The World of Music

Wanganui Chronicle, Volume LXXXII, Issue 19367, 25 July 1925, Page 11

The World of Music

MUSICAL JOTTINGS (By “C Sharp.”; The concert held in St. Piaui’s Hall on Tuesday evening was notable for the amount of concerted music brought forward, a feature sadly lacking in most oT our concert with their overwhelming proportion of vocal solos. Tuesday’s programme con Valued a choral item, a male quartette, a string quartette, land two duets, all giving variety of a desirable order. One wonders why more quartets and trios are not heard, as there is a fine repertoire to draw upon, and they generally find favour with the audiences. Is it that there are difficulties in the way of practising together, or is there a desire to monopolise the limelight, by the individual io the exclusion of any second, third, or fourth person ? There are many young singers who lack the confidence to come forward as solo 'artists at concerts —although they have considerable training—who might, well consider the formation of trios and quartettes, not merely as being a valuable help towards biter “solo” appearances, but also as a means of giving pleasure to the concert-going public and achieving artistic success. The “quartette’” competitions arranged periodically by our church choirs kind Male Choir should help to stimulate interest in this class of music, although the manner of selections does not make for permanency of personnel nor for an ideal blend of voices. Tuesday’s concert demonstrated the city’s possibilities in the realm of concerted music, and it is to bo hoped that some of our younger singers land instrumentalists will follow suit. Since the Competition entries closed there has been the usual number of rumours about “who is going to sing” and “who isn’t.” One hears of pupils , boarding with their teachers and getI ting two lessons a day, and of “So-and-so” being so disgusted with the judging last yrtir that he will not appear this time. I should like to see an extension of the “restricted class” idea. From year to year one finds a group of half a dozen singers appearing agiain and again, ami younger ones know that this group have appeared for i years past, have gained confidence, and also considerable knowledge of the i idiosyncrasies of judges. These young ' er singers kire loth to match themselves ■ against medallists, and I am certain that a “restricted’’ test solo would find favour with a groat number of i students, for the competitors would ! meet upon something approaching j equal terms. j lam glad to hoar that the Feilding Wesley Choir intend competing again, •as it is an indication of a sporting spirit which many choirs would not 1 have shown after some of the untrue find uncalled-for things alleged against ' the choir on the last occasion that it | appeared here. Mr. Shelton, the eon- . ductor, recently expressed the hope i that they would meet Wanganui’s best, and that the contest would be a good one. I Dr. F. G. Shinn, who will bo remem- : bored as having visited the Dominion I some velars ago as examiner for the ' Associated Board, recently gave two lectures at the R.A.M.. London, on ' “The Rise of the Art Song in Germany ;—Schubert and Schumann” and “The Art Song in bingland—Parry Stanford, and Mackenzie.” flow many of our singers know anything of the songs of the latter three composers? ❖ * * * Howard Bliss, a cellist, announcing two recitals at Aeolian Hall, advertise: a Strtidivarius ’cello for the former, and a Montagnana for the latter. This is the first occasion on which T have

seen a ‘ string ' player “ featuring —as the “picture” (advertisements say —a particular instrument. Pianist < are generally advertised—by the pianoforte makers—as playing upon a tain make of instrument, but fiddle makers are. not generally given to this form of advertising. The makers 01 the ’cellos mentioned have been too long dead to derive any benefit from such an advertisement, so 1 suppose iit is due to some desire to appear 1 ‘‘‘swank,” Us the owner of the two 1 such celebrated instruments. Later I on, perhaps, some fiddler will advertise a “different instrument Tor each item ,including three St rads, two Guarnerius, and two Amati violins,' and we shall huve to pay prices of admission according to the numbers of fiddles played. It would not. pay to go and I hear a large orchestra on this system, ! would it 1 Recently 1 quoted remarks of Sir Landon Ronald’s on “Why Concerts Fail.” Miadame Fosti, advertised in the London Daily Telegraph as “The world-famous voice specialist” (who can receive a few more pupils) advises everyone to read her book, entitled “The Concert of the Future,” telling (so Madame says) how concerts dan be made a succes, in reply to the Guildhall Principal’s criticism. We heard so much from our grandparents about the “Concerts of the Past” that 'it is refreshing to find someone who can tell us what the concert of the future will be like! The London Symphony Orchestra, which ,we are promised, will visit the Dominion a few months hence, celebrated its coming-of-age. on June ( J,< when an anniversay concert was given nt Queen’s Hall. The programme given was the same as that given at i the. orchestra’s first concert, and consisted of the “Meistersingers” Overture (Wagner), Bach's “Suite in D,” Mozart’s “Magic. Flute” Overture, Elgar’s “Variations on an Original [Theme,” Liszt’s “Hungarian Rhapsody in F” and Beethoven’s great C Minor (No. 5) Symphony. Sir Edward Elgar and Serge Koussevitsky generously gave their services as conductors. I Phyllis Archibald, who wtas so popuI lar in her native land —Australia —during the Melba-Williamson Grand Opera ! season last year, has returned to I don, and was announced to give a song I recital at Aeolian Hall on June 10, assited by Isidore de Larti and Stanley : Chapple. * * * * [ Whilst wp of this Dominion have been looking forward to Gia visit of

