MUSIC AND RECORDS.

Dominion, Volume 19, Issue 48, 20 November 1926, Page 20

MUSIC AND RECORDS.

) By

C.J.M.

The Messiah at Levin.

Levin is again to the fore musically. Assisted by about sixty members of the Wellington Choral Union and an augmented orchestra from Palmerston North, the Levin Choral Society under the baton of Mr. Edwin Dennis,, will present “The Messiah” on November 29 next. Madame Winnie Fraser, Miss Nina Calder, and Mr. Len Barnes are among the soloists, and the whole company will number about 150 performers.

Gilbert or Sullivan? “The Victorian monument which best survives the change of fashion is not

. . the Albert Memorial: it is all that remains of the Savoy Opera.” So writes Dlr. G. K. Chesterton in his introduction to Dlr. A. 11. Godwin’s new study of the Savoy Operas, says the ‘Liverpool Post ” “Dlr. Godwin has written the best, because the most critical, studv of the operas that has appeared since their recent revival demonstrated the still overwhelming popularity of this famous scries. The question has, meanwhile, arisen: Is it Gilbert or Sullivan to whom their continued popularity is due ? “Dlr. Godwin gives an answer that will be generally accepted. ‘So far ns we must judge "between Gilbert the dramatist and Sullivan the composer, I think we must give the verdict to Sullivan. Yet if in our fairness we are to decide what each of them brought to the operas—to the institution we know as Gilbert and Sullivan—then the scales may decline in the slightest measure in favour of Gilbert.’ But, in truth, is there any need to decide either wav? What survives is neither Gilbert no'r Sullivan: it is, as Dlr. Chesterton says, the Savoy Operas. “Which is the most popular opera? Opinions will differ. Dlr. Godwin suggests, judicially, that the most satisfying dramatically is 'The. Yoeman of the Guard’; the most humorous ‘The Dlikado’; the most ' inspiriting and melodicallv the most inspired is 'The Gondoliers’; the most whimsical ‘lolanthe’; and the most satirical ‘Utopia Limited.’ This last opera is now out of the running. But a revival is still a thing to look forward to. “Dlr. Godwin writes as an enthusiast, and his book will find a place on the shelves of all good Savoyards.”

RECORDED MUSIC Pianoforte Dlusic de Luxe.

“The ‘His Dlaster’s Voice’ Company have never given us anything finer in pianoforte music than the renderings of ‘Liebestraume No. 3’ (Liszt) and the ‘Naila Waltz’ (Delibes-Dohnanvi) (says a London critic). Although the pianoforte records the company are issuing are so amazingly good, we feel that this disc of Backhaus playing Dohnanvi’s transcription of the ‘Naila Waltz’ is the most surprising record of the pianoforte yet produced. The real illusion of the pianoforte ‘being there’ is achieved completely if the record is played on the new ‘His Dlaster’s Voice gramophone.”

Magic Dlusic, Yet another tribute to the wonderful quality and success cf the recent H.DI.V. new process Wagnerian records —this time from “Dlusic”: “The Dlagic Fire Scene,” from “The Valkyrie,” and “Siegfried's Journey to the Rhine,” caused universal astonishment by the surprising manner in which they reproduced the true timbres cf a fullsized orchestra playing in a concert hall; but these last records rre likely, if anything, to eclipse them, for never have more amazing ieproductions of the orchestra been made. Whether it be in the mighty swing and the exhilaration of the “Ride of the Valkyries,” or in the colossal grandeur ' of “Siegfried’s Funeral March,” in each case the marvellous orchestration stands out clearly and vividly. Emmy Destinn Returns.

A more than welcome teturn to London is that of Emmy Destinn, a distinguished H.DI.V. artist. Her reappearance after all these years of absence will be a wonderful stimulus to memories of those glorious days before the war when Destinn, Caruso, Scotti ♦and others sang at Covent Garden. London always had a particular affection for Destinn, and it was she who first created the role cf “Madama Butterfly” in Puccini’s opera in London. Destinn “created” the leading soprano roles of many important operas, including besides that of “Madama Butterfly” in London, the role <•£ Dlinnie in “The Girl of the Golden West.” She sang this part with a brilliant cast, including Caruso, Amato and Homer. Destinn is reported to have received the highest fee ever paid to a singer (£2500) for giving a concert in a den of lions. She certainly deserved it! We may look forward now to hearing some new records from her.

