STRAUSS AND WAGNER

Sun (Auckland), Volume II, Issue 344, 3 May 1928, Page 14

STRAUSS AND WAGNER

A PEN PICTURE “CAD AND GENTLEMAN” “We may dislike Wagner, but we cannot deny the fact that Wagner was great. He was one of the very few men who have ever been born great enough to say simply and proudly: M am not a gentleman/ ” To Mr. W. J. Turner, author o “Music and Life,” and other musica publications, comparisons apparentl; are by no means odious. In his lates

book, “Musical Meanderings,” recently published by Methuen and Company, he presents a very entertaining and delightfully candid pen picture of Wagner and Richard Strauss, the “greatest living musician.” “One has only to compare ‘Elektra and ‘Salome’ with ‘Rheingold’ and ‘Walkure,’ he states, “to perceive how incapable Strauss is of creating themes of imaginative significance. Wagner’s musical imagery is like Shakespeare’s poetic imagery—original, unforgettable, magical. “Strauss has fancy, not imagination. Re can only create original musical imagery when he is being humorous, sentimental or whimsical. The sublime is beyond him. “Those who fondly imagine one can separate the man from the artist should contemplate the life of Richard Strauss,” states Mr. Turner. “It is an extraordinary fact that Wagner, who was undeniably, from the point of view of an English Forsyte, from the standpoint of Sir Edward Closse or the Athenaeum Club, a complete cad and a thorough-going bounder —Wagner nevertheless was not worldly, although he lived all his life on borrowed money. “Strauss, who is in every way a perfect gentleman and would adorn the smoking-room of any English country house, Strauss, who is a model of punctiliousness and correctness, is worldly to his finger-tips, and his music shows it, for he can do exactly everything except be great.” INTERESTING SCORE ALFRED HILL’S “WAIATA POI” VERBRUGGHEN’S COPY Manuscript of considerable interest to New Zealanders is the conductor’s score of Alfred Hill’s “Waiata Poi,” scored for full orchestra by Henri Ver■brugghen, and autographed by the

famous conductor and members of the New South Wales State Orchestra. This popular Maori song was played by the New South Wales Orchestra during their visit to New Zealand in 1921-22, and the score was later presented to Mr. F. L. Gribbin, of Devonport. in whose possession it still remains. The copying has been excellently carried out by Mr. Eric J. Daly, and the notations made by the conductor make it of particular interest. Since he was last in New Zealand Verbrugghen visited America and conducted several of the large orchestras there, meeting with great success. It is considered likely that he will visit New Zealand in the near future.

“ELIJAH” MENDELSSOHN’S WORK TO BE SUNG THIS MONTH SOLOISTS ENGAGED For the presentation of Mendelssohn’s “Elijah” on May 17 the Auckland Choral Society has secured the services of Miss Alma McGruer, soprano, Miss Ina Thompson, contralto.

Mr. Birrell O’Malley, tenor, and Mr. Lawrence North, baritone. With such a young and popular team of soloists the choice made by the society in this instance should meet with general approval. Mr. North is the well-known vocalist of Dunedin, and in addition to excellent diction possesses a voice of a pure and even quality, so essential for oratorio. During the month of June this oratorio will be sung both in Dunedin and Wellington, Mr. Fraser Gange and Miss Amy Evans being engaged for the Wellington performance. GRAMOPHONES I find cotton cord admirably siutecL for cleaning records (says a correspondent in a London journal). It does not create electric charges readily and it has a stiff pile which is able to shift those obstinate specks which lodge themselves in awkward corners of the grooves. The fact that it gets dirty itself in such a short time is sufficient indication that it is doing its job. 1 have to rinse mine out in soap and water once a fortnight, sometimes even once a week. To make a pad I fasten a piece of cotton cord, 4in. by 6in., by drawing pins to a flat cork block. Most tool shops sell cork “sandpaper blocks” for about 6d. It is a refinement to put a little flat wad of cotton wool between the material and the block; but this is not really necessary. The drawing pins, of course, should be pushed through the material into the sides and ends of the block and not into the flat surface. Be careful, too, to see that the edges of the pins do not project above the flat surface.

Lionel Tertis gives us “Allegro Moderato” (Schubert”; “Andante” (Schubert). Viola solos. (Columbia L 1981). These two fragments by Schubert, which Lionel Tertis has rrranged for his chosen instrument, do not perhaps show the composer at his best, but they are full nevertheless of delightful melody, and the Andante contains besides some very characteristic modulations. The performance is wholly admirable. For the Allegro with ist map-' rapid passages, Tertis employs for the most part the upper register of the viola, reserving its richer tones for the more sustained Andante. But whether he is singing a tune in the tenor register or chattering vivaciously on his A string he remains the ideal violist. Reproduction is exceptionally fine, and this is de • cidedly a record to buy.