a London orchestra, Londoners have been listening to a Colonial orchestra. The Cape Town Symphony Orchestra, described as the only Dominion symphony orchcsti 4 .!, has been giving concerts at. the Aeolian Hall, under Mr. Leslie lieward, who was formerly a conductor for the British National Opera Company. A grand farewell concert at Queen’s H'all was fixed for this week. When ’.rill New Zealand be able t<> send an orchestra Home? Ah! When!

I hear that the Hawera Orchestral Society has resumed operations, under Mr. Fox. a Yorkshiroman, who has only hail charge of the society for six weeks or so, yet has produced creditable results, enabling the orchestra to give a very successful concert a few days ago. Advertising herself as giving “la programme from Java to Jazz,” Miss Eva Gauthier announced a recital in London a couple of months ago. Miss Gauthier promised folk-songs from Java and the Malay States, also compositions by Bellini, Grctry, Palestrina, Beethoven, Debussy, Ravel, Stravinsky, Bliss and others and then lapses into “American Jazz Songs,’ - by Irving Berlin, J. Kern, and others! What kind of audience would be titiracted by this queer mixture i cannot imagine, nor can 1 imagine the temperamental somersault necessary for lhe presentation uf such, extremes on one programme. * * « • Two ContinenUal choral bodies } wore recently announced to give concerts in London. The | first is described as the Don Cosi sack Choir, and is >aid to have met | with, such success "iat two exuta con--1 certs were arranged for at Queen’s ‘Hall. The second body is the Latvian 1 National Choir, of which the Daily !Telegraph says:—The Latvian National Choir was formed by Theodore Reiters I live years ago. and numbers cightyI five singers. The choir renders the i Songs composed by the Latvian comiposers Vitols, Darzins, and Alcdins, as I well as L'.itvian national songs. In addition to singing at Ihe Latvian Nation ■1 Opera, th<’ choir has toured Finland, jEsthonia, and Lithuania, everywhere Imeeting with great success. Mr. Peltiers is lhe Director of the Latvian {National Opera in Riga. The object of the choir in visiting the various countries is Io acquaint other nations with | tho beautiful songs of Latvia. I A writer in Musical Opinion slays: — Seeing an advertisement of Messrs Selfridge’s in a recent issue of The Times stating that among other valuable goods on show during the week of March 16 to 21 was a piano valued at £lO,OOO, we naturally were curious to make an acquaintance. It. is the square piano inkidc bv Messrs John Broadwood in lk5S for the Prince Consort and used al Buckingham Palace until tho death of Queen Victoria in 1901. Included in a fine display of pianos of all grades (and makes in tho piano department, wo noticed two by the celebrated French (house of Ployol. One was a decorated concert grand of Louis XIV. period, with paintings of Lippmann. price 1750 gris.; tho other was a decorated boudoir grand, Louis XV., Vornis-Martin period, paintings by Merlon. 1760 gns. ' Also of interest v.tis a Broadwood grand used by Chopin when visiting this country in IS4S: 1000 gns. RECORDED MUSIC THE WEEK’S NEW RECORDS. It was with fudings of considerable apprehension that the writer settled down to his first hearing of the recording of Stravinsky’s “Fire Bird,’’ by the Symphony Orchestra, under Mr

