MUSIC and RECORDS

Dominion, Volume 23, Issue 221, 14 June 1930, Page 22

MUSIC and RECORDS

An especially interesting and popular classical programme has been arranged for the Wellington Philharmonic Orchestra’s concert at the Town Hall on Saturday, June 21. The piece de resistance will be Tschaikowsky’s Sixth Symphony, the great “Pathetlque,” a work of profound emotional depths, vivid imagination, and amazingly beautiful contrasts, which holds Its place among the peaks of symphonic sublimity. The “Pathetique’,’ and the “Midsummer Night’s Dream” overture of Mendelssohn will constitute the first part, and in the second the orchestra wiU play the resounding prelude to Act 111 of “Lohengrin” (Wagner), a Moussorgsky “Gopak,” the Schubert “Marche Militaire,” and (with Mr. Ernest Jenner as soloist) the Grieg “Concerto in A Minor.” Miss Alma Clegg will be the vocal soloist. Sir George Henschel.

The evening of January 22, 1930, marked the farewell of Sir George Henschel. His career is without a parallel in the history of music—not even the great Patti’s career of undiminished popularity covered a span of years so wide as that represented by the musical life of Sir George Henschel. His versatility is extraordin-ary-pianist, singer, conductor, com-poser,-teacher and recording artist, he has filled all these roles. He was born in 1850, sang as a boy soprano at a concert seventy-one years ago; and made his first appearance in public as a pianist at Berlin in 1862 (playing in Weber’s “Concertstuck in F Minor” for four pianofortes, with orchestra, and also, with the leader, of the orchestra, in Mozart’s “Sonata in C” 'for pianoforte and violin). Four years later he began his career as a bass singer. In 1887 he made his debut in EngioT>ri a singer at the Monday and Saturday “Pops,’.’ and his artistic success was so great that he made bis nilnist he became the first conductor of the Boston Symphony Or< *® s1 ', r * one of the finest organisations of its kind in the United States), and also first conductor of the Scottish Orchestra, Glasgow. He was the founder (and from 1884 to 1895 the conductor) of the London Symphony Concerts. At the beginning of the present century he devoted his energies to composition, Including operas) pianoforte pieces vocal studies, chamber music, vocal duets, quartets, choruses, a Requiem Mass, a Te Deum, a Solemn Mass for eight-part unaccompanied chorus, a Stlbat Mater, and also a wealth of “Lieder” worthy to bear ■ comparison with the songs of the Masters.. He retired, as a singer, in 191*— which year he was knighted—but went on teaching. A manual for teacher and student on “Articulation in si “g lD £ appeared as late as 1926.—R. W. FPotter, in “The Gramophone ” The Gramophone in Church.

In what ways could the Church use the gramophone? They are many, deciares the Bev. Robertson Ballard, writing in “The Gramophone.” By the ministry of preaching. The Voice of the Church could be heard in tbe homes of thousands who refrain from regular churchgoing. But so far only a very few preachers have utilised a gramophone record for proclaiming their message. Canon “Pat" McCormick is one who has done this supremely well, and upon a cheap record which is within everybody’s reach. His predecessor “Dick” Sheppard has lately done the same. But why not representatives of aU the churches, in addition to the popular preachers who stand out prominently in their own communions? Records made by the leading figures of the Anglican and Roman Churches, as well as the outstanding preachers of the Free Churches, would arouse intense interest. And there are powerful preachers in all the churches whose voices would exert a great influence upon the unchurched multitudes. Surely there is immense scope for a useful series of records dealing with what are commonly called "comparative religions,” as well as upon the vital truths of Christianity. It should be possible to avoid controversy, and to anticipate those inevitable differences of religious thought and outlook in such a way as to prevent undue clashing of mere opinions. In the right hands, a positive statement of the religious standpoint of the various creeds could do much good. So far no recording company has dared the experiment. Let us hope they will soon appear. ... ... . . . But the Church has already a nch storehouse from which to draw. Complete oratorios have been perfectly reproduced. Every gramophone company of note has a lengthy list of the bestknown anthems recorded by the leading choirs and soloists. For tho outstanding church festivals, such as Easter and Christinas, there is, of course, a very wide selection. Of appropriate harvest music, there is an abundance. Such records, by famous choirs, are primarily intended as a guide to country church choirs, and are recognised as the standard of how such anthems should be sung. It is superfluous to add that only the best choirs are called upon to make such records. Organ music is being reproduced with increasing volume —in every sense of the word. World-famed organists, playing the best-known organ music upon their own cherished instruments, are now available to the humblest village organist. Here again every company of note is competing to give of the best.