Two New Wagner Successes. Those who have enjoyed “Siegfried’s Journey to the Rhine” and the "Magic Fire Music” for the brilliance of the orchestral performance and the marvellous recording, should make a note that at the end of this month there will be available two new Wagnerian records—“ The Ride of the Valkyries” and the Prelude to “The Rhinegold.” Here the remarkable series of orchestral records made in the Queen’s Hall, London, by a Symphony Orchestra of 94 players, is continued by two further records of equally striking character. The two previous records in this series, “The Magic Fire Scene” from “The Valkyrie” and “Siegfried’s Journey to the Rhine,” caused universal astonishment by the surprising manner in which they reproduced the true timbres of a full-sized orchestra playing in a concert hall; but these records are likely, if anything, to eclipse them, for never have more amazing reproductions of the orchestra been made. Whether it be in the mighty swing and the exhilaration of the "Ride of the Valkyries,” the deep mysterious surge of the Rhine in the “Rhinegold Prelude,” or in the colossal grandeur of “Siegfried’s Funeral March,” in each case the marvellous orchestration stands out clearly and vividly.

British Gramophones “on Top.” A unique compliment to "British musicians is indicated by the receipt in London from Germany of what is stated to be the biggest single order for gramophone records since the war. Following a special demonstration at the Leipsig Fair of>the new electrical process of recording now employed in Great Britain, an order was received in London yesterday for 7000 choral records of the Handel Festival made by tliis process at the Crystal Palace a few weeks ago. It is authoritatively stated that recent British gramophone developments have had a very stimulating effect generally on the export of British-made records to foreign countries. Critics Criticised.

Mr. Alec Robertson, of the educational department of the British Gramophone Company (H.M.V.), speaking recently to an audience of secondary school teachers attending a short holiday course in music at the Royal College of Music, appears to have a latent quarrel with music critics auent modern music. His “modern” at'the same time was retrospective, touching what appeared new to each age, and citing Liszt as “an almost solitary exception” to the crowd of professional “persecutors.” While there was a good deal of truth in this statement it does not apply so generally to the critics of to-day, and as to composers, they are rarely anything but kind to each other now —at all events in public—so it would seem that there is actually some altruistic progress among our species of the human family. Critics are not inimical to divergence of almost any sort from accepted canons provided the composer

justifies it bv proving his point. What they do dislike is ineffectual rebellion and, unfortunately, the great bulk of music written latterly contains a good deal of such mere ferment—also, from another standpoint, the presentment of ideas that may be of value if clearly presented, but which have been insufficiently pondered before being thrust into a rash publicity. Every musician recognises, or should do, that experiment is almost inseparable from crudity. But while some composers perceive their end “as in a glass, darkly,” others do behold it “face to face.” lhe latter are alwavs vindicated, if not in their dav, bv posterity, and when one considers the patient, one might sav reverent, hearing given by honest critics to whatever is offered them in the name of music, one is the more inclined to maintain that composers to-dav run a better chance of contemporary recognition than ever bcfoic. Gramophone Literature.

Gramophone reproductions of complete musical compositions of large dimensions have brought in their train a considerable body of explanatory and otherwise instructive commentary. Ihe latest addition to this form cf musicology is “Dlusic and the Gramophone (7s' fid net, London: Gramophone Publications, and Allen and Unwin), compiled bv 11. L. Wilson. descriptive and historical notes, of the kind familiar from concert program nes, arc supplied in connection with nearly a hundred works, symphonies, concertos, overtures, operas, and so on. . The writer has been industrious in his researches, and his material is set out in an attractive form, which should uimmend itself'to the gramophone enthusiast. There is a growing demand for miniature scores. They are obtainable easily enough in England. Why can’t we'get them here?

