Music and Musicians

New Zealand Times, Volume LII, Issue 12075, 28 February 1925, Page 11

Music and Musicians

Gramophones and Records

RECORDED MUBIC REVIEWS AND NOTES. Notable instances of the complete recording of great orchestral works for the gramophone include Cesar Franck's unique Symphony in D Minor; Tschaikowsky's “Pathetique" Symphony, both by the New Queen’s Hall Orchestra, Sir Henry Wood conducting; Beethoven's Symphonies Nos. 7 and 8, and Mozart’s 39th Symphony, by the London Symphony Orchestra, Mr Felix Weingartner conducting; Mozart’s violin Concerto in A Major, the violin being played by Mr Arthur Catterall, and the orchestra being conducted by Mr Hamilton Harty; Dvorak’s “New World" Symphony by the Halle Orchestra, conducted by Mr Hamilton Harty; and “The, Planets” of Gustav Holst, played by the London Symphony Orchestra, and conducted by the composer himself. Two important string quartets, played by the Lener String Quartet, are Beethoven’s work in C Minor, and that of Mozart in C Major. All these are to be found, or presently will be found, in the collections of people of musical taste and discernment. Moszkowski’s essentially rhythmic “Marsch der Zwerge,” or “March of the Dwarfs,” is not so profound a work as his Bolero in D Major, or his "Caprice Espagnol,” but it is likely to be equally popular. It is a most arresting piece, and admirably rendered by the Court Symphony Orchestra, ‘under that highly competent director, Mr Arthur Ketelbey—and the accent is on the second “e” in that conductor’s name. The way in which the march works up from pianissimo to a mighty crescendo, and then falls away to the faintest of strains at the end, is a charming feature of this little work. "Faery Song,” from Butland Boughton’s clever and l delicate work “The Immortal Hour,” is the latest recording of Mr Arthur Jordan, tenor, for Columbia. It is expressive of the emotions aroused by the music of trees, their stateliness, and graceful form. A lovely passage for the harp is incidental to the accompaniment to this song. Mr Jordan obviously understood the light and dainty fashion in which the “Faery Song” should be sung, and the significance of its charming musical setting. By way of contrast its companion song (reverse) is a rollicking song of the ocean, suggestive of the swaying and yawing of a ship in a fair weather swell. The song is appropriately named "The Sea Gipsy.” By the way “The Immortal Hour” was performed with such success in Sydney at the close of the Conservatorium's season that it was repeated several times, and this recalls "The Immortal Hour” Club of London, consisting of members who had seen the opera at least twenty times. Michael Zacharewitsch will bo remembered in New Zealand for his magnificent playing of tremendously big violin works. 'He is a player over whom -the fastidious Ernest Newman has grown enthusiastic, and his latest record for the Velvet Face fEdison Bell Recording Company (“Hymn to the Sun” of Rimsky-Korsakoff end the "Rondo’' t of arranged by Kreisler) Bhow his fine facility in good fashion. (12in d.s.) The two 12in records are provided by the London Wind Quartette. They comprise . the four movements of Thuille’s jisxtettev <a melodious and interesting work of especial appeal to the man who takes his gramophone seriously, a light and brilliant performance of a selection from "Carmen" by the London Light Orchestra (12in d.s.), and a masterly recording of Liszt’s magnificent “Twelfth Hungarian Rhapsody" by the famous pianist, Jean Melville. (10in d.s.) The March list of the His Master's Voice Company contains a wealth of song for the gramophone owner. Featured vocal'music ranges from Donizetti to Franz and Wagnef, faking in Purcell and Puccini by the way. One of the very best is by Clarence Whitehall, the famous American bass, who records two of the best known Wagner numbers, "Wahn, Wahn," Hans Sach’s famous monologue in "The Mastersingers," in Which he ponders on the madness of the world, and “Der Augen Cuchtendes Poor,” from “The Valkyrie," more familiarly known as “Noton’s Farewell.” Both are brilliantly sung, and are in German, the orchestra coming through particularly well. (12in d.s.) Then we have the song bird, GalliCurci, in two welcome numbers, Massenet’s "Oheissons quand Cur voix Appalls” (the famous "Manon” gavotte), and a "Sevillana,” an early work by the same composer, highly ornamented and extremely brilliant. As always GalliCurcl records in impeccable fashion, and she has seldom been heard in more moving and admiration compelling fashion. (lOin d.s.) The ever-popular John McCormack now comes to hand singing tho well-known “Marcheta" and another popular song, "Indiana Moon." In both his liquid voice and! finished singing of these pleasant trifles explain McCormack's immense sales. (lOin d.s.) Some music ofl the beaten track is given by the well-known Selma Kurz, whose fine soprano is heard in “Der Bogel im Walde” (Joubert), and “II Pensieroso” (Handel), arranged bv Hobert Franz. To | the latter song is added a cadenza, written by Saint-,Saens, while the admirable John Araadio plays a flute obligato to “Der Vogel im Walde.” The two songs so well sung constitute remarkable feats. (I2in d.s.) Purcell, since the celebrations which surrounded his name in England last year, and since the untiring efforts of the Purcell Society, have been attended by success, has received much more attention from gramophone companies. In “Hark, the Echoing Air" and “When I am Laid in Earth” (“Dido and Aeneas”). Miss Elsie Suddaby makes her gramophone debut., They are fine examples of the music of England's greatest composer, and show how well he understood tho combination of the voice and instruments. (loin d.s.)