Of the making of hymn-records there has been no end. Their popular appeal is as old as the gramophone itself. But congregational singing or community singing of the old hymns is comparatively new in recording. There are splendid examples easily to be found. The congregation of St. Martln-in-tlie-Fields may well pride itself upon its hymn-singing, and many of the bestknown and loved hymns have been recorded as they were actually sung in this famous London church. “The King of Love,” “When I Survey the Wondrous Cross,” “Ten Thousand Tinies Ten Thousand,” and “There is a Green Hill Far Away.” Mendelssohn is said to have considered the Bible to be an inexhaustible mine of song and story for musical setting; and because he had a real affection for England he was anxious to write for his English friends an oratorio which would win their appreciation for, he said, “The English love their pible.” His desire was fulfilled, and “Elijah” holds a unique place in our hearts. Like all Mendelssohn’s works, the music of “Elijah'' is as comprehensible to the average listener as it is to the highly trained musician.

By

There ifi a great quantity of English church music of the very finest type, of both the eighteenth and nineteenth century, which is utterly unknown except to those who are familiar with the services of our great cathedrals. The gramophone is doing good service in making much of this known. S. S. Wesley’s magnificent anthem, for Instance, “Blesed be the God and Father,” is sung by the choir of the Temple Church, with incomparable clearness of diction, and beauty of expression. This famous choir has rendered much sacred music that is a joy to hear, and a treasure to possess, in the permanent form of a gramophone record.

Picture to yourself a normal service of public worship. The preacher gives of his best; the congregation are receptive and responsive. An “atmosphere” is created. At an appropriate point in the service, a record of, say, Madame Clara Butt singing “O Divine Redeemer” is introduced. Or Paul Robeson’s glorious 'rendering of “Were you there when they crucified my Lord?” breaks upon the quiet Imagine the effect upon the average worshipper. A deep and enduring impression is almost inevitable. Or at the conclusion of an ordinary evening service it is comparatively easy to devise a programme of sacred music entirely suitable for a gramophone recital in a church. Such a programme may include choral, organ, orchestral and solo voices. Chamber music is peculiarly fitting in the quietness of a church, and good violin or ’cello solos are most appropriate. There need be no fears of a shortage of material from which such. programmes could be drawn. Let that be emphasised. Each church could adapt her programme to her own local needs. The question of sect or denomination would not be affected. There is sufiicient sacred music available alike for Romanist or. Anglican, for Jew or Christian. Even the Christian Scientist or the Salvationist is well provided for in gramophone music. The orthodox would revel in the more austere or classical type of church music. The evangelical would more probably enjoy the old-fashioned evangelical hymns and solos. Florence Austral and John Amadio. One of the many unusual compliments paid to Florence Austral on the eve of her departure for Australia came from Mr. F. W. Siddell, of the famous Halle Orchestra. Writing from Manchester on March 28, his letter ran:— “I wish to thank you for one of the most enjoyable evenings of roy professional career, and in high-class concert work one gets so used to tbe best that it needs something exceptional to raise one to a high pitch of enthusiasm. A vast number only know you as a great Wagnerian artiste, successfully holding your own against massive orchestration, but to us the charm and artistry of your songs with piano were a revelation. The flute playing of Mr. Amadio was also a revelation. The wide gulf between his playing and that of other flautists convinces me that in this generation we shall never/hear his equal.” The Return of Backhaus.

