MUSIC

Sun (Auckland), Volume II, Issue 322, 5 April 1928, Page 16

MUSIC

(By

F.1.R.)

A performance of Beethoven’s only , opera, “Fidelio” was given at Manchester by the Halle Chorus and Orchestra, under Sir Hamilton Harty. Elsie Suddaby and Hubert Eisdel were the leading singers. The closing date for entries in the 20,000 dollars prize Schubert centennial composers’ contest has been advanced from April 1 to April 30, in answer to requests from American composers. In all zones the national juries are to meet the first week in May, and the prize winners will be chosen for submission to the international jury in June. • • Francesco Paolo Tosti, composer of the world-popular “Good-Bye,” has had a monument unveiled to his memory at Ortona, Abruzzi, Italy, where he was born. Among those represented at the ceremony was the King of England, an old and sincere friend of the composer, who was for many years resident singing master to the British Court. Nothing has done more to place Haydn in a false light for our time than the conventional picture of him as

essentially a lighthearted classic in a periwig, who, marvellously enough, was always in good humour. “His music is all irradiated with the same geniality and kindness as his character.” wrote Sir W. H. Hadow in his preface to Brenet’s life “T his cheerful, pleasant music,” calls it; and lets it

go at that. But Haydn was a bigger, a deepr, and a finer artist than that estimate would lead you to suppose. Especially, he was a surprising modernist. —Lawrence Gilman in the New Yordk “Herald Tribune.” tf 1? if The Gonsalez Grand Opera Company, now in Sydney, will open a New' Zealand tour *at Invercargill on July 1, under the Fuller management. The company will return to Sydney in time for the Eucharistic conference in September. The Minneapolis Symphony Orchestra, now celebrating its 23th anniversary, hit upon an interesting way of celebrating the event. The first concert, conducted by Emil Oberlioffer, . nd its quarter century birthday, conducted by Henri Verbrugghen, had precisely the same orchestral programmes. The only difference was that Marcella Sembrich was the soloist at the first, and Dusolina Giannini, one of her pupils, at the anniversary.

Immediately on his return from America, Sir Thomas Beecham started on an operatic tour of England, Scotland, and Ireland, accompanied by the London Symphony Orchestra and three operatic singers—Mme. Maartje Offers, of the Sea la Theatre, Milan; Mme. Maria Gugliemetti, of the Paris Opera; and M. Enrico Mazzei, of the Opera Comique, Paris. Sir Thomas is soon to make the final announcement on the success or failure of the Imperial League of Opera.

Canada plans five music festivals between May and October this vear. The French-Canadian folksong gathering at Quebec last May, and the Scotch festival at Banff in September, will be repeated. Added to these will be a meeting at Winnipeg in June in which immigrant races will be invited to sing their folksongs and display their handicrafts, a celebration of Indian music at Banff in July, and one devoted to sea music, chanties and the like, at Vancouver in the early autumn. Seven orchestral subscription concerts, six orchestral matinees, and six chamber music recitals will comprise the 1928 programme of the Sydney State Conservatorium. Alfred Hill conducted the first orchestral concert last Wednesday, when Beethoven’s Eighth Symphony and Holst’s “The Planets” were the principal works. The first chamber music recital, on Wednesday, March 7, saw performances of the Beethoven String Quartette in G (Op. 18, No. 2) and the Brahms Quintette for strings and pianoforte. Under the auspices of the Prague Conservatorium of Music, the Czech Filharmonic Orchestra is presenting contemporary foreign music in a series of 20 concerts. The festival of English music took place on December 11 and 12, when Basil Maine gave a lecture on English contemporary music. Composers represented in the concert which followed were Elgar. Delius, Holst. Vughan Williams, Goossens, Scott, and Bliss. POISONOUS JAZZ MUSIC OF THE FUTURE MASCAGNI LOOKS AHEAD The music of the future will be not unlike that of the past, according to Pietro Mascagni', the Italian operatic composer, who has delivered his views on jazz and other modern tendencies. He sees contemporary music as nothing more than “a haphazard stringing together of notes.” •‘Music does not change,” he declares; “it is always the same, always the divinely inspired invention and creation of melody. When the world is tired of its mud-bath of jazz and similar monstrous perversions of the nobest of arts, then we shall again have music.” Maestro Mascagni jumped to his feet as he came to the word “jazz.” “It is poisonous,” he exclaimed, gesticulating eloquently. “It should be forbidden, like cocaine, and I am convinced that far-sighted Governments will do something in this direction. There are large numbers of men who think a little culture, a little technical knowledge, is enough to equip them for composition. They write music of the mind —cerebral music, I think they call it. They talk of music’s return to instrumentality and condemn the lyrical theatre. All this is nonsense—merely a blind to disguise their lack of the divine gift. I see signs of the future. In Germany they are playing Verdi again. In Central Europe those who used to be mere copyists of Germany and France are going to their folksongs for material. “The internationalism of jazz, always the same everywhere, is yielding to resurrection of distinct national qualities in music. In our country our great Mussolini is following closely the situation. He is heart and soul a lover of true music, and thanks to him Italy will be one of the first nations to begin the ‘future’ of music. Within a few years we shall have a national lyrical opera, aided by the State. “The youthful composers of to-day have a broader background of general and musical culture than their ancestors. They have the advantages of many technical advances. When a few of these are touched by the divine spark, we will have the music of the future. Will it be better or worse than that of the past? Ido not know. I least it will be music.”. - - ——^