An Orchestral Treat. At the end of this mouth will be released a splendid Elgar bracket presenting two of this famous British composer’s “Pomp and Circumstance” marches—No. 1 in D (“Land of Hope and Glorv”), and No. 2 in A minor (a brilliant conception). Elgar’s famous “Pomp and Circumstance” marches me the outcome of an attempt on the part of the great composer to fuse the practical requirements of ihe military march with the “symphonic” style of the concert room in such a war’ as to make them perfectly suitable for performance on either occasion. The two marches recorded here date from 1901. They are interesting examples of Elgar's writing in a light vein; delightfully melodious, vigorously rhythmic and inspiriting. They illustrate the great composer's gift for brilliant orchestration. The plan upon which each of these marches is built is the simple “ternary” form ; that is to say, there is a middle section or “trio” of contrasting nature. The fine points of the orchestration are well shown in the reproduction of the records, for the method adopted (that of recording in Queen’s Hall, London, with a fullsized symphony orchestra and Sir Edward Elgar) has achieved magnificent results. The records are noteworthy both for their richness of (one and sense; of “atmosphere” lent them by the Queen’s Hall. A New H.M.V. Star.

Madame Elizabeth Schumann, the great soprano, who has been causing such a sensation at Covent Garden with her delightful singing of Dlozart and as Sophie in “Der Rosenkavalier,” is now an exclusive “His Dlaster’s Voice” artist. There are few sopranos, indeed, who have achieved such immediate success with London audiences as Dladame Schumann, for just after her first appearance in Covent Garden, in 1924, as Sophie in “Der Rosenkavalier” she was hailed as one of the finest for many years. She _is a lieder singer of exceptional brilliancy. Dladame Schumann, as anyone who has heard her sing Dlozart and the lighter lieder of Schubert •would recognise, is a Viennese, and she possesses the tvpical Viennese instinct of light and delicate rhythm and vivaciousness to a most delightful degree. We are sure her records should prove very popular when they arrive, but tliat won’t be for some time yet.

New Process Revelation. The almost unbelievable strides that have been made in recent times in the direction of, the perfection of the modern gramophone were made clear at a recent recital in England. If any doubt remained as to the gramophone’s having passed out of the classification of mechanical music into that of the highest artistry (states a London paper), it was removed by this experience of a programme which enabled H.M.V. artists such as Galli-Curci, Caruso, Heifetz, Chaliapine, Backhaus, and Peter Dawson to be heard on the wonderful new process records so to speak, on the same platform with a general effect that almost conveyed the impression of their actual presence. In one’ or two cases the illusion was uncanny. All that was missing was the living entity. The individual tone, clearness of detail, both in diction and note, power, range, and balance, were a revelation of perfection method. What the gramophone is now open to do was demonstrated by the accompaniments of both the voice and tire instrument by Mr. H. L. Rink, the demonstrator, on the pianoforte, and by Mr. James Tomlinson, the Preston Corporation organist, on the organ, as well as by synchronisation, and by an arrangement which gave to a vocal setting of “Down in the Forest,” a ’cello obbligato by Casals amidst the song of several nightin-, gales. In this light the gramophone is..an agency for musical culture of the greatest possible value.

A Great Polish Pianist. Although the name and repute of Ignaz Friedman, the Polish pianist, may be known here only to defined types of music-lovers, he has been recognised in Europe as one of the most brilliant virtuosos of the last fifteen to twenty years. Long before the war he had earned the appreciation of musical London, and although time has slightly subdued the extravagances that kept him, in those days, from being a really great pianist, he has lost nothing of tire brilliance which then disinguished him from the rank and file. In record form, so far we have only a couple of all too brief examples of his art. These are in a Columbia offering (L 1750) previously noted in these coliims. In it he is magnificent in Hummel’s "Rondo in E flat major” and in "Viennese Dance No. 1” by Gacrtner The ease and brilliance of his lingering will be apparent to the unmusical as well as to the advanced listener. Friedman recently gave a London recital, included in which was the Chopin Sonata in B minor, which the great Australian pianist, Percy Grainger, has lately played for Columbia recording purposes. This latter set of three records—Lt 695-97—is now available.