The return of the great pianist, Wilhelm Backhaus, is an inspiration to musical New Zealand. On his first visit Backhaus was an eminent artist, who had gained the respect of the connoisseur and music lover in the great cities of the world. The memorable recitals given in 1926 have lived in the recollection of many a grateful citizen of this country. Since that year notable pianists have visited these shores, among them being names indelibly inscribed on the scroll of fame. But a comprehensive survey of the famous exponents of pianoforte literature today leaves the name of Backhaus among the very first as the most generally acceptable and satisfying artist of his generation. Backhaus the man gives us Backhaus the musician. For breadth of view, depth of understanding, delicately poised sympathies and long experience, in which patience, skill and creative inspiration have been uniformly active, inform a pianist’s touch and regulate his tone; says the “Melbourne Age.” Backhaus is search ; ing diligently for truth. The stream of his thought on the substance of music is kept fresh and pure by continuing through successful years his quest for the essential verities and the criterion of beauty. He is thus a philosopher as well as an artist, a seer and a teacher, a representative musician and a leader of men. He exercises an aesthetic intuition to attain the intellectual range and emotional vigour of the great masters. Backhaus, impeccable on his former Australian tour, is now in the height of his fame. Mr. E. J. Gravestock has arranged for Backhaus to give two recitals in the Wellington Town Hail on Saturday, July 12, and Monday, July 14. RECORDED MUSIC Graceful Intermezzi. National Symphony Orchestra in “Jewels of the Madonna”—intermezzi, introduction to Acts 11. and 111. (WolfFerrari). These two intermezzi from this opera are gems of light, graceful music. Listeners will find it hard to resist them. (Zonophone, E 331.) Two Good Bass Songs. Foster Richardson (bass), in “Drake Goes West” (Sanderson), and “Rolling Down to Rio” (German). Rollicking, fine singing, full of the breeziness of Plymouth Hoe. (Zonophone, 5485.) Two Old Favourites. Barrington Hooper (tenor), in “Absent” (Metcalf), and “Believe it True” (Coote). (Zonophone, 5472.) These are popular and charming numbers sung with all the artistry we look for from this singer. Four From Jimmie Rodgers. Jimmie Rodgers, with guitar, in his yodelling songs, “Blue Yodel No. 5,” and “I’m Sorry We Met.” (Zonophone, EE185.) “My Caroline Sunshine Girl” and “Desert Blues” (Zonophone 5495.) Good numbers these. For the last two items Jimmie has dropped his guitar and borrowed an orchestra, Dainty Orchestral Fare. Zonophone Salon Orchestra in Offenbach’s “Barcarolle” (from "Tales of Hoffman”), and ‘“Minuet” (Boccherini). Dainty music played in really dainty style.' This orchestra’s records are well worth collecting. (Zonophone, 5487.) Sentimental Ditties. Maurice J. Gunsky (tenor), in "Dear Old Girl” and “There’ll Always be Room fqr You.” (Zonophone 5424.) These are two more sentimental “gems” from Maurice Gunsky’s repertoire, and quite good.

C.J.M.

A Capital Disc. Daniel Haynes and Dixie Jubilee Singers (baritone and mixed voices) with banjo, in “Waiting at the End of the Road" (from motion picture, “Hallelujah”). Lewis James (tenor) with orchestra, “To be Forgotten.” The first of these numbers is an interesting record of mixed voices of fine quality, giving a selection from a recent popular and novel motion picture in which the soloist, Daniel Haynes, played a leading part The second, a dreamy waltz tune, sung in Lewis James’s usual sympathetic manner. (Zonophone, EE186.) Melodious Waltzes.

International Novelty Orchestra in “Carmen Sylva” and “Eva.” Here we have two particularly tuneful and unusual waltzes, introducing many novelty effects. The rhythm is good and the melodies attractive. They should prove among the best sellers. The first is by Ivanovic! and the second a typical Lehar confection. Zonophone, E.F.28. Snappy Dances,

Arcadians Dance Orchestra (dance orchestra) in “Valparaiso”—Six-Eight. Rhythmic Eight (dance orchestra) in “Every Day Away From You”—foxtrot.

Two snappy dance numbers that will set your feet moving. Zonophone, E.E. 192.

Descriptive Music.

National Concert Band in “Monastery Bells” (Lefebure-Wely), and “The Mill in tbe Forest” (Eilenburg). Delightful descriptive numbers, tuneful and entertaining, played by this fine band. Zonophone, E.E.191.

