MUSIC and RECORDS

Dominion, Volume 24, Issue 292, 5 September 1931, Page 20

MUSIC and RECORDS

Bv

C.J.M.

"The Coffee Cantata.” “The Coffee Cantata” (Bach), which will form part of the Orpheus Musical Society’s programme next Thursday, is being then performed for the first time in Wellington, and probably for the first time in New Zealand. The society specially ordered the music from England.

Tamilian ser. Wagner’s opera “Tannhauser," to be presented at the Town Hall by the Royal Wellington Choral Union shortly, has an Interesting theme. According to the narrative, Tannhauser is a German knight-minstrel of noble birth, the friend and guest of Hermann, Landgrave of Thuringia, who lives at his castle in the valley of Wartburg. The scene opens in the Horselburg, the en-: chanted abode of Venus, whither Tannhauser has been lured by the Goddess of Love. He is growing tired of the enchanting pleasures to be met with there. He sings to her and implores her to release him and let him return to earth. She endeavours to induce him to stay, but he is inexorable. She foretells disaster for him, but he tells her he will then appeal to heaven. Thunder is heard, the goddess disappears, and the scene rapidly changes to the Wartburg Valley. Tannhauser hears the chorus sung by a band of pilgrims passing down the valley, and is moved to invoke the forgiveness of heaven for his sins. His friend the Landgrave approaches and with difllculty persuades him to stay amongst them. He is reminded of his love for Elizabeth, the niece of the Landgrave, and this recollection induces him to stay. In the second act there is a tournament of bards in the Hall of Apollo at the Castle of Wartburg. Each in turn sings his lay before the Landgrave and his Court. Then Tannhauser rises and, carried away by the excitement, sings to the Horselburg as the only place where love can be learnt. All are horror-struck at his Impiety and would kill him, but Elizabeth intercedes and saves his life on condition that he joins the pilgrimage to Rome, there to seek absolution for his sins. In the third act Elizabeth is watching the return of the pilgrims. They come, but Tannhauser is not amongst them. In deep grief she ascends the hill to the Wartburg. Night sets in and Tannhauser appears, travelstained. He tells Wolfram, one of the Court of the Landgrave, how the Pope declared there could be no hope of pardon for his sin—sooner would the staff he held in his hand bear leaves and blossom —and how, therefore, he intends to return to the Goddess of Love again. Venus appears in a mist and claims him, but Wolfram points to the bier on which Elizabeth is being carried to her grave, descending the hill, and tells him an angel has fled to heaven to pray for* him. Venus disappears, exclaiming that he is saved. The day dawns, the funeral chant of Elizabeth approaches nearer, and Tannhauser, invoking Elizabeth’s blessing from heaven, sinks to the ground and dies, while pilgrims enter bearing the Pope’s staff, which has miraculously budded—the symbol of pardon fbr the repentant sinner. “Tannhauser” was first presented at Dresden on October 20, 1845. The first performance in, London was on May 6, 1876.. .' RECORDED MUSIC / His Master’s Voice. Lily Pons, a young French soprano who made her first appearance at the New York Metropolitan Opera House recently, was born at Cannes 26 years ago and made her operatic debut in 1927. While singing In Alsace last year she was heard by Maria Grey and Zenatello, who immediately secured for her a contract in New York, where she first appeared before the public in Donizetti’s “Lucia dl Lammermoor." Her first record is the coloratura soprano’s tour de force, "The Mad Scene" from this opera, and after the first few bars the listener must feel convinced that the voice of Mlle. Pons is most wonderful. (D1L504.) Peter Dawson has recorded Wood-forde-Finden’s beautiful and popular song cyclo “A Lover in Damascus,” ■ consisting of the following songs: “Far Across the Desert Sands," "Beloved, in Your Absence,” “If in the Great Bazaars," "Where the Abana Flows,” “Allah, Be With Us,” and “How Many a Lonely Caravan.” On the reverse side of the Second record is Tschalkowsky’s beautiful song "To the Forest." (C 2096 and C 2097.) The English comedian Will Kings brings a laugh with every line in two little talks, "Bertram on Candidates” and “Bertram on Hobbles.” Bertram is a man with plenty of thoughts; but he finds extreme difficulty In expressing himself. In the .first piece he finds himself chairman of an election meeting at which he''has to introduce the candidate, Captain Borax. Equally funny is Bertram’s discourse on hobbies. (83703.) Liszt’s • “Mefisto Waltz ‘ No; 1” is played with line frenzy by the London Symphony Orchestra under Albert Coates. Coates, who recently conducted the same orchestra in two scenes from Stravinsky’s “Fire Bird,” has a special flair for riotous music of this kind. All the forces of the orchestra combine in this whirlwind dance, and the result is a glorious outburst of tone. (D 1928. Couperin’s “Chanson Louis XIII; and Pavanne” make two delightful transcriptions for Fritz Kreisler in a recently recorded disc. The “Chanson” is of a pastoral character with a coda of supreme beauty. The “Pavane” Is a stately old dance of Italian origin and Kreisler gives it a courtly grace and charm. On the reverse side Kreisler plays another Couperin arrangement, “La Precieuse," a perfect gem. (DA1139). On two twelve-inch records, Niedzielski, Die Polisli pianist, gives us eight “Mazurkas” by Chopin, quite a worthy companion to the “Etudes” of Backliaus and the “Preludes” of Cortot. Niedzlelski shows a flue sense of rhythm. (C2OOB and 2009). Alfred Cortot, the famous French pianist, has recorded Cesar Franck’s Prelndo, Chorale, and Fugue. Franck’s lofty spiritual outlook and his dreamy mysticism are deeply reflected in this composition, which is built on a cyclic theme of four descending notes. The inspiring prelude, the transcendent clarity of the beautiful qhorale, and the masterly fugue are played with in- ' sight and great sympathy by France’s i leading pianist. The work Is recorded on two records. (D 81299-1300 The following is a selection from the

