Music and Musicians

New Zealand Times, Volume LII, Issue 12151, 30 May 1925, Page 14

Music and Musicians

Gramophones and Records

MUSICAL EVENTS May 80 th—Choral Union in “The Creation." June nth and 11th —Fi'.z Kreisler. July 2nd and 4th—Amelita Galli-Curcl. Elsa Stralia. The generally accepted tradition that youthful prodigies rarely if ever fulfil : the promise of their childhood when they reaoh maturity, has little baisis in fapt. Because a great ado is made every few years over the failure of a prodigy, the public is inclined to forget that nearly all the greatest musicians 'showed, from their earliest years, distinct and remarkable talent. When Kreisler was a prodigy at the age of fourteen, he had the usual success which is the lot of en attractive boy with a great talent, but the wise (heads all maintained that he was being "burnt out" and would amount to nothing. Twelve years later, it was quickly discovered, however, that the wonderful boy had become a very great artist, and to-day ranks as the greatest violinist of our time. Kreisler is one of the few violinists who, under any conditions and circumstances, can fill the largest halls ef Eondon. Paris, Petrograd, and Vienna. Ills hold on the musical public of America and Europe is unique. He attracts not merely the general publio, but the 'connoisseur, for while' he has all the brilliancy that the genei'al publio demands, underlying his art is the soundest and solidest musicianship. To Kreisler is due entirely the splendid enlargement of the repertoire of modern violinists. For years violinists had been going along content to play the hackpeyed works of modern violin literature, forgetting or ignoring the wonderful literature that Italy gave to the world through the seventeenth and eighteenth centuries. This early Italian music, which is as beautifully written for the ' iolin as the best Italian composers have written for the voices, Kreisler sought out and revived. As a result, his programmes cover a broader field than those of any artists now before the public. A Puccini Commemoration was held at the Teatro Costanzi of Home on January lfith. His first opera, "Le Villi" and last, "Gianni Schicohi," were on the bill. The King and Queen, with other members of the Royal family acre present. During the first intermission the Standing audience observed a minute of reverent silence. A portrait of tbe composer crowned with laurel was shown on the curtain. Similar recognitions were observed in all leading opera houses of Italy. "Covent Garden Opera Museum" js to be opened early this year in the historic theatre of that name in London. Portraits of conductors, singers, and compose rs._ with manuscripts and various souvenirs of performances and important events which- have transpired in the house, are to be placed in the corridors and foyer, while one room is to he fitted up as a library. This is to be open and free to the public at ail timesRECORDED MUSIC REVIEWS AND NOTES. Saint-SaOns'g "Le Cygne" is an integral part of "The Carnival of the Animals,l' and what a well-known musical critic ijiap described as "a mystery suite.” It was not published or performed until after ita composer’s death, and when it Vas given to the world it provoked much unifavourable comment among the musically erudite, who saw in it much undignified trifling. * What if Saint-Saens was "pulling the leg"yof the musical pundits of his day in this remarkable work, surely the musician is entitled to have his little ioke? But, humorous as the carnival undoubtedly is, the satire in it is fairly plain, and of its tunefulness there is no question. Beoords of this ' entertaining suite have been made from a performance by the Colombia Symphony Orchestra, conducted by Mr Hamilton Harty. The descriptive movements are in the following order: Royal March of the Lions,” “Cocks and Hens," "Wild Asses," “The Elephant/' "Fish in the Aquarium," "Long-eared Personages," "Cuckoo in the Glade," "Flying Birds," "Fossils,” "The Swan?’ and a grand “Finale." There is mudh humourous material employed in so fSr as the instruments of the orchestra crtn fulfil requirements, and fragments will be recognised from Oftenbach's "Orphan aux Bnfers,” the old French ditty, "Au Clair de la Lune," Mendelssohn's "Midrammef i Night's Dream," and SaintSaens’s oWn "Danse Macabre." The fantasy is on three double-sided recordli, but single ones may be obtained if thl# whole set is not desired. “The Carnival of tbe Animals" should he in every jecord library. j Maurice Jlaval has written nothing more' touching than his “Pavane pour une Infante Defunte" (or a Stately Danoe for a Dead little girl—child). Pavanes are old Spanish dances, sung as well as Played. In this example the subject is a pathetic melody, - easy flowing, t beginning with a pizzicato accompaniment, ■which is varied on each recurrence of; the original theme. It is reoothen by the new Queen's Hall Orchestra, London, and oonducted by Frank Bridge. A record of special interest to musicians is Bach's "Concerto in D minor" for pianoforte and orchestra. It is now on the way to New Zealand. The pianoforte was played in this instance by Miss Harriet Cohen, and the orchestra was conducted by Sir Henry Wood. The performance covers both sides of three discs. HIS MASTER’S VOICE. ♦ ir < ?P-l <mi ). double ‘* ided 1 2-inch discs the H.M.V. Company has recorded Schumanns only complete pianoforte con«erto. Cortot and the Royal Albert Hah Orchestra do the playing. Dr Spitta writes of it fn Grove’s "Dictionary of Music and Musicians""lt is one ox his most beautiful and mature work*. In addition to all hie' peculiar originality it has also the qualities, which no concerto should lack, of external brilliancy and striking, powerful, well-rounded Subjects." The piece is too well-established a favourite in the concert hall to need further introduction, so we proceed at once to a brief consideration of the musio itself. The first movement opens with a forcible, rhythmic phrase on the piano, which is followed at onoe by the tune of the principal subject on the oboe. This tune dominates the movement, the composer employing it also as a second sub-

