STAGE AND MUSIC.

Manawatu Standard, Volume XLIX, Issue 102, 30 March 1929, Page 7

STAGE AND MUSIC.

STAGELAND. (By “Jack Point:”) “Tho Patsy,” a record-breaking comedy play in Australia, is tho next attraction for Palmerston North. Irene Homer, an American actress, who has been censured by critics across tho Tasman for 1 her extremely quiet speaking voico is the lead. “Young Woodley,” a play of school life, is a great success in Sydney. Most of the critics in tho New South Wales capital have crossed swords with the author. There have been numerous American plays with bedroom scenes and arrant suggestiveness that havo been approved of in .Sydney. There is again talk of a revival of Tho Merry Widow” in Australia, with James Liddy as Danilo. Gladys Moncrioff has been Sonia in tho revivals of recent years.

“The Widow” was produced in Palmerston North in 1925, but it was inadequately cast and mounted. There were many of tne interested younger theatregoers very disappointed with the play that had been talked of since its London premiere in 1907. Nellie Bramley is playing to packed houses at the Brisbane iboyal these days. /Tho death occurred recently of Arthur Middleton, whose magnificent baritone gathered big audiences on his tour of New Zealand in 1925. Local music lovers well remember him. Paul Althouse, the very sufficient American tenor, accompanied Mr Middleton. “The Vagabond King” company left Wellington on Friday ot last week after a highly successful season. Fine weather was experienced in the capital—a contrast with Christchurch—and there were many parties arranged for these popular players. The Melbourne season will commence either this evening or Easter Monday. A long run is anticipated. Either “The'New Moon, ’ which is now running at Drury Lane, London, “or “The Show Boat” will be the next production. Nat Madison and a specially organised company will shortly be seen in. Sydney in “No. 17,” a mystery play. Charming Annie Croft is saying farewell to Sydney theatregoers. London is calling. Phil Smith, one of the best comedians the Firm have had in two decades, is still playing in Australia. It i 3 sixteen years since he went to Australia to play in “The Count of Luexmburg.” He did not know then he had gone tio stay, but now ho calls, himself a naturalised Australian. He was with J. C. Williamson for nino of those sixteen rears—his last engagement was Tonio in ‘‘The Maid of the Mountains’”—and then commenced' taking out his own companies into the country. He went back to “The Firm” for a brief season to play Hardboiled Herman in “Bose Marie” in BrisThcre is a rumour that Bepple de Vrie3 is gioing to play “Madame in America, returning there from Holland to do so. ' , , Alfred Frith, who will havo tho leading comedy part to play in “The Five O'clock Girl,” will arrive in Sydnoy by tho Sierra on April 4. William Valentine —he comes trom Dunedin—and Helen i'atterson, who are also engaged for the-'COinedy of American origin, aro duo to arrive in Sydnoy today. Mr Valentino was in town a few years ago in “The Lilac Domino” and “The Firofly." . . _ i ■ Dorothy Brunton is playing at Daly s Theatre, London, in “The White Camellia. It is years since this delightful Australian was in Palmerston North —in “So Long Letty” and “To-Night’s the Night," with Connie Ediss, Maude Fane, Marie Eaton, Alfred Frith, Cecil Bradley, Field Fisher and Jack Cannot. A Birmingham paper states: Many Birmingham theatre-goers havo ben telilng me recently .that Byrl Walkley, this year’s panbomine boy at the Royal, is one of the best principal boys we have ever had, and have expressed themselves puzzled as to why she was not known here boforc. Tho reason is that she is an Australian, and her role in ‘Old King Cole’ is not only her first part in pantomine, but it is only her second part on the English stage.” Miss Walkley was last in Palmerston North in “Tip Toes” and “Queen High.”. Her best performance in Now Zealand wa3 that of Marietta, the Italian vampire, in “Lilac \ “The Patsy” is drawing crowded houses in Auckland. Wardo Morgan, who has come from the jaws of death to the prompt corner—he was in tho Murwillumbah train smash two years ago, when the “Katja” company were travelling to Brisbane—is tho stage manager, and the guide, philosopher and friend of the compact little company. “The Desert Song” will open this evening- in Sydney. Marie Bremner, a clever young Australian who has replaced Virginia Perry, an English actress, Herbert Browne, Lance Fairfax and Stephanie Deste will be welcomed. Mr Leon Heron, the well-known Melbourne black-and-white artist, and son of Mr H. L. Heron, general secretary of tho Commercial Bank in that city, was secretly married in London recently to Marjery Hieklin, tho musical comedy actress. Mr Heron first met Miss Hieklin in Melbourne in 1927. She was then appearing in a revival of “The Cousin from Nowhere,” and had taken over the leading role when the peerless Maude Fane broke with the Williamson firm. Local theatregoers will remember Miss Hieklin in the musical comedy “Primrose” in 1926. She proved to be one of several indifferent English 1 actresses who have been imported to play on the lighter stage in Australia and New ! Zealand.

