THE GRAMOPHONE CORNER

Star (Christchurch), Issue 18548, 23 August 1928, Page 14

THE GRAMOPHONE CORNER

GRACE NOTES,

By VIVACE v Familiarity with Schubert breeds nothing but affection and admiration. This is Schube.rt's year. We have had many records of the works of this composer already and we are to have many more. Columbia have published the great C Major Symphony played by the Ilalle Orchestra under the direction of Sir Hamilton Hartv, . and H.M.V. have recorded the same work by the London Symphony Orchestra, conducted by Dr Leo Blech. Columbia, besides the C Major Symphony, have issued, also the D Major Sonatina for violin and piano. The symphony was written in IS2S, some months before the composer’s death, but not performed xintil eleven years later. A vast mass of manuscript music found in Schubert’s rooms in Vienna was mentioned in the official inventory a§ “ a quantity of old musicpaper.” and was valued at about Ss 6d. The manuscripts passed into the care of Schubert's brother. Ferdinand, and it is due entirely to Ferdinand's faith in his dead brother’s genius that the works contained in the papers are inexistence to-day. In IS3O a publishing firm purchased a great number of the manuscripts, but it was not until IS:>8 that the remainder of the “ old musicpaper " was properly investigateri. Schumann was permitted to examine the manuscripts at leisure, and he picked many masterpieces from the material, including the C Major Symphony. Mendelssohn was as excited as Schumann over this beautiful work, and he was responsible for a performance in Leipsig in 1839, and received with joyous admiration. Schumann had said that he who is not acquainted with this symphony knows very little about Schubert. Whilst on the subject of Schubert, it is interesting to note the following remarks by W. H. Squire on this composer. Writing in the “ Christian Science Monitor,” Boston, he says: At some time or other most of us indulge in the futile but amusing game of guessing “ whdt might have been.” And for those who like to see everything complete and neatly rounded off", the ' unfinished ” career of Schifbertlike that of Mozart —offers a jumping ground for giddy flights of fancy. And it must be admitted that the attempt to imagine how Schubert would have written in 1928 is much better fun than say. following the example of those who accuse contemporary composers of shamelessly abandoning the idiom he used in 1828. The presence of the Overture and two Entr'actes from “ Rosamunde ” on the centenary programme of the London Symphony Orchestra. conducted by Weingartner. aroused in the present writer a strange and perhaps, to some, rather shocking reflection. One suddenly realised that had Schubert been writing to-day he would almost certainly have contributed to Diaghileff's Russian Ballet. For he was one of the most stage-struck of composers. The enthusiasm with which he wrote operas and stage works was

equalled only by that with which managers refused to perform them—even they, hardened by long experience, recalled from his librettos. Diaghileff would doubltess have found subjects better suited to his genius, and “ Petrouchka,” “ Le Sacre du Printemps ” and “ Les Noces ”• might have had highly dangerous rivals in the affections of the younger generation. Mr Squire, continuing his remarks, recalls that Schubert, between fourteen and fifteen years after he had passey away, achieved quite respectable “scandals ” in Paris and London—“a feat which none of our contemporary modernists looks like equalling.” He says: ” In Paris, when Hargenbeck attempted to rehearse the Symphony in C the band refused to play after the first movement, and Grove ‘ blushes to say that at a rehearsal of the same work on June 10. 1844. the London Philharmonic Orchestra —agitated by the continual triplets in the finale —misbehaved so outrageously that Mendelssohn, who was conducting, withdrew not only the symphony but his own new overture to “ Ruv Bias.” I hose startled by the picture of Mendelssohn as a champion of the “ modernism ” of his time must remember that it was he who dug Bach out of the dust piled high by people to whom the most popular composer of to-day was merely an A Hint to Remember.—Be sure to lot the turntable get up full speed before vou put needle to record. It isn't •everyone who does this - that is whv we hear so many records which start off with that irritating “frying'* One rce< mmends records by American orchestras sometimes, and one has been taken to task kindly, but definite! v for doing so. whilst there are English orchestras which arc just as good. German. Dutch and Italian orchestras have also been recommended, and one must point out that anyone keen on music cares nothing as to its origin so long as it is good music. We all want the best music available. There are no frontiers where music is concerned. and if a foreign orchestra is skilful enough to offer something really good should we be so small-minded as to refuse it? ‘‘llis Master’s Voice” is providing the music lover with a very complete repertoire of Chopin’s works. A few months ago Cortot, the famous pianist, contributed a coxnplete set of the famous “ Preludes.” Now M. Backhaus is to supply a complete first set of the famous Chopin “ Studies.” These are remarkable for their great technical excellence. The twelve studies will not be recorded in order, but grouped as far as possible according to the key in which they are written. It is not generally’ - known that the gramophone makes an excellent teacher for wireless operators. Realising this, the “ His Master's Voice ” Company has issued an instructional set of records which should be of great service to wireless students. The first course consists of six discs, as follow: B62s.—lnternational Morse Code Signals—Practice in Difficult Letters,

