Music from the Disc

Evening Post, Volume CXIII, Issue 60, 12 March 1927, Page 24

Music from the Disc

Among the solo instrumentalists in roeent issues is Hoifotz, who lilays very beautifully Dobussy's waltz "La Plus quo Lonto," "Minuots Nos. 1 and 2" (Bach's "Sonata No. 6"), and "Tho Littlo Windmill" (Coperin). Thoro is rich, Bonsuoua quality in tho Dobunsy item, and somewhat extremely musicianly and ''unvirtuoso like" in tho unaccompanied Bach. Heifetz is coming to New Zealand sonio timo this year. To few it is given, while still on tho threshold of life, to achiovo the success which cornea ordinarily—if it comoa at all—only after maturity and oxperiouco. Yot that it what Jacha Hoifotz has accomplished. Ho began playing tho violin at throe, completed tho courso at tho Royal Music School in Vilua, at tho ago of sovijn, and, aftor study with Professor Leopold Aver in Potrogrady was a inaturo artist at tho ago of ten. His tour through Bussia was a triumph; tho koonost critics of Europo had nothing but praiso for him. After torriblo experiences in escaping from Eussia to the TJnitod States, by way of Siboria, during tho war, ho conquered America. Ho ranks with tho groatest violinists of tho day. His tochniquo is flawleas; tho intonation is porfoct, tho quality of tono superb and ontiroly individual, phouomoiuil mastery ovor bow and violin having boon vouchsafed him in childhood by a bonoficiont Nature for onco bent upon creating a porfoct model. lnow of Beothovon's later works show so clearly and unmistakably the radical ehango of stylo that camo ovor his work in tho penultimate stages of his wonderful careor as tho 9th of his Symphones—tho 9th and last; unless ono includod tho acoro and parts of a 10th Symphony, written ;n 1820, and found at Jona as recontly as 1910. It is in his Oth, or "Choral Symphony," and prodocossing symphonic works, that ono has tho Boothoven whoso distinctive 19th contury lines of musiu dovolopment adhered largely to typical forms of tho 18th century. Tho musical art of thoso phonomonally prolific musical orus, as demonstrated by Boothovon, is shown horo in this Symphony just rocordod on eight 12in discs. This is not only a stupendous work but a groat and difficult task for any recording company to tackle, for it must bo romemborod that practically any largo work may bocomo out of dato within a few months of its appearanco by virtuo of Home successor that will probably have no or fowcr defects. Tho now recording method does not always givo perfect rosulta, and no claims of that naturo are seriously mado in +,his case, but in so far as all previous recording oi' this Boothovon mastorpioco, or oxcorpts from it, are eoncorned, tho prosont issuo is undoubtedly a groat advanco and n splendid toelinical triumph. It shows, as a musical creation, Beothovon's glorious freedom of form, his intimitablo greatness of conception, and a solf-rovolation that puts this work, with his five groat piano Sonatas and tho Solomuis Mass, in tho vory front rank of all musical attainments. Ilia individuality is horo carriod to a true climax—and ono marvels to realise that in 1822 tho English Philharmonic Society offered tho composer tho fantastic sum of £00 for this work, or, to bo oxact, for a MS. Symphony from which this masterpioco rosultod. Folix AVoingartnor, conducting tho London" Symphony Orchestra, is horo a groat oxponcnt, and in cortain soctions he rises to supreme heights, although in others ho permits his orchestra to rather overshadow tho effects of a wonderfully good chorus put up by Miriam Licotte, Muriol Brunskill, Hubort Eisdoll, and Harold Williams and auxiliary chorus. It is altogothor a wondorful addition to classic gramophonic music, and tho producers dosorvo tho gratitude of ovory serious student.