Nellie Stewart will play a season in Adelaide —commencing in a day or two—of “Sweet Nell of Old Drury.” The cast will include Sydney Sirling as the King (a part identified with Arthur Greenaway, who was in town recently with “Tho Vagabond King.” J. B. Atholwood as Percival the Actor, Charles Lawrence as Lord Jeffries, and Mario Eaton as Lady Castlemnine. “Hit the Deck” is in its last weeks at Her Majesty’s, Sydney. Tho Noel Coward revue “This Year of Grace” will open to-night in Sydney. Maisie Gay, a celebrated London star, will .lead.

Harry Lauder will be in Palmerston North on April 7. It is another "farewell” tour, but Sir Harry will be genuinely welcomed. Of the delightful comedy “The Patsy nothing but praise has been written in the Australian papers. There are many delightful scenes in this charming comedy of home life in which Ireno Homer has scored so heavily. One of tho most intriguing scenes is that in which the versatile Patsy forms the Lonely Club with Tony (Brandon Peters) as the other member. This comedy is played by artists specially in this great stage success. Irene Homer appears as the irrepressible younger sister, Eileen Sparks as the elder, Sam Wren as the unfortunate lover, and A. S. Byron as the father. “The Patsy” is one of the outstanding successes of the period.

The theme of the play “Young Woodley” is the love of a college youth for a handsome young married woman; tho exposuro, and his escapo from expulsion by what he deems tho treachery of the woman; his subsequent expulsion for further misdeeds. Young Woodley’s departure from college is with the assuranco that she still hat, and always will have, a pure love for the youth. Young Woodley enters his father’s business with a better (and a cleaner) idea of tho life before him. The thrilling drama “The Wrecker ” which will come to New Zealand shortly, affords ample opportunity for several splendid character studios. One of tho most outstanding is that given by Frank Morrison of old Noah Twemblett, the onearmed engine-driver. Mr • Morrison has played many prominent roles in his successful stago career. When it is said that ho left Gilbert and Sullivan character roles at tho famous Savoy in London to play the title rolo in “His Excellency the Governor,” and later tho Admiral in “Tho French Maid,” aftewards taking up tho important work of stage manager at Drury Lane, it. will be recognised that ho is an actor of unusual ability.

MUSICAL TOPICS. NOTES AND COMMENTS BY “SEMIBREVE.” THE PIANIST. Jascha Spivakowsky, the Russian pianist, has opened hjs Australian tour in Sydney. After his first recital his critics praise him for his improved technique and his broadened musical understanding. For his playing of Max Reger’s “'Variations on a theme by Bach” the critics have nothing to say, for, seeing that it was played by Spivakowsky for tho first time in Australia, the standard of comparison failed to apply. But, judged by comparative standards, Spivakowsky’s playing of Chopin’s work was considered to be of a heavier 'style than is the custom, though his playing of Listz’s twelfth Rhapsody was all that it should be.

