MUSIC

Sun (Auckland), Volume III, Issue 754, 29 August 1929, Page 14

MUSIC

(By

F.1.R.)

Glancing Ahead — This Evening—Auckland Artillery Band Concert. Sunday—Professional Musicians. September 2—Academic Club Evening. September 9—Auckland Piano Students’ Association Evening. September 14—Westminster Glee SingSeptember—Dusolina Giannini. October 17—Auckland Choral Society Concert. SUNDAY CONCERT TO HELP PROFESSIONAL MUSICIANS Sympathy with the professional musicians of Auckland who have been thrown out of employment by the advent of sound pictures will no doubt be expressed in practical form on Sunday evening, when a concert on behalf of the Auckland Musicians’ Union benevolent fund will be held at St. James Theatre. Apart from the very worthy nature of the object, a first-class programme will be given. It Is hoped to have an orchestra of over 70 players, who will be under the conductorship of Mr. Colin Muston. Assisting artists will be Miss Clague, Mr. Barry Coney, Mr. C. Hayes and Master H. Tavener. The orchestral items will include the overture “Raymond,” Schubert’s “Cradle Song” (for strings only), “Lo! Here the Gentle Lark,” “Theme and Diversions” (Edward German), and the tone poem, “Finlandia,” by Sibelius. Miss Clague will sing the “Flower Song” from "Faust,” and Mr. Barry Coney "The Blind Ploughman.” A violin solo, “Carmen Fantasia,” will be played by Master H. Tavener, and a cornet solo, “Softly Awakes My Heart,” from “Samson and Delilah,” by Mr. C. Hayes. Edward German’s “Tom Jones” is at present being rehearsed by the Levin Choral Society. * • * Lindbergh Cantata A cantata commemorating the Atlantic flight of Colonel Lindbergh is Included on the programme of the Naden Baden chamber music festival, composed by Kurt Weill and Paul Hindemith. The work is said to be “conceived in terms of radio”—whatever that may mean. * * * Bach Biography Sanford Terry is completing his biography of Johann Christian Bach, to be published next autumn by the Ox ford Press. The volume, according to “The Musical Standard,” is to contain as frontispiece, a hitherto unknown Gainsborough pdfrtrait from Bologna and a complete thematic catalogue of J. C. Bach’s works.

Westminster Glee Singers The Canadian newspapers have been most enthusiastic on the artistry of the Westminster Glee Singers. The original tour of Canada had to be extended many weeks. The Toronto "Evening Telegram,” after praising the tone of the ensemble and that of the soloist, says:—“lnterpretation —in other words making plain the meaning of what they sing—is their greatest art, and it is superb.” The Westminster Glee Singers’ programmes embrace every form of vocal music from the delightful secular items to the loftiest sacred numbers. The majority of the choral numbers have been arranged by Mr. Branscombe himself, and in these works he is credited with revealing artistic and thorough musicianship.

Miss Stella Murray, the New Zealand contralto, was highly praised for her last London concert. “F. 8.”, writing in the "Musical Times,” states: —“There is a repertory of songs which is the special field of the contralto—songs which demand a warm, velvety quality of tone and volume. Miss Stella Murray sings them as well as the best contraltos of the present, avoiding some of the faults to which even the best are liable—such as forcing of the tone and swooping up to the note. The first group of songs in the programme of the recital she gave at Aeolian Hall proved this beyond question. Perhaps because of this constant control and restraint she can adapt her voice also to songs of a very different character. There is nothing in Hugo Wolf’s 'Come, Mary’ more suitable to a contralto than to a soprano, a baritone, or a tenor. In this the chief qualification is understanding rather than vocal skill, and Miss Murray's complete success in reproducing the fine spiritual atmosphere of the music denotes instincts and temperament of unusual range. Most admirably seconded by Mr. Harold Craxton at the pianoforte, she gave a performance of this and other songs of the same master, the beauty of which I found extraordinarily impressive.”