Albert Coates. To begin with, it was , a risky thing to take the thing out of i its proper setting—the changing scenes of a brilliantly-coloured ballet — for when that happens one must c-all l‘ upon one’s imagination as the mufti c proceeds, and endeavour t o get a mentai ; vision of the ballot. To come to a j point, the music is really beautiful, ind j the recording very successful. Thor*'l is orchestration there that one has pro viously only dreamed of, but of real melodv there is very little. The music I has all the charm ami surprising effect I of a transformation scone, which in | fact it is written to represent. The two double discs upon which the u Fire| Bird” is recorded arc now here, and arc heartily recommended. A certain j amount of helpful information is given; in the TT.M.V. catalogue for August. > hut the following not’es may be found of service:— • Part I—An enchanted garden with | something sinister and evil lurking in the background. A scene bathed in half-light. After many obscure mutterings the air suddenly grows tremulous with sound, a rich glow dispels the shadows. The wonderful exotic lire bird flutters into the garden. Part 2. —She dances round a silver tree loaded with golden fruit, seeming to the young Prince Ivan (hidden in the bushes) the loveliest thing he has j ever seen. Greatly daring he captures her. but she begs to be released, offering him a gift of one of her feathers. Part 3.—She departs. The garden is • now filled with a. band of maidens headed by a princess. They too dance with (charming vivacity and have a game 1 with the golden apples. At dawn they disappear. Part 4. The Prince is seeking them when suddenly there appears the monstrous retinue of the evil spirit, of the place, the demon king Katchei’ The magic feather preserves Ivan’s life, but Ihe^Firebird also comes to his rescue. She makes the bevy of wild Indians, warrior Turks, Chinamen, clowns, imp'-, hobgoblins, ogres, and apes burst into a frenzied dance. While they are thus engaged she directs Ivan to smash a huge egg in a casket in which is hidden the demon’s life. This done the monster dies and the laothsome creatures vanish. Ivan marries the princess. The August records, which will be available next week, include some very fine numbers from Wagnerian opera. There is, first, the famous introduction to Act 111 of ‘‘Lohengrin,ami the ‘‘Wedding Procession’’ music hn II of the same opera, played by , the Symphony Orchestra under Albert Coates —a remarkably good piece of orchestral recording. Then we have

Florence Austral (soprano) and Tudor Davies (tenor) in the “Love Duet” from Lohengrin; the solo and chorus from the Third Act of “The Twilight of the Gods,” “Ilogen Summons his Vassals”—sung by Robert Radford and Chorus, with the Symphony Orchestra; and from the “Valkyrie” the scenes, “"Wotan Overtakes Brunhilde,” and “Wotan’s Sentence,” recorded by the Symphony Orchestra, with Beatrice Miranda, Nellie Walker, Gladys Ancrum, and Robert Radford. These arc all part of tho “Ring” series which 11.M.V. is recording by instalments, ami should not bo overlooked by Wagnerian enthusiasts. The recording is excellent.

While on the subject of Wagnerian music one must not overlook a very good recording from “Rienzi” by Mar rtjo Offers (contralto), who sing.“G'orochter Gott,” and “In Seine! Blutho bleicht mein Leben ” Adriano’s air from Act 111 of the opera. Tho “Rienzi” air is an example of tho Italian influence in early Wagner, and of the persistence of the idea of allotting a male part to a woman singer. Those who love the Italian typo of air will recognise and appreciate the nature of the chief melody (beginning in the middle of the first side of this record).

Some, time ago tho writer recorded his admiration for Gota Ljungborg for her remarkable vocal quality, as displayed in tho TT.M.V. recording of “Salome.” Amongst the new recordings just arrived she appears in two numbers from Puccini’s “Tosea’’—

I “Ora Stammi a Senter,” and in as- ; sociating with that capable tenor i Browning Mummery, “Chi c Quella I Donna Biondi Lassu.” These you will ! be sure t-o like. * # * * i Pianoforte record collectors will no j doubt welcome Paderewski’s latest bracket, just to hand—Chopin’s “MaI zurka in A Flat” (Op. 59. No. 2), and his “Mazurka in F Sharp Minor” (Op. 59, No. 3). Those are very fine. One of the most beautiful records tho writer has hoard for a long time is the Symphony Orchestra’s playing of ! “Salvo Regina” (Prologuo-Salmodia), {from Doito’s opera “ Mephistofele, ” with chorus. The music itself is sur- . passinglv beautiful, and it has been . well recorded. On the reverse side is I cpiito an impressive recording of tho “Chariot Race” from Boito’s “Nero.” bv lhe same orchestra, in which tho : rhythmic thunder of tho hoofs and the j noise of the motley are graphically de--1 pic ted. 1 A now bracket from Mary Dewis. I “Ah! jo suis soule, seulo onfin!” —Act 12, “Thais, ” sung in French (Massenet' : :“To souvient-il du lunjineux voyage?” Meditation, “Thais,” sung in French ( Massenet). Mary Lewis, who made her operative debut in Vienna under Weingartnor in 1925, and her English debut in London last year in “Hugh the. Drover.” is already familiar to gramophonists from the records of the latter. Massenet’s “Thais” is an attractive ’f slender opera, founded on Anatole France’s novel of tho same name. “Ah! jo suis soule!” shows us Thais, the famous courtesan, alone in her own house. Playfully she bogs her mirror to grant her the gift of eternal youth. Then suddenly appalled by the vision of old ago that her fancy conjures up, she invokes Vonqs, and repeats her prayer—in earnest this time. The “Meditation” is, of course, the most { famous melody in tho opera. Here | Thais lies dying. She has repented of j her wickedness and now that the end has come she, reflects happily on the {events attending her conversion to | Christianity. At last tho heavens them- ; solves seem to open, and with an eci static cry “Ah' le cici! Jc vois Dieu!” j she expires. John McCormack gives us a Brahms bracket this month —“Tn M aldese.insamkeit” (Brahms), “Die Mainacht” (Brahms). The mood of the two poems is similar in many’ respects, though one (“In Waldoseinsamkeit”) speaks of love returned, the other of love unsatisfied. Each of them Brahms has wedded to music whose poetic richness and thoughtful beauty marks it as Ins alone. Finely sung and recorded —a good addition to the collection.

For violin lovers the new arrivals have some points ot interest. There is Isolde Menges’ bracket “Abendlied” ( 1 ' I'l ven ing Song”), SehumannJoachim, and “Allegro,” .1. JL Fiocco, arr. Bent and O'Neill. The “Abendlied” of Schumann is a piece whose mood reminds one slightly of that of “Traumerei.” . It is not that there is any resemblance between the subject matter of the two —they are perfectly distinct—but each represents this most romantic of composers in his . most romantic vein. The Fioeco piece is one of those charming trifles that are muca more enjoyable than many works ot more imposing pretensions, and it leads to some delightfully clear and rhythmic playing. Then we have Cedric Sharpe’s 'cello bracket, “Sarabande let Allemandc —Sarabande,” J. BI Senaille, arr. J. Salmon; “Sarabande let Ml'cnmnde—Allemandc,” J. B. [Senaille, arr. ,1. Salmon. Cedric Sharpe I is the ’cellist of the Virtuoso Quartet, hut is always welcome as a soloist. A Chaliapine record of great interest features the new list of records which will bo available next week. Here he gives nr A limes’s “The Last Voyage” Top. 17. No. 2), sung in Russian, and Tschaikovsky’s “Nightingale,” also sung in Russian. This is a fine record. Ben Lawes, who gave us a famous record recently with his “Musical Drama,” has another scream in the August list —“Exists,” ho calls it. This is an amusing skit on the dramatic ' and operatic stage, and though not I quite so good as his previous record, I is nevertheless worth hearing. Lovers of organ music should make a point of hearing Jesse Crawford’s recording on the pipe organ o f Schubert’s “Serenade,” and Tate's fine song, “Somewhere a Voice is Calling.” The August “H.M.V. ” and Zonophone Records reviewed in these columns are now on sale at Messrs E. Ellery Gilbert and Co.’s stores. Stocks of two very good fox-trot records, the titles on which are “Titina and 0, Katharina!” and ‘‘Sax-o-phun and Hey! Hey! and Hee! Hee!,” are also just to hand.