latest dance records issued by H.M.V.: “Darling” (“My Heart Longs to Greet You”) (fox-trot), .and “A Friend, A Good Friend” (six-eight one-step), played by Marek Weber’s Orchestra (85998) ; “Under the Roofs of Paris” (waltz), and "Wedding of the Garden Insects" (fox-trot), played by Jack Hylton’s Orchestra (EA9O3) ; “You’re Just a Lover” (fox-trot), and “Two Little, Blue Little Eyes” (foxtrot), played by Rudy Valee and his Connecticut Yankees (EA9OS) ; "Whistling In the Dark” (fox-trot), played by Rudy Vallee and his Connecticut Yankees, and “Bubbling Over With Love” (foxtrot), played by Andy Sannella’s All-Star Orchestra (EA9O4) ; “The Moochl" (foxtrot), played by Nat Shllkret’s Orchestra, and “Oh, How I Miss You” (foxtrot), played by Johnny Homp's Orchestra (EA898); “Running Between the Raindrops” (fox-trot), and "When I Take My Sugar to Tea” (fox-trot), played by Bert Lown’s Hotel Biltmore Orchestra (EA9OO). Columbia. In Beethoven's famous “Leonore Overture No. 3” Mengelberg and the Australian Qoncertgebouw Orchestra have achieved a fine recording of this, the best known of the four overtures which Beethoven wrote for his (Only opera, “Fidello.” The fourth side contains Beethoven’s Turkish March from “The Ruins of Athens’’—-a jolly, high-spirited little piece. Here is a recording wonderfully rich, and the different tone colours come out with absolute faithfulness. (LOX 127-128.) Among the favourite classic ballets

of the world Is Delibes’ “Sylvia," the music from which has Just been recorded on Columbia—Oscar Fried conducting the British Symphony Orchestra In the Central Hall, Westminster. The gems Include the universallyknown "Pizzlcati,” "Prelude,” "The Huntresses," “Intermezzo," “Valse Lente," and “Cortege." (LOX 121-122.) The Little Salon Orchestra has recorded "Cupid’s Parade" (a captivating little fantasy of the.popular type) and “The Dwarf’s Patrol," a bright tune featuring trumpets and xylophones. Three tone colours here. (DO 412). The jolly “Serenade" of Heykens, and Moya’s now ‘famous "Song of Songs," have been recorded by Albert Sandler and his Orchestra. The tender passion of “The Song of Songs," with its lovely slow melody has enabled Sandler to display his violin tone at its best. (DO 414). The Don Cossack Choir presents “Three Cossack Songs” and “The Volga Song”—(not to be confused with the “Song of the Volga Boatmen”). The three short "Cossack Songs” comprise “Blow, oh Blow,” “There’s a Cloud of Dust,” and “A Little Red Berry." “The Volga Song” reveals the effect of voices calling to one another in thp distance. (DOX 207). • “Les Cloches de Cornevllle,” Robert Planquette’s 54-year-old comic opera, has been selected for “vocal gems” by the Columbia Light Opera Company. This replaces the old recording, and opportunity has been taken to Insert several additional songs into the new version. (DOX 204). 7