Gange-Evans Tour

NOTED PIANIST AS ACCOMPANIST

DISTINGUISHED TRIO

Mr. E. J. Gravestock makes the welcome announcement that he has arranged for the two famous British singers, Miss Amy Evans and Mr. Fraser Gange, to make a return visit to New Zealand, and that they will com- | mence this tour in Wellington on April; 14. No two singers have endeared themselves so much to New Zealand audiences as these brilliant artists Since their previous visit they have gone from triumph to triumph in England and America, until to-day they are regarded as the greatest exponents of vocal art in their respective spheres. On their return to London after their Dominion tour they had a mighty reception. and the London "Westminster Gazette” said: “Miss Amy Evans and Mrs. Fraser Gange are certainly two of the best equipped and most popular vocalists at the present time, and their success has been prodigious. It is not in the least difficult to understand how mightily they pleased their Australian and New' Zealand hearers. Both are remarkably fine artists, who make the most of exceptional natural endowments. Both have splendid voices, which are a joy to hear. Their reception by a large audience last night could not have been more cordial.” Their success in America has been phenomenal, and Mr. Gange on his arrival in America created a furore, and he was hailed as a “welcome addition to our short list of really great concert singers.” Since then he has w r on his way to the position of chief oratorio singer in the United States, and the most popular baritonei n the country. Miss Amy Evans has sung w-ith conspicuous success at the Chicago Opera, and has further added to her achievements by her beautiful singing in concert and recitals.

An added attraction to the concerts will be the appearance of Gregoire Alexandresco, the distinguished Rumanian pianist, who is making his first appearance in New Zealand. Mr. Alexandresco comes with a big reputation as a solo pianist, and is a protege of the Queen of Rumania.

Mr. G. H Woolley

: A VERSATILE MUSICIAN WHO HAS PLAYED ! MANY PARTS I I

EXECUTIVE AND PERFORMER

A MAN, who, “in his time has played many parts,” is Mr. G. H. Woolley, chairman of the Bohemian Orchestra. To this exceedingly versatile pierformer, strings, reeds or brass present few difficulties, even with the percussion instruments he is quite happy. On the administrative side he has also played a very prominent part, being a member of the committee since 1919 and chairman for the past two years. In 1914, when he joined the orchestra upon its inception, he acted in the capacity of pianist, but the combination being short of a bassoon player he volunteered for that position.. Then came a break of 4J years while he was away with the New Zealand Expeditionary Force, an experience which might possibly be responsible for his joining the percussion department of the orchestra upon his return. Other bassoon players had joined the combination in the meantime so he then filled another gap as assistant drummer, handling a variety of eight or nine instruments.

As an all-round man his services were once again required, this time in the brass, and always willing to oblige he mastered the trombone, the instrument he is at present playing. A Handy Man In addition to hi* activities in the Bohemian Orchestra Mr. Woolley was accompanist for the Orphans’ Club for five years and also organist at the Devonport Presbyterian Church. As an accompanist he has rendered particularly good service to several organisations in the community, being one of those indispensable, and, one might say, unfortunate men, who always seem to be called upon at the last minute to play at sight all manner of music, from the soprano’s “classic” to the tattered and torn manuscript of the comedy turn.

