MUSIC and RECORDS

Dominion, Volume 23, Issue 257, 26 July 1930, Page 24

MUSIC and RECORDS

; By

C.J.M.

Toscanini. Toscanini’s conducting is so utterly Individual that it impresses one immediately as having the uniqueness and integrity of a created thing (writes Mr. W. J. Turner in the “New Statesman”). I don’t know how to describe Toscanini’s conducting, and 1 am certain that you cannot reach the secret of it by analysis. For example, he conducts without a score—but so do others; certainly, he dispenses even with a music desk, on which many conductors keep the unopened score in reservation, yet the secret can hardly be there! He has perfect control of his orchestra, who obviously have been rehearsed until they know exactly what he wants. This control is perhaps greater than that of any other conductor, and it is certainly such as could only be obtained from a first-class orchestra constantly playing under his direction. Even Toscanini, with his perceptible strength of personality and extraordinary musicianship, could not get such playing after even four or five rehearsals from any of our orchestras. A longer training than that would be necessary, for one fact became clearly apparent after the performance of the Haydn symphony, namely, that every detail of the playing was clearly understood by the orchestra, and that there was complete accord between orchestra and conductor. But what distinguished this performance of the Huydn symphony from a performance of a Haydn symphony by Eurtwangler and the Berlin Philharmonic Orchestra in London not long ago was its absolute directness. One was listening to music, not to a display of virtuosity, and this —considering the extreme pitch of technical perfection which Toscanini achieves—is what immediately distinguishes his conducting from that of others. No conductor 1 have heard has succeeded in achieving such virtuosity and of keeping it always subservient to a purely musical intention. There is in Toscanini’s conducting no trace whatever, not the slightest, of display or showmanship, or self-consciousness. It is absolutely didirect This is an extraordinary quality. It is the most rare and extraordinary of all qualities, and it is the hail-mark of the great artist In every sphere. With this directness goes not only technical musicianship of perhaps the highest order but a jirofound musical sense. The basis of music is rhythm. This, not melody nor harmony nor orchestral colour nor tone, is its very essence, and what a beautiful clear and vital rhythmic structure Toscanini made of Haydn’s symphony! But when we came to a piece of totally different kind, Debussy’s “La Mer,” Toscanini gave us all the musical elements of this piece, not merely some of them (its “colour,” for example), as most conductors do. The consequence was we heard “La Mer” as a new work, a composition we had never really heard before, and one began to wonder what much of Debussy’s other music would sound like under Toscanini.

RECORDED MUSIC

“Danny Boy.” “Danny Boy” is the famous “Londonderry Air” under another name. As sung by Margaret Sheridan, the famous Irish operatic star of Covent Garden lustre, it acquires a subtle note which strikes a responsive chord in the hearts of the Emerald Islanders. This has been recorded for H.M.V. (DA 832). The companion number is equally haunting—“l Know Where I Am Going” (a traditional air arranged by Hughes).

Two Gems From Jarnefeldt. Jarnefeldt compositions are most attractively melodious. His “Praeludium” and “Berceuse” are very characteristic of his. musical temper. As recorded by his Royal Opera Orchestra of Covent Garden, conducted by Dr. Malcolm Sargent, they make a delightful bracket Lovely melodies, perfectly played and recorded, they should be included in every collector’s library, (H.M.V. B 2618.)

A Weird Funeral March. Gounod’s “Funeral Marell of a Marionette” is a weird conception. Listening to it, one gathers the idea of the death frenzy of a marionette, with a pause descriptive of the passing of its soul, then a fantastic procession to the tomb. In working out the theme, Gounod incidentally gives us some fine music, with bizarre effects, in appropriate slow march tempo. As recorded for H.M.V. by the San Francisco Orchestra (EDS), it is an instrumental gem. The bracket number is the celebrated death waltz by Sibelius, the “Valse Triste,” which makes a suitable complement for a funeral disc, but lovely music, with all that. “Wohin?” •

Friedor Hempel is incomparably one of Germany’s most popular singer of

lieder since the palmy 'days of Julia Culp. Hear her in “Wohin?” which in German means “whither.” The first line of the song, “Ich bort ein bachlein rauschen” (“I heard a streamlet rippling”) gives you the spirit of the song. It may be compared with our song-set-ting of Tennyson’s “Brook,” a delightful song, recorded years ago by Alma Gluck, and never better since. The companion number of “Wohin?” is “The Night Wind,” a weird description of the “sough” one hears when comfortably tucked up in bed. (H.M.V., DA634). An Old-time Popular Song.