Tito Schipa, the well-known H.M.V. operatic star, reminds me of no liivng tenor so much as Bonci —less by his voice, which is neither so round nor ringing in timbre as Bond’s was 20 years ago, than by his art, which I admire more and more every time I hear him (says a well-known London critic). There is no need to particularise over again concerning his technique. But Schipa’s is a singularly individual talent; he seems to imitate nobody; he phrases in accordance with his own ideas as much as with tradition; there is no seeking after effect. He knows he has a delightful mezza voce, and he takes care to make all possible use of it.

The old operas of Rossini, Bellini, Donizetti and much of Meyerbeer were extremely florid and coloratura in style, not only for the soprani but also for the heavier voices, and though Rossini, Bellini and Donizetti wrote some very beautiful airs, their music never produces that deep, sensuous thrill one derives from Wagner, and the best of Verdi and Puccini (says a writer). These older composers were superficial and unreal, and called for light, brilliant singing, with a superb technique, such a technique as John McCormack has now (H.M.V. D. 8.324, II mio tesoro). The modern dramatic singing necessary for Wagner, Verdi and Puccini was once criticised as “bawling and screaming,” but one has only to compare the most popular singers at Covent Garden to-day with the coloratura singers of the past. The old coloratura work sounds poor stuff now, and it takes a very great singer like Frienda Hempel or Galli-Curci to bring it to life occasionally. (Compare H.M.V. D. 8.256, Sonnambula, Galli-Curci, and D. 8.365, Magic Flute, Hempel.) * * * Some splendid records by the talented Roman singer, Ezio Pinza, are going to attract a lot of attention, writes Mr. Herman Klein, in “The Gramophone.” Apart from their mechanical excellence, they are welcome because they bring to our notice a voice of noble proportions and a dignified artistic style for this basso (contante or profondo, each in turn) stands straight in the line of Edouard de Reske and Plancon. He created a role in Boito’s “Nerone,” and is said to be the best Italian artist of his type ncyy before the public. He is young, ef idently very dramatic, and displays the correct traditions in Verdi pieces like “O tu Palermo and Ella giammai m’amo," or “Dormiro sol” (D.B.1087); also in the “Possente Numi” (Flauto Magico) and “Donne che riposate” (Roberto) (D.B.IOSS); and two airs in French from “La Juive” (D.A.907, 10in.), which last replaces a 12in. Italian disc cancelled last year. His voice sounds finest in his native tongue, but he has made an exceptionally good record of the celebrated “Air du Tambour Major” from Ambroise Thomas’s neglected light opera, “Le Caid” (D.B.1086), which, together with the lullaby from “Mignon,” forms a specimen worth having.

From Handel’s “Messiah” we have “And the Glory of the Lord,” “Lift Up Your Heads,” with Sir Henry Coward conducting the Sheffield Choir. (Columbia 9144). It is pleasant to be able at last to pick out a really good Sheffield Choir record (and a fairly wellcovered, in expensive disc to boot). The recording is distinctly good, and gives us something like the tone of a Yorkshire choir. The singing is not far from impeccable, though intonation fails at times, for example, the sopranos’ high A in “And the Glory” is as often, a bit too much for them. But all this is not to deny that Sir Henry Coward’s interpretation gives support to modern fulminations against the cruel rigidity which Handel brought over music.

Here is one enthusiast’s list of “best records”: Jeritza, “Vissi d’arte”; Edvina, “Depuis le jour”; Farrar, “Jewel Song”; Melba, “O soave fanciulla,” “Addio di Mimi”; Gluck, “Je dis que rien”; Hempel, “Du meine Seele”; Destinn, “Miserere,” “O patria mia”: “Una voce poco fa”; .Gigli, “Quanto e bella”; Ansseau, “Ah! leve toi, soleil” (D. 8.951); Chaliapine, “Son lo Spirito,” “Death of Boris”; Schipa, “Death Scene” (Boheme); Hislop, “Salut, demeure”; Eriskav, love lilt, “O, Mimi, tu piu.”

Pianists should not deprive themselves of the opportunity of hearing the “Variations Symphoniques” of Cesar Franck as played for H.M.V. by Alfred Cortot and the London Symphony Orchestra, conducted by Si:’ Landon Ronald. Cesar Franck’s has a refreshing appeal and purity about it that makes it essentially desirable in these days of storm and stress. The Variations are very simple, but at the same time are of ineffable beauty. Cortot plays them with exquisite taste, and his work is beautifully framed by the London Symphony Orchestra, under Sir Landon Ronald’s direction. These records, D.B. 1069 and D.B. 1070, cannot be too strongly brought before the notice of students and, for that matter, all lovers of good music.