Clarkson Rose Again Amuses. Clarkson Rose (comedian) in “The Same to You, Upholstered,” and “The Average Man.” One of the best records Clarkson Rose has made yet A laugh in every line. Zonophone, 5497. Novelty Quartet Presents—

International Novelty Quartet in “See Me Dance the Polka” (Grossmith) and “Over the Waves”—waltz (Rosas). Remember the “Cuckoo Waltz” (E.E. 67) ? Here’s another by the same artists; as good, if not better. Zonophone 5445.

Amos and Andy. Amos and Andy (humorous dialogue) in “At the Bull-fight” and “The Dairy.” t These two humorous numbers by Amos and Andy should amuse everybody. Zonophone E.E.193. New and Novel.

Bob Macgimsey (harmony whistling). with novelty orchestra, in “Mother Machree” and “You’re the Flower of My Heart, Sweet Adeline.”

A new and novel record of two old favourites. MacGimsey has an unusual talent for whistling, and, with the aid of a novelty orchestra, provides a unique entertainment. Zonophone, E.E.194. Dance Favourites per Accordion.

J. Fiers (accordion) in “Always”— waltz, and “Love Tales”—fox-trot. The accordion ( behaves very well as a medium for dance music. Two old favourites here are finely played and recorded. Zonophone 5485. A Mixed Bracket.

Sigmundo Del Oro (pie organ) in “Mexicali Rose.” Walter Kolomoku’s Honoluluans (Hawaiian Orchestra), in Medley of Old-time Waltzes—“My Wild Irish Rose,” “Good Old Summer Time,” “Sweet Rosie O'Grady.” This mixed bracket is full of good stuff and should be popular. Zonophone, E.E.195. Theme Songs on Zonophone.

Theme songs from motion pictures have become a great vogue among the devotees of the kinema. Here is a list of screen moderate-priced recordings by Zonophone:— “Four Walls”—“Four Walls” (F. Baur), EE9I; “Revenge”—“Revenge” (E. Baur), EEI24; “Mother Knows Best”—“Sally of My Dreams” (F. Baur), EEI24; *‘Sy nco p a tion”—“My Inspiration is You” (Arcadians Dance Orchestra), EEI26; “Ah! Sweet Mystery of Life” (C. HiU), 5222; "The Battle of the Sexes”—“Just a Sweetheart” (L. James), EEI32; “The Wolf Song”—“ ‘Yo Te Amo’ Means ‘I Love You’” (P. Oliver), 1 EEI4B; “Noah’s Ark”—“Old Timer” (P. Oliver), EE 149; “Heart o’ Mine” (P. Oliver), EE 149; “Lucky Boy”—“My Mother’s Eyes” (G. Jessel), EEIS2; “The Awakening”—“Marie” (F. Baur), EE 135; “The Lady of the Pavements”— “Where is the Song of Songs” (F. Baur), EEISB; “The Divine Lady”— “Lady Divine” (P. OUver), EEI6O; “Coquette”—“Coquette” (P. OUver), EEI6O; “Whoopee”—“Hungry Women” (E. Cantor), EEI6I; “Christina”— “Christina” (L. James), EEI6S; “The Pagan”—“Pagan Love Song” (F. Baur), EEI6B; ‘Evangeline”—“Evangeline” (P. Oliver), EEI72; “Alibi”— "I’ve Never Seen a Smile Like Yours” (M. Elwin), EEI72; “The Coeoanuts” —“When My Dreams Come True” (F. Baur), EEI73; “Our Dancing Daughters” —“I Loved You Then as I Love You Now” (F. Baur), EEI32; “Submarine” —“Pals, Just Pals” (Melody Three), EEI33; “Show People”— “Cross Roads” (F. Baur), EEI3S; “In Old Arizona” —“My Tonio” (L. James), EEI43; “Looping the Loop”—“Poor PunchineUo” (F. Vettel), EEI47; “Tho Midnight Frolic” —“Looking for Love” (L. James), EEI6S; “Looking for Love” (Solemn and Gay), 5466; “The Man I Love” —“The Man I Love” (Arcadians Dance Orchestra), 5167; “Why be Good”—“l’m. Thirsty for Kisses” (Arcadians Dance Orchestra), 5343; “The Rainbow Man”—“Sleepy Valley” (Mildred Hunt), EEIB4; ‘Honky Tonk”— “I’m Feathering a Nest’” (Rhythmic Eight), 5457; “I’m Doing What I’m Doing for Love” (Rhythmic Eight), 5457; “On With the Show”—“Am I Blue” (M. Elwin), 5396; “Let Me Have My Dreams” (M. Elwin), 5396; “Welcome Home” (Rhythmic Eight), EE 190; “Hallelujah”—“Waiting at the End of the Road” (Haynes and Dixie Jubilee Singers). EEIB6; “Woman to Woman” —“Sunshine of My Heart” (M. Elwin), 5490: “To You” (M. Elwin), 5490: “The Flying Fool” —“If I Had My Way” (Arcadians Dance Orchestra), EEI9O. A Lovely Bach Suite.

Suite No. 3 in D Major (J. S. Bach). Desire Defauw conducting the Brussels Royal Orchestra. Columbia 05057- * In the old days, a music-lover was either a pro-Bacb or an anti-Bacb; one of the elect or one of the damned.

If you could honestly—or even dishonestly—say that you understood Bach, you felt yourself entitled to sneer at the rest of the world. In a large part, the gramophone is to be thanked for the change that has come about in the last few years. For Bach takes a lot of listening to; but, unlike many another composer whose would-be intellectuality is nothing but obscurity, Bach repays it. Beauty, truth, honesty, flawless craftsmanship —all these are at the bottom of his deep, clear well. The third Suite (he himself preferred to call them overtures) is one of his most easily understood works. The Brussels Royal Conservatoire Orchestra play it admirably under Desire Defauw, with that explanatory touch that elucidates and clarifies the music. They are especially happy in the. Aria—better known as the Air for G String—and use the bass strings with exceptionally good effect The Suite occupies five sides, and the sixth is given to Corelli’s “Sarabande,” a stately measure played with dignity by Arbos and the Madrid Orchestra.

A New Ketelbey Work. “In a Camp of the Ancient Britons” (A. W. Ketelbey). Played by Albert W. Ketelbey’s Concert Orchestra. Columbia 05074.

Like most of Ketelbey’s music, this is a richly pictorial composition, full of action, drama, and scenery.' Ketelbey takes us first of all to the Sacred Grove of the Druids; we hear the Invocation before the Battle; a'stirring march represents the Ancient Britons in battle array, and then we hear the advance of the Roman Legions. On part two, the battle begins, the Britons retreat, and then—by a suggestive passage, we are .carried back to the present day, listening to a band on tbe Promenade. The music throughout is intense and vivid, and, conducted by the composer himself, is put across with gripping effect

Percussion Solos. (1) Zip, Zip; (2) Whispering Pines. Sir Dan Godfrey conducting the Bournemouth Municipal Orchestra. Columbia 01010. Here’s an attractive 10-inch disc that should be immensely popular. “Zip, Zip” is a marimba solo by W. W. Bennett, a rippling sparkling thing that bubbles along with irrepressible verve. “Whispering Pines” is a xylophone solo played and composed by the famous W. Byrne, one of the best masters of this instrument in the world. Where the pines come in is rather hard to tell, but whatever its title the tune is attractive in melody and playing. The Bournemouth Orchestra provides a rich and bold background to both pieces, and the recording is surprisingly lifelike. 'Cello Solos. (1) L’Arlesienne —Adagietto (Bizet); (2) Tarantelle (Popper). ’Cello solos by W. H. Squire. Columbia 04385.

These two make a happy combination —something akin in purpose and structure lies behind them, so that they make a proper little “Adagio and Allegro” for ’cello solo. The Bizet is in the manner of an Ave Marla, and an organ accompaniment by Pattman heightens the reverential, feeling. The Tarantelle is by David Popper, a ’cellist of note in the last century, and one of the few composers who wrote exclusively for this instrument. His dance is a happy trifle, with something of a “confession of love” for the middle section.

