RECORDED MUSIC

Evening Star, Issue 19664, 17 September 1927, Page 17

RECORDED MUSIC

[Written by Philip J. B. Marchant, for tho ‘Evening Star.’] ORCHESTRAL RECORDS. Gramophilcs who specialise in orchestral records will bo well catered for during the month of Octobe. Three orchestral masterpieces aro now available for distribution among tho Now Zealand dealers—The overture from ‘William Toll’ (Rossini), tho ‘Nut Cracker Suite’ (Tschaikowsky), and Mie beautiful ‘ Variations on a Theme ’ of Elgar. it is my intention to deal briefly with cadi, so wo shall begin with the ‘ Enigma Variations ’ (Elgar). ‘Enigma Variations’ (Elgar), op. 3G, No. I, recorded by the Royal Albert Hall Orchestra, playing m the Queen’s Hall, Loudo, under the baton of tho composer, Sir Edwatd Elgar, 0.M.; recorded on four 12in His blaster’s Voice black label records, D. 1151, 1155, 1150, 1157. Tho obverse of_ U. 1157 is taken up with tho ‘ Meditation ’ from Elgar’s oratorio, ‘The Light of Life,' played by the same orchestra under Sir Edward Elgar. A handsome album, with notes, is given with the sct._ For those who wish to know a little about their orchestral discs tho follow ing notes on the ‘Enigma Variations’ may be of some slight use: — Of all Elgar’s larger works this is, perhaps, the best known. All orchestras in perhaps every country play it. It was first given in St. James’s Hall, London, in 1890, under tho condnctor(ship of that master of the baton, Hans Richer, and it had tho immediate effect of establishing its composer’s reputation. The plan of the work is as followsA tune called ‘Enigma,’ nine variations on it, an intermezzo, three more variations, 'a finale. Tho reason that the tune is called ‘ Enigma ’ is curious. It seems that it is so written that another tune—this one well known to us all—-could bo played with it, ami even, it is said (though this seems incredible), with each of the variations. What this other tune is nobody lias ever found out, and the composer, being a man, has kept his secret for a quarter of a century. Another interesting thing is the dedication of tho piece ‘To My Friends Pictured Within.’ Each of these variations is preceded by tho initials or the nicknames of the people pictured in it, and some of these people are alive to-day. Owing to lack of space I cannot explain each variation fully for tho benefit of listeners, but these notes may be of help to any who buy tho set, and nobody who believes in the greatness of Elgar as the first composer in England to-day should bo without tho records. Anybody can enjoy the jolly “ tune,” and the actual music itself is explained in the album presented with tho records. First, the time itself, called ‘ Enigma.’ This is marked andante, meaning “gently moving.” Note the melody carefully in all its details as it is played, and Become thoroughly familiar with it by several repetitions before proceeding further (this is important). The melody falls into three sentences, a.s it were—first, six bars in tho minor, strings alone, then four bars in tho major, played this time with tho strings and woodwind added, finishing with' tho first six bars repeated as before, but ending with a major chord, After pausing on tins chord wo pass into a whispered (rather loud in this record under review) passage which loads ,us straight into variation No. 1. Dedicated to C.A.E. (Alice Elgar, the composer’s wife), tho tune is played very softly by the flute and clarinet (lino recording here). Behind this can lie heard a quietly-moving accompaniment. Here at the end of the section the brass give out the tune. The end is very delicate, the clarinet very softly playing tho opening notes of the melody, whilst the strings and horn accompany. (The difficulty in this record seems to bo in the piano passages. We do not got tho mere whisper from tho strings one would like, but with the composer at the conductor's desk it seems an impertinence to criticise his reading of his own music.) Variation No. 2, allegro _ (quick), dedicated to H.D.S.P., in § time. Tins is a beautiful variation. It is a lightfingered, three-in-a-bar movement. A rapid theme is treated by the violins, and again in wood. While this is going on a triple time version of the original theme is heard underneath in the violin’ ’cellos, and double basses. (Good solid tone here. Do not attempt these records on a light, portable gramophone, or all the definition in the bass will bo lost.) Variation No. 3, allegretto (pretty quickly), in 3-8 time. Dedicated to R.B.T. A happy treatment of tho tune (again three in a bar). Note tho oboe tono here. The accompaniment is played by the rest of the woodwind, and strings, pizzicato (plucked). A gruff bassoon solo is heard (or should be heard). The orchestration is rather “thick,” and it is difficult for the various instruments to come through well enough tor the listener to recognise each, but this variation is a hard nut for the recording experts. Variation No. 4, allegro di mol to (at a good quick speed), time. Dedicated to W.M.B. This gives the tune much in its old form, but it'is changed from foiir-iu-a-bnr to three-in-a-bar, with a good deal of added force. At the conclusion the full orchestral is playing (glorious recording here. The kettledrums come over well, as do all tho other instruments). Variation 5, moderate (at a moderate speed), J 2-8 time. Dedicated to “ R.P.A.” (R. P. Arnold, son of Matthew Arnold). This is rather a solemn variation. In the opening tho tune is heard in the bass from the ’cellos, double basses, and tho violins. (Note tho particularly rich tone of the 0 strings of tho violins admirably rec dcd.) A new tune is introduced, this time of a rather serious character. After a few bars of charming woodwind tho tunes again enter, but this time “ inverted,” the original tunc being now Above (on the woodwind and horns; listen tor this point), and tho new tunc is heard below, played on all the strings—first and second violin.-., violas, violoncellos, and double basses. There is some use made of this material; then the music passes without a break. Variation 6, andantiiio (gently movie along). Dedicated to Ysobel (said to be the composer’s daughter). At tho opening bits of the tune are heard in the lower strings, but with tho intervals widened (it is said that Ysobel is a tall person, and has a bold stride). The bassoon and some of its woodwind colleagues interject fragmentary thoughts. (Here the recording is again on a high level, and the bassoon tone is a model.) Those who make a hobby of “spotting” the various instrument,playing together in an orchestral record at a given moment will revel in this recording—intricate part writing, bm clearly recorded. Now we have a few bars of viola solo. (Here it is played as beautifully and ns delicately' as Ysobel and her friends could wish.) Variation 10, intermezzo (allegreto, at a gentle, rather quick pace). Dedicated to “ Dorabella ” (said to be a Mies Penny, of Malvern). This can liardl i be called a variation, as it makes