“Ma Curly-headed Baby” years ago had a very popular vogue. The composer, George Clutsam, was a New Zealander who broke into the inner-ring of London artistic territory and made a name for himself. Huld Lashouskor sings it beautifully in an H.M.V. record (DA7B), with the Shults song “The Sweetest Story Ever Told,” as a companion number.

Three Orchestral Gems. “Kreisler’s “Liebeslied,” Mosgkowski's “Serenade,” and Auber’s “Aufade,” are three melodic gems. Recorded on one double H.M.V. disc (ED6), they are a splendid investment for the enthusiastic collector of orchestral delights.

Most Popular Concert Waltz. It may be doubted whether any concert waltz has made such a sensational impression as the Boston Symphony Orchestra’s recording of the Strauss “Fruhlingstimmen” (“Voice of Spring”). It is an exhilarating composition, and superbly played and recorded for H.M.V. on disc EDII. On the reverse side is the celebrated “Weiner Blut” (“Vienna Blood”), in which is interpreted the gay temperament of that historically gay Austrian capital.

The Finest Pagliacci “Prologue.” Leoncavallo’s famous “Prologue” to “I. Pagliacci” has been sung and recorded so many times that it has become somewhat hackneyed. Yet it is an operatic piece de resistance, and a work of art. It has never been sung and recorded so well as by the brilliant New York Metropolitan Opera House baritone, Lawrence Tlbbett, whose H.M.V. record (D 8975 still stands as a classic. Without this superb disc one’s operatic collection can never be considered complete.

Schubert Opera. Schubert never wrote a light opera of the modern type. It was left for that clever New Zealander to take the gems of his musical output and fashion them into a most delightful musical comedy, which he called “Lilac Time.” The music of “Lilac Time” is really delicious. His Master’s Voice has recorded the gems of this melodious confection in a moderate-priced disc (C 1450 It was released some time ago, but a reminder of its charm is due to a most meritorious disc.

Orchestral Frivols. In the best artistic sense of the term, Glazounov’s “Scene de Ballet Marionettes” and “Persiflage” (Francis) may be described as orchestral frivols. They are dainty conceptions, worthy of delicate and piquant treatment. As played by H.M.V.’s New Light Symphony Orchestra, they are delightful morceaux, quite worthy of a plan in a catholic collection. (82754.)

The Best “Nutcracker.” Some will remember with pleasure the very flue recording of Tschaikowsky’s famous “Casse Noisette’” (“Nutcracker”) suite by the favourite Coldstream Guards Band. That was a long time ago, and that meritorious feat of band recording has now passed in to the limbo. There have been 'Several given, but the best the writer has ever heard is that recorded by his brilliant Philadelphia Symphony Orchestra on H.M.V. D 1214-1216. It created a standard of musical interpretation and recording which it would be difficult to challenge.

Bach per the Orchestra. The most brilliant orchestral adaptation of Bach in recent recording achievements is undoubtedly the Philadelphia Orchestra’s recording of that great master’s “Toccata and Fugue in B Minor.’” Less known, but as excellent in its way, is the same orchestra’s recording of the Bach “Prelude in E Flat Minor,” to which is coupled the composer’s Mass number, “I Call Upon Thee, Jesus” (H.M.V. D 1464). These numbers call for analytical study. They have tott the dramatic flamboyance of the massive “Toccata and Fugue,” but are nevertheless impressive conceptions, and are worthily recorded. Levitski.

Among the recording pianoforte virtuosi, Levitski is undoubtedly one of the most successful. He has the right recording sense. In that respect he is perhaps superior to Cortot, Rachmaninoff, and De Pachmann. He is characteristically represented in the H.M.V. disc, D 1489, in which he has recorded Rubinstein’s brilliant “Staccato Etude,” and the celebrated Lizst transcription of Paganini’s “Campanella.” This disc should certainly not be overlooked by collectors. A Schubert Concerto.