Jeot. only. changing it from the minor to the major key, transferring it to the clarionet, and adding a short phrase at the end culminating in an npwurd leap. Otherwise the music follows regular lines, the first side (on the gramophono) containing the exposition, the second the development the third the recapitulation, and the fourth, the cadenza and coda. The little intermezzo that takes the place of a slow movement occupies only one side. It consists of two ideas, the first a dialogue between piano anu orchestra, the second a more sustained melody, while in the allegro vivace here as pulsating rhythm, a swift and perfect utterance which We find rarely in works of this kind, rather apt to be showy and easily effective. There is beauty, witn not too much technical brilliance, strength, too, and the nice balance of the sold instrument and orchestra. Pianoforte concertos are necessarily difficult works to record, for the solo instrument must be placed nearer the machine than the orchestra and the result is that the piano oftentimes gains an advantage where in the concert hall it would Be quite inaudible. Hut in this work the -H.M.V. Company seems to have advanced on its previous big efforts—the “10mperor," Grieg's concerto and Saint-Saens’ "Second Concerto" Beauty is piled on beauty. Here is ■William Primrose, a young and able violinist, playing the Bach Sonata in A, No. 2, which covers' two double-sided 12inch discs. In 1717 Bach left Weimar and assumed the position of Kapellmeister at the court of the young Price Leopold of Anhalt-Cothen. The change has more than; a biographical interest for us hitherto the course of the' composer's life and the appointments held by him had ied him to concern himself mostly with church and organ music; now all this was altered and he had to adapt himself to provide what was required of a court musician. ‘ It is, consequently, Jo this Cothen period that we owe most of his instrumental works, including the Brandenburg Concertos and tho first book of "The Forty-oiglit," besides the sonatas tor violin and cembalo' (of which this is the second) and many other things. No detailed analysis of this lovely work is possible here. It is merely feasible to point out the beautiful, interweaving figures in which violin and piano join in j the opening movement, the vivacious tune which forms the basis of the second movement (a faSt one), and the dramatic moment towards the end of this where the music suddenly breaks off before the original air is resumed. The third movemeht is the most wonderful of all: ’it is in' canon, the right hand of the piano following the violin throughout, always a bar behind. And yet the melody itself proceeds so naturally that on®. might well listen to the whole piece without realising the existence of the canon. The last movement is a joyous ] affair based on a sparkling little .tune which undergoee the moßt entertaining advontures. The recording is of high standard. FRITZ KREISLER NEW ZEALAND TOVR Kreisler, the famous violinist acclaimed "the greatest of them all," is now in Australia, and after giving a limited number of recitals in Sydney and Melbourne, he will visit Now Zealand under the direction of Mr JES. J. Carroll, and will appear in the four centres. Commencing at Auckland on June 2nd. A journalist who interviewed him in Sydney writes:— "Kreisler is one* of tho most exhilarating and vivacious persons it is possible

to imagine. 0 He is 50, and his black moustache and upstanding hair have begun to turn grey, hut he is like a boy of 17 in his delight at seeing new lands and meeting new people. He is never happier than.when talking of his art. He cannot accustom himself yet to the Southern Hemisphere. 'You know this is the first time I have crossed the .Equator, the first time I have been through the tropics,' he explained. ‘lt is all wonderful to me to see the dipper upside down in the sky, and the Southern Cross. I cannot accustom myself to finding the sun in the north, and to thinking of the south as cold. When you people find poets writing of the cold north Wind and tho warm south you must find it very strange." Kreisler has but one violin with him, a very fine Guamerius. He owns a Stradivarius of great value, but that is in America. "I do not care to bring two violins." is his explanation. "There is always risk, and for my part I always play one for a long time. One get# into harmony with the instrument, and it is

not good to change often. No, I have not opened my violin case on the voyage. Indeed, I play scarcely at all except at my concerts. Ido not practise. That is not to say I did not practise a great deal -when I was younger. Now, when I am playing compositions, I feel that I am going into some new magic country, as it were. If I had practised beforehand I should not feol eo, and my playing would become more mechanical, and lose its freshness. "After all, to express oneself—that is the great thing," he went on. "Ambition, fame, and all those things, I do not trouble about them. If they come good, but they ore not what matters. 1 feel that all we musicians are but servants of the great masters whom we interpret according to our own natures, •whatever they may be. I have the technical equipment now to do that, but I fear I shall not always have .it."