The first concert of the Bohemian Orchestra’s 15th season is to be held on April 26. The orchestra has now been busily engaged in preparation for some time past, and an augmented combination under the capable direction of Mr. Colin Muston is making steady progress. An effort is also being made to increase the number of subscribers, who, for a subscription of 15s are entitled to two tickets for each o the four concerts to be given. The Bohemian Orchestra is one of Auckland’s leading organisations and its popularity is indicated in the large “houses” which always its performances. To those interested in music an excellent opportunity is afforded, not only of participating in the work of a very excellent organisation, but also of enjoying four programmes, which judgging by previous concerts, should be of a consistently good standard. Applications should be addressed to the secretary, Mr. W. J. Caddell, E. and F. Piano Agency.

GRAMOPHONES

A fine record by Norman Aliin contains “Thro’ Faithless Men” —from “The Jewess” (Halevy) and “Little Cattle, Little Care” (Jackson), Columbia 04049. A good record of the famous air from La Jive (“The Jewess”), is one of those achievements that every basso profundo is desirous of having to his credit. Norman Allin has certainly not failed in his endeavour, for this is an exceedingly good performance on the part of himself and all others concerned. It is vigorous and broadly phrased, without being unnecessarily heavy or lugubrious. One of the finest pieces of orchestral recording which has appeared for a long while is that of Wagner’s “Rienzi” overture, as performed by the Philadelphia Symphony Orchestra. This is reproduced on two 12-inch records, and is of outstanding excellence. If the name of this great orchestra had never previously reached this country, these records would have established its fame.

“Polichinelle” (Rachmaninoff) and “Prelude in B Flat” (Rachmaninoff) are pianoforte solos by Lel'f Pouishnoff (Columbia 04050).

That fine Russian pianist, Leff Pouishnoff, of whose playing we hear all too little, has, for his Columbia record this month, a couple of most attractive and well-contrasted solos. The first is Rachmaninoff’s humorous and fascinating “Polichinelle,” a whimsical little fancy that Pouishnoff plays witn a great sense of fun. The record in the same composer’s beautiful B Flat Prelude, one that, in musicianship and inspiration, is streets ahead of the hackneyed “Bom, bom, bom” thing in C sharp minor. The piano tone is remarkably rich; there is no doubt about it —the electric recording process has done wonders for piano reproduction, even if only to permitting a concerthall recording. Pouishnoff made his first London visit in February, 1921, and has been a frequent visitor since. j A remarkable violinist will be the verdict on Sascha Jacobsen by all who hear “Poupee Valsante” (Poldini. arr. I Kreisler) and “At Dawning” (Cadman) (Columbia 0793). Sascha Jacobsen has proved himself to be a violinist of very first rank, and this record of his bears out the big name lie has made for himself in U.S.A. Not only are his phrasing and technique well above the ordinary, but, what is moro important, he adds a wealth of life and colour to his interpretations. In Poldini’s. popular “Dancing Doll.” which cleverly suggests the automatic movements of a doll, Jacobsen’s tone is unusually warm and mellow. Cadman’s melodious and romantic “Al Dawning” is superbly played. How much is due to improvement in recording is hard to say, but the violin tone is really startlingly rich and deep. This is a record well wortli purchasing. #

Signora Guglielmetti, soprano for Columbia, contributes this month Iwo irs from Bellini’s “La Sonnambula,” which ara wonderful examples of vocal technique allied to lovely flute-like quality. The first, “Come per me sereno,” is the air in which Amma thanks her friends for their congratulations on her betrothal, and the second, “Sovra il sen la man,” follows immediately after the preceding. In this Amina assures Teresa, her adopted mother, of her love. Hardly any of tlie “show airs” of Italian opera are more richly ornamented than “Come per me sereno,” and it is a positive joy to hear the ease with which Guglielmetti trills out these roulades.

The “Lohengrin” Prelude, played by the London Symphony Oi’chestra, is a record of particular importance because the performance was directed by Siegfried Wagner—the son of the composer. The close relationship between conductor and composer gives a valuable interest to this mterp“etation. This should be a record worth hearing.

The name of Pablo Casals stands first on the roll of living 'cellists, and his rendering of Debussy’s “Menuet and Hillmacher’s “Gavotte Tendre is a masterpiece of the ’cellist’s art. in this record for “His Master s voice he has achieved his triumph quietly. Instead of striving for effects by prodigious tone or by an exhibition ot wild temperamentality, he relies on superb quality. The listener imagines himself entranced by what he himself finds, rather than by what, in reality, Casals is showing him.

