RECORDED MUSIC

Evening Star, Issue 21820, 8 September 1934, Page 6

RECORDED MUSIC

[By Euato.] the enthralling pianoforte transcript'ons by Liszt and others of passages irom Wagner’s operas have won a prominent place in the programmes of all the 1 anions pianists of the day, not only because oi their intrinsic value, but also because of their appeal to the public. Now we have a more ambitious transcription, a symphonic synthesis for orchestra of the music from Wagner’s opera, ‘ 'Tristan and Isolde,’ by Leopold Stokowski, the conductor of the worldfamous Philadelphia Symphony Orchestra, and it has been recorded by his orchestra under the baton of Stdkowski himself. Those who have heard Stokowski's transcriptions of compositions by Bach and Liszt will realise liis qualifications to undertake such a task, and those who hear the records of the synthesis will he astonished at the brilliance of the new composition. It is not a mere stringing together of selections from the opera, but a symphonic poem worthy of Wagner himself. In no more fitting manner could the epitome of the music of the opera be presented to the public through the medium of the orchestra. The principal themes introduced into this work are the Prelude, the meeting of Tristan and Isolde in the first act, the scene in. which Isolde awaits the coming of Tnstan, the ‘ Love Duet ’ in the second act, and the closing scene of the opera. Only in recent years has it become known, that Wagner’s great music drama, ‘ Tristan and Isolde,’ perhaps the greatest expression in all music of passionate love, was inspired by a woman, Mithilde Wosendonck, who came into Wagner’s life at a time when his musical genius had reached full maturity. By 1859 the opera was finished,

but, incredible though it anay appear, it was not until six years later that it achieved its first performance at Munich. In this work Wagner breaks completely' with tradition. From the first yearning notes of the Prelude right through to the matchless Liebestod at the end it is entirely his own creation. And what a. masterpiece he has given to the world. Concentrating with the intensity of genius'on the single theme of human passion, allowing no digression whatsoever from this one all-

powerful motive, lie lias nevertheless contrived to provide ns with three long acts in which the flame of inspiration never for a moment grows dim. How lie has achieved variety within his selfimposed limitations, with what inexhaustible strength and imagination ho rises to each successive crisis in the drama—these are questions that must be left for his music to answer, and well it is answered in the wonderful tone poem that Stokowski has given us. He has retained all the drama and all the beauty of Wagner’s music, and at the same time has given us a work that in itself is worthy of rank with the tone poems of all time. It is

a brilliant example of musicianship, and, as interpreted by the Philadelphia Orchestra, all its beauties are vividly presented. It is worthy of the magnificent themes which have formed the basis of its construction. * * * ♦ Liddle’s setting of the 84th Psalm, ‘ How Lovely Are Thy Dwellings,’ is sung witli moving sincerity by Richard Crooks, the American tenor. Crooks received his early musical training in a church choir, and those who_ have heard him in the recorded version of Stainer’s * Crucifixion ’ will appreciate

his ability as an interpreter of sacred music. His singing of this famous number is beautifully eloquent, revealing to the full the loveliness of both music and words. It is fortunate indeed that a singer of Crooks’s eminence occasionally turns to the old favourites and gives to them the full powers of his artistry. Jn this class of music there is no living tenor more qualified to give it expression. The

companion number is ‘ Nirvana ’ (Wea-* therley-Adams), and here again the tenor gives a distinctive and convincing rendering. This song was made popular by M'Corraack, and it is given a new lease of life by Crooks. ‘ Nirvana ’ is a ballad which conjures up visions of pleasant yesterdays, and it is a splendid thing that these memories are kept alive. In both songs there is an adequate orchestral accompaniment.

On several occasions the gramophone has played its-part in recording actual performances, and on each occasion it has acquitted itself with distinction. Recorded speeches by His Majesty the King and the Prince of Wales, aiid the speech of Mr Ramsay MacDonald at the opening of the Naval Conference are instances -where the gramophone has captured ihistoric scenes for all time. Then there is the famous record of Melba’s farewell performance at Covent Garden, and again the actual recordings of Chaliapin’s appearances in opera. The latest effort- of this nature has taken place in the Holburn Empire Theatre, London, during

an actual performance of,Grade Fields,and the result is three 12-inch records of amazing realism. The three records have captured the whole of a turn by the famous comedienne. The whole'of Grade’s act from the.moment before the rise of the curtain to the final ringing down is here, and for the first tiiue in the history of the gramophone the real homely atmosphere of the music hall has been caught. Gracia was at the top of her form and she had, as usual, a wildly enthusiastio audience. All the favourite songs front her repertoire were sung during the evening, and the frenzied applause of th© audience, their shouts for encores,)

Grade's retorts, her whistles, hep funny noises, combine to make these records a roaring success. These are truly magnificent records, both from flic technical and entertainment points of view.