little reference to the tune. It is quite fairy-like in its delicacy. strings and woodwind giro out little chirps and twtters, and hero creeps iu a beautiful soft viola solo. (Listen for it.) As this number is rather longer than the other variations, it can be called a piece by itself, (it is charmingly played on this record, aim the composer has a fine responsive body of players to conduct.) Variation 11, allegro di molto (at a rapid pace), 2-2 time. This variation is dedicated to Dr Sinclair, an organist. Note the organ pedal work in some or the passages, given to ’cellos, basses, and bassoons. These passages will be found on observation to have been oerived from the original theme. “ G.R.S.” was a fine musician, full of character gad energy, and his enterprise is suggested in this variation. Variation 12, andante (meaning slow moving). Dedicated to “ 13.G.N.” A violoncello solo begins, and then others join in (note the rich tone of the recording here). Without a break w« pass into the next varatiou. (Perhaps “ 11.G.N.” was a violoncellist.) Number .13, ‘ Romanza, moderate meaning moderately fast, i time). Dedicated to Lady Mary Lygon. The original tune is not much alluded to here. The piece is supposed to represent a seascape, the person being on a voyage at the time the variation was written. Variation 14, finale. The score marked allegro (meaning “quick”). This is a very elaborate piece of great length. The music is described in the analysis in tig; album, so 1 shall not go into details liere., The ownership of tills set is a valuable household possession, it is a noblo work, and one that anyone with an car for a good tune may get on familiar terms with after a few playings. All through the recording i.s on a high standard, and this set of records will remain the standard interpretation lor all time. Next week i hope Lo deal briefly with the ‘ William Tell ’ overture and the ‘ Nutcracker ’ Suite of Tsehaikowsky. DUNEDIN GRAMOPHONE SOCIETY The Dunedin Gramophone Society hold another successful meeting ■on Tuesday evening last, there being an attendance of over thirty. In the absence of the president, Mr H. Findlay, the vice-president, Mr Best, took the chair, and, after the minutes of the previous meeting had been read by Mr Daggar, acting secretary, a programme of n-iw recordings of His Master’s Voice and Columbia was put through. The next meeting will bo held in the same room, the lecture hall of the Y.M.C.A., when a programme of band records will be given. All interested in the gramophone are invited. The meeting commences at 7.30 p.m.

