The World of Music

Wanganui Chronicle, Volume LXXXIII, Issue 19990, 5 November 1927, Page 17 (Supplement)

The World of Music

MUSICAL JOTTINGS (By “C. SHARP.”) The Wanganui musical season sceius to divide itself naturally into three distinct sections —the “firrt concert” section, of the various musical societies, the • ‘ examination and competitions ” section, and the ‘‘second concert section of the musical societies. The present time is a quiet one musically, as it finds us half-way, or thereabouts, betwetii the second and third sections. S’udents who distinguished themselves —or otherwise—at examinations or com ! udons, are resting on their oars, j wiiilst the musical bodies are ‘‘getting down” to intensive preparation for .heir concluding concerts for the pre-B-iit year. 1 understand that St. Paul’s i.'i csbyterian Choir are preparing Maunder’s “Bethlehem’’ for presentation >-before Christmas. This work which is new to Wanganui, deals with the nativity of Christ, and in construction iuiiou's somewhat ou the lines of the same composer’s Easter meditation ‘ ‘ OH- i ».t to Calvary.” Solos are allocated, chiefly to male voices, who take the characters of shepherds and the visiting magi. A line solo is set for a shepherd buy, and it is hoped that a youthful chorister will be found to take this number. Descriptive and varied chor uses, interspersed with suitable congregationtai hymns, make up an attractive work, which is well in hand under the direction of the choir’s conductor, Mr. E. L. Derbyshire. * * « « A London paper says: —From time to time one reads of schoolboy howlers, but schoolboys usually invest their best howlers with a pretty, if' an unconscious wit. Novelists on the other hand, ar© frequently guilty of howlers of quite another type which, however uncon.->-ious, are neither pretty nor witty. They abound, and have often been collected and reprinted. Hundreds are familiar, but the following which, culled by a correspondent from a recent “best Iler, ” is probably as yet unfamiliar, will surely be allotted a high place amongst its fellows: “Lady Diana burst out laughing—a harmonious laugh in an unaffected minor consisting of a descending sharp and a rising flat!” Perhaps some correspondent can Udi us if hymns of this laugh Lady Dias.a showed symptoms of “atonality” or of my other “modern’? musical disease. Harry Farjeon>\the English composer, commenting upon the dearth of new ’cello music, suggests that it is due less to this beautiful instrument’s loss of favour among composers than to a greater fastidiousness on the part of the public in regard to composers themselves. Ln the old days their ’cellists, having little music written for them, wrote it themselves, and the public touk it lying down. Nowadays our ’cellists, equally neglected, do not write them- ? ives because the modern public won’t stand mere virtuoso music. The violon cllo has always been kept on a pittance by composers that count —but not more so nowadays than hitherto. At any rate the loveliest music in the repertoire (music that avoids treating the instrument either as a bumble-bee or a contralto) is modern. Modern and ours: the Elgar Concerto. * * * « On Monday evening in the Conservai jriurn Hall, Sydney, a benefit concert v as tendered by leading bydney musi- • ;:ius, to Mr. Arthur Appleby, th‘‘ well--1 uown singer and teacher, who is comthrough ill health to cease work, üb-cription list was opened by the New South Wales Musical Association, Dame Nellie Melba promising a dona tiun of £25. 1 noticed in the radio programme for 2FC that this concert was being broadcasted, and that the programme was notable for the “galaxy of talent” offering their services, including the Conservatorium String Quartet (Gerald Walenn, Lionel Lawson, Alfred Hill, Gladstone Bell). The Staell Quartet (Henri Staell, Mowat Carter, W. J. Grieves, Bryce Carter). Gwen Selva, Rene Maxwell, sopranos; Virginia Bassetti, contralto; Alfred O’Shea, tenor; Reginald Gooud and C.iaries Smythe, bassos; Dagmar Thomson, Moore MacMahon, and Cyril Monk, violinists; Alfred Cunningham, baritone; Winifred Burston, Frank Hutchens, Lindley Evans. Godfrey Smith, pianists; Peter GawUiorne, and Arthur Creenaway (theatrical numbers): Harrison Allen, elocutionist; whilst the o«companists included Margaret Chalmer>. Nathalie Rosenway, Christian Helleman, William Fletcher, Walter Thorman, and William Caspers. With such a list one can hardly imagine a vacant seat, t>nd I expect to hear reports of a greai eon cert and a handsome sum raised to assist the unfortunate musician. A Wanganui visitor to Sydney sends me a programme of the performance at King’s Hall, of Pergolesi’s OporaBouffe “La Serva Padrona” (The Artful Servant) under the direction and <-onductor<hip of Maestro di Giorgio. My informant describes the music as lovely, and the whole performance as most enjoyable. The plot of the opera is simplicity itself and is woven around three characters: —Bcrpina (the maid) played by Miss Bessie Blake, Überto (the master) played by Mr. John H. Coleman, and Vesporc (a mute valet) played by Mr. Cecil Scott. A string orchestra, under the leadership of Henri Staell supplied the accompaniment to the opera, which is in two acts translated for thp occasion by Miss Constance Pickworth. One wonders if Wanganui musicisians say, under the lead of the Professional Musicians’ Society, which contains several worthy singers and instrumentalists, could not combine to give us performances of such enjoyable works as the opera referred to. * * * * The Daily Telegraph reports that a correspondent writing from Shanghai reports the production there of an al most unrecognisable “Carmen.” The Chinese public, he says, being completely ignorant of toreadors and their art, the director of the theatre felt obliged to submit the libretto to drastic changes. Thus Carmen becomes a laudress by profession, Don Jose a pedlar, and Eseamillo a sword swallower. In the last act, Eseamillo kills himself by swallowing his weapon. And the production was a great success!

The modern desire for “short cut” methods of education has affected the study of music considerably, and one has only to read papers from Homo and elsewhere to find the advertisements and preposterous claims of niu.-ical quacks set forth. One lady advertises “a special course of 24 lessons for adults with no previous knowledge of music. Definite results in stated number of lessons guaranteed. infallible method of simplifying time and rhythm difficulties.” The guarantee does not appear to exempt even the tone-deaf and the idiot frum securing these wonderful results! The very next advertisement in the column referred to is headed “How to Sing in Ten Lessons, Comprehensive, Practical.” Them follow, in inverted commas, what 1 take to be quotations from testimonials:— “Ten years vain struggles put right.” “Wonderful.” And yet there are apparently those who are willing to believe these claims, for advertising costs money, and these advertisements appear regularly. RECORDED MUSIC THE WEEK'S NEW EECOEDS HIS MASTER’S VOICE. Mendelssohn by Mark Hambourg. Mark Hambourg (pianoforte), in “Four Songs Without Words” (Mendelssohn) —(a) Op. JO2, No. 3, (b) “Spring Song” (Op. 62. No. 6), (a) Op. 19, No 6, (b) “The Bees’ Wedding” (Op. 6, No. 4). 82433. Mark Hambourg has played four of the most popular of the Mendelssohn “Songs Without Words” for this record, and since no selection from the popular collection would be complete without .the “Spring Song” and “The Bees’ Wedding,” both are included. Some people are still inclined to turn up their noses at Mendelssohn for having written melodies which everybody could appreciate, but, happily, such fashion is dying out, and Mendelssohn is again receiving his due. Hambourg plays with admirable dash and vigour, and the recording aids him in helping to produce a record of unusual quality. The prospect of being able to enjoy the playing of so great a pianist with a record of such low price is sure to appeal to everyone. A Fine Orchestral Disc. London Symphony Orchestra (conducted by Albert Coates) —“The Mastersingers of Nuremberg” (Wagner) Prelude Act 3, Parts 1 and 2. H.M.V., D 1219. The London Symphony Orchestra has a great reputation throughout the British Isles, ami may be the leading symphony orchestra. Its many admirers will at least be able to hear this great orchestra produced with the greatest possible fidelity of Tone. (Tt is interesting to note that at some of the “recording sessions” of this orchestra there have been considerably over a hundred players in the orchestra.) The

“Prelude to the Third Act of The Mastersingers” is one of the finest passages in the opera. It opens with the theme associated with “Walther’s Trial Song,” heard low down on the ’cello and basses, and slo\v»y works up to a wonderful climax, though never losing the deeply thoughtful tone by which it prepares us for the scene which follows the lifting of the curtain. * * * * Two Brilliant Overtures. State Opera Orchestra. Berlin (con ducted by Dr Leo. Blech) —“The Marriage of Figaro’’ overture Mozart)— “Cosi Fan Tutte” overture (Mozart), H.M.V., D 1224. Dr Leo Blech is famous throughout Central Europe as the finest Mozartian conductor of the day. In the performances, by the Berlin State Opera Orchestra, of the overtures to “Cosi Fan Tutte” and “’rhe Marriage of Figaro” his reputation is justified. A vigorous outlook, combined with a great delicacy, make his interpretations unusually interesting. The recording, too, is unusually fine. * * + * On the “Murlitzer” Organ. Reginald Foort, on the organ of the New Gallery Kineina, London—“Serenade’’ (Drigo) —“Bells Across the Meadow’’ (Ketelbev). H.M.V., 82444. Such a large number of curious and fascinating effects are obtainable upon the Wurlitzer organ.that it might almost be considered as an entirely distinct instrument from the concert or church organ. Reginald Foort, whose recitals on the famous Wurlitzer organ of the Now Gallery Kinema. London, have become very popular, is fully familiar with the resources of his organ, and he has given us a wonderful record of two verv popular numbers. * * * * Two Fine Vocal Numbers. Rosa Ponselle (soprano), in “Elegy” (in French ) (M assenet) “A ve Maria” (in Latin) (Gounod). H.M.V., D 81052. Rosa Ponselle’s meteoric career, which commenced with her debut at the age of eighteen, at the New York Metropolitan Opera House, with Caruso, in Verdi’s “La Forza del Destine.” has created a great interest everywhere, and her popularity in America is second to none. Combining a voice of wonderful beauty, expressive, warm, and responsive to every shade of human emotion, with a keen intelligence and a superb histrionic gift, Rosa Ponselle possesses everything in her favour. Her first “His Master’s Voice’’ records, from “Otello, ” “Gioconda,” and “Adda,” met with universal appreciation, and now the great dramatic soprano gives us a superbly poignant and expressive rendering of Massenet’s beautiful “Elegy,” which

Have you heard that superb record of choral music “Hear my Prayer” and the aria “Oh for the Wings of a Dove,” which was actually made in the famous and historic Temple Church London? It reproduces, as perhaps never before, the wonderful beauty of a boy’s solo voice against the rich background of a fine choir. Fortunately in anticipation of a big local demand, the H.M.V, agents, Mes Hrs Ellery Gilbert Ltd., secured ample stocks and can still fulfil orders.

is enhanced by the deep notes of the ’cello accompaniment. On the reverse side her wonderful voice is heard in all its matchless richness in Gounod’s “Ave Maria,” with violin obligato, supported by a harp and an orchestra. • * ♦ * A New Harry Dearth. Harry Dearth (bass) “TommyLad ’ ’ (Margetson)—‘ ‘ Stone Cracker John’’ (Eric Coates). H.M.V., E 448. Harry Dearth is famous everywhere as one of the finest English ballad singers. He is especially good in songs of bluff and hearty vigour. The reproduction of this record is very fine. **' * * Unique Records. Victor Symphony Orchestra in “Ka-mennoi-Ostrow ” (Rubinstein) and “ Licbestraum ” (Liszt), H.M.V., EBIO. The Victor Symphony Orchestra has here done a remarkable piece of work. Under the derection of Rosario Bourdon, it plays two new and quite wonderful arrangements, of two familiar piano pieces—so familiar to-day that every movie house hears them almost hourly. The “Kamennoi-Ostrow ” is reinforced by the grand organ, and effects of quite unprecedented beauty and power are produced. The companion number, too, reveals new beauties at the hands of this large organisation. Rubinstein’s vision of the island in the Neva, and Liszt’s “Love Dream” are two of the most remarkable of nineteenth-century melodies; but you never have heard them arranged and played, we think, as you will hear them on this record. Light Opera Gems. Victor Light Opera Company iu gems from “Countess Maritza” and gems from “The Blue Mazurka.’’ H.M.V., EBII. The delightful gems from “Countess Maritza” include “I’ll Keep on Dreaming” (contralto and tenor), “Love has Found My Heart” (soprano), “The One I’m Looking For” (soprano and tenor), “Play Gypsies, Dance Gypsies” (baritone with chorus). The “Blue Mazurka’’ is the latest London comic opera success, and abounds in beautiful and bright melodies. * * * * Hits from New Light Operas. Elizabeth Pechy (soprano), in “Life is a BeautifuJ Garden” (“The Blue Mazurka”) and “Shine, Bright Moon” (“The Blue Mazurka”), (Lehar). H.M.V., 82457. Two delightful numbers charmingly sung by Miss Elisabeth Pechy, the bright star of the recent London success, “The Blue Mazurka.” The first item, “Shine, Bright Moon,” is a beautiful melody typical of Lehar, whilst “Life is a Beautiful Garden” is a very pleasing vocal waltz, bqt brilliantly sung. • * • • An Orchestral Gem. The Royal Opera. Orchestra, Covent Garden in Prelude from “L’Arlesienne” Suite (Bizet). H.M.V., C 1319. Though “Carmen” rather overshadows Bizet’s other works in the minds of most, the suite formed on the incidental music he wrote for the production of Daudet’s “L’Ariosienne” in 1872 have won a thoroughly deserved popularity of their own. The possibility of introducing “local colour” was always one of Bizet’s surest sources of inspiraton, and the native rhythms of the South inspired him in this case, as we may hear. Under the baton of Eugene Goosscns, the, orchestra of the Royal Opera, Covent Garden, has given us a brilliant performance. The reproduction of the orchestra by the new His Master’s Voice” recorded is really magnificent; the listener never gets the impression that he is listening to a phonograph reproduction of a collection of orchestral instruments grouped together in a studio; instead, the impression and atmosphere of being actually present in a concert hall in which a magnificent orchestra is playing, is conveyed. * * * *

Two Popular Numbers. Salon Orchestra, in “Moonlight and Roses” (Moret) and “Because 1 Love You” (Irving Berlin). H.M.V., 82427. The Salon Orchestra devotes most of its energies to playing very light music. It plays it, however, with a perfect polish and finish rarely found anywhere. The arrangements and orchestration of the pieces are always exceptionally clever, and this record is one of the best yet issued. COLUMBIA NOTES. A Record to Hear. Columbia 9114: “Witches’ Dance” (La Tregenda), (Puccini) and “Concert Waltz in A” (Glazounov), Percy Pitt conducting the 8.8. C. Symphony Orchestra. —The Puccini dance is a very effective number, with a good allowof hobgoblin fiendishness. The opera from which it conies is “La Villi,” an early work which has not had much success outside of Italy. It makes very pleasant hearing, and is by way of being an unusual treat, for orchestra passages of any considerable length arc rare in most of Puccini’s operatic works. The companion piece is a brilliant inspiration in tunefulness, and has its own power of attraction. The recording of both these pieces strikes mo as admirably bold and clever, if a trifle coarse. * * * * A Pleasing Tenor. Columbia 9127: “Lohengrin’s Narration ” (Wagner) and “Lohengrin’s Farewell” (Wagner), sung by William Hescltine, tenon —Although he imparts little, variety of colour to Lohengrin’s “few remarks” before leaving, the artist declaims easily and sustains his sympathetic tone fairly comfortably to the end. One cannot help wishing, however, that it were a trifle less shaky; for the intonation is faultless, the English words are fairly distinct, and the style is manly, frank and heroic. This is a fine example of how’ the singing voice should be recorded, and the accompaniments are . quite clear. * * * * A Wonderful “Messiah” Record. Columbia 9068: “Hallelujah Chorus” and “Worthy is the Lamb” (Handel’s Messiah), the Sheffield-Choir, conducted by Sir Henry Coward. —The reputations of the Sheffield Choir and Sir Henry Coward are so firmly established that it takes a great deal either to enhance it or to damage it. Of this wonderful Messiah record, one can say “It is as good as we expected,” and that is saying a great deal. It is not perfect, but gives us reproduction undreamt of a few years—one might almost say a few months —ago. I listened to a German choral record immediately after it. and the comparison served ns a reminder I that England is still pre-eminently the 1 country for good, choral singing.

Something Really Funny Columbia 0774: “Two Black Crows,” (in two parts), novelty sketch by Moran and Mack. —How rare it is to hear something really funny on a record. So one feels that the absence of the artist robs thp work of that vital spark of personality so necessary to humour, but here the boot is on the other foot. We don’t want to see Moran and Mack. All the subtlety, all the humour, is in the two drawling American voices and in the deliciously nonsensical paper that they “put over. ” I hear that sales of this record have already exceeded those of any other single record ever made, and 1 am not surprised. It is worth two dozen of the next best. * * * ❖ Edna Thomas. Columbia 3526: “Ai Suzcttc ” (all of my sins are taken away), (Negro spiritual), sung by Edna Thomas, soprano.—There is always a warm welcome for Edna Thomas in any gramophone home, and no collection can be complete without some examples of her Negro spiritual—those haunting and melodious chants of a race apart. To my mind she always offers the three essentials of a good song record —namely, a line clear voice, a sense of the drama'ic in her singing, and a good song. “ Afll of My Sins, ” is much on a par with her other sipirtuals, but in “Ai Suzette, ’ ’ a charming love-song of New Orleans, she breaks new ground, and show's her winning capabilities to even better advantage. * * * ♦ More From “ Turandot. ” Columbia D 1572: “Signore Ascolta and “Mortc Di Liu,” sung by Maria Zamboni, soprano.—Columbia D 1571: “Nessun Dornia” and “Non Piangere Liu,” sung by Francesco Merli, tenor. — As the public, becomes from day to day better acquainted with the music of Puccini’s posthumous opera “Turandot,” interest in tho recordings increase proportionately. It is an opera that repays study. One can cosily discern the immense trouble to which the composer went, to secure the authentic Chinese atmosphere, and his pains are amply repaid, for the music is not only full of Puccini’s melodic charm but also rings true. These two records, by the artist who originally created the parts they now record, give four notable excerpts. The singing throughout is magnificent ; in Merli we have a tenor who bids fair to rank with the very greatest. * jjc ♦ # Bratza. Columbia D 1529: “Mcnuett” (Handel) an<l “Rosamunde Ballet Music.” (Schubert), violin solos by Yovanovitch Bratza.—Critics are watching with interest the development of the brilliant young Serbian violinist, Bratza, who toured Australia two years ago and whose Columbia records arc well-known here. Since that time he has gone from triumph to triumph. Prague. Hull, London, Dupblin and other European cities have acclaimed him in turn. As one critic, writes, “It is nor necessary to hear his playing for long to realise that here is a virtuoso w’ho deserves to rank among the highest.” This record is a fair sample of his skilL He plays the Handel tune, prettily, -with a novelty of treatment that fully justifies itself; but there is more charm in his handling of the best known bit, of ballet music, which has been arranged by Kreisler. Recording is cxocptionaJly true. ‘ From “Madame Pompadour.” Columbia 02510: “Love’s Sentry” and “By the Light of the Moon,” duets by Bcppie de Vries and Frank Webster.—The success of “Madame Pompadour” in London has been repeated in Sydney, and after hearing one or two of the records one fervently hopes that it will come to New Zealand. This is tho best of the records, and is sung by thp leading artists in the Sydney production. Very light and charming and. graceful, and faultlessly recorded.