MUSIC AND RECORDS.

Dominion, Volume 21, Issue 96, 21 January 1928, Page 18

MUSIC AND RECORDS.

By

C.J.M.

J.C.W. Grand Opera Artists. Puccini’s last opera, “Turaudot," which will be the opening production of the lorthcoining season of grand opera being organised by J. C. Williamson Ltd. at Melbourne His Majesty’s, will introduce two noted artists who were associated with the original production of the opera at La Scala, these are Araughi Lombardo, soprano, and Francesco Merli, tenor. - They were also leatures of the cast when the opera was staged recently at Cov.ent Garden, London. Lombardo is said to be the best dramatic soprano in Italy. Merli has a voice' which is powerful, and of fine quality. Moreover, according to Sir George Tallis, who heard him in Italy and in London, in “Turaudot,” he is also a very line .actor, with an impressive and striking personality. The complete production of “Turaudot,” which is on an elaborate spectacular scale, is being brought to Australia, and it is hoped that some of the opera will be presented to New Zealand audiences. Orchestral Values,

It is not until one has been abroad and appraised the slantlard of orchestral playing in the various forms of entertainment in many countries that a proper perspective as to orchestra values can be gained (writes “H.P.”). 'lt is such experience that convinces one that as far as our theatre orchestras are concerned we are, as a general rule, rather poorly served. This was brought forcibly to mind on hearing the orchestra which is now engaging the attention of the public at the Grand Opera House. Twenty-five years ago, when M. Leon Caron ruled,the musical destinies of the Royal Comic Opera Company, the standard was appreciably higher than it is to-day; the band was fuller, the players of a higher grade, and generally the music of Sullivan was heard to much greater advantage than one can possibly exp«ct in these times. 1 am not arguing that this falling away from standard can be prevented I do not know that it can; for whilst at one time the .orchestra as it existed at the Melbourne Princess or the Sydney His Majesty’s used to travel pretty well full strength with the company it was connected with in Melbourne and Sydney, such is not the case to-day, for the simple reason that the players associated with the theatres mentioned decline to travel, as it involves more expense than staying at home, and being players of merit are sufficiently independent to be able to assert their desire to stay where they are. It may be possible for managements to secure the services of secondrate players for a New Zealand tour, but to send a full orchestra of such players would involve a great deal in return fares, whereas perhaps just as good (or bad) players can be requistioned in the Dominion. This gives the situation in a nutshell. Orchestras can never be really first-class unless they are composed of players of quality, and are properly rehearsed under a sound director. That is the primary of good orchestral playing. Other graces are achieved in time, only by dint of ceaseless rehearsal and concentration—always providing that the man with the baton knows his job—i-e., knows the capacity of every instrument (its power, range, and colour) as well as the score he is asked to interpret —and that in itself covers a whole world of artistry. It has been .patent to most theatre-goers who listen to the theatre orchestras at all—and there may not be so very many who do so—that there has been considerable falling away in the standard of playing during the last ten or. fifteen years. Anyone who has witnessed the Gilbert-Sulli-van repertoire in' the Old Coun- ■ trv, and know its intrinsic beauties will, I am afraid, realise that there are nowadays shortcomings of a nature that cannot but do Sullivan an injustice. There are so many tone colours missing—the oboes, cor anglais, the French horns, the harp, the bassoon, violas, all have their definte place in the Sullivan scores, and without them the true value of the music suffers