WESTMINSTER GLEE SINGERS One of the features of the programmes of the Westminster Glee Singers, who are to tour New Zealand next month, is the group of sea chanteys. The rollicking bass airs of “Billy Boy” and “Clear the Track,” which are sung to the lusty accompaniment of the remainder of the company, have captivated all listeners. Of late years a great deal of attention has been given to these songs by eminent musicians, notably Sir Richard Terry, whose editions of these famous tunes are widely used at the present time. Nothing could be more delicious than the buffoonery that is associated with the lighter chanteys, and no more sincere the sentiment of the more serious type. Mr. Edward Branscombe, the organiser of the Glee Singers, has for years made a deep study of the chantey and its origin, and thus the works sung by the company are authoritative. The singers enter into the spirit of these “work songs” of the old sailing days, and the irresistible rhythms and melodies are given as they were in days when men sang at their work before the mast. GRAMOPHONES Two old favourites from Sir Harrv Lauder’s repertoire, “It’s Just Like Being at Hame” and “Tobermory,” have been re-recorded and have come to hand this month. Lauder was recently in England, and those who saw him on the stage were unanimous that he was as good as ever. Lauder is irresistible, and he has the ability to create atmosphere. (Zonophone, G. 0.85.) * * * Incidental music to "The Merchant of Venice” is an organ solo by Quentin Maclean. (Columbia 02796-7). Those who appreciate the ingenuity of the modern theatre organ should listen to these two Quentin Maclean records. This brilliant pedal-key-stop manipulator at the Shepherd’s Bush Pavilion knows how to coax the last ounce of effect from his giant oneman electric orchestra. The five sections of this entertaining music are handled with admirable contrast, and recording is very good indeed for quasi-organ music. * * * Schubert’s music is again prominent, and there are three records of his Mass in G Major by the Philharmonic Choir under the control of Mr. Kennedy Scott. Such accomplished artists as Elsie Suddaby, Percy Manchester and Howard Fry sing the solo parts with tuneful dignity, and the choir’s efforts are marked by a reverent restraint and beauty of tone that makes the work one of inspiring grandeur. (H.M.V., D 1478-79-80.) * * * "Kol Nidrei” is a melody that has been sung in the synagogues of the world for countless years on that most solemn of all days—“ Tom Kippur”—The Day of Atonement. The words are an impassioned plea for absolution from sin, while the melody itself is admittedly one of the world’s possessions. Sirota’s reverent treatment is most appropriate, while the choir supports him in the mode of the synagogue. Sirota’s great voice is heard to full advantage, the reproduction is superb, and the record will be treasured in countless homes, Jewish and non-Jewish. Columbia 02815. Dance enthusiasts will find a good selection in latest releases by Zonophone. Outstanding are the waltzes “Sweet Hawaiian Dream Girl” and “Sleepy Honolulu,” by the Hilo Hawaiian Orchestra. The native instruments are used with beautiful effect. Other recommended discs are “Don’t Be Like That,” fox-trot, with vocal refrain, played by the Rhythmic Eight, which is coupled with “Anita,” waltz, by the Arcadians Dance Orchestra. Two excellent numbers by the Arcadians are “Pokee-okee-oh,” fox-trot, with vocal refrain, and “That Old-time Organ Melody.” • * m Another newcomer who illustrates Columbia s new policy of recording the greatest artists of every country is Mile. Denya, who has long enjoyed a secure reputation in Paris. She sings in French two of the most moving arias of Turandot’s Eastern love, Liu, to the Princess, and she sings a natural Gallic fervour and passion. Her production is easy and spontaneous, and has a winning personal quality that makes us feel with her the whole poetry and sentiment of her arias. “Thou Cold Proud Statue,” “So Great and Secret a Love” (Puccini). Columbia 03634. A robust English baritone, Keith Falkner, makes his debut on the gramophone with three of Keel’s saltwater ballads which are grouped on to a ten-inch record. These are “Port of Many Ships,” “Mother Carey,” and “Trade Winds.” The thing that strikes the listener is the singer’s sincerity. He uses his fine voice with an artistry that rings true, and his diction is exemplary. The contrast in themes and tempo gives variety to a most pleasing record One looks forward to further contributions from such a splendid singer. (H.M.V., 2917.)

Though there are several available records of the famous Pagliacci Prologue, this new version by Armando Borgioli compares more than favourably with most. Those who prefer the last ounce of drama to be extracted from an essentially dramatic aria should certainly hear this. The record scores again on orchestration—a distinct improvement on the usual run. Here it is pointed and brilliant, blending with telling effect with the singer. Borgioli gets a good swing and is always in perfect taste; (Columbia 01500.)