Perhaps some people may confess that the “Solemn Melody” of Walford Davies, as played by Reginald GossCustard, F.R.C.0., on the Kingsway Hall organ, London, is “too sad.” It certainly possesses that characteristic in a marked degree, but is none the less beautiful for all that. In anv case, the H.M.V. people have provided a nice contrast on the other side with a dainty little “Intermezzo in D Flat” by Hollins, a tuneful, delicate, and altogether very charming little piece which is exquisitely played by the same organist. C. 1305 is a good organ record.

Creatore’s Band .provides a bright and entertaining performance of “U Trovatore,” which

should fill the bill for those in search of a good band number played with brilliance and volume. Although the Miserere number is omitted, this is no great loss, the room that would otherwise have

been taken up by this rather hack-

neyed air, being devoted to some of verdi s stirring ensembles and marches 'hich this popular opera abounds. H.M.V., E.B. 17.

styles •of organ music are suitable for the gramophone, and stops that are effective in a hall may be painful on a machine. Advance has been rapid, and it may well be that experiment will dispose of existing difficulties; one does not care to set any limit to the ingenuity of modern enterprise. At any rate it seems quite clear that the demand has created the supply of organ records, and that the supply will increase that demand; and it is not too much to claim that the demand springs not from a passing crank fancy but from a musical sense at least as fastidious as in any other realm of music. One gives Dr. Harold Darke and H.M.V. full marks for the’ “Fantasia in E,” by Saint Saens on C 1350. This is a piece that often sounds confused, but here it comes off to perfection. The “Allegro Cantabile,” from Widor’s “fifth Organ Symphony,” is played on the other side.

Florence Austral (soprano) and Browning Mummery (tenor), in the ‘Miserere,” and “Home to Our Mountains,” from Verdi’s “II Trovatore.” H.M.V., D 1302, should be keenlysought after by operatic enthusiasts. Madame Austral has a dramatic soprano voice that can thrill any audience by its sheer grandeur. BrowningMummery, too, has a tenor voice of I * 1 - unusual beauty, I power and range. A brief sketch of the situation in the opera may help toward the fullest appreciation of this vigorous music. Manrico is imprisoned in a tower of the castle. He is about to suffer execution, and a group of monks sing the “Miserere” t o

prepare his soul for its long journey. Leonara, his betrothed, stands weeping below the window of the prison cell. Her voice soars despairingly over the ominous chanting of the, monks. Then suddenly Manrico’s voice is heard from the cell: “Ah, I have sighed to rest me . . . farewell. Leonora, farewell.” Leonora’s despairing cries Manrico’s magnificent melody of farewell, and the monks’ “Miserere” combine to make an intensely dramatic ending. On the reverse Madame Austral has given us an indication of the extraordinary wide compass of her voice by singing the contralto role in and her famous duet from the same opera.

Two great vocalists, William Martin (tenor") and Marcel Rodrigo (baritone) give as duets “O Mimi, tu piu non Torni,” from “La Boheme” (Puccini), and “Solenne in quest-ora.” from “La Forza del Destino” (Verdi). (Columbia L 1763). In the singing of vocal duets the first consideration is that the two voices shall be wellmatched and the balance of strength tolerably even, and I think that the weakness of this record is that Rodrigo is a shade on the heavy side for his companion. Martin, I suspect, is compelled to force his voice to compensate for his comparative weakness. Otherwise this is a very fine record of two of the most tuneful excerpts from the respective operas, and whatever their failings as a pair, there is evidence in some very fine individual vocalism.

Sir Walford Davies has composed much, but is little known as a composer, apart from the “Solemn Melody” and possibly about two other things. “King of Glory” (H.M.V. 82493) has much sound work in it, also some musical feeling (says a reviewer). It is really a continuation of the best of the 19th-century English conception of church music. It starts with the versicles, “Lift up your hearts,” “We lift them up,” and then continues with the well-known lines beginning “King of Glory. King of Peace, I will love Thee.” The singing of it is very sound and clear, but lacking in delicacy. “O Filii” is an example of one of the very things that a correspondent complains of this month—a Latin title on the label, but English words sung. Surely this is plainsong? If so, why not sayso? But it may be imitation—it would take time to make a safe guess. It is elaborately arranged—very fine, if one likes such treatment of such music. The singing is very finished, and perhaps beautiful, but the sentimental conception is out of place.