That interpretation depends largely on temperament is a well-known fact, but critics do not always admit it. A touring artist can and does givo recitals in the musical centres of Europe consisting of entire programmes of works by one composer, but when abroad he must cater for the public taste by giving as varied a programme as possible. It cannot be denied that each and every one of the great composers imposed tfieir own individuality and temperament on their own works, and when an artist elects to give a recital consisting solely of a certain composer’s works it is inevitable that he 6houid choose a composer with whom : temperamentally he is iu agreement. 1 How then can the artist be expected to assimilate all the individualism and temperaments of the large numbers of composers whoso works go to make up a varied programme? Vv e read tnat so and so L the world’s greatest exponent of Chopin’s works. Exactly—because that player’s temperament happens to coincide with the temperament of the composer, but would this same player give as great satisfaction to the admirers of Beethoven’s works ? ,

The temperaments of the two composers, Chopin and Beethoven, stand as ’ wide apart as the two poles. Chopin, of dreamy fanciful mood and of delicate physical constitution, stamps upon hie works tho indelible impress of his nature. Beethoven, ‘of tempestuous and stormy mood, but at times singularly amiable, also impresses his powerful individuality on his own works

Then Chopin, Bole though he was, ab-i sorbed into his very being tne delicacy and | charm of tho French -School with which! we are now so intimately acquainted j through tho works of tho modernists De- j bussy and Ravel. Beethoven, on the other i hand, was essentially and emphatically a I German, with all tho German ruggedness of character. Not that the German School lacks delicacy and charm; to deny that would be to deny music its greatest asset —poetic quality. COMPETITION MUSIC. Tho writer has boon asked to adviao on tho selection of own choice numbers for the pianoforte classes in the competitions. As own choice means that tho teacher is free to select music that suits the temperament of tho pupil, tho selection in the solo classes is comparatively easy. See tliat tho selection is of the grade to which the pupil belongs, and has no technical difficulties beyond the powers that have been developed by means of studies. For the imaginative students there is a wide selection of romantic music by tho best composers which need not be classical. For the less imaginative and more contemplative minds the classical formß are more suited, such as courantes, sarabandes, minuets and gavottes. When pianoforte duets are being considered, the problem is a much more difficult one. There is the matter of temperament to be considered first. Then comes the question of quality of touch for in this at least the students must be equal. If these two problems are settled satisfactorily, tho next question is that of the proper grade of music. At tho top are tho various overtures and symphonies arranged for four hands, some of them being very severe on the technical powers of the executants. Then come the works of the romantic order which can bo easily graded to suit the ages of the performers.- The performer Who has the greater sense of musicianship should be the conductor of the band, so to speak, who should be responsible for all nuances and speed. Strictly speaking, the player at the bass end should control the pedalling by reason of the fact that the foundation chords are tho more easily discernible from the bass. SCHUBERT’S UNFINISHED SYMPHONY. The Orchestral Society is rehearsing Schubert’s Unfinished Symphony with a view to its presentation at tho first concert of the season. This will in a way mark this town's belated recognition of the centenary of the death of Schubert which was on November 19th, 1928. Tho story of the Unfinished Symphony is an intriguing one, for in that story lies all the tragedy of the young composer’s life. Born in Vienna on January 31st, 1797, Franz Schubert, son of a schoolmaster, showed signs at a very early age of his wonderful powers in composing music. Quickly absorbing all that could be taught) him by the local organist, he at eloveil years of age became established at the Imperial convict or school for Imperial choristers, a, similar institution to tho Chapels Royal Choir School in England. There he, unfortunately for him, was allowed to devote nearly all his time to composing music. Unfortunately, because his lack of general education was later on the cause of many disappointments to him, and was indirectly the cause of his early death. ' Schubert composed music so rapidly that his one complaint was that he could not obtain sufficient music paper for his needs, quickly using up his own and his fellow choristers’ supplies. The members of the school orchestra, in which Schubert played the viola, took a delight in playing over his ’ compositions for him as soon as theywere written. Thus Schubert gained a power and mastery over orchestration which enabled him in after life to secure such remarkable orchestral effects. Even after he left there he never failed to bring his latest composition to be triod over at the -school. One instance is recorded of the playing over of his famous song, “The Erl King,” the originality of which completely astonished his friends. Schubert was then 17 yoars of age. Schubert’s life in his native town was one long struggle for recognition as a composer. So original were his conceptions and so much apart were they from the formalism generally accepted that he was dubbed an amateur by fellow musicians ini the town. Endeavouring to obtain lucrative posts to enable -him to live, ho found that his want of general education barred all those positions to him. Gradually he was reduced to selling the manuscripts of his songs for a few pence each to enable him to buy necessary food. The official recognition he had long sought after came to him in 1822, six years before his death, when, being elected an honorary member of the musical societies of Linz and Graz, he returned the compliment by composing and presenting to these institutions the B Minor Symphony, now known as “The Unfinished.” The allegro and the andante were theonly movements finished, and in them Schubert exhibits a style absolutely his own, untinged by any predecessor and full of a strangely direct appeal. It is certain that Schubert never heard it played, and it lay hidden at Graz for many years, being first produced at Vienna in 1865. Schubert’s death at the age of 31, an early death brought on by starvation, deprived the vnorld of a great poetic genius for Listz described him as the most poetical musician that ever was.