New Zealand's own Rosina Buckraon has not recorded often for His Master's Voire, but in her newest disc she has atoned for her absence. "Duando ne'n vo’ soletta" (the waltz song), from her beloved Puccini's "La Boheme," is here, and also that curiously beautiful song "At the Well" by Richard Hazemunss, a young American, and which was a favourite of Miss Stella Power during her New Zealand visit, make an attractive bracket. (ICin d.s.) George Baker, of "Beggar's Opera" tame, always records well. He understands the needs of singing for the machine, and performs well Elgar's thrilling "Pipes of Pan," a long and stirring number, and an agreeable ballad by Eric Coates, "Pepita," are his latest offerings. (UKn d.s.) Borne modern ballads of fair average quality are provided by Sydney Coltharo and Edward Halland. Coltman's tenor voice is usefully employed in "Love's i Appeal" (Ivor Richards), and "A Garden in Brittany" (Gulliland), and Halland's .good bass ir. "Rage Thou Angry Storm" (Benedict) and "Fisherman of England" (Montagu Piillips). (!oin d.s.) The tie Rtske Male Quartette is to be heard in "Adoration" (Beethoven) arI ranged for male quartette by 11. Johnson, and "On Wings of Song" (Mendelssohn) ; similarly arranged by F, Van der Stuc- ‘ ken. They are interesting recordings. (lOin d.s )

• Most peonle know Schubert's "Unfin- , ished Symphony," or at least one of the j "Moments Musical." The "Rosamunde" ’overture, now recorded, is made by the • Wireless Orchestra, and doubly interesting for that reason. Jt reveals the kind of performance to which listeners-in at Home are treated. Sir I.ardon Ronald conducts, and the orchestra, a really fine -one, gne a worthy performance of ft [beautiful work. (12in d.6^

SHARPB AND FLATS.