RECORDED WORKS OF BEETHOVEN, —TIIO Moonlight Sonata.— ‘ Sonata in 0 Sharp Minor ’ (Beethoven). Frederick Lomond at the piano. H.M.V. Dll4O-114L Liszt’s ‘ Concerto Study, No. 3, in D Flat,’ occupies the fourth side. Beethoven, himself, never called the ‘ Sonata in C Sharp Minor ’ tho 1 Moonlight,’ Sonata, and tho title waS ( added later by an astute publisher. But the title is highly appropriate to the first movement, if not to tho sonata as a ivhole, for the gently moving rhythmic figure, whicli is one of its chief feature? together with its great .simplicity, is in perfect harmony with the atmosphere of the moonlight, with the moon’s rays touching the soft curves of ripples on the water. Tho “ moonlight ” atmosphere ends with the first movement, for tho second movement begins with what is almost gaiety, but which develops later more seriousness. Tim finale is again completely different froc, anything that has preceded it. It has dark energy and passion, and it overflows with vitality, so that we leel Beethoven is almost reaching beyond tho limit of tho pianeforte in his writing. Lamnnd has given a superb performance of this famous work. ANSWER TO CORRESPONDENT. A reader has asked for a list of the best records of Chaliapiuo. Tho following number arc obtainable, and t the comments on each may be of interest. As my correspondent stated that he did not care for operatic records, a department in which Chaliapiuo is unequalled, the list I am giving is made up of his folk songs, etc.: — Chaliapiuo was born in 1873 at Kazan, and his musical powers became apparent at seventeen. After many hardships he managed to obtain an engagement in St. Petersburg (now Petrograd) in 1894, and, thanks to his success there, he was made a member of the Russian Imperial Troupe, and thus gained a fine experience in opera. In 1896 he was well known to musical Russia, and from that time on his career has been one continual triumph, not only in Russia, but in Milan, Paris, Monte Carlo, New York, and London. Should bo come to New Zealand, as rumor says he will, we shall have tho unique honor of hearing one of tho greatest bass baritones in the world. For ho has exceptional gifts. His beautiful and flexible voice—wonderful for its enormous quality, power, and variety of tone —his rare feeling and thoughtful study, his independent interpretation, and his astonishing dramatic powers, combined with superb diction, have enabled him_ to create in tho realm of Russian music a series of original and outstanding _ operatic figures amongst which arc Boris Codounov, Ivan the Terrible, The Miller, Mepldstopheles, and The Demon. Ho has also made a great success of Italian opera, and ho sings Mozart in a manner which is perfection itself. One of the most sensational appearances in the English musical world was that of Chaliapiuo in the Russian season at Drury Lane in 1913-14, when in a night he had a!ll the musical England at Ins feet He was thou termed the “bass Caruso,” and was acknowledged to be without a superior, a unique personality in the musical world. Jn this short review of the records made hy this master singer I_nm dividing them into two classes. First I will deal with his interpretation of the folk songs of lii.s “ distressed country,” Russia, which he invests with a wonder fui coloring and a unique interpretation. Tho reader may not bo aware that there arc a number of beautiful records of Russian Folk Song in the H M.V. Historical Catalogue No. 2. Although made about 1913 and 1911 they are Chaliapiuo at his finest, when the' voice was that of the greatest bass in the world. The following I regard as fine examples of recording as 1 hope to hear of this great artist. In recent seasons these folk songs have been a, feature at Chaliapiuo recitals;—D.B. 610—(a) ‘Down tho Volga ; Ti) ‘From Under the Oak Merry Butterweek—Hostile Power ’ (Sieroff). The first is a beautiful song, nothing to io with Ids famous ‘ Song of tho Volga Boatmen.’ while ‘Under the Oak’ is also quaint. Tho first two are unaccompanied, except for a chorus. The record was made in 1910 and is a wonderful example of recording for such a time. The second'side is taken up with an operatic aria which I did not care for. , ~ , , D.B. 620—‘ Dubinoushka and ‘ Night ’—Play these at seventy-eight revolutions. ‘Dubinoushka’ is sung with a chorus, and has a grand swing. This has been re-recorded on a 10in disc. I have heard _ it, but the voice is not what it was in 1910. ‘Night’ is a beautiful example of word painting sung without accompaniment. D.B. 622—‘ The Tempest Rages,’ with piano _ (1910), ‘ Not a Little Autumn Rain,’ with chorus (1911). Two more gems for your collection. One never tires of hearing these- Simple songs of the Russian people. I wonder if they sing them now? The records mentioned are the examples from the Historical Catalogue No. 2. The following are from tho H.M.V. General Catalogue:—-

. D.B. 108—‘ Arise, Red Sun ’ (in Russian with chorus), ‘ Now let ns Depart ’ (church hymn), in Russian and with choir. Here, I think, aro two of the finest things Clialiapine over did on one record. His_ forceful personality dominates everything. There is a wonderful low note sung by a member of the chorus on ‘ Arise, Red Sun.’ On my instrument playing at the correct speed of seventy-eight it comes out at pedal C. D.A. 621—‘Down the Pctersky,’ ‘Dubiimska’ (song of the Haulers), both _in Russian with chorus. _ The first is a sleigh 1 song, and Clialiapine is guaranteed to clear the way better than a siren, so powerful is the tone. The second is dealt with elsewhere. D.B. 104 — 1 Thov Won’t let Masha Walk by the Brook,’ ‘ Oh, Could I Express in Song’ (in Russian with piano). Two splendid examples of interpretation of different subjects, D.B. 105—‘ Song of the Volga Boat Haulers.' Here is the best of all modern examples of Chaliapine’s work. ' The Volga Boatmen ’ must _ have a tremendous sale. In the opinion of most people this is the most “ thrilling of all his records.” Those who did not know who Clialiapine was 'were captivated with this wonderful voice. On the other side of this disc is Rim-sky-Korsakoff’s 1 Prophet,’ mother wonderful effort. Again, should anyone want translations I can supply same.