"Surely not?” said tfhe interviewer. "Ah, age comes, you know," was the violinists reply, "but when I fail I shall still find pleasure in bearing other p.ople play. Art is th esame, though artists come and go." Tho dates hooked for the New Zealand tour are —Auckland, June 2nd, 4th and, 6th; Wellington, June 9th and 11th; Christchurch, June 13th; Ihmedin. June 16th. The preferential box plan for the Wellington concert is now open at the Bristol. v

GRAMOPHONE NOTES INVENTOR OP MODERN RECORD. Not everyone knows that the inventor of the modern form of diso record ’s a gentleman of the somewhat nrosa.if name of Joseph W. Jones, who has been for many years associated with the Columbia Company. The original master disc record is of wax-like composition, and of such a -,onsistency that a smooth and perfect groove can bo directly reproduced without the necessity of etching, which was one of ; the earliest drawbacks to tbe making of a record. The old etched record was. at best, a scratch-and-scrape affair; the present engraved record can be reproduced with only the faintest whirring sound, as the needle winds its way smoothly along its destined track. The process of making other discs from this master record ie simplicity itself, and is much the same as the production of the matrix and electrotypes required in moderi printing The metal record matrix is practically indestructible, and many thousands of records can be made from it by the simple process of pressing it by hydraulic power into tho plastic material of which the commercial discs are made. . After the ear has decided that the gramophone under consideration as a. purchase is irreproachable in its reproducing qualities—after that, the most convincing argument is a look at the motor. When tbe lid of a gramophone cabinet is opened up, what does tbe motor look tike? A cheap, unimposing piece of mechanism, sometimes of minute proportions or a well-finished, obviously substantial engineering unit. It should be remembered that it is the motor that ensures tho accuracy of tempo, pitch and tone. It must have a reserve power to enable it to overcome the pull of the record and sustain its music without tremor or waver from first note to the last. A gramophone recital will be held in the Red Cross rooms, 63, Dixon street, on Monday next, at 8 p.m. The programme is as follows: Overture, "Midsummer Night’s Dream" (Mendelssohn), Capitol Orchestra; Alba Separa Dalla Luce L'Ombra (D’Annunzio-Tosti), Chamlee, tenor; Sappische Ode (Brahms), Sigriu Onegin, contralto; Waiata Poi (Hill),. Minneapolis -Qrchestra, conductor Henri Verbrugghen; E lucevan le stelle “La Tpsca" (Puccini), Chamlee, tenor; La Clocheite (Paganini). Huberman, violin; Air on G String. (Bachl, Pablo Casals, 'cello; Turkish March (Beethoven), Joset Hofman, piano; Dance of the Hours ("La. Giaconda” (Fonchielli), Vessalla’s Italian Band; Elsa's Dream ("Lohengrin”-Wag ner), Marie Jeritza, soprano; Mamma mia che vo' sape’ (Nutile), Neapolitan song, Caruso, tenor; Perche ("Pennino”) Neapolitan song, Caruso, tenor; Commo se canta a Napule (Mario), Neapolitan sonr Do Gogorza, baritone; Nutla e Sentfmento (Capolongo). Neapolitan song. Be Luca, baritone; Caprice Viennois (Kreisler), Kreisler, violin; Humoresque, Op. 101. No. 7 (Dvorak), Kreisler, violin. The instrument and records to be ploy pd at this recital are being supplied by Turner’s Music Stores, 34, Willis street, Wellington SOME BIG ARTISTS A MUSICAL WHO'S WHO. PARETO, GRAZIELLA, Sourano (Pronounced: Pah-ray-toh). Pareto was born at Barcelona, and began her artistic career at a very early age. In all the principal cities of the World Pareto has been acclaimed as a gifted and brilliant soprano. Her records are great favourites in all tho great cities of Europe. PLANCON, POL (the late), Bass (Pronounced: Plan-sohn). Born in the Ardennes in 1855, Plancon inherited his musical taste from bis father and grandfather. He received Ins training under Duprez, and made his debut at Lyons in 1877, Thereafter he appeared with great success almost yearly in Paris, London, and New York. He was undoubtedly one of the most accomplished and popular of the operatio stars, possessing a magnificent. voice and polished style which placed him in tho front rank of operatio basses. SHARPS AND FLATS The concert opened with the National Anthems of France and England, the Leeds choir. 300 strong, singing the words and the London Orchestra supplying the musio.—"Morning Post." "Prelude in C short minor.” —Concert' Programme. “Dvorak's “Five' Biblical Sons."—Concert Programme. The present musical season in England recalls the days before tbe war when England led the world in music. That lead had only been partially lost by the tremendous force of the American dollar Artists somewhow seem incapable of resisting the lure of big money. Ettore Paniz£a. From a church service paper: "Scripture and Offertoire: Romance in D flat.’’ Sometimes, perhaps, but church is hardly the place to say iff.—"Punch." There is a good demand for seats this year owing to the production of Sir Edward Elgar’s "Apostles,” who will personally conduct the performance.—Musical Festival Circular.