MUSICAL EVENTS COMING STAKS. "I have been listening to a 'singer of songs' in . the person of William Heughan, the great Scotch Vocalist/' wrote a famous critic recently. "Wen may sing better, men may act belter; men may even thrill an audience more—I can hardly imagine it —but to find a singer who combines personality, charm, acting ability and voice to compare with Heughan would be as difficult as finding the needle in the well-known haystack/ When he talks his voice is.musical. It has gorgeous deep tones that take on the shades of a Gongbow. He sings without any apparent effort, and after delighting us with at least a score of songs his voice still seems a* full of freshness and tone as when he started. He naturally specialises in Scotch songs. He is a Scot with all the temperament. of . a Bruce and a Burns/a Gael and a. Jacobite. When he sings’ of a Bruce cr a Bonnie Prince Charlie his 'face, . iny lord, is as a book where men may lead' of the devotion of the patriot. He must love Burns. He gets all the tears and teasiigs; and the sighs and smiles, all the love and laughter out of the beloved Scotch bard." Signor Cesaroni has ' been asked by many lovers of music to give more frequent concerts in Wellington, and he has decided to introduce during 1925 chamber recitals of the great masters. Chamber concerts of vocal music are a new feature in New Zealand, although well established in older countries. Interpretation of the music of the old masters is too seldom available and too little valued These are those that laid the foundation on which others-have built, men scarcely appreciated in their life and too little remembered in death. On hearing certain of the works foT the first time the listener is often. not greatly impressed. As he hears it again he, perhaps, finds himself in an atmosphere in which he appreciates their beauty ard their genius, and the effect upon him is wonderfully impressive and educative. It will, be Signor Cesaroni's aim 7 to present the masterpieces in such fashion that these shall be for his hearers, things endowed with the life and fire that their authors .gave .them. Four recitals will be given, and it is hoped that the presentation of the best works of the classic composers will receive such appreciation as is.acoPrded it in o-lder lands. The classics from which selections will be given are Beethoven. Moaart, Wagner, Meyerbeer, Handel. Joncierres, Faur*e, David, Scarlatti, Monte, and Righini.

WHAT THE WORLD THINKS. Speaking of sleep, do you know the story of the man who went to sleep at a ?£? c , and was awakened by the usher? ■7« u snorinp," said the usher; "stop It! Do I disturb the artists?" asked the man. "No," said the usher; "but you re snoring so loud you're waking up the rest of the audiencelgraz Friedman. The pavilion is entirely devoted to highbrow" concerts, and the slightest attempt to introduce "popular" music leads to agonised protests in the local press from "Lover of Music," "Father of Bight," etc. For people who don't care for the cinema and are bored by "highbrow" music there is really little to do when the evenings begin to draw in.— Seaside visitor. A good deal of modern music is really bunkum; the fact that it does not explain itself, and must be explained by means of theories of some sort, identifies it as bunkum.—J. H. Clynes.

BiC ARTIBTB A MUSICAL WHO'S WHO. dLUCK, ALMA, Soprano. (Pronounced Glook). This delightful young artist was horn in Bucharest. Roumama, but was taken to America at the age of six and received all her musical education there. She made her first appearance as Sophie in "Werther," at the New Theatre, New York, and awoke next morning to find herself famous. Since that time shq has appeared in various operas with much success, among them "Boheme," "Pique Dame," "Orfeo," "Bartered Bride," "Rheingold," "Faust,' etc. 9he had several successful seasons at the Metropolitan Opera House. New York. Her first apoearance in England in the summer of 1913 sent the critics into lavish descriotions of her art, and she was compared with Melba and Patti. Her audiences at the Albert Hall and the Queens Hall were entranced by the beauty of her singing, and these appearances were, indeed, among the leading musical events of the time. HEIFETZ, JASCHA, Violinist. (Pronounced Hight-fetz, Yah-sha.) To few it is given, while 6till on the threshold of life, to achieve the success which comes ordinarily—if it comes at all—only after maturity and experience. Vet that is what Jascha Heifetz has occomplished. He began playing the violin at three, completed the course at the Royal Music School at Vilna, at the age of seven, and, after study with Professor Leopold Auer in Petrograd, was a mature artist at the age of ten. His tour through Russia was a triumph; the keenest critics of Europe had nothing but praise for him. And now after terrible experiences in escaping from Russia to the "United States, by way of'Siberia, during the war, he has conquered America. Just turned twenty, he ranks with the greatest violinists of the day. His technique is flawless; the intonation is perfect, the quality, of tone superb and entirely individual, phenomenal mastery over bow and violin having. been vouchsafed him in childhood by a beneficent Nature for once bent upon creating a perfect model. Oyer ana above all that the ageless insight of genius makes his interpretations so full of poetic charm and true artistic beauty. In May, 1929, Heifetz made his English debut at the Queen's Hall, London. Needless to say he emerged triumphant, critics and public alike being unanimous in acclaiming him as one of the greatest violinists of our day;