Phonograph Monthly Review, Vol. 3, No. 12 (1929-09)

402 The Phonograph Monthly Review sky, and prophecies the fate which is to over- whelm it. Journet sings this air in his usual admirable style “0 Shining Stars” (Dors, 6 cite perverse”) Victor 74152. The great Prison duett occurs in the first scene of Act 4. There are two records from this part of the opera, and both are taken from the music allotted to John. The air, “Adieu, Done, Vains Objets”, sung by Georges Thill of the Opera (Columbia, 5083-M) occurs at the beginning of the scene. The same number is sung in remarkable style by Fernand Ansseau, the sensationally success- ful young tenor of the Chicago Company. Mary Garden regards him as the most important of recent “discoveries.” This is a Victor record, No. 6104. From the Finale of the scene is “Quand Nos Jours S’eteindront Comme une Chaste Flamme”, sung by the great Italian tenor, Tamano, with a richness of tone and a prodigality of vocal resource that is astonishing. The num- ber might have been written expressly for Tam- agno, so well does it suit his voice and style. (This record is from the Gramophone Co., of England, DR, 101). Scene 2 is the great festival in honor of the pro-consul, Vitellius, the representative of Caesar, and of all-conquering power of Rome. Here the ballet is danced by beautiful slaves— the captive maidens of Egypt, Babylon, Gaul and Phoenicia. Beside these four characteristic dances, there is a Finale-Bacchanale. This is some of the most remarkable ballet-music ever written. The melodies are of extreme originality, and are contracted with consummate skill. They are known and admired the world over, but it may easily be that only musicians will be able to fully appreciate the many exquisite details of the orchestration. No. I is “Les Egyptiennes” sug- gesting formal posturings, nonoring strange hawk-faced gods in the land of the lotus and the sacred Ibis, by the banks of the Nile—the river of the ages. No. 2, “Les Babyloniennes”, is mim- ed and danced by groups of auburn-haired ama- zons—the female warriors who were the favorites of Semiramis, the beautiful, voluptuous but wholly mythical Assyrian queen whom tradition has proclaimed as the founder of Babylon and all its wonders. The dancers carry shields of silver, and golden swords, while their helmets and armor are inlaid with carnelian, jasper, sardonyx and amethyst, cut in every conceivable shape. The music accompanying this rhythmic sword-play and mimic battle is of an incisive brilliancy, while the harmonic treatment is novel and daring. No. 3, “Les Gauloises”, is of extreme grace and delicacy. These silvery scales and airy runs— true musical swallow-flights—indicate the capri- cious and volatile—and fascinating—gallic tem- perament. The golden-haired, white-robed maid- ens, with their garlands of oak-leaves and mistle- toe, make of this joyous “allegro”, with its elegant measures, a veritable dance-poem. No. 4, “Les Pheniciennes”, is from the purely musical point of view, by far the most beautiful September, 1929 ' II of the “Herodiade” dance-airs. A slow and lan- guorous melody is first heard—then, with accel- erated tempo, another theme is introduced, and presently these two are interwoven in a tonal web of iridescent richness that fairly seems to glow with all the colors of the rainbow. Indeed, one is tempted to employ the language of rhapsody in describing the jewel-like beauty of this extra- ordinary dance-fantasy. It is interesting to learn that Massenet himself considered this to be the most beautiful air-de ballet that ever came from his pen. The “Finale” is spirited, and appropriately exotic in its coloring, and is distinguished by the florid figuration so characteristic of Eastern music. The character of the two main themes is strange and barbaric. It is said that the com- poser heard these native melodies in the Syrian desert, which he crossed on the way from Damas- cus to Bagdad. The Victor Co. offers a very fine “Herodiade” grand selection, a 12-inch record record played by Arthur Pryor’s Band, (No. 31786). This selection opens with certain measures of the cele- brated Prelude to act 4, followed by a passage showing Massenet’s skill in contrapuntal writing. The Prelude to “Herodiade” (the opera has no overture) is brief but full of interest. It is based upon two opposing themes—that of “Hosannah”, of simple and dignified beauty, and that of the fierce malediction of Jean, which surges up men- acingly from the bass. We hear a phrase of the “Vision Fugitive”, passing into the minor mode, followed by the rather more conventional men’s chorus, “Romans! we are romans!”, sung at the festival in honor of Vitellius—of the stirring and martial character, closes the selection with bril- liance. One always expects the very best from Arthur Pryor and his band of virtuoso musicians, and, it may be added, one is never disappointed. It is, however, a distinct surprise to find so much inter- esting material presented in so small a space. The French Gramophone Co. lists a wonderfully complete and beautiful “Herodiade” Fantasie, played in masterly style by the Musique de la Garde Republicaine, on two sides of a 12-inch disk, (L, 515). “Les Egyptiennes”, the first of the ballet airs from “Herodiade”, was used by the famous beauty, Cleo de Merode, when she presented her Cambodian dances at the Folies Bergere. Mile, de Merode’s madonna-like beauty contrasted piquantly with the costumes of Siam which she wore, and which had actually been used by one of the King’s dancers, from the Royal Palace at Bangkok, in Indo-China. The lovely Belgian’s dancing was described, not without a touch of malice, as “a success of beauty”, but Massenet’s music was always rapturously applauded. (To be continued)