RECORDED MUSIC. “The Two Black Crows in Hades.”—“Tho Two Black Crows in Hades,” in two parts, by Moran and Mack. This record is a welcome change from the past three or four “Moran and Mack” records. It is in fact a groat “comeback” after a short period of rather stereotyped humour that w;ould not “have got across” but for the unique personalities of tho two Black Crows. As a record, it should bo as popular as their original disc, and in somo ways it is actually better —clearer enunciation and even better recording. Somo surprising effects aro obtained, and tho whole conception of the sketch is novel indeed. This is actually one of those humorous records that you can listen to again and again, and yet not get tired of the humour.

A Village Romeo and Juliet. —A A village Romeo and Juliet—“ The Walk to tho Paradise Garden” (Delius) ; in two parts. Sir Thomas 'Beecham and the Royal Philharmonic Orchestra. There is so little of tho marvellous music of Delius recorded that this number is assured of a welcome everywhere. And Bcocham and the “Royal Phil.” interpret this wonderful scene with a sym-. pathy that makes one almost feel tho tragedy of the two lovers iii their vain search for happiness. There is a restlessness about this symphonic passage that speaks of heartburnings, remembered happiness and present sorrows, culminating at times to an intensity of musical grief that is sheer orchestral magic. And yet tho thread of hopo running through the whole scene saves it from utter despondency. Beautiful in extreme —and wonderfully well recorded. Another Delightful Percy Grainger Record. —(1) “Wedding Day at Troldhaugen” (Greig); (2) (a) “To Spring” (Greig), (b) “One Moro Day My John” (Sailors’ Sea Chanty—arr. Grainger). This disc is even moro delightful than tho lilting “Sheep and Goat” record of Grainger. It will bo remembered that Grainger was chosen on sevoral occasions by Greig himself for performance of the latter’s piano works; and to this day, Grainger remains ono of tho world's greatest exponents of Greig, “Wedding Day at Troldhaugen” is a sparkling composition, and is played with an alternate delicacy and vigour that is utterly delightful. Greig’s “To Spring’’ (bracketed with an arrangemont of a well-known sea chanty) is likewise magnificently played. “Maritana.” —“Maritana Overture,” Parts 1 and 2 (Wallace). Played by the Columbia Symphony Orchestra. William Vincent Wallace led an eventful life. Ho wandered hither and thither over tho globe as his. inclination or as Fate willed. He even spent a brief sojourn in New Zealand in the early days—ran foul of hostile Maoris—was rescued by tho daughter of a chief, and subsequently departed in a whaler. On November 15th, 1845, having returned to London, ho produced “Maritana.” It was an instant success—and has over been. This recording of tho time-honoured overture imbues it with a new freshness. The old melodies aro more delightful than ever. Tho straightforward orchestration is as crisp as of yoro. / Forty-seven Ginger-Hended Sailors. — (1) “I just roll along having my ups and downs” (Fox-trot). (2) “Forty-sven Gin-ger-Headed Sailors” (Comedy Fox-trot), ltay Starita and ilia Ambassadors Band. On this disc Ray Starita provides his best two items for a long time —and that is saying a good deal. Both of these brilliant hits are from tho new second edition of “Clowns in Clover,” Ronald Jeans’s sparkling revue at the London' Adelphi. Ray Starita 'exists in such snappy tunes and both the novelty scoring and tho rythm make them singularly attractive. The vocal chorus in the “Ginger-Headed Sailors” is really great. ' Gladys Monerietf in Two Gems from “Rio Rita.” —(1) “Mexican Serenude.” (2) (a) “Sweetheart”; (b) “River Song” from "Rio Rita,” sung by Gladys Monorieff, soprano. it will be remembered that, on the eve of Gladys Moncrieff’s departure Horn Australia lor Europe, a petition was presented to her manager signed by thousands ot enthusiastic Australians bogging that she might remain, at least for a year or two, in Australia. She stayed, and subsequently starred in “Rio Rita.” But what greater tribute could be ottered to a musical oomedy singer—in her own country! The reason for her enormous popularity will be appreciated on hearing this disc pluyed over but once.

