Mimes and Music

Evening Post, Volume CXI, Issue 44, 21 February 1931, Page 21

Mimes and Music

cv"ORPHEUS"

Gil Dech, pianist -.veil known for his records, has been accompanying the songs by Gladys M-ncrieff in Kobart. Mr. Dcch was in New Zealand last year obtaining Maori records at Butcrua. Pirie Bush, of Wellington, is in the cast of Edgar Wallace's "On tho Spot" melodrama, being presented, at the Sydney Criterion. Frank Harvey heads the cast, which also includes John Fernside, Eowena Ronald (Mrs. Herbert Browne), Campbell Copelin, Frank Lcighton, and Tal Ordoll, the Ginger Mick of "The Sentimental Bloke" New Zealand season. Allan Wilkie'a season of Noel Coward's "Hay Fever" at the Melbourne King's was indefinitely postponed following fire at the theatre. Another bit of bad luck for tho plucky actor-manager.

Clara Butt and Kenuerly Rumford are coming to Australia under engagement to Messrs. J. and N. Tait. They aro now in Hong Kong. Miss Kiore King is producer for the Christchurch Repertory Theatre's presentation of Galsworthy's "Silver Box^' to be staged next month. Miss Mabel Gallichan was the, young wife in the Gisborne Amateurs' performances of the comedy "TheTTnfair Sex." Mr. A. Zachariah was the irascible old lawyer, Allan Muir the husband, and Wilfred Kohn the successful young author.

Lewis Shaw, Young Woodley of the stage play of that name throughout Now Zealand, is taking the part of the Boy, in the musical play, "The Toyinaker of Nuremberg" in London. He hasbeen winning praise for his natural acting as the boy in .the love story of the piece. j Carter the Great is reported to be undertaking another New Zealand tour commencing in Wellington about April. Ho is now in San Francisco organising the toun

Reginald Newson, who was with Maurice Moscovitch's . company, is Captain Stanhope, of the "Journey's End" tour/!that: commenced at Invercargill last week. Guy Hastings is "Uncle" Osborne. , Douglas Herald, who wa« last in New Zealand with the "Desert Song" company, is the-sinißter Carlo of the London revival of "Maid of the Mountains,'.' in which Annie Croft has made such a success. Her performance was excellent as Teresa. She reached an electrifying top note in her song "Love will Find a Way." Adelo Astaire, the lady member-of the famous Astaire brother-and-sister dance team, is rumoured to be engaged to Lord^ Charles Cavendish, the second son of the Duke arid Duchess of Devonshire. Lord Charles is 25, and a lieutenant in the Tank Corps. Adele is American, and very chic and sylphlike. J i

Lance Fairfax's. name is not in'the cast of "Song of the Drum," tha Drury Lane musical extravaganza in which he was to make hi^ London dobut. "Fra Diavolo" in the "Hamilton Times," asks: "Can the Bruce Carfax, the New Zealander whose work was highly praised in the London revival of "Maid of the Mountains," bo Lance Fairfax?"

