MUSIC and RECORDS

Dominion, Volume 24, Issue 62, 6 December 1930, Page 20

MUSIC and RECORDS

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C.J.M.

RECORDED MUSIC The Columbia History of Music by Ear and Eye. To call this new Columbia enterprise epoch-making is to state a simple fact. There have been and there are many musical history books —both large and small —but they have all suffered from a very obvious drawback. Whereas a History of Literature can quote any number of poetical or prose examples, and a History of Painting can reproduce pictures of any period or style, a Musical History can only reproduce music in its printed form. And music does not truly live until it is performed. In this Columbia History we can hear the music that we read about. In one album (Volume I of an extended series) is a book by Percy A. Scholes, giving names, facts, dates, and everything of interest concerning the representative great works of music (in Volume I, up to the year 1600) ; and in the same album are eight four-shilling records supplying the representative great works themselves. The great works of this early stage of musical history are, of course, brief —none running to more than one side of a disc. The greatest authorities In each department of music have collaborated in the making of the records. In this first volume Sir Richard Terry and his choir give us the original church music from which the modern musical art has derived. Rudolph Dolmetsch and his children play the Elizabethan instrumental music on the very early Tudor days—the virginals, the lute, and the variously sized viols. Dolmetsch is a musician living in the English lake country, and has devoted his many years to the study and performance of almost forgotten instrumental music. His large family also are all engaged in this romnatic recreation of the music of the middle ages. The St. George’s Singers, under the direction of Rev. Dr. E. H. Fellowes, give us beautifully sung examples from the Elizabethan madrigal writers. One could write columns in critical praise of this recording achievement, but space will permit only of the mere listing of each record. Here they are:— (1) “Veni Sancte Spiritus”—Plainsong with Organum; (2) “Mira Lege”—Plainsong with Descant; Terry and Choir (Columbia 5710). (3) “Christe Redemptor” and “Conditor Alme Siderum” (Dufay); (4) “Nunc Dimlttis” (Palestrina) ; Terry and Choir (Columbia 5711). (5) “Sanctus” from Palestrina’s “Missa Papae Marcelli”; Terry and Choir; (6) “The Earl of Salisbury”— Pavane and Galliard for Virginals: Rudolph Dolmetsch (Columbia 5712). (7) “The King’s Hunt” (John Bull); (2) His Toye, His Dreame, His Rest (Giles Farnaby)—Virginals Solos by Rudolph Dolmetsch (Columbia 5713).

(9) Divisions on a Ground —for Viol de Gamba and Lute (Norcombe) —Rudolph and Arnold Dolmetsch; (10) Fantasia for a Chast of Six Viols (Weelkes) —Dolmetsch family (Columbia 5714). (11) “Awake, Sweet Love” (Dowland) —Cecile Dolmetsch, soprano, with Viol and Lute accompaniment; (12 “Summer is i-cummen in ” (John of Fornsete). St. George’s Singers (Columbia 5715). (13) “Rest, Sweet Nymphs” (Pilkington) ; (14) “Sing We and Chant It” (Morley)—St. George’s Singers (Columbia 5716). (15) “As Vesta was Descending (Weelkes) ; (16) “The Silver Swan” (Gibbons) and “Fair Phyllis—St. George’s Singers (Cplumbia 5717).

The Autumn of Glazounov’s “Seasons.”

(1) “The Seasons” —Ballet Suite (Glazounov, Op. 67) ; Part 7—Bacchanal ; Part B—Petit8 —Petit Adagio; Part 9—Finale, Les Bacchantes; played by Glazounov and Orchestra.

(2) “The Corsair” —Ballet Suite (Delibes)—“Dance of the Flowers”; played by the Lucerne Kursaal Orchestra (Columbia LOX3S-36). The previous three “Seasons” from Glazounov’s piquant ballet have already been released. “Autumn” Is a grape-laden piece of • music, at times quite hectic in its gaiety and in the middle section reminiscent of the mellow atmosphere of Keats. The playing is superbly crisp and colourful, and the charming waltz on the odd side makes a pleasant make-weight. Brilliant New Records of the Elgar Violin Concerto.