Sir George fiensehel. (1) “Das Wandern”; (2) "Der 'Leiehnauri'' (Schubert). Sung by Sir George Henscliel, buritone. Thcso two splendid songs "Wanderlust” and "The Hurdy Gurdy Mon” are assured of an exceptionally warm welcome. Not often heard now in public, Sir George Henschel’s records are eagerly looked for by thousands all over Europe who have had, in the past, opportunity of hearing him in person. No doubt there are many music lovers throughout tho Dominion who aro unaware of this famous baritone’s unusual interpretative qualities, and to these lolk especially these two numbers should be welcome. The treatment of each of the songs is original and vigorously real. The recording is exceptionally fine. Toscha Seidel re-plays Two Old Friends.— (1) “Humoresque” (Dvorak); (2) “Thais” —Meditation (Massenet). Violin Solos by Toscha Seidel. It is some considerable time since Toscha Seidel recorded and there is little doubt tliat this record will create a great deal of interest. The violinist’s languorous interpretation of the “Meditation” contrasts artistically with the spirited gracefulness of Dvorak's “Humoresque.” Both numbers give scope for Seidel’s magnificent versatility in technique and expression, and the recording displays with vivid faithfulness tho intonse richness of his expressive tone. The Damnation of Faust. —(1) “Rakoczy March”; (2) "Dance of the Sylphes” (Berlioz). Flayed by the Halle Orchestra under Sir Hamilton Harty. Sir Hamilton Harty i 3 probably one of the foremost students of Borloiz in the world to-day, and these two interpretations so widely different in spirit and tempo have accordingly an especial significance. The danco is delicately, and colourfully conducted, and the march is vigorously managed, and is as exciting as can be imagined. A Famous Choir. —(1) “The Radiant Morn Hath Passed Away!’ (Woodward); (2) “O Taste and See How Gracious the Lord is” (Goss). Sir Henry Coward conducting the Sheffield Choir. These two anthems, provided they are sung by a competent choir, offer little scope for criticism. Such scope as there is for good singing is used to the full by the Sheffield Choir. Diction is exceptionally clear, and the singing is fine, sonorous and powerful. It is probably a consequence of tho precision of the singing that such an effect of solidity is obtained in both pianos and fortes. The great choral conductor, Sir Henry Coward, has obviously taken great pains to make this a really notable recording. Louis Graveuro in two fine songs. —(1) “Tho Bandolero (Stuart); (2) “The Yeoman’s Wedding Song” (Poniatowski and Hayes). Sung by Louis Graveure, baritone. Louis Graveuro is listed as a baritone, but there is a real tenor timbre in his notes on the upper register, that is a pleasant contrast to the usilal forced tones of the average baritone. Both of these lusty airs are excellently sung—and artistically sung too. ( Paul Whiteman. (1) The Sidewalks of New York”—Waltz. (2) “Roses of Yester-day”—Fox-trot. Played by Paul Whiteman and his orchestra. Who does not know “tho Good old Summertime?” Well, here it is, jazzed up with musical frills and syncopated furbelows into a fascinating waltz number. Both items have splendid vocal refrains. Schubert’s Famous Trio.—“ Trio No. 1 in B flat (Schubert Op. 99). Played by Yelly d’Aranyi (Violin); Felix Salmond (’cello); Myra Hess (pianio); parts 1-8. In this rendering of Schubert’s lovely trio, are two new artists—Yelly d’Aranyi and Myra Hess. . Both combine with that master of tho ’cello, Felix Salmond, in producing possibly the most notable recording of melodious work to date.. From tho opening allegro moderate to the final allegro vivace, the work is handled in truo keeping with the spirit of Schubert’s writing.