A Hungarian Rhapsody. Hungarian Rhapsody No. 12 (Liszt), Pianoforte solo by Irene Scharrer, Columbia 05078. . One of the most melodious of the whole series of Hungarian Rhapsodies, Number 12, lends itself admirably to Irene Sharrer’s vigorous art. Her chief characteristics are tonal strength and emotional control, and Liszt needs a great deal of the first to bring out his bravado, and a great deal of the second to keep him from becoming too sentimental. Miss Scharrer’s record is a delight for mind and ear, so firm and pure in her tone, and so unobtrusively careful her handling of all the phrases. The reproduction Is exceedingly good, the tone resounds after each stroke, much as It reverberates in a bell; and it 1b clear that exceptionally good fortune must have attended the making of this disc. A Light Orchestra.

(1) Hungarian Pot Pourri; (2) Hora Staccato. Played by Dinicu and his orchestra. Columbia 01911. Dinicu, after having been the rage of the whole Continent, especially Vienna, has now settled in London, where he seems to be the most popular of all? He takes the violin solo in hiß own little “Hora Staccato”—a piece of the moto perpetuo type, sung ■ with the vivacity of an Hungarian street song. The reverse is a well-put-to-gether medley of popular Hungarian tunes. It well inllustrates the national rhapsody type of composition, in its lassu and friss (grave and gay) sections. The Grenadier Guards.

(1) March Milltaire (Schubert); (2) Villanellp (Dell Acqua). Played by the Band of the H.M. Grenadier Guards. Columbia 05078. Those who like fine rousing band music will find the version of the famous Marche Milltaire after their own hearts. The brass is triumphantIv defiant, and the general swing of the whole piece, one could Imagine, hits off to a tee its composers intentions. On the other side is a clarinet and Oboe

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duet, rather airy for a Guards’ Band, but carried through none the less charmingly.

Vernon Dalhart. This attractive singer specialises in old familiar tunes and melodies—the type of song that is born rather in the country districts of America than in New York’s Tin Pan Alley—and most of his songs have a simple, catchy tune and a broad countryside humour. “The Bully Song” occupies two sides of Columbia 01873, and we have snatches of a girl singing in the inimitable accent of the Southern negro. “The Little Black Moustache” is a mock-pathetic ballad with a catchy accompaniment, and is paired with a. cleverly harmonised duet, "Golden Slippers" (Columbia 01892). Vernon Dalhart and Charlie Wells pair two more duets on Columbia 01893. The titles are “My Blue Ridge Mountain Home” and “I know There is Somebody Waiting,” with most attractive racy accompaniments on the violin, guitar and Jew’s harp.

Latest Popular Music. Ben Selvln releases a pair of good dance records that show up to advantage his skill in picking good tunes and playing them with plenty of zip and go. The first is “Only Love is Real” and “The Woman in the Shoe”—a pair of unusual fox trots. (Columbia 01845). His second gives a rather more plaintive and dreamy waltz, “The Shepherd’s Serenade,”- with i a beautiful melody; coupled with a first-class fox trot, “Charming.” (Columbia 01871). Parlophone. The latest Parlophoue discs include an attractive adaptation for the organ of Dedla’s favourite “Souvenir,” so beloved of violinists. As played by Richard Jordan on the organ, and admirably recorded, it seems to gain new beauties. The companion number is King’s “Song of the Islands” (A 2984 A unique but altogether delightful musical combination Is the Rumanian Gypsy Orchestra, which has recorded for Parlophone two characteristic numbers, “Caucasian Pot-pourri,” and “La Backon” (A 2987 “Colonel Bogey" and “Children of the Regiment,” two well-known and very popular military marches, are spiritedly played by massed bands. (A 2983 Two favourite soprano numbers from “La Boheme” are. finely and dramatically sung by Louise Helletsgruber, with the Berlin State Opera House Orchestra. These are “Musseta’s Waltz Song,” and “They Call Me Mimi.” (A 4203 The Parlophone Grand Symphony Orchestra (A 4201 presents a unique pot-pourri of the world’s national airs in a double disc entitled “Round the World by Air,” suitably prefaced by the hum of the aeroplane’s propellers as the musical medley sets off on Its travels. Wagner’s fine opera “Tannhauser’ is drawn upon by Michael Szekely, whose powerful bass is impressively heard in "The Landgrave’s Speech,’ and, in “The Magic Flute” (Mozart), he is equally successful in “Within this Hallowed Dwelling.” (A 4204