Concerto In B Minor for Violin and Orchestra (Sir Edward Elgar, Op. 61). Played by Albert Sammons and the New Queen’s Hall Orchestra under Sir Henry Wood. (Columbia LOX4I-LOX 46.) • Here’s another one of these “Ops.” The man who can’t be bothered with Ops. can skip this paragraph. If he does, of course, and misses hearing these wonderful records, it will be a pity, but nobody’s fault but his own. Of the half-dozen really great violin Concertos in existence, this work is the only one that compares in beauty of form and depth of content with those of Beethoven and Brahms. This is glorious music marvellously played; a work that one could hear daily and never tire of hearing. Those who approach this work for the first time might with advantage in spite of the concerto’s somewhat cyclic form) listen to the second movement first of all. There is hardly anything more lovely In the whole range of violin music. Sammons plays as he always does —superbly; and as Elgar himself agrees, no one can play it better.

Song and Dance Hits from “Follow’ Through.”

The various popular fox-trot songs that serve to pepper this successful musical comedy are in full force on Columbia discs this month. The Piccadilly Players with a vocal chorus make merry to the bracketed tunes of “Sou wouldn’t fool me, would you?” and “I want to be bad” (Columbia 01831). Two fine comediennes combine on Columbia 01832—Ruth Etting sings “Button up your Overcoat” and Annette Hanshaw sings “You wouldn’t fool me” —both with novelty accompaniment. Layton and Johnstone on Columbia 01833 give “Button Up your Overcoat” and “My Lucky Star." Screen Songs from “In Gay Madrid.” (1) Sanitago (fox-trot); (2) Into My Heart (fox-trot) ; played by Paul Specht and his Orchestra on Columbia D 0155. This famous American dance band comes well up to scratch in both of these Items —bids fair indeed to the claim hat this is so far the best recording of the two catchiest tunes from “In Gay Madrid.” “””ie Rogue Song.”

Ben Kelvin and his Orchestra make much of the "Rogue Song”—principal melody in the talkie of the same name. On the reverse they play the still popular "When I’m looking at you” (Columbia D 047). This latter song is also well sung by Oscar Grogan on Columbia D 0143. Paired with k k “U I Jwd a gill like you.”

Elizabeth Schumann Again. Elizabeth Schumann (soprano) and the Vienna State Opera Orchestra, in “Die helligen drei Konlge aus Morgenland” (The Three Holy Kings from an Eastern Land), (in German), R. Strauss.

Elizabeth Schumann (soprano) and members of the Vienna State Opera Orchestra In “Josua”—O hatt’ich Jubal's Harf’ (O Had I Jubal’s Lyre), (in German), Handel. The exquisite Handel aria (“O had I Jubal’s Lyre”) is too well known to need comment. “Die Heiligen drel Konige aus Morgenland” is one of Strauss’s few essays in music on a sacred subject. We do not associate him with such subjects, and, turning to the book of correspondence between Strauss and von Hofmannthal, we find tiie following significant passage: "The chaste Joseph himself is hardly in my line, and I find it difiicult to write music for a character that bores me; a God-fearing Joseph like this I find infernally -hard to tackle. However, perhaps I may yet find lurking in some queer ancestral corner of my nature some pious melody that will do for our good Joseph.”—H.M.V., D 1632.

Thrilling Choruses. Chorus and Orchestra of the State Opera, Berlin (conducted by Dr. Leo Blech), in “Der Freischutz” —huntsmen’s chorus, and “Die Fliegende Hollander”—sailors’ chorus. H.M.V., E 557.

Three things will strike the listener at the first hearing of this record. First, the fullness and naturalness of the tone; second, the magnificent singing of the Berlin State. Opera chorus; and, third, the delightful melodies of these operatic choruses. They are melodies that haunt you for weeks. Make a point of hearing this superb record.

A Waltz Paraphase. De Groot, David Bor and Reginald Kilbey, in “Paraphrase of Strauss Waltzes.” H.M.V., 83457. There are signs on every hand that a great waltz revival is on the way. The success of the Covent Garden presentation of “Die Fledermaus” was proof of the might of the Viennese “Waltz King”—Johann Strauss. Although most of them are on the shady side of 60, his melodies have a freshness and a charm that are quite irresistible. In this “Paraphrase of Strauss Waltzes,” De Groot employs, two of the most famous —“Blue Danube” and “Die Fledermaus” Waltzes —and with his able collaborators gives a very brilliant display.