Tho excellent Bales enjoyed by tho gramophono records of tho Westminster Abboy Special Choir havo sot it on its foot and will onablo it to havo a perfectly froo choico with its music in future. Tho immodiato outcome of this Mr. Sydney Nicholson, tho organist of tho Abboy, tolls mo, is that the special choir is now rehearsing Groll's Mass, this has novor been hoard in England beforo, although tho composer a German, was born at tho beginning of last century. Its intricacy is romarkable, seeing that it contains no fewer than 1G parts, compared with tlio uuual four, and it will not bo heard by tho public until tho summer.

No moro finished or artistic orchestral work is put into records than Hint ol Percy Pitt's 8.8.C. Wireless Symphony Orchestra. This eombinnUou covoi-h ti tremendous iimouiit of more popular compositions, excerpts from famous oporus boing spocitilly favoured Becontly this orchestra has given splondid versions of Balfo's "Bohemian Girl," Puccini's "Witch's Danco," Olazounov'B "Concert Waltz in A," the entrancing "Lo Cog Dor" music, and so on, and now their "Curmon" appears—vividly full of colour ami niovoment, with string tono and solo interpolations both outstanding. Other people's tastes aro always interesting—what is moat to one is poison to another. A correspondent writes: A.s dozens of other people havo mllictod their beastly views upon me, I, in my turn, will say my littlo say about records which I liko best, dlaviug written which, I find myself at a loss, bocauao I cannot think whoro to begin. My list would not bo long, and it would extend from tho socallod highest to the lowost forms of art. For instance, as ono has to begin somowhore, what a lovely littlo thing was Molvillo Gideon's song, "Whoiu tho Sun Goes Down," sung by himsolfl Then I havo Gnlli-Curci, with a plimitive, oxquisito wail, in tho "Hindoo Song"; and tho samo lady singing something from "Linda di Chamounix." Tho "Marcho Militairo," latoly issuod, is a splondid thing. "In a Monastery Gardon," on tho organ— that goos on my special pile. 'J'horo is a record of "Shining Moon," played by a Balalaika Orcliostra, which is wonderful. -I remember a fox- trot somo yoars ago called "Saw-Mill Bivor Boad," which was doligiitful, and a cortain record of tho "Bluo Donubo" —that was beautiful.

When at tho pinnnclo of his fame and genius Moudolssohu wroto two piano trios among a mass oi' chambor music that ilid much to placo him with tho immortals. Ono of thorn—Trio in 0 Minor—has now boon recorded iv its entirely for tho first time. Whilo tho lamous Cattorall, Squiro, and Murdoch Tvoro rosponsiblo on that occasion llio playing of tho complete work gives Albert Summons, Lionel -Tortis, and William Murdoch opportunity for their debut as a combination. Each has of course, played with brilliant success aa p, soloist for other discs, and it is only to bo expectod that, combined, their work is of tho highest order. Summons, indood, is happier when playing m association than as a soloist, and his work on tho violin hero is as fascinating as it ia capable. It is tho piano, however, that takes chief honours, for tho now system gives it a reproductive fidelity superior to that obtained under tho oldov method. The strings are not ostentatiously moro successful than in pro-olectrio recording days, but this does not moan there is any real fault to find with their reproduction.' Tho viola may bo a little weak in parts, but in tho spirited linalo it is dimply magnificent. Of thoso four twolvo-ineh records, tho Allegro pnorgico occupies)

tho iirst threo sides completely. In tho first part of this section tho main themo and loading subjects aro givon out, tho following movemonts being a recapitulation in ono form or another of these. Tho boautiful Andante Expressiva takes two sides, Molto Allegro Presto ono side, and a superb Finale tho other two. Tho music is not profound nor ovor-complicatod, but most melodious and graceful and well balanced, and this is a good_ chamber work for a beginnor to enjoy. It abounds in tho contropuutal dovetailing that Mendelssohn so strongly mastered and loved, nu it givos cloar expression to all that was bright and buoyant and oncrgotic in his temperament. Abovo all, tho actual reproduction is wonderful, tono as near to tho instruments thomselvos as is mechanically poesiblo, and volumo all but amazing, No doubt ono's gramophono has a deal to do with tho succoss of disc music, but after all it is tho discs that hold tho music, and those four havo captured ovory subtle nuauco and ovory spirited concorted passage