A great aria by Maria Jeritza (soprano) is “Agatha’s p raye.r” from Weber’s opera “Der H reischutz. H.M.V., D. 8.982. Mme. Jeritza has given us the principal soprano air in Weber’s romantic opera, “Der Freischutz” (The Free-Shooter). Th« air falls naturally into two pa.rts: the first has the lovely slow-moving melody, “Leise, Leise,” known as Agatha s “Prayer,” the second is more vigorous and contains the fine swinging tune which is so popular a feature of the overture to the opera. if * *

Cortot and Liszt is a happy combination as evidenced by Alfred Cortot (pianoforte) in “Hungarian Rhapsody, No. 2.” (H.M.V., D. 8.1042.) For sheer energy and brilliance this record would b Q hard to equal. Cortot’s genius as a pianist is well known, but it is in the performance of such a famous bravura piece as this that it is most easy to appreciate his sterling qualities. Liszt gives any amount of scope for sheer “virtuosity” in his dashing imitations of Hungarian music, and the result here is one that literally takes one’s breath away. Cortot’s .reading is eminently sane, but he “lets himself go” where it is legitimate, with an effect which is “electrifying” in more senses than one.

The London Symphony Orchestra, conducted by Siegfried Wagner, plays “Huldigungs March” (Wagner). We are apt to overlook Wagner’s smaller •works —though there are but a few — and this record should, therefore, be very welcome. The “Huldigungs March” represents Wagner at the full height of his powers attempting to write a march. It is rather like a mountain torrent being made to turn a child’s toy watermill, and every now and then Wagner “overflows” beyond the narrow confines allowed him. But the result is a magnificent march, and as played here, under the baton of no less a person than the son of the composer himself, we cannot fail to admire it. D127J..) Lionel Tertis is heard this month in “Berceuse” (Arensky) and “Fugue in L” (Tartini), Columbia 04048. Exactly why it is difficult to say, but it seems that the average music-lover regards the viola as in the nature of an unnatural instrument. It is a quaint situation, for one has only to hear a record by Lionel Tertis and realise how beautiful this mellow instrument, which misses alike the piercing tone of the violin and the boom of the ’cello, can be. The record under review gives two of the artist’s favourite numbers —an Arensky “Berceuse” (the third Serenade) that is haunting and appealing in its loveliness, and a Tartini “Fugue” (arranged by Kreisler) in which there is a wonderful display of double-stopping and part playing that reveals a liveliness that is most engaging. It is easy to see why the public performances of Lionel Tertis are hailed with such delight. He is a supreme artist, and a most notable addition to the gramophone.

A new Benno Moiseiwitch recording ; includes, (a) Study in E Flat Major, | Op. 10, No. 11; (b) Study in C Sharp i Minor, Op. 10, No. 4; (a) Study in F j Major, Op. 25, No. 3; (b) Study in A j Flat Major, Op. 10, No. 10 (Chopin). | Moiseiwitch’s playing has a curious, i brilliant vigour of its own, suggestive J of almost daemonic powers. He has I given us four of Chopin’s first “Studies” in this record, and a more ! fitting vehicle for the display of his j powers could hardly be found. The \ “Studies” present novel problems in j execution, but equally they are to be enjoyed for the beauty of their melodies and for the brilliance of the elaborate embroideries which Chopin has given them. The moods vary as i greatly as in the Preludes. The re- ! production is startlingly clear cut. ! (H.M.V., D 1248.) A famous suite by the Royal Opera I Orchestra, Covent Garden, is the I “L’Arlesienne Suite,” “Adagietto” and “Farandole.” (H.M.V., C 1320.) Though “Carmen” rather overshadows Bizet’s other works in the minds of most, the suites formed on the accidental music he wrote for the production of Daudet’s “L’Arlesienne” in 1872 have won a thoroughly deserved popularity of their own. The suite consists of the Prelude, a vigorous dance movement in the form of a Farandole, and the famous Adagietto. The Prelude was released a few months ago. (C 1319.) The possibility of introducing “local colour” was always one of Bizet’s surest sources of inspiration, and the native rhythms of the South inspired in this case, as we may hear. Though everyone will feel the appeal of the vigorous Prelude and the still more lively Farandole, it is the delicate little Adagietto which has proved the most popular movement. Under the baton of Eugene Goossens, the orchestra of the Royal Opera, Covent Garden, lias given us a brilliant performance. The reproduction of the orchestra by the new “His Master’s Voice” recording 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.