An unusual feature is a series of records of Christian Science Hymns. These Include recordings by Mr. George Parker, and such has been the success of this singer's efforts that many adherents to that faith have pressed for further records. These Include (1) God is My Strong Salvation (Hymn No. 152 —Words, Montgomery ; Music, Storls-Coralbuch; Harmony, Mendelssohn) ; (2) The Heav’ns Declare the Glory (Hymn No. 237) (F. W. R. and J. Bnrnby). (Columbia DO 420). The Debroy Somers Band, well known on Columbia, has made a War Songs Medley entitled “Old Contemptibles,” on a 12-inch Regal (G 30058). This medley has been arranged by Debroy Somers, and the songs are sung by an excellent “Old Soldiers” chorus. It introduces such well-known, songs as “Form Platoon,” “Cock Robin,” “Because We’re Here," "Way Down Yonder in the Cornfield,” etc.

Parlophone. A pleasing baritone is Clem Williams, who gives us in an Australian I’arlophone recording “Say a Little Prayer for Mo” and “Lonesome Lover,” the origin of which two ditties may be guessed. (A 3138. Des Tooley, the Rhythm Girl, in an Australian Parlophone recording, presents “On a Little Balcony in Spain” aud “Nobody Cares if I’m Blue” in the characteristic style which has made this entertainer widely popular. (A 3139. The Strauss waltz, “Yon and You,” and Lehar’s alluring “Gipsy Love” waltz are finely recorded for Parlophone by the Dajos Bela Orchestra. (A 4080. “Oh, Donna Clara!” and “Ukulele Moon," the latest recordings by those two popular Hawaiian entertainers, Queenie and David Kaili, are excellent numbers of their class. (A 3140. The high lights from the first, act of Verdi’s wonderfully dramatic and picturesque opera “Aida” are given in an excellent recording for Parlophone, presenting tlie splendid ensembles, “Upon the Nile's Sacred Banks” and “Thanks

to all the Gods.” The artists are Meta Seinemeyer, Helen Jung, Max Hlrzei, Willy Bader, Ivar Andresen, and Robert Burg, with the chorus and orchestra of the Berlin State Opera House. A really fine record. (A 5014.

Another good operatic recording from Parlophone gives us that brilliant soprano Elizabeth Rethberg, In “Mlchaela’s Aria,” from “Carmen,” Act 111, and "One Fine Day,” the famous aria In Puccini’s “Madame Butterfly.” The star Is supported by the Berlin State Opera House Orchestra under Weissmann, and the result is a really excellent disc. (AR1041.) Brunswick.

“One Love," from “Earl Carroll Vanities," considered one of the best waits numbers since “Viennese Nights,” is played by Haring’s Orchestra (Brunswick 6039).’ The coupling number is “Two Hearts In Waltz Time” by the same orchestra. Ignace Hilsberg has made a delightful pianoforte record, “De Petit Ane Plane” (The Little White Donkey), Ibert and “Czardas,” McDowell, coupled with "Gavotte, In D," by Glazounow. (Brunswick 6103.) The Six Jumping Jacks offer two popular and attractive foxtrots of the present moment, "You’re Simply Delish,” from "Those Three French Girls" and “It’s a Great Life," from “The Playboy of Paris” (Brunswick 4948). Novelty discs are a feature of Panachord recording. Following on the success of "Eleven More Months and Ten More Days" we now have “Suckin’ Older," by Otto Grey and his Cowboys (Panachord 12127). Benny Goodman’s Orchestra Is featured In four foxtrots: “It Looks Lika Love” and “Little Joe” (Panachord 12149), “What Have We Got to do To-night but Dancet’ which is rapidly becoming popular, Is coupled with “I Wanna Be Around My Baby All the Time” (Panachord 12138).