GRAMOPHONE NOTES.

Auckland Star, Volume LXI, Issue 103, 3 May 1930, Page 8 (Supplement)

GRAMOPHONE NOTES.

ARTISTS AND THEIR RECORDS. (By SOUNDBOX.) This week's definition: Tarantella de bravura. A wild and frenzied dance, supposed to take its name from the tarantula spider, vigorous exercise being considered an antidote for its bite. Bravura, a dexterous showpiece. Frederic Lamond finds ample opportunity for the display of pianistic technique in his playing of Liszt's interesting "Tarantella de Bravura," for the explanation of which title the reader of an inquiring turn of mind is referred to the definition at the top of my notes. (His Master's Voice, D 1732, 12-inch.) To most of us the name Sandy Macpherson would surely connote Scottish humour of the Lauder type, but contrary to expectations Mr. Macpherson proves to- be an unusually musical Wurlitzer organist. His offerings are "Starlight" and "The Monk's Dream," made the more interesting by harp and violin solos. (His Master's Voice, 83173, 10-inch.) It will probably be agreed by all competent critics that Sigrid Onegin is the finest contralto of the day. At least as far as I am concerned this opinion is strengthened by her current contribution, which is very beautiful, as written and as 1 sung. On the one side is "0 mio Fernando" from Donezetti's "La Favorita" and on the other "0 don fatale" from Verdi's "Don Carlos." (His Master's Voice, D 81292, 12-inch.) Very amusing nbnsense is provided by a company which includes the Australian Vera Pearce in "Our Village Concert." The serious efforts of these raw • amateurs to excel themselves on the great occasion are indescribably humorous, while the complimentary remarks of the chairman, who obviously feels compelled to say the nice thing, serve to give point to the whole delightful farce. (His Master's Voice, C 1782, 12-inch.) \ Frank Crumit's latest, listed this month, though it was released some time ago, maintains the high standard this purveyor of melodious absurdities aims at. The title, "The Return of the Gay Caballero," tells its own story to those who know his former Caballero record, while "A Tale of the Ticker" is a burlesque of America's recent Wall Street madness. (His Master's yoice, EA6SO, 10-inch.) Peter Dawson this month sings for us "On the Road to Mandalay" and "The Trumpeter" in true Dawsonian style, which is commendation enough. Regarding the former, it might be well t"o mention that though the words are Kipling's this setting is by Hedgecock and differs from the better-known Speaks version, though it does not lack the forcefulnesa and strongly-marked rhythm that seem necessary to do justice to Kipling's rugged lines. (His Master's Voice, C 1770, 12-inch.) Last Wednesday the music class of the W.E.A. resumed. I venture to strongly recommend these lectures by Mr. Hollinrake to any readers who take their music seriously. In addition to the intensely interesting and informative talks, illustrated with records, there is community singing that gives class members an opportunity of expressing the music that is in them, while the music-class choir takes its full share of the entertainment side of W.E.A. social activities. The new idea of forming a music club is to.be heartily commended and all indications point to an unusually interesting season. .One of the finest present-day English sopranos, and favourably known for her work with the British National Opera Company, Miriam Liaette, always pleases me. Again she goes to Mozart for her material, singing "Batti, Batti, o bel Masetto" and "Mi tradi quell'alma ingrata." You may remember in hef' duet from this opera with Denia.Noble, "Give Me Thy Hand, 0 Fairest" (sung in English), her reply, "Masetto sure will chide me." Masetto is betrothed to Zerlina, who is thus wooed by Don Juan. In the present record the expected has happened—her sweetheart has discovered her fondness for the gallant Don, the tranlation reading, "Strike Me, Strike Me, Dear Masetto." (Columbia, 05070, 12-inch.) | Because of its) novelty, its sincerity, I and its revelation of the speaker's personality, particular notice should be taken of the record by the Right Hon. J. Ramsay MacDoriald, Prime Minister of England. His subject, "Robert Burns, a 1 Man Amongst Men," will interest not only Scots, but the whole English-speak-ing world. It is not an empty panegyric, but indicates .a deep knowledge of the national poet's works, as shewn by quotations, a sincere affection for his wholesome sentiment, and, as one-might expect from the. leader of the recent Disarmament Conference, a heartfelt admiration for the irian-who wrote so long ago, "It's comin' yet, for a' that, that man to man, the world o'er, shall brithers be and a' that." (Columbia, 04007, 12-inch.) The last time I remember seeing Vera Pearce, mentioned in another paragraph, was in a revival of "The Belle of New York." This month Columbia give us the "vocal gems" by the Colugibia "Light Opera Company —a most "forward" recording with unusually clear diction (05072, 12-inch) and also, sung by Gladys Moftcrieff, "They All Follow Me' f and "The Purity Brigade" (01889), with "Teach Me to Love" and "Wllert We Are Married," this as a duet, ably supported by Colin Crane (01888). There must be many with happy memories of the "Belle" to whom these records will be a very acceptable offering. The style of orchestral composition where all the instruments are heard from start to finish contending for supremacy "likes me not," as Shakespeare puts it. I prefer a tin whistle, which gives the melody more easily—all that one gets in these "can't' see the Wood for the trees" efforts. An excellent example cif the style of orchestral writing I do like is Thomas' "Mignoil" overture, the light scoring making listening easy and interesting. It is played this month by the Milan Symphony Orchestra,- and I find the record thoroughly delightful, from the charming woodwind opening and the graceful harp passages that follow right, to the end. There are some great melodies in this overture, which dates from the time when the best of the opera provided the overture material, and I agree, with the comment of the supplement paragraph that it is "a little masterpiece of delicately-mingled orchestral colours." (Columbia 05058, 12 j itich.)