Concerto in A Minor, for ’cello and orchestra (Schubert). Gaspar Cassado, ’cello and the Halle Orchestra. Columbia LOX 3-5. Schubert originally wrote this work as a sonata for an instrument called the arpeggione—a cross between a guitar and a ’cello, which was invented in 1823, and died a natural death soon after, leaving this one child to posterity. Now Cassado, the brilliant pupil of Pablo Casals, has converted the work into a concerto for ’cello and orchestra. His adaption is most cleverly and sensitively carried out. Indeed, these are moments when the orchestra seems truly Schubert's own, so exquisitely do they absorb the music and render it forth. The first movement, though natural and healthy, has a phantom touch which sheds a soft light over it. The second, the slow movement, is an exquisite song 'to which the ’cello gives voice. The Finale is in rondo form, and shows the influence of Hungarian native music. It is more than a littl** touched by the composer’s ingenuousness—indeed, the happy innocence, even in its most serious passages, is never far from his concerto. Cassado’s playing throughout is delicate and refined, and the orchestral parts played by a small symphony orchestra under Sir Hamilton Harty, are given in as essentially delicate and refined manner. “La Tosca” Complete.

“Tosca” (Puccini). By Scacciati Granda, Molinari, etc., with the Milan Symphony Orchestra. Columbia 993043.

To their wonderful list of complete opera recordings Columbia have now added Puccini’s first great opera. “Tosca.” For the job, they have chosen a magnificent cast. Bianca Scacciati, the Tosca, is a superb actress in the Intense moments—and the gramophone far more than the stage presentation requires good actors —and makes one understand the madness that must descend on Tosca after she has killed Scarpia. Her eagerness, her womanly thoughtfulness, the ecstasy of her love in the passages before the final catastrophe, build up a mood that Is almost too much to bear Granda, as Cavaradossi, is a tenor of manly type. He 1 makes the part simple and strong and brave, without abating a jot of humour where necessary. Enrico Molinari takes one of the most difficult parts in the opera, Scarpia, head of the Police, and vet he makes his interpretation as illuminating as if he were speaking in English. All the smaller parts are well cast, and the Milan Symphony Orchestra, under Cav. Lorenzo Molajoll, provided the perfect background to the vocalists. A Magnificent Choir.

(1) Psalm 46; (2) Psalm 91. Sung by the choir of St Nicholas College. Chlslehurst Columbia DO2. One does not have to be religiousminded in order to appreciate the simple and splendid beauty of the Psalms of David, or of the traditional old tunes to which they have been set. If the point was in doubt, this record settles it. For a first record it shows a finish and confidence worthy of highest praise, and doubtless chief credit is due to Dr. Sydney Nicholson, the late organist of Westminster Abbey, who is continuing here his magnificent work for the betterment of the church music. Regimental Marches.

Regimental Marches. Played by the National Military Band, under Stanford Robinson. Columbia DOB-9. Here’s a brave, inspiriting brace of records with a direct appeal to youth and to the old soldier. On each side of two 12-inch discs there are four regimental marches, and most of the historic regiments of England are represented. Columbia have cleverly “zoned” the marches. Thus, Part 3 is devoted to Lancashire, and Part 4 to Yorkshire. The national Military Band rips out the marches with brilliant tone, crisp and clear in accent, and ample in volume. / A Favourite Tenor.

(1) “Danny Boy” (Londonderry Air); (2) “Ay, Ay, Ay” (Spanish Serenade). Sung by Trevor Watkins, tenor. Columbia DO6.-

Trevor Watkln, by now well-known to the gramophonist, sings with a pleasant feeling of being well within his powers, phrases nicely, and has an engagingly open tone. His voice has just a touch of that peculiar spiritual quality which seems inseparable from Welsh voices. It suits “Danny Boy” to perfection, and gives to the so-call-ed Spanish Serenade—it is really Brazilian—a caressing softness that is so often lacking from love-songs. Serving Up The Sentiment.

(1) “Will the Angels Play Their Harps for Me?”; (2) “Old Pal.” Sung by the Maestros Vocal Quintet Columbia DO7.

In many ways the Maestros Quintet is so outstandingly good that it seems a pity that they cannot find better songs to sing. However, experience shows that there is a big market for sentiment laid on with a trowel, and it could hardly be done more agreeably than here. The five voices blend to perfection. In the one about the angels, a harp obbligato gives a touch of what, for all we know, is realism. Flotsam and Jetsam Again.

(1) “Simon the Bootlegger”; (2) “Song of the Air.” Sung by Mr. Flotsam and Mr. Jetsam. Columbia DOIS.

This lively and original pair, who invariably write the words and music for the. wholesome and entertaining songs they sing, parade a pair of winners this month. “Simon the Bootlegger” is capital fun —a gentleman from U.S.A, who claims to be the son of Simon the Cellarer. “The Song of the Air” is a novel stunt that will amuse you hugely. A Genial Entertainer.

(1) “Rule Britannia” (a travesty); (2) “Our Dog.” By Norman Long. Columbia DOI7. “Rule Britannia” is the inspiration of one of Norman Long’s laughterraisers on the new Columbia list—a lightly sarcastic travesty on the statement that “Britons never will be slaves!” The reverse is an equally witty history in homely style of the family “Fido.” Part of Norman Long’s secret in rib-tickling is the fact that he always seems to be enjoying himself. Latest Popular Hits.

Columbia 05073—Florrie Forde’s Old Time Medley. Good old Florrie, one of London’s old-time favourites, still puts engaging vim into the old tunes that she was the first to popularise. The lads enjoy such evergreens as “Down by the Old Bull and Bush,” “Antonio,” “Has Anybody Here Seen Kelly?” and a dozen others. Columbia DO93.—“Sergeant Jock McPhee” and “Katie McKay.” Sandy MacFarlaine, most genial of Scots humorists, chuckles his way through these* tuney little items. Regal G 20735 —Art Leonard makes a real hit with the latest drinking success, “The Stein Song,” and is tenderly pathetic in “Just Can’t Be Bothered With Me.”

Columbia DO94—This is another Sandy MacFarlane disc. This tune he takes* up both sides with “Granny's Hielan’ Home,” and shows that his pawky Scots humour can be leavened with real pathos. Columbia DO50 —Miss Amy Johnston supplies a Souvenir record that everyone will be wanting in momery of her daring flight. The air heroine tells “The Story of My Flight,” and on the reverse the epic achievement is crystallised in song, “The Lone Girl Flyer.” Parlophone.

The Berlin State Opera House Orchestra’s sparkling record of the overture to Offenbach’s “La Belle Helene” (Parlophone), is worth while. Offenbach produced over three and a half operas a year over a. quarter of a century. Helene comes about mid-way in that gay stream. This is a dapper recording, true and tricksy, of some of the tunes that set the feet of the dandies tapping in the saucy ’sixties and 'seventies. The same orchestra in another fine Parlophone disc plays Ovorak’s “Slavonic Dances”. (Op. 46, Nos. 1 and 2). It is interesting to hear how Dvorak has his roots in the older dance music of Schubert's day, and infuses into the

style a fresh tincture, of more local tone. This is a most attractive record.

Michael Szekely (bass) sings “The Landgrave’s Speech” from “Taunhauser” (Wagner), and “Within This Hallowed Dwelling” from “The Magic Flute” (Mozart), in German, with orchestral accompaniment (Parlophone). Szekely is striding speaking a basso cantante. He has a powerful, resonant voice, and delivers the Landgrave’s address with becoming dignity Congratulations to the Victor Olof Salon Orchestra conducted by Victor Olof, which, starting as a sestet, has gone from strength to strength, and can now be claimed as one of the best small orchestras of its kind. Their playing of “A Lover in Damascus” (Parlophone) is delightful. An exceptionally good performance of “Sweetest Maid in the Moonlight” from “La Boheme,” is given us by Meta Seinemeyer and Tino Pattiera (Parlophone), while something of gossamer brightness and charm is Emmy Bettendorf’s singing of Schubert’s lovely “Tarrying Gently” (Parlophone), in which she is supported by an excellent chorus and orchestra.

Thomas Case (baritone) sings for Parlophone a song which might be placed on a level with Stanford’s sea songs: Masefield’s “To-morrow,” set by Frederick Keel, best known for his alterations (called "arrangements”) of old "ayres.” Case is undoubtedly good. His other song is “Good-night,” from Adrian Boss’s ‘The Cousin from Nowhere.” On R 524 are Dr. Aikin’s “Sigh no more, Ladled,” and Lord Henry Somerset’s “A Song of Sleep.” The orchestral accompaniments add to the effect.