.Musical Comedy Music and Song. With so many of the London theatre successes either “still going strong" in the metropolis, or repeating their triumphs throughout the provinces, the demand for records of popular musical comedv selections, instrumental and vocal, shows no sign of decreasing. On the contrary, the leading companies arc issuing fresh supplies of establish-

ed favourites. The Columbia Company, for example, have had to restock depleted markets with records from "Do, No Nanette,” “Rose Dlarie,’ Wildflower,” “Betty in Dlayfair,” and so on. This company has already issued nearly a dozen records based on the first named production, and these include selections (9036), vocal gems (9072), besides many of the finest 'numbers sung by such “stars” as Irene Browne and George Grossmith, Bumie Hale, and Joseph Coyne. Quite a number of dance records, too, from “Nan. ette,” have been played for by the Hannan Dance Band, while Percival Mackey’s piano solos and Layton and Johnstone’s singing of such winners as “Tea for Two” and “1 Want to be Happy,” sli<*.' that this Palace Theatre comedy has been thoroughly covered. From “Rose Dlarie” Columbia have taken the cream of the music for their “Selections” (9037), and the pick of the solo songs and duets and dance numbers. Here, again, the .Hannan Dance Band shines, and Edith Day sings brilliantly. “Wildflower’ has supplied the usual two-part “Selections” (9079), and a really brilliant duet number by Kitty Reidv and Howett Worster, who sing “Bambahna and “April Blossoms” o’* disc number 9078. Percival Dlackcy’s Band plays, a variety of lively and musical airs in fox-trot or waltz form, and Layton and Johnstone come in with “Wild flower” and “You Forget to Remember” (3916). “Betty in Dlayfair,’ the greatest success in this line the Adelphi has had for years, gives us the “Selections” disc (9069) and one embracing the principal “Vocal Gems’ (9052), and, of course, solos by leading artistes, such as Evelyn Laye, and the best of the waltzes and fox-trots by Percival Mackey’s Baud, with the leader at the piano. Scotch and Irish.

Scotch music and Irish —vitile and tvpical, band and vocal: this is ours to hear at our leisure by securing some recent Columbia discs happily constituted as to the type of tune or song selected, and on a high plane in a plaving and recording sense. From the land of hills and heather we have the Gleneagles Hotel Band’s plaving of “Gleneagles F.ightsome Reel ” and with it Dluldcr’s “Fantasia on Scottish Airs"—one of the most remarkable and successful pieces of orchestral recording yet heard (909899). A very attractive baritone, Laidlaw Dlurray (3966) gives a couple of verv ancient, but very seductive numbers, “Dfy Love is Like a Red, Red Rose” and “John Anderson, Dly Jo,” and in another disc he sings “The Hundred Players” and ‘ Oh, Bring tae Die a Tint o’ Wine —this, apparently, being for Dlurray, and not to split amongst the hundred players artfullv disposed of beforehand. Paul Specht's Forty Orchestras. The majority of collectors of light records have sampled those bearing the name of Paul Specht, but few are aware that this musician-conductor is one of the greatest figures in music in America. As a matter of fact, he lias created, and controls, forty orchestras, playing all over the States. In his spare time he is sponsoring a Bill now in the Senate, and designed to bring about an international exchange of musicians. As a really able violinist Paul Specht is well-known tn his own country, and he is accepted there, at any rate, as the creator oi modern dance music. He holds that “iazz” has automatically developed or evolved what he terms “rhythmic symphonic syncopation.”. It is—sometimes—as, for example, in the Columbia Specht records, of which there are now nearly a dozen. These include, among the more recent issues the now famous “Prisoner’s Song, \\ and the equally popular “Picador (3935) ; “Paradise” and “I Wanna See a Little Dlore” fox-trots (3954) ; “Drifting Apart,” with incidental singing and “Dliarai” fox-trots (3960). Anv of these is tvpical of all that is modern in dance music orchestration, playing, and recording. New 8.8. C. Records.

Those who admired the 8.8. C. Orchestra’s wonderful “Semirjinide” _ record, issued as their first, some time back, through Columbia, probably knew, too, of this great combination’s immediate disc successors—Wolf Ferrari s “Jewels of the Madonna” (giving the lovely intermezzos from Acts 2. and 3), and the verv haunting and delightfully rhythmic waltz tunes of Drigo end Boccherini, being “Less Millions d’Arlequin” and “Minuet” respectively. Pc th these are on record 9092, the “Jewels” issue being 9091. These three 8.8. C. records firmly established the reputation of this body, conducted by Percy . Pitt, of Covent Garden opera fame, and it is therefore not : urprising that two subsequent discs bearing their name should have been warmly received in England. These—now c.n the way to New Zealand—give us a wonderful interpretation of “The Witches' Dance” from Puccini's first tpera, “Le Villi.” The music is weird end wonderful, covering sj,nie exquisitely subtle “lament” passages and some cf the most madly swirling and bizarre music ever written. With it (9114) is bracketed Glazounov's “Concert Waltz ‘in A.” The other new 8.8. C. record (9101) is from Rimski-KorsakaiPs “Golden Cockerel” and gives ‘Le Cog d’Or,” the “Russian Dance,” and tl.e marvellously scored “Bridal Procession.” The whole suite is of the teal “Arabian Nights” type, the music tesplendent with “atmosphere’’ and colour, and the recording laid to be superb.

“Mirella” Overture. The Gounod overture to “Mirella” is a typical specimen of music well suited to the theatre. As a whole, it is as harmless as it is pleasant, enjoyable without being a little bit exacting, and it will appeal to many tastes. Frank Bridge conducts the New Queen’s Hall Light Orcin through this Columbia record (Llti)l) —a sprightly performance, well balanced -nd sparklingIv clear. The ”1812” Overture. In the orchestral section a noteworthy issue is Tchaikovsky’s “1812” overture by the new Queen’s Hall Orchestra, conducted by Sir Henry Wood. The work occupies two large records, and one side of the third. The other side is taken up by a song without words by the same composer. It is quite a long time since we had an “1812,” and it must be said at once (hat the new process gives n much more realistic performance. The reproduction is very well done, particularly at the end, when there is a conglomeration of noise provided bv the full orchestra and the well known bells (Col. 1,1761, L 1765, L 1766)

Another noteworthy work from the same companv is the "Tnnnhauser” overture bv the Symphony Orchestra conducted bv Mencelburg. This occupies two large records (L 1770-1771 Special mention should be made of the reproducf'on of (hose opening brass chords They .are verv hard to renrndime, (mt (he now process has accomplished i'’p ioh successfully. There are i G-v (■■|f'n internn tat’on idiosvnemsies tt-n oombictor which are nnDmilinr. t-ut these t'ave not any adverse effect on (he record.

Beethoven's “Moonlight Sonata.” Of tlic instrumental records the Beethoven piano sonata in C sharp minor

by Evelyn Howard Jones heads the list. This recording of what is popularly known as the “Moonlight Sonata” replaces the old Columbia two-part ex cerpt record, which was for such a long time the only gramophone performance of this work. It is one of the most difficult sonatas to record, being such an amazing mixture. Tile third and last movement is taken at a great pace, and the test for the artist is to maintain the speed without losing the sentiment. Mr .Howard Jones gives an exceptionally good recording, and with the reproduction greatly improved under the company’s new process it will be rightly judged that these are exceptional records. They certainly should not be missed. Their numbers are Col. 90949095. The Tenor Quartet.

In the recording of "Quartet in E Minor” (Smetana) the Lener Quartet give us a really beautiful example of their ability.- Only the lovely slow movement from the work is. given, arm the highest praise one can afford is to say that the whole work would have been received with enthusiasm by all lovers of music if this slow movement was an example. The record is No. Co. L 1767. Lovers of the “Immortal Hour” will find much pleasure in William Heseltine’s new record as the original singer in that well-known mystic play, his rendering of the two songs in the last act “The Song of Creation” and “The Luring Song” have added interest. I wish he would control his tremolo a little more and then I should have had nothing but praise for this record (Col. 3976). Vocalion.

“Bale Moon,” an Indian love song deftly arranged by F. K. Logan, is an attractive violin record this week. It is played by Albert Sandler, the solo violinist at the Grand Hotel, London, with a wealth of feeling and with excellent tone. Sandler is one of those rare men with no exaggeration and with a very definite sense of style. His other choice is the somewhat hackneyed “Until” (Sanderson) which is redeemed by good playing, Hie piano accompaniments are by J. A. Byfield. A bright record is provided by Robert Chisholm, who siitgs Kreir’s lively “La Rave Passe” in perfect French. The song, which is in two parts on a 10-iuch record, is in a Halmer arrangement and of very varied mood, but always tuneful •find will commend itself to those, in search of something really melodious and out of the way. Part of it is in very decided march measure. Not the least attractive side of the disc is the excellent orchestral accompaniment which reproduces finely. Comes Dorrie Dene with her armoury of laughs. This lady with the remarkable voice has just been recorded in two amusing numbers, "Wuuga Hunga Boo,” a light sketch of a coal black land where everyone lives close to nature, and "Only to Fade Away,” in which Dorrie confesses that all her education is too little to enable her to solve the problem of the world. Both numbers are given in her exaggerated, amusing style. Gounod’s "Ave Marta” has always been a favourite concert piece and naturally suggested itself to such a conductor as Moschetto who, with his Savoy Hotel Orchestra, has just released a very emotional rendering of the famous old composition. It is successful gramophone work, and *so, too, is th eviolin solo Poliakin’s "Canary,” given with a finish and grace which

suits its daintiness, which fills other side of the disc. Here chestra provides a very colourful v ground to some brilliant playing. “Omi Fernando," the contralto from “La Favorita,” is well sung Phyllis Archibald this week Hie Donizetti number is given by this p minent young contralto with exce spirit and some brilliance. Les angles des Sistres Tinaient, the Cliam son Boheme from "Carmen, ’®,. , , quite so successful. There is a slg shortcoming at the end. but the - and excellent phrasing of the number as well as the lively orchestral accompaniment make it worth ® tten T L„ Miss Archibald is one of the few Lng i lish singers who can assail such a song with some certainty of success Here she is fully up to standard. Homochord. "Softlv Awakes Mv Heart,” the best known solo from Saint-Saens’s Samson and Delilah,” is a stock song with con. traltos, but’is a song that does not los popularity with frequent repetition, in the opera it is sung as a duet, but it is not often recorded in this manner. Oti a plum label Homochord disc, however, Karin Branzell and Bjorn lalen give a particularly good rendition of it, and one that will commend itself to every discerning gramophile. Karin Branzell is an operatic star of note, known in both England and America, and Bjorn Talen is a baritone who is well known on the Continent. Both artists are ■ possessed of magnificent voices, which ’ blend well. The reverse side is occupied by a recording of the finale of act 4, “Carmen,” another good number. "Solveig’s Song” is among the best known airs from Grieg’s "Peer Gynt,’ and is a favourite with sopranos all over the world, but rarely does one hear it so fell sung on a new Homochord disc by Madame Heckmann-Bet-tendorf, an artist who has gained worldwide renown. Her voice is of warm timbre and marvellous quality, and to hear it is to love it. Her other number is “Maria Weigenlied" (cradle song), by Rcgar, which she sings magnificently. This record, however, is chiefly valuable for Madame’s rendition of “Solveig’s Song.” The sustained flute-like passage at the conclusion is magnificently sung. In the new Homochord issue there are three discs by Eugene Brockman’s Dance Orchestra, which are worth hearing, for this orchestra plays with more refinement than is usual with dance bands. Their numbers are:—D9&6, “Ukulele Drenm Girl” (foxtrot), “Good Night” (foxtrot); D 987, “Summer Rain” (foxtrot), "There’s a Shine for Ev’rv Shadow (foxtrot), D 988; “What About Me?” (waltz). “Buy Bananas” (foxtrot). Of these "Good Night” is the best, there being less saxophone and more violin. Its companion number, also good, completes an attractive disc. "What About Me?” (walzt) is a haunting melody very easy to dance to. Its companion number is reminiscent of "Yes, We Have No .” Eddie Norman’s Dance Orchestra has recorded two bright discs on the latest Homochord list: D 990 “Im Knee Deep in Daisies” (foxtrot), "I Never Knew How Wonderful You Were” (foxtrot), DOW. "Who’d Be Blue?” from "Lady Be i Good” (foxtrot). "Lonesome and Sorry” (foxtrot). “I Never Knew” is a record with a good melody, and probable tljc best number. The “Lady Be Good” number is bright and breezy. This orchestra is rather noisy if anything, heavier than a medium needle is used.