal clear “Sonata in a Major” and Beethoven’s “Ecossaise.” A Wagner Overture. London Symphony Orchestra (conductor. Albert Coates), in “Eine Faust” overture (Wagner). H.M.V. D. 1631. Wagner's "Eine Faust” overture, of which this is l the first electrical recording. is chronologically the first of his great works. It dates from bis first visit to Paris, and the .source of inspiration seems to have been a performance of Beethoven’s Ninth Symphony” fit. the Conservatoire during the winter of 1839. It is a work of tremendous power, and the themes, which have a conciseness reminiscent of Beethoven, are worked out in Wagner’s peculiarly individual manner. Smiles from Gene Austin. Gene Austin (tenor), in “I've Got a Feeling I’m Falling,” and “Maybe! Who Knows?” H.M.V., E.A.593. Charming sentimental songs sung in that individual manner that has made this- artist popular throughout the world. Parlophone. Fritzl Jokl, the brilliant coloratura soprani, who was so popular on Parlojjjone Bccpugtlc make®

electrical debut in arias from “Don Pasquale” and “Allessandro Stradella.” (Parlophone 4162). Meta Seinemeyer and Helene Jung, collaborate in an exquisite performance of the “Flower Duet” from “Madame Butterfly.” The- natural pathos of the music is doubled when it is realised that this was one of the last recordings by the lamented soprano. (Parlophone 4161). The vogue of records by Karol Szreter continues. On a new record the pianist has the assistance of the Berlin State Opera House Orchestra, in a striking performance of Saint-Saens “Danse Macabre.” (Parlophone 4163). ' The Berlin State Opera House Orchestra has recorded “Salome’s Dance” (Richard Strauss). Hans Knapperstsch, who created so much interest recently with his remarkable conducting of the “Surprise Symphony” has total-

ly different music here. (Parlophone 4160). “Karo” and “In Fairy Land.” Here are exquisite Maori solos by Ana Hato. (Parlophone 2807). “Italians in Algeria” (Rossini). Here the Berlin State Opera Orchestra gives a delightful rendering of a bright overture which, to the best of our knowledge, is not otherwise recorded electrically. The conductor is Dr. Weissmann. (Parlophone 4158).

“Let’s fall in Love,” from “Wake up and Dream,” coupled with “I’m a Gigolo.” You are sure to like these two usual numbers. (Parlopbone 2895). “A Chinese Street Serenade,” and “Japanese Lantern” dance, another contribution by the Grand Symphony Orchestra. Like the Suite Orientate, this double should make a very wide appeal, with its colourfulness and tunefulness. (Parlophonc 4159).