B626.—Press (Slow)—Press (Medium). B627.—Message (Slow)—Assorted Messages (Medium). B62B.—Commercial Messages (Medium)—Code and Cypher. 8629. Assorted Messages (Fast) Foreign Messages (Fast). 8630. —Press and Press JammingMessages and Press Jamming. The cablegrams have just announced that M. Venizelos, whose name was much before the public during the war, but who latterly has been laid on the political shelf, has once more come to the front in his native Greece. This reminds one that on a certain occasion M. Venizelos recorded for lI.MA . two fine oratorical efforts—a speech delivered at the Mansion House in London, in 1917. and Shakespeare's “Soliloquy on the Death of Kings,” which occurs in the Third Act of Richard 11., Scene I. Therein the Greek Premier demonstrates that he is not only a great speech-maker, but also that he is a worthy exponent of Shakespearean oratory. The disc number is E 163. Reviews. Reference has been made above to the Columbia recording of “D Major” Sonatina for violin and piano. It is a beautiful recording and Albert Sammons (violin) and William Murdoch (piano) are in their best form. It is a lovelv sonata, full of melody and

colour. The work offers Sammons a perfect vehicle for the display of his virtuosity. Murdoch’s work is impeccable. The piano tone is remarkably good. It is a lovely recording of a lovely work. The New Queen’s Hall Light Orchestra, conducted by George Sehneevoight, has recorded the Peer Gvnt Suite No. 1 and No. 2. four records in all, for Columbia. These recordings replace the old style recordings which are in this firm’s catalogue. This Grieg is warmly coloured. The treatment is refined. The recording is satisfying. k k Pattman has presented three more solos, played on the organ of the Astoria Theatre, London. The most notable is a double-sided record of Liszt’s “Liebestraum,” a lovely melody, which appears to suit the organ. On the other disc arc two sacred numbers, Rimington (Jesus Shall Reign) and Lloyd (Dear Saviour, Ever At My Side). Pattman is very much of an artist. The recording is good. Although he bears a commonplace name, Eddy Brown is a violinist of considerable capability. A new artist on the Columbia list, Brown could 1 hardly have chosen two more popular I numbers than “Chanson Hindoue” and I "Hymn to the Sun,” both by RimskyKorsakov. Brown’s artistry is undoubted. Raymond Newell possesses a robusbaritone, which is well suited in Rus sell’s “Gipsy Dan” and Sterndak Bennett's “Leanin’ ” They are pleas ing numbers sung pleasantly.

w k :« What is it that makes for popularity in music? Heaven only knows. The “Messiah” is popular. So is “Faust.” Rut so, also, was “Yes, We Have No Bananas,” and so is “My Blue Heaven,” which has been sung, played, and foxtrotted after the approved vogue of the modern popular hit. For H.M.V. Gene Austin has sung it in E.A. 262; it i:i played on the Wurlitzer by Jesse Crawford (E.A. 284), and the Salon Orchestra (E.B. 18); and is fox-trotted by Paul Whiteman’s Orchestra (E.A, 265). In another three months, perhaps,, it will be forgotten, and people will probably be dancing to the strains of “My Purple Gehenna.” Of such is the kingdom of popular hits and human fancy. At any rate, if you haven't heard, and owned, “My Blue Heaven” it is time you did. The comic singer who can bring an involuntary smile to the face of a highbrow must be distinctly worth while. Mr Frank Crumit in his own inimitable fashion can do that, though his humorous productions may be as mortal as bo himself. A Crumit item makes a nice little hit of seasoning for a programme of general entertainment. Here are a few selections, with index numbers:—'“Abdul Abulbut Amir” (KA227), “Bye. Bye. Pretty Baby” (EA255), “Crazv Words, Crazy Tune” (82440), “Da-Da-Da Mv Darling” (EA27B), “Frankie and Johnnie (EA227), “Girl Friend” (EA229). “Grandfather’s Clock” (EA226), “High, High, Up in the Hills” ( 82440), “Mountain Greenery” (EA255), “Wake Nicodemus” (EA294). One.of the greatest contemporary recording bass singers, to judge from his most recent disc, is undoubtedly Ezio Pinzu, whose recent 11.M.V. operatic numbers. “Suove chc riposate” (“Robert il Diavolo”), and “Possente Nume” (“Flauto Magico”). on H.M.V. DB 1088, are wonderful examples of vocal style and impressemen t. Another disc from him which is worth while is H.M.V. DB 1086—“ Le Tambour Major” (“Le Cid"), and “Ninna Nanna” (“Mignon”). Apart from the amazing qualities of the voice itself and the immense dramatic power shown in the use of it, Pinza’s records deserve a special word of recommendation for another reason. His is one of those voices which, for reasons not wholly clear to investigators, shows itself specially well suited to recording purposes. The tone, and the way in which it blends with both orchestra, tenor voice, and chorus, or stands out above them at the will of the singer—these are extraordinary, facts that the record demonstrates. Pinza's ascent to , a high note can sound like a sword drawn from the scabbard and held glit-. tering in the sun. or again he can refine his tone till only the merest thread remains. Pinza made his debut at the Colon Opera at Buenos Aires in July, 1926. and was immediately engaged for the Metropolitan season of 192627.