Dazzling Pianism. Raie da Costa, “Die Fledermaus”— waltz paraphrase (H.M.V., B 3500). Raie da Costa’s great reputation has been built up on her dazzling playing of up-to-date dance music. Now she turns to dance music which first came into vogue 60 or so years ago, but which, we may add, is as popular now as it was when it was composed. This record will, we feel, be the most successful she has made.

On the Banjo. Emile Grimshaw’s Banjo Quartet, in snatches of song—medley of popular favourites, introducing: “The Wearing of the Green,” “Marguerite,” “Deep River,” “O Star of Eve,” “The Mocking Bird,” "Sally in Our Alley,” “Georgia,” “Yankee Doodle,” “The Dear Little Shamrock,” “Aloha Oe,” “There’s a Tavern in the Town,” “Massa’s in the Cold, Cold Ground." Also, the “Darktown Dandies.” H.M.V., 83423. It would be difficult to find 12 betterknown tunes than those that Emile Grimshaw has collected for his snatches of song. His talented quartet play both this and the attractive “Darktown Dandies,” with which it is paired, wittf all the fullness of tone that made their, first record so popular.

Grand Opera Gems. ..Renato Zanelll (tenor) and members of La Scala Orchestra, Milan, In “Andrea Chenier” (in Italian), Giordano; Imprivviso—Un di all’ azzurro spazlo (Gazing One Day into the Boundless Blue) (Act I). Si fui Soldato (I was a Soldier Once), (Act III). Renato Zanelll is considered to be one of the finest operatic artists before the public to-day, his voice and style being reminiscent of the great Tamagno. His magnificent voice and vivid interpretation of these two excerpts from “Andrea Chenier” have been splendidly recorded. (H.M.V. D 81330.) Schipa Songs. Tito Schlpo (tenor), Marechiare (Canto Napolitano) (Tost!); Ideale (My Ideal), (Tosti). No one could deny the charm of “Marechiare”—a Neapolitan serenade, or “Ideale”—an Italian love song. It Is because they are so difficult to sing that they are neglected. Only a singer with the voice and technique of a Schipa can do justice to them. (H.M.V. D.A. 1114.)

A Rich Contralto. Marquerita Carlton (contralto), In 88345 “A Request” (Woodforde-Fln-den),' and “My Prayer” (Squire). Marguerlta Carlton has the richness of tone and sympathetic style that the singing of ballads demands, and In these good and popular songs she is at her best. (H.M.V. 83458.) Splendid Bach Mass.

“Mass in B Minor” (Bach), complete recording, with Elisabeth Schumann (soprano), Margaret Balfour (contralto), Walter Widdop (tenor), Friedrich Schorr (baritone), Philharmonic Choir, accompanied by the London Symphony Orchestra (conducted by Albert Coates)

There Is no record of the "Mass in B Minor” being performed in its entirety during the composer’s lifetime, and it was nearly a century after his death before it was published. It was first given complete in England in St. James Hall, Regent Street, on April 26, 1876, under the direction of Otto Goldschmidt, the soprano soloist being Jenny Lind. The choir specially organised for this performance became that body now known as the Bach Choir. The whole structure of the work displays a wonderful grandeur and majesty of conception only possible to a genius of Bach’s calibre, while the beauty and magnificence of the music has seldom been equalled. The entire composition bas been wonderfully recorded by the above remarkable combination of artists, under the able baton of Albert Coates, who gives a splendid interpretation of the Mass. (H.M.V. Cl7lO- - Mendelssohn's Favourites.

Berlin State Opera Orchestra in "A Midsummer Night’s Dream” —Overture, and Wedding March (Mendelssohn). (H.M.V. ClBB3-84.) Grace and delicacy, mischief and fun —fiery lightness—Puckish devilry—truly was it said of Mendelssohn’s Overture to “A Midsummer Night’s Dream" that “Shakespeare himself has not more magic at command to transport us from the noise of cities and the chill of windswept streets.” The music is instinct with the clear cool freshness of green field* tb# ©sail® Whm

a summer night—and it was written by a boy of seventeen. Ilainbourg at the Piano. Mark Hambourg (pianoforte), in Hungarian Rhapsody No. 12 (Liszt). H.M.V., CIS9I. The playing of Liszt’s Hungarian Rhapsodies demands not only a perfect technique and a highly-developed rhythmic sense, but something of the “grand manner.” Liszt, himself a superb pianist, conceived his works in the impressive style, and it is good to hear how well Mark Hambourg plays the twelfth, one of the best known of the rhapsodies. Mischa Elmau.

Mischa Elman (violinist), in “Serenade in G Major” (Arensky) and “Minuet in G, No. 2” (Beethoven). Here are two of the little pieces which great violinists keep for the end of their programmes —they are trifles which bear constant repetition. Many times have we heard both Kreisler and Elman play the Beethoven Minuet just before the hall lights were turned ou| as a signal to a very enthusiastic audience that there would be no more encores. H.M.V., DA1094. World’s Greatest ’Cellist.

Pablo Casals (’cellist), in “Andante” (Bach, arr. Siloti) and “Aria” (Bach).

No mere words can describe the loveliness of this record. It is one of those very rare gems which by the magic of its true, deep beauty, silences all criticism and leaves the listener —however prosaical-minded he may be—with a sense of having had a brief but illuminating insight into a world of unearthly beauty. The perfect musicality of Casals’ phrasing—the richness and mellowness of his tone —are lavished on melodies which are worthy of his great'art. (H.M.V., D 81404.) Listen to the Yodeller.

Jimmie Rodgers (yodeller), in “Hobo Bill’s Last Ride” and “That’s Why I’m Blue.” Jimmie’s latest record will prove even a greater winner than his previous releases. (Zonophone EE213.) Negro Minstrelsy.

Utica Institute Jubilee Singers, in “Lord I Have Done” and “Mighty Day” (negro spirituals). This fine combination supplies the right atmosphere for negro spirituals. (Zonophone EE214.) “Something Different.”

Zonophone Salon Orchestra, in “Londonderry Air” and “Serenata” (Toselli).

There’s that "something different” about this Salon Orchestra which puts it in the front rank. (Zonophone 5596.) On the Mandolin.

Bernardo de Pace (mandolin solo), in "Silver Bells” (de Pace), and "The Bridal Rose” overture (Lavalle).

Two delightfully light and fanciful pieces. (Zonophone, 5261.) Celeste Solos.

John Firman (celeste solos), in “My Old Kentucky Home” and “The Old Folks at Home.” This is .another novelty number you’ll like. ‘(Zonophone, 5584.) Accordion Intrigues.

J. Ficrs (accordion solos), In “Temptation Rag” and “Jealous” fox-trot. Here is another accordion recording that will set you swaying. (Zonophone 5516.)

Christmas Dance Music. Arcadians Dance Orchestra, In Savoy Christmas Medley, one-step, Including, “The Mistletoe Bough,” “The Seven Joys,” “Jacob’s Ladder,” “Drinking,” “Uncle Tom Cobley,” “I Saw Three Ships.” Savoy Christmas Medley, fox-trot, Including “Landlord, Fill the Flowing Bowl,” “Little Brown Jug,” “God Rest You Merry Gentlemen,” “Good King Wenceslas,” “Joyfully Carol,” “Christmas Bells,” “The Viear of Bray,” “The Moon Shines Bright,” “Here We Come a Wassailing,” “The First Nowel,” “Auld Lang Syne.” There’s volume, melody, rhythm, and everything of the best in this rocord. (Zonophone, 5460.)

Parlophone. Hugh Holmes, described as the “Megaphone Man,” presents via Parlophone, two entertaining items, “They Cut Down the Old Pine Tree” and “I’m in Love with Mary” (A 3075 Another good seasonable disc Is the Paulin Lescant Orchestra’s “The Dancing Sailor” and “Listening to the Violin”—the former a foxtrot and the latter a waltz, each a winner (A 3074 Character songs, being few and far between, are very welcome. Listen to Reg. Grant, in Parlophone, in “Two Lovely Black Eyes” and “Knocked ’em in the Old Kent Road,” ditties which had a wonderful furore in the old vaudeville days (A 3067 Appropriate to the coming festive season is Frank Westfield’s orchestra in “Christmas Melodies by the Fireside,” a good disc (Parlophone A 3070). Sea shanties are a good bet In record buying, especially when coming from Albert Greeve and the Westminster Glee Singers. In Parlophone A 3072, we have “Shenandoah,” “The Sailor Likes His Bottle,” and ‘’The Drummer and the Cork,” typical sea shanties that should Inspire convivial gatherings to burst Into song (A 3072 Ernest McKinlay (tenor) sings with appreciative charm “If I Had a Girl Like You” and “Dancing with Tears in My Eyes” (A 3062