"Tho Future of Music" was tho subject of a recent address by Dr. G. Dyson, Director of Music, Wiuckcstor College, to tho Music Mastors' Association, in London. Dr. Dyson said, amongst othor things, that tho offcets of tho gramophone and wireless on music would bo in somo respects profound. Tho complete satisfaction dcrivod from hearing music at first hand would still bo missing; but, on the othor hand, that vogue which was given to so many bad pieces by tho personal attraction or magnetism of tho performer, and tho glamour of tho concort hall, would become a thing of tho past. Thcro would bo milions and millions of listbnors to music, and, in consoquenco, millions and millions of musical compositions produced, and the question was: Would there bo a reaction to calssical music? Ho thought thoro would bo, for tho reason that classical music alono was aesthetically satisfying. But in order to ensuro that, music masters, who influenced musical opinion so groatly, could not bo too sovero in tho standard of tho music they submitted to tlioso they taught.

A tonor for whom many English and Continental critics entertain tho Inchest respect is Hipolito Lazaro, half a dozon samples of his singing bointt on Columbia discs. Among them is his ..tjaF'"''"l °'" from Moyorbeor's U Afncano," with a tono suporbly nch, and tho high flats of amazing power and quality. With it, on the rovorso is his wonderful singing of tho difficult area "A to, o Oara," from Bellini's I Puntana," which is hardly l OHa out-

Tho tuneful Mozart opora, "Don Giovanin provides an appropriate ntmosphoro ?or Madamo Evolyn Scotnoy, who presents in tho March list tho numbors Ungrateful for Such Love" and "Ah bay Not So" (sung in Itnlian). Tho two anas aro respectively sung,.in tho opora, by Donna Elvira (Don Giovainu'B much dosorted wifo) and Donna Anna, a maiden whoso father Don Giovanni had accidentally killed (c.f Man and Suporinan) in a dual. Elvira complains of her cruol desertion in a lovoly little aria of dolicato plaintiveness. Donna Anna's foolings are of stonier stuff, however, and in tho groat 'Non an dir" aria slio tolls her somowliat colourloss lover, Don Ottavio, that sho will have no talk of love until her father's death is rovenged. It is a dramatic air, and it is interesting to noto tho manner in which Mozart has so successfully struck a compromise botwoon tho conventional coloraturo of tho day and his own dramatic ideals. Both arias aro finoly sung by Evelyn Scotnoy, who proves in singing them that sho has not only a lino voico but an oxcollont conception of tho suro and ilolicato balancod stylo bo nocessary i'or tho rendering of Moznrtiau airs.

Mark Hambourg is a lino exponent of Hungarian Bhapsodic music, to judge from his recording of tho second of Liszt's famous sot. Tho piece is tho most popular of all Liszt's Hungarian Bhapsodios. It is porhaps tho most representative of tho Bhapsodies, and tho Hungarian melodies Liszt has introduced mako it a most exhilarating affair: it "goes," iv fact, with inimitable vorvo and fire. Tho playing was recorded in tho Queen's Hall, London. Tho disc iv in tho "plum" class, and wonderful vnluo for tho nionev.

In Glinka's "Persian Song," ami Chopin's "Waltz in G Plat, Op. 70, No. V' Zimbaliat, tho distinguished violiuinl;, inalcos a vory welcome renppearanc.o on tho Marcli list aftor a considerable absence. 110 is ono of tho famous group of pupils of Professor Leopold Auor, a group which, to-dny, noarly monopolises tho list'of great violin virtuosi. Zimbalist possesses every attribulu wo should oxpect in nn Aver pupil, rich sensuous tono and phenomenal agility, in addition to tho purely personal gift of unusual intorprotntivo intelligence. His triumphant progross through Europo aftor his debut in Petrograd just boforo the war is possibly remombored by muny, though ho has for sorno years past resided in America. Both the pieces ho has played for this rocord aro docidodly piquant, particularly porhaps bocauso it is leas familiar, tho Persian Song of Glinka. Olinftn, one of thn founders of tho Russian School of Mublc, was (liko most of his follow countrymen) always strongly attracted by tho music of tho East, anil it is possiblo that this is au authentic Porsian melody. Its languorous chro matieism and its curious cadences are docidodly attractive As a contract, the moro sophisticated brillianco of Chopin's G Flat waltz is vory offoetivo. Tho recording sorves tho brilliant play ing oxcollontly, differentiating clearly betwoon tho string and harmonic tones. Uurloigh's "Jean" and Toresa Del Kiogo's "Thank God for a Gardon" confirm our first favourable impression of tho vocal art of John Turner. His recent record of "For Yon Alono" and "Miiire, My Girl," mot with groat approval, an:l thoro is no doubt that this furthor record of two pleasing ballads will moot with an oqually warm welcome. John Turner's siuging is characterised by cloar diction and a pleasantly easy production, which will bo roadily appreciated by all music-lovers.

Ono orchestral suito which nover wanes in popularity is Tschaikovrsky's "Casso Noisette." Tho well-known. "Nut-cracker" is really fairy music of tho daintiest and most appealing type, to find its parallel you must go to tho "Midsummer Night's Droara" music as Mondolssohn wroto it, or to Weber's "Obcron" with its haunting echoes of tho land of fay. The Aeolian Orchestra has played tho "Casso Noisotto" very creditably, and numbers nro to bo had on both 10-inch and 12-inch records. Tho "Miniaturo Ovcrturo" and "Arabian Dance" aro bracketed together, as also aro tho "Chinese Danco" and the "Danco of the Sugar-Plum Fairy." Thero is also an oxcollcnt rccdrd of tho "Valoo dcs Flours" mado by tho Regent Symphony Orchestra, and on tho same disc is to bo found "La Belle au Bois Dormant" ("Tho Sleeping Princoas"), also by Tschaikowsky, and ono of tho most attractivo waltz numbers over -written. Percy Fletcher is tho conductor in thoso recordings. Dora Labetto has mado an exquisito record in her sweetness and graco in Arno's "Lass with tho Delieato Air." Ono of tho most successful of platform singers, Miss Labottc has a charm which she contrivos to get on to tho disc in a manner surprising in ono whoso appeal, like this old song's, is of an essentially dolieato nature. This record in ono of tho best of its kind, and no connoisseur can afford to miss it. Tho brackot is completed by Liza Lehmanu's "Oh, Tell Mo Nightingalo," which is very successfully sung. Tho band of tho Lifo Guards continues to niako oxcollent recordings of soloctions from tho Sullivan operas. Theso pot-pourri of tho Guards nre outstanding in their balanco and splondid choice. Not tho most finicky of Sullivan enthusiasts (and the present roviower might bo ranked as ono) could complain on tho score of omission or over-elaboration. On tho other hand, tho solcctions never present tho apponranco of a mere scurry through tho scoro of tho opera chosen. To gain an acquaint.nieo with somo of tho bost music of our nation, and, better still, to revive happy memories of pnst days spent in stall and circle listening to theso same molodies in tho mouths of famous singers, thoso Lifo Guards' selections are singularly well choson. Practically all tho operas are now on tho disc, and no gramophone owner need go hungry away. Ono of tho most striking vocal records evor issued comes to hand this week. It is Vladimir Rosing's singing of tho grim "Fiold Marshal Death," from Moussorgsky's "Songs and Dancos of Pcath," which, for its extraordinary effects and fine singing, dofies description. With it is linkod "No Pagliaccio, lion son," tho famous doclamation in "I Pagliacci," which is

given in unusual and virile fashion, but without the fatal exaggeration of delivery which oftou spoils it. Both songs havo orchestral accompaniments.