James Liady, the singing star of "Student Prince" and "Vagabond King,?'has gone to-Hollywood under contract..; .has -appeared in one film, but-does not sing in it. ; ■..-*■•.. ; Bertha Riccardo is to have tho lead m the new J.C.W.' musical *comedy, The Love Bace," along with "Elsie ■Prmeo and Gus Bluett. Frank Freeman, who was in New Zealand with "Tillio of Bloomsbury," and later figured as Baldasare in "Maid of the Mountains" in : Australia, is in a musical play "Bluoßbses" in England Paderewski was mobbed, by admirers at the close of his recital in Milwaukee in the United States. He played for an additional forty minutes in response to the ovation, and received a magnificent basket of roses from a group of Polish war veterans. Paderewski had never played better, for all his. 71 yeavs. TivX oH°l 6" ■at , tha Melbourne -Livoli, has been replaced by "The llm p Girl "-based on Hollywood life! On 24th February Hugh M'lntosh is Flow?^ at t'lis, theatre "Passion PJowcr," a musical comedy written by Jack O'Hagan, Australian composer, Alan Stranks, and Harold Bridgeman Melbourne journalists. It is to be an an- Australian enterprise. "ThNo?elf h °f Nelson"-c ol«mbia . Columbia's list of successful novelty records is growing. Following the !fm, mpI£ I]lis3ues1 ]l is3ues of "The Trumpeter," V, l!kge Blaeksinith," and "To Meet the King," wo now have a dramatised, synchronised, and freshly vitalised version of Brahms's old song, "The Death of Nelson.": The various stanzas are sung by Francis Bussell, interpolated with warlike "noises off " and the voice of Stuart Hibberd, the ''narrator." Snatches of old tunes are hummed or sung by off-stage jack tars, and we presently hear Lord Nelson (Lewis Casson) and Captain Hardy (Robert Carr) making arrangements for running up the famous Flag signal .Nelson— most convincingly acted—dies in the cockpit of the Victory, and Hardy takes the last farewells home to Lady Hamilton (Sybil Thorndike). We leave the "miserable, miserable Emma," and are whisked to London, huzza-mg madly to the victorious pealing of clamouring bells. This last touch is most realistically managed— quite tho best "mob effect" yet heard troin a gramophone record. Yes. this disc can't help but be a best seller. (Columbia D0X82.) Latest "Zonophones." _ There is a wide variety of recordings m the- latest Zoonphone list, and several ot the most popular artists are well to the tore. Tho English contralto. Esther Coleman, adds to her list of successes Chammado's "Silver King" and the equally famous "Songs My Mother Taught Mo" (Dvorak). Her tono is always expressive- and nicely rounded (5663.) Two of Easthopo Martin's Fair" songs, "Fairings" and "Come to the Fair," arc sung spiritedly as duets by H. Thorpe (tenor) and F Bichardson (bass) (5678). The vocal gema from Wallace's evergreen opera, "Maritana," sung by the Zonophone Light Opera Company, should be widely welcomed. The gems include "Let Me Like a Soldier Fall," "Hear, Me-, Gentle Maritana," "There Is a Flower That Bloometh," and "Oh, Maritana," and the vocalists are first-rate. (A 377). A nicely-balanced church choir, with appropriate organ accompaniment, sings two well-known hymns, "Onward Christian Soldiers" (Sullivan), and "From Greenland's Icy • Mountains" (Allom) (5608). Crisp and clear is the playing by the Black Piamonds Band of two splendid band pieces, "Entry of the Gladiators," a spirited number, and "Distant Greetings," which gives scope for descriptive playing ,(5652). Tho International Novelty Quartet makes a great hit in ''Knocked 'Em in the Old Kent Koad" and "Lustigo Bruder" (Merry Fellows) (5667). All tho charm and irresistible rhythm of tho- "Blue Danube Waltz" (Strauss) is brought out by tho London Orchestra, which also plays another fascinating Strauss -waltz, "Wine, Women, and Song" (5567). Tho English organist, Archer Gibson, makes impressive solos of "The Perfect Day" and "Tho Old Refrain," which are artistically played (EF3S). Clarkson Kosc, tho London music hall comedian, is at his merriest

in "The Barmaid's Song" and "Our Clara's Clicked Again," two of his funniest numbers (5671). The comedians, "Amos 'N'Andy," havo plenty of scope in "Is Everybody in Your Family as Dum as You Is!" and enhance their reputation as clever entertainers (EE22O). Two duets by Billings and Bobeson, "By the Old Oak Tree" and "Moonlight on the Colorado," are recorded with excellent blend of voices (EE2I9). The light tenor, "Lewis James, sings the "hit" from the-'film, "Swing High"—"With .My "Guitar and You"—in inimitable- style, and another popular tenor takes the other side of the record with an appealing number entitled, "I Remember You From Somewhere" (EE2IB). Lovers of dance music will find pleasure in a foxtrot, "Lo Lo," from the film "The Sea Bat," played by Green Brothers' Marimba Orchestra, and "Forget You? Never" (fox-trot), played by the Marimba Centro-Americana (EE2I7). A Brilliant New Medley. The London Begal Cinema Orchestra, under the accomplished baton of Em,manuel Starkey, comes to light this month with one of the finest medleys yet fitted together. It is called "A Musical Jig-Saw"—a very apt title, for every tune fits in perfectly, and one tune leads on to another in a way that seems quito inevitable. Scan the following list of the thirty-one titles that make up the "jig-saw." Hymn tunes rub shoulders with Viennese waltzes, and Schumann's lovely "Traumcrei" glides into, a yodel. Part 1:' Martha; Crown Diamonds; William Tell; Bohemian Girl; Yankee Doodle; Turkish Patrol; Rhapsodic Hongroise; Turkish Patrol; Life on the Ocean Wave; Ben-dez-vous; Martha; Prelude (Bachmaninoff); Tannhauser; Oberon; Come Back to Erin; Wedding March;.,Rionzi; The Merry Peasant; Traumerei; Swiss Yodelling Song; Traviata. Part 2:' In a Persian Market; There You, Are, Then; Hungarian. March; Chanson Triste; Now the Day is Over; Blue Danube; Don't Be Cross; Who Killed Cock Eobinf; Tannhauser; Faust—Calf of Gold; Raymond Overture; ISI2 Overture. (Columbia DOX 85.) Romantic Inspiration. The piano works of Schumann have a charm of their own, and no one can deny that the poetry and romantic inspiration with which his early piano works are imbued, havo been equalled by his later compositions with the. exception of his songs. Ho it was who originated the style of piano cycles, consisting of a number of short piano works under one title. Of these so far only the. charming "Carnival" op.'9, and the "Kinderscenen" ("Scenes of Childhood") have been recorded, and now Alfred ■ Cortot, the celebrated French pianist, comes to the fore with a magnificent recording of the lovely "Etudes Symphoniques." Those who are riot acquainted with the work: heed not be afraid of the title, for the melodic cliarm and variety, as well as the exquisite refinement of the etudes, are as apparent as in the better-known "Carnivals" * The' work is based on a beautiful theme, sent to Schumann by his friend yon Fricken (in remembrance of whose daughter the composer wrote "Estrella" in the "Carnival"). The recording^ which is complete in six parts, should be of special interest-to students of music, because Cortot has included, in addition, five posthumous variations, rarely played and little known. The piano recording is of exceptional qual.ity. (H.M.V. D81325-2C-27.) A Vivid Recording of ' 'Raymond." Those/ who aro looking, out for a 'really good performance of '.'Ray-mond"'Overture-need look no longer. Here it is—champion of a whole pile of "Baymonds," and just off the press. This overture of Thomas's has always been a favourite with the public at large—its light Parisian tunefulness captivating all alike. The supplement calls this a "super-recording" of "Raymond," and the epithet is more than just. None should miss'this disc (Columbia DOX 84.) - Striking Tribute. A striking tribute to the recording of Eossiui's overture to the "Barber of Seville," by the New York Philharmonic Orchestra, under. Toscanini,,is paid by Compton Mackenzie in "Tho Gramophone." The noted critic writes: "A black H.M.V. disc which I am tempted to call the best orchestral record ever published crept modestly out in the middle of last month. This is a record of Arturo Toseanini, conducting the New York Philharmonic Orchestra in the overture of the 'Barber of Seville.' The combination of discipline with what may be called mesmerism that can compel a. largo audience to play such pcrfcet ereseendos in the recording studio belongs to Toseanini alone of living conductors. . . .

I do not know how many recordings we have of the 'Barker of Seville,' but after this one none of them will have for1 me any more life than an empty soup plate. Here is a standard by which we shall be able to judge any performance of this overture for years to come, and I wish that Bossini himself in his old green coat could hear this performance, which has all the precision of a perfect mechanism, and at the same time an abundance of authentic life. In these days when, if wo may believo the literary critics, works of genius are being spawned as fast as herrings, tho superlative is losing its meaning, and I shall not attempt to compete with their encomiastic orgies. I hope, however, that I have said enough to persuade readers to lose no time'in obtaining this record, and if they already possess records of the overture to the 'Barber of Sovillo,' so much the better. !They will appreciate this version all the. more. (H.M.V., D 1835.) The talents of Edith Lorand manifest themselves not only in the manner in which she 'leads her orchestra, but in her choice of new pieces. She explores realms of light music not usually trodden by other orchestral leaders, so that there will be many whoso hearts will respond with pleasure at this recording of tho "Waltz" from Paul Linckc's operetta "In Indi-a's Land." Bertc's arrangements of tunes from "Lilac Time" is exquisite. (Parlophone, 4245.) ■ A Parlophone record lias been made of the famous trio from "Faust" as well as a series of "Faust" excerpts in which Vill^clla, an idol of the Parisian Opera public, figures. On one side he sings in the opening scene in which Faust, the old man, soliloquises despairingly on the passing of his youth. On the reverse there is an excerpt from the "Sword Scene." Hero the centre of tho stage is taken by the baritone, Bouard, as Valentine, magnificent support being provided by the chorus and orchestra. (Parlophone, 4251;) Descriptive Music. ' Two descriptive works by Matt, "Dawn" and "Sunset," are brilliantly played by the London Palladium Orchestra, which has be,en singularly successful in this typo o£ music. Both numbers have plenty of melody," and.the orchestral tone is always rich and well disciplined. Here.and- there the phrases are particularly fascinating, and there is no dpubt that the composer has given vivid expression to his subjects. Works of this nature will go a long way to popularising orchestral music, and to anyone wishing to acquire a tfisto in tixis direction they aro. an ideal start. (H.M.V., 01898.)

Russian Valsc. ... Tho Belgian pianist, Arthur de Greet', plays "Valso in E Major" (Op. 34), by Moszkowski, ivith great-.verve, clourness of attack, and rhythmic strength.-: The piece is a flow of colourful tono, giving scope for, fanciful playing, and | while de Greef is always alive to tlio1 piano's keenness of-tone, ho does not abuse it. He uses the pedal dexterotisly in his production of light and shade, and everything, he; clocs is- sub: j ordiuMe to tho composer's wonderful representation of the viilse. It is a masterly performance, (H.M.V.,;E503.) Coster Studies.

The English character comedian, Vornon Watson, revives on a twelve-inch record five of Albert Chevalier's immor-1 tal coster songs, "The' Future Mrs. 'Awkins," " Knocked 'Em in the Old Kent Road," "Our Little Nipper," "A Fallen Star," and "My Old Dutch." These quaint mixtures-of humour and pathos which won widespread popularity years ago, are well worthy of ret I vival. They have a lifelike touch which is rare amongst' the vaudeville songs of the present day; and Vernon Wateon gives them their traditional interpretation. (H.M.V., C 1922.) Tito Schipa's Art. ■ Although ane might become enthusiastic over chamber m^gic works or symphonies, at times even the most exacting gramophone enthusiast will find pleasure in listening to.ltalian songs, particularly when they "are well done. His vocal technique is.always most satisfactory, and lie sings the light and sentimental music' with consummate To this category bolong two Neapolitan songs by Tosti,• "Mareehiare" and "Ideale," splendidly sung by Tito Schipa, the young Italian lyric, tenor, artistry. (H.M.A^., DAllli.) . - Casals- Records. Dining tho last 12 . mouths Pablo Casals has been, very activply represented on new releases. Fustly, we liavo his supeib playing in the D Minor Trio by Schumann (played with Cortot and Thibaud), in the Brahms Double Concerto in. A Minor (with Thibaud); secondly, as conductor of his Barcelona Symphony Orchestra in Beethoven's Fourth Symphony, and thirdly in several admirable solo records (His Master's Voico). Recently the famous 'cellist was hoard in the majestic Bachi "Aria," best knowtn in its violin arrangement as the "Air on G String," i and a beautiful Andante by Bach, ar-, ranged by Siloti; Another Bach work j played by Casals is the Adagio from, the G Major Toccata, coupled with the j melodious Intermezzo from Granados's, one-act opera, "Goyfescas/' "which was produced in New -York in 1910. (H.M.V.) , ■ Romantic Wagner. -

Wagnerjthan-is geiicrall^^M^^ini: his operas ;.ia';iiff&t^alet£!&?to '' TraunVeX^fpfe'airis )j. >v)ucli'::.:l|as'« b'eeji. beautif lilly^rcliestratea -by Thomasj^he orchestral! version' has beo'il'j.r-.rbcohled with rare'distiiietionZby the.. Chicago Symphony Orchestra .under -. its .famous conductor, Frijdericlc Stock,-who brings out the appeal of the music yery. artistically. ■; Tho .playing' thyouglfout is lich in tone iindiwell -Balanced..This ehara'c:teristic' is also./.displayefd in-' the.-.Cpjn-panion, piece, "'Russian. ■ and. Ludmiliai", Overture,.- by Glinka, wlib.s.laid, V-tlie foundations1 of, the great Vehool -'of Russian music. ■;This work is .'richly' coloured and strong in...rhythm,, 'and both features, arc brought-out:, by ..the orchestra. There is no doubt that this performance adds to the wonderful-store of recorded music. (H.M.V., D 1808.) De Groot Scores. . ; The main features of Saint : Saens' opera, "Samson and Delilah-;'" are embodied in a selection from tho work played by de Groot and his orchestra. Naturally, the renowned air, "Softly Awakes My Heart," is prominent, and the ballet, "Bacclianalc," is also effectively introduced. Do Groot's violin adds distinction to the passionate music. On the o.ther,,s.ide tb.ore is t\ selection from Charpcntier's f'Louise," which the composer has-called "the lyrical impression, of the' sensations I reap in our beautiful,. fairy-liko modern life.'' The lovely soprano air, ''Since tho Day," is fascinatingly played, and the' whole performance is very graceful. The standard of, recording is high. (H.M.V., C 1879.) - j