“Hail Europe, March” and “Cadet’s March,” played by massed military bands. Volume without blatancy, may be accounted a safe slogan to use in connection with this newest Parlophone sensation in band recording. Last month’s record, “Entry of the Gladiators,” march, and “Gladiator’s Farewell,” march (2717), created something like a furore in gramophone circles, and the above disc, together with “Florentine” March and

“Old Comrades” March (2742) gives one a perfect realisation of military band playing, stupendous in volume, rich in detail, and withal, easy to the ear. Lovers of band music will welcome this series, which will embrace all the well-known hand compositions. (2743 Parlophone, loin). ,

Sterndale Bennett's son wanders a long way from his father’s footsteps, but there is plenty of room for light, humorous music, and his setting of Right’s “If Ever I Meet the Sergeant” is extraordinarily apt and catchy. This is an ideal song for smoke concerts and reunions. And Easton’s voice is capable of just that oiliness, depth and beefliness which are perfect for it. Weatherby’s and Sanderson’s chanty ballad, “Time to Go,” is quite as attractive as some of the originals upon which it is based —and them as individuals. (Columbia 01502.)

The following is a list of H.M.V. best sellers compiled from the latest returns from retailers; Symphony No. 5 in E Minor (Tschaikowsky), played by the New Symphony Orchestra. (Dlsll-6.) “La Tosca”—potpourri, piayed by Marek Weber and his Orchestra. (C 1413.) Trio from “La Forza del Destino,” sung by Rosa Ponselle, Giovanni Martinelli and Ezio Pinza. (D. 8., 1202.) “Tomb of My Sainted Fathers,” from “Lucia di Lammermoor,” sung by Benjamino Gigli (tenor). (D. 8., 1222.) “Kathleen Mavourneen,” sung by John McCormack (tenor). (D. 8., 1200.) “Rigoletto” Paraphrase, played by Cortot (pianist). (D. 8., 1105.) “Valse Bluette,” played by Heifetz (violinist). (D. 8., 984.) “Lily of Laguna,” played by Leslie James on the Wurlitzer organ. (8., 2902.) “OT Man River,” sung by Paul Robeson (bass). “I Lift Up My Finger and Say ‘Tweet, Tweet’” (fox trot), played by Jack Hylton and his orchestra. EA 540.) “Broadway Melody” (fox trot), played by Nat Shilkret and his orchestra. (EA525.) “Wedding of the Painted Doll” (fox trot), piayed by Horace Herdt and his orchestra. (EA539.) * * * Rex Palmer, who first achieved fame as “Uncle Rex” of 2LO, London—the very first of all the wireless uncles—has a large following, who will need no praise of him—a following which, indeed, he deserves more than most singers. He is at his best in “The Ballad Monger” (from Easthope Martin’s “Songs of the Fair”) and Aitken’s “Maire, My Girl.” His voice has an attractive dark quality, and is that manly kind of baritone which is so effective for ballads of this sort. (Columbia 01505.) * * • Marguerite D’Alvarez, whose success in New Zealand some seven years ago is well remembered, chose “Softly Awakes My Heart,” from Saint-Saens’ “Samson et Dalila,” to display her beautiful mezzosoprano voice, which has lost none of its warmth and resonance. In the Seguedilla “Pres des remparts” from Bizet’s “Carmen,” Mme. D’Alvarez sings with her usual dash and vigour. The choice of the piano as accompaniment is rather strange, but it is well recorded. The mezzosoprano’s versatility in suggesting the most varied emotions is always evident in her singing and accordingly she sings the Seguedilla with the complete abandon of the passionate Spanish gipsy. Her French pronunciation is perfect. (H.M.V., DA1000.) When this great work was first produced, critics hailed it as “The Tenth Symphony”—a suggestion that

here, at last, was a real successor to Beethoven's immortal nine. Brahms seems tc have inherited all Beethoven’s rugge rugged masculinity, his lofty intellectual qualities and his noble sincerity. But here is no pale

imitator. No one could fail to absorb some of Beethoven’s influence so soon after his death; but there is, besides, the powerful and unmistakeable imprint of the most profound of all the 191:11 century composers. In Weingartner the Royal Philharmonic Orchestra have found an ideal Brahms interpreter—one with an unfailing dignity of style and an infinite fund of scholarship. In the “Andante Sostenuto” he achieves a sheer beauty of sound which has rarely been surpassed. (Columbia 04258-61.)