GRAMOPHONE NOTES.

Auckland Star, Volume LXI, Issue 229, 27 September 1930, Page 8 (Supplement)

GRAMOPHONE NOTES.

ARTISTS AND THEIR RECORDS. (By SOUNDBOX.) This week's definition :—Viola, the alto violin, generally -called the tenor, similar to the violin, but slightly lurgcr. A selection of melodies from Smetana's opera "The Bartered Bride" is played by the Radio Journal Orchestra of Prague, who ably interpret this tuneful music. (Parlophone A 4225, 12-inch.) Johaon Strauss' greatest waltz, "The Blue Danube" is sung in its original choral form by the Sieber Choir, who make the most of the opportunities its varying moods present. (Parlophone, A 5019, 12-inch.) Liszt's well-known "Rigoletto" paraphrase, which deals only with the quartet, of course, is played' by Irene Scharrer, and Columbia are to be thanked for giving lis an artist of such standing at dark blue label price. (DOlls, 10-inch.) Miss Beatrice Harrison, 'cellist, plays the "Serenade" from the incidental music to Elcckcr's "'Hassan," by Dclius, and Dawes' "Melody," and has made a record that should have a wide appeal. (His Master's Voice, 83274, 10-inch.) Two ever-popular great tunes played by Clydo Twelvetrees, the 'cellist of Manchester's Halle Orchestra, provide a record that many will cherish. The titles are. "Angel's Serenade" (Braga) and "Chant Sans Paroles" (Tschaikowsky). (Columbia DOX3I, 12-inch.) Played by the Berlin State Orchestra, under the baton of Bruno Walter, one of the most famous of present-day German conductors, Mozart's "Symphony No. 40 in G Minor" is one of Columbia's good things for September. (DOX 25-2G-27, with descriptive leaflet.) Conrad Ansorge, a pianist who is new to me, plays "Melodies Polonaises" (Chop in-Lie zt) and Schumann's "Romance No. 1." He is another of the fine aggregation of capable artists that Parlophone have at their disposal and place at ours at standard price. (A 4219, 12inch.) Parlophone seem to specialise in big operatic finales by big Continental opcratic stars. In the present offering a mixed quintet led by Lotte Lelimann, soprano (to name only one of the constellation) sing the conclusion of the first and second acts of "The Gypsy Baron" (Strauss). Splendid concerted singing. (A 1035, 12-inch.) I do not often feel moved to describe a rccord as perfect, but here is one that goes straight into my collection. Ninon Vallin, soprano, sings "Solvcig's Song," from Grieg's "Peer Gynt" Suite No. 2, and llimsky-Korsakov's "Chant Hindou" from "Sadko." Beautiful music, beautifully sung in effective contrast with simple piano accompaniment. (Pharlophoue, ARIO3O, 12-inch.) Violin virtuosity of an exceedingly high order is displayed by Tossy Spiwakowsky in Sarasate's fascinating but technically difficult "Introduction and Tarantelle" (Op. 43), the reverse having Brahms' "Hungarian Dance No. 1 in G Minor." (Parlophone A 4228, 12-inch.) Remarkably faithful recording of fiddle tone. As a sympathetic singer, expressing a deep soulfulness in all she sings, I commend Madame Emmy Bettendorf. In "Vilia" from "The Merry Widow" she has chosen somewhat inadequate material for the expression of her art, but in Schubert's "Tarrying Gently" the great soprano has opportunity to display musicanship. In both there is choral support. (Parlophone, A 4221, 12-inch.) The following are three fine Maori records made by the Taliiwis, a musical family living near Otaki, who, I understand, were invited to Australia _ to make records for Parlophone. "Waiata Maori" with "Titi-Torca" and "Huri Huri" (A3O2C); "Takato Mai Raukura" and "Raukawa" (A 2994); "Mine „ Mine Mai" and "Poi Dance," a mouth organ solo by Henarc Tahiwi (A 2998). There .is a marked and very attractive rhythm about these records which have well played piano and string accompaniments. Beethoven's "The Heavens Are Telling" is sung by the Berlin Union of Teachers, who make a splendid choir. Known also as "Creation's Hymn," this great setting of a poem by Gellert expresses the composer's love of Nature and his faith in God. On the reverse is "The Lorelev," a setting by Silcher of Heine's poem of tlio old Rhine legend, in which the beautiful river maiden, combing her golden hair, weaves a spell about the boatmen. (Parlophone, AoOOO, 12-inch.) It is interesting that the composition known as the "Carnival Romain Overture" was written by Berlioz to serve as the overture to the second act of his opera "Benvenuto Cellini," so that he preceded Wagner in the use of overtures before each act' of an opera. The opera itself was described by its composer as "a brilliant failure" whereas this particular section of its music, the "Carnival Romain Overture," was received with "exaggerated applause," and has retained its popularity. It is played by the Berlin State Opera House orchestra for Parlophone. (A 4227, 12inch.) I agree with the paragraphist of the His Master's Voice supplement in his statement that Essie Ackland is rapidly becoming recognised as one of the finest contraltos of our day. In saying that "here is an artistic intelligence of a high order" he is agreeing with me, as I have always stressed the intelligent interpretation that is evidence of a thorough understanding of the song. Miss Ackland's current offering is "Easter Flowers" (Sanderson) and O'Hara's fine tribute to those who made the supreme sacrifice in the war, "There is No Death." (83339, 10-inch.)

The New Mayfair Orchestra play "Sally" selection, containing the best tunes of this successful talkie. (His Master's Voice, 83355, 10-inch.) The Dajo'a Bela Orchestra plays a selection from "The Countess Maritza," a tuneful opera by Kalman. (Parlophone A422G, 12-inch.)