A great aria by Maria Jeritza (soprano) is “Agatha’s Prayer” from Weber’s opera “Der Freiscliutz.”

H. M. V., D. 8.982. Mme. Jeritza has given us the principal soprano air in Weber’s romantic opera, “Der Freischutz” (The FreeShooter). The air falls naturally into two parts: the first has the lovely slowmoving melody', “Leise, Lei se ” know'n as Agatha’s “Prayer,” the second is more vigorous and contains

the fine swinging tune w-hich is so popular a feature of the overture to the opera.

Marguerite D’Alvarez (mezzo-so-prano), with accompaniment by Percy Kahn, and organ accompaniment by R. Arnold Greirj, in “Homing” and “Do not go, My Love.” (H.M.V., D.A.790.) Madame D’Alvarez is too well known in this country to require much intro- j duction: but it may interest some to | know that she is of Peruvian birth, | and, indeed, claims that she can trace ! her ancestry back to the ancient Incas j of pre-European culture. Madame j D’Alvarez has had a dazzingly bril- j liant career, received the greater part of her training in Europe, and for somo time devoted herself —for religi- j ous reasons—only to the concert plat- j form. During this period she was for i a time court singer to the Queen of j Belgium. But such a remarkably fine voice was ideally suited to opera, and | at last D’Alvarez overcame her | scruples. Her operatic debut was | made in Rouen as Delilah. It was j Mme. D’Alvarez. it will be remem- \ bered. who sang the great solo “O ' Rest in the Lord” at the burial of the Unknown Soldier in Westminster Abbey. The record gives an excellent impression of this great artiste’s singing, particularly in the song “Homing” (Del Riego), which, if played on one of the new “His Master’s Voice” instruments, at least produces such an extraordinarily realistic effect that the listener glances instinctively at the gramophone.

A new recruit to the ranks of “His Master’s Voice” is the San Francisco Orchestra, the first record of which will be Kreisler’s “Caprice Viennois” and Delibes’s “Coppelia Ballet.” the performance being conducted by’ Dr. Alfred Hertz.

Among good tilings to be looked_ forward to are Rachel Morton in “I Know That My Redeemer Liveth” and “Come Unto Him” (from the “Messiah”) and John Turner in Adam’s “Nirvana” and Squire’s “Mountin Lovers.” There is also a further light contribution byJack Smith, the Whispering Baritone —“Possibly” and “The Birth of the Blues.” Gene Austin sings "My Idea of Heaven,” while on the reverse side of the same disc is “Voom Voom,” by the “Four Aristocrats.” Ernest Hastings has amusing skits on “The Roast Beef of Old England” and “There’s Nothing Over Sixpence in the Store.”

A brilliant violinist, Arthur Catterall, plays “Allegro in E Flat” (Dittersdorf) and “Serenade” (Arensky) for Columbia 03523. The Allegro is a remarkably* brilliant work by a contemporary- of Haydn’s, which has gained a lot by- being rearranged by Catterall. His version of it is most effective, and we admire so much his courageous solution of the technical problems he has set himself that we hardly notice that the brilliance is a trifle flashy. Much better is the Arensky Serenade, a graceful piece with a touch of sentiment, not without imagination. Catterall's tone is splendidly steady throughout, and lie is w-ell accompanied and well recorded. A most agreeable record on every count. * * * The latest Lener String Quartet recording is “Quartet in F Major” (Rasoumoffsky Quartets No. 1) (Beethoven) —Five records in album with descriptive notes (Columbia L 183741). This is the first of the three “Rasoumoffsky” quartets, dating from 180&, called after the Russian Ambassador in Vienna, who presented his friend Beethoven with the Russian folk song, which forms the subject for tho finale. Mendelssohn said that this quartet was the most Beethovenish of all his works. The principle subject of the opening movement is given by the violoncello, and there is a strong resemblance between it and the opening of the piano trio in B Flat, reviewed last week. There is also a passage in this movement resembling one in the first movement of the Fifth Symphony. The persistent rhythm of tho scherzo is remarkable, and the accompanied cadenza forming the coda occasioned much astonishment and adverse criticism when the quartet appeared. The movement leads without a break to the finale, which begins with Rasoumoffsky’s Russian melody, given by the violoncello.