The above remarks, however, do not apply alone to the Gilbert-Sullivan Company, nor is any reflection on its able conductor intended, but to most of the orchestras that are supplied to theatrical entertainments. In the old days this was an important feature of the evening’s performance. Then the overture and entr’acte music was listened to with respect, and often with appreciation, but to-day the average dramatic or comedy performance is given an orchestra of a make-shift halfdozen players, indifferently rehearsed (or not rehearsed at all), until the theatre music has become of negligible interest to all concerned—and apparently to the management most of all. On their part the managers say that they cannot get the players for broken engagements; that they are all snapped up by the picture theatres. Well, it is a fair field for competition.' If the picture show proprietors deem it worth their while to secure the best players on long terms of service, the ordinary theatre managements must act in the same way—or be left. And left they have/been, for if one wishes to hear decent orchestra music—l am not now referring to the higher flights of symphonic or classical music —they must attend a kinema rather than a theatre, for the very feature which has been neglected by the ordinary theatre has been taken up and fostered by the chief kinemas, not only throughout New Zealand, but all over the world. Few people would ever dream of referring to a theatre orchestra as one worthy of mention, but such is not the case with respect to the modern picture theatre. As a rule the average person is not too ready to notice any rise or fall in the quality of orchestral embellishment to his theatrical entertainment, but when the picture people take pains.to establish excellent orchestras of something like adequate strength it is forced upon their notice that, bv comparison, there is something deficient in the music supplied in connection with the average theatrical entertainment.

People with memories will remember the completeness of the Leon Caron orchestras, the verv fine music plaved by Mr. George Hall’s orchestra in the flowerv davs of romantic drama : of the sound music given us under Mr. Deiderichson with the Broughs and other companies; and the capital popular music that was so well plaved (with the Bland Holt show) under Mr. Percy Kehoe. Tn those davs (Tie "special and incidental music” was worth hearing. Nowadays a 'gasper in the fover has superior claims. Frica Morini.

Reverting for a moment to the subject of women violinists, we are told that we can look out in tlie near future 'or another name on records A new star has arisen in the person of Miss H.rica Morini, who, although onlv in her earlv twenties, has taken both the public and the critics bv storm. Accord ing to the most conservative of the Lon don critics, Miss Morini’s olaving of Lalo's “Svmnhonie Esnagnole” at the Mbert Hall recently was a revelation in interpretation and technioue. She has had a triumphant tour thrnu"h Hnnnarv, Tt.nlv, Austria, and France, and was the chosen soloist for 'he last na. 'tonal fete dav in Berlin, and now Mr E. J Carroll has en r rn"erl her for a seties of recitals in Australia and New Zealand. Miss Morini studied under Sevcik, who taught Kubelik. She is

reputed to have said to the critics that she believes in the fire of youth, a natural sentiment for one so young, and that “only youth can bring the fullest meaning to music,” but we cannot expect young, enthusiastic musicians, however clever, to be philosophers. The world’s most finished, artistic, and expressive executants (with a few exceptions) have always been adults of mature experience. Miss Morini is apparently one of the lew exceptions. Miss Morini is to give a series of recitals in Australia and New Zealand under , the direction of E. J Carroll, ommencing in Sydney. Music anil the Masses. At the moment when The People’s Concert Society is celebrating its jubilee Sir Thomas Beecham asserts that, of the •16,000,000 people in this country only 150,000 are lovers of music. It would be interesting to know how Sir Thomas arrived at his figures or what test he applied (writes Mr. C. H. Barker in “The Schoolmaster”). Probably the estimate is sheer guesswork. Sir Thomas Beecham has rendered inestimable service to the musical life of the nation, but his enthusiasm and impetuosity sometimes carry him away. He is appealing to the 150,000 to contribute twopence a week towards a subsidy fund for opera, a sum which, Sir Thomas says, is less than the cost of a glass of beer. In this case I have personally tested Sir Thomas’s estimate, and found it reasonably accurate. His musical census, however, I cannot, and will not, accept except on good evidence. What is a music lover? Are we to deny the title to any but those who have had’ a specialised musical training and thoroughly understand the technical details of a musical composition ? The trained musician is apt to be scornful of the amateur; but, after all, the appreciation of technique is not the highest form of appreciation—indeed, it may interfere with true aesthetic appreciation. Preoccupation with . the trees sometimes prevents one seeing the wood. Nor is it the botanist who sees most beauty in the rose. Specialist appreciation must of necessity be tare, and it is certainly not essential to enjoyment. The boy who devours Treasure Island has no realisation of the technical skill of the author, but who would say the boy did not enjoy the story ? It would be an exaggeration to call ours a musical nation, but is fairly certain that musical taste is on the upgrade. The improvement is due to several causes. First there is the effect of the music teaching in the schools. In 1924 the Adult Education Committee reported that it was “in the musical education of children that the most notable advance” had been made. Today the Elementary School regards music not only as a vital subject; it permeates the whole life of the school. A piano has become an even more essential part of school furniture than the blackboard. u Many schools have now their own orchestras which perform first-rate music, to the delight of the whole body of children The gramophone has proved invaluable in familiarising children with masterpieces, and the boy who delivers' your morning newspaper is as likely as not to be heard whistling an aria from “The Magic Flute” or a theme from the "Unfinished Symphony.” Thanks to mechanical inventions the diffusion of good music is extraordinarily wide. Even super-highbrows have ceased to sneer at the “machine music” of the gramophone. No one can possibly understand a musical composition at a first hearing. The gramophone record has the advantage over a concert performance in that it can be repeated any number of times. Hence its educational significance. Moreover, recording has reached such a high pitch of excellence that the reproduction of a masterpiece can give delight to the most fastidious ear. A gramophone record is much nearer the real thing'than the best reproduction of a fine painting.

Sir Thomas Beecham’s pessimism is not shared by Sir Henry Hadow, the chairman of the People’s Concert Society. Sir Henry is convinced that when the masses have the opportunity of hearing good music well performed thev appreciate it keenly and intelligently. He boldly asserts that the higher the standard the more certain it is that the music will be welcomed. He was .once present at a concert where the front sents were sixpence; and a Bach concerto was encored. At Southwark Cathedral and the Old Vic. great music attracts vast crowds of working folks. The .common people respond to great art, musical and dramatic The idea so beloved by superior and self-complacent persons that the masses are wholly absorbed in the vulgar, the sensational and the meretricious is a sillv libel.

If onlv the movement for Children’s Concerts could be speeded up there is little doubt that in less than a generation musical taste could be raised to a standard which would even, satisfy the exigent Sir Thomas Beecham. English music has not the history of English literature; still, it is a history of which we need not be ashamed. After all, it was this country that gave music to Italy, while rhe Elizabethans would have regarded the inability to sing a part in a madrigal as great a social disadvantage as to-day we regard the inability to' read or write. There is no reason whv those davs should not return. The schools are certainly doing their part in face of tremendous difficulties. Those who are apt to despair should read "Musical Foundations,” a book just written bv Dr. Borland.

RECORDED MUSIC The Cult o£ Chamber Music. Writing in the London "Gramophone,” a famous English critic remarks: “The greatest pleasure I derive from the gramophone is chamber music.” He goes on to give his reasons: “Although it is a great joy and privileg6 to have symphonies in miniature, even the greatest enthusiast cannot claim that orchestral works on the gramophone are anything more than a pis aller; whereas the reproduction of chamber music is so satisfying that I (or one am not ashamed to say that I prefer chamber music on the gramophone to hearing it in the concert room.”

And yet. for one person who will take the trouble to appreciate string quartets, twenty will strive to master a symphony. Now, when one considers how prolifically so many of the greatest composers wrote for string quartets and similar combinations, it becomes at once apparent that whoever ignores the great wealth of recorded chamber music is mus'callv under-nourished He is denying himself an inconceivably vast

treasure of the finest music ever written. He cannot claim to know Beethoven, Haydn, Mozart, Brahms, Bach, or a hundred others. And all because lie shirks the tedium of musically educating his ear to the sound of a combination of strings. There is no doubt that the more a musically uneducated ear enjoys listening to bands, the less it can endure listening to orchestras, and is positively bored by the noise made by a string quartet It wants something more sug-' arv like the celeste or harp. The first thing to do, therefore, is to accustom a listener to the noise of a string quartet, not by playing to him one of the stupendous ops. that lie will learn in time to delight in, but by choosing a quartet’s performance of some simple and well-known melody. For this I can heartily recommend a rendering by the Cattern Quartet (Columbia 9178) of Frank Bridge’s “Cherry Ripe” and an Allegro Risolute by Armstrong Gibbs, capital performance of two very attractive examples of modern chamber music. Another delightfully understandable record is one by the London String Quartet (Columbia L 1716) of Frank Bridge’s arrangement of the familiar Londonderry air. The world- : famous Lener String Quartet, while devoting most of their energies to reproducing the longer and complete works, occasionally give us a single movement, almost invariably detached by reason of its clarity and ready appeal. Among these, one may pick out Tchaikovskv’s Andante Cantabile (Columbia LISO3) and the Largo Sostenuto from Smetana’s Quartet in E Minor (Columbia L 1767). Two movements from Haydn’s Quartet in D Minor occupy the two sides of Columbia L 1574, and’ will repay a little study. . “Coriolan Overture” (Beethoven) in two parts; William Mengelberg conducting the Amsterdam Concertgobouw Orchestra—Columbia LlB4B. This is the first electrical recording of one of the most popular overtures of the concert repertoire. Beethoven’s “Coriolan Overture, op. 62,” was com posed shortly after the Fourth Sym plionv (op. 60), and the Violin , Con certo (op. 61). The subject is not based on Shakespeare’s tragedy, but on a now completely forgotten drama by Collin, who, states a Beethoven authority, “lacks the wide outlook and penetrating imagery of Shakespeare Painstaking, rhetorical’ pathos is his medium of expression, and his drama is no human or personal tragedy, but a philosophic debate. The conflict between the innate law of personality and the imposed laws of morality brings about the downfall of Collin’s Coriolanus.” Beethoven’s beautiful music is simple, but very expressive and forceful, with its alternating moods. Mengelberg’s fine and intellectual conception of the overture is not new to us, since he recorded it on an earlier record many years ago. But what a tremendous difference in the recording, from the very first massive chords! The massed strings are superbly reproduced, and the echo of the hall (the recording was done in the Amsterdam Concert Hall) adds a vivid touch of realism. The record is a fine addition to the “Egmont” Overture, played by the same orchestra and recently released. “The Star”—“At the Mid-Hour of Night”; sung by Alfred O’Shea, tenor. — (Columbia 03506. “Australia’s greatest tenor” has surpassed himself in this superb rendering of Sir Frederick Cowan’s beautiful setting to Thomas Moore’s “At the Mid-Hour of Night.” Carefully veiling, without suppressing, his usual robust vigour, he infuses instead an appealing charm. O’Shea has a splendid operatic tenor, but I always feel that this is the material that suits him best —the emotional ballad.. He shows just the merest tendency to “wobble,” but one only mentions this fault in case it increases; at present it is too slight to be objectionable. On the other side of this record he gives us a number not previously recorded —‘ Ihe Star”—but one which will undoubtedly be very popular. ‘ “Ideale” (Tosti)—"Serenade (loselli) ; sung by Alfred O’Shea, tenor — Columbia 04036. . More ambitious and more impressive is Alfred O’Shea’s singing of these two Italian songs. He gives Tosti’s “Ideale” with an impassioned power and beauty, and one cannot help’ feeling how much more deserving of popularity is this sincere composition than the composer’s more familiar "Good bye.” It is a revelation in depth of manly feeling, and here I think one lights on a secret of O’Shea’s great popularity; he is never afraid of warmth and sentiment when his song calls for it. Coupled with “Ideale” is Tocelli’s lovely “Serenade,” which he sings with caressing tenderness. Notice his mastery of the difficult art of breath control, and how convincingly he tackles the exquisite pianissimo. A Bold Tenor.

“Scots Wha Hae”—“Scotland Yet.” Sung bv Robert Harper, tenor. Columbia 0802. "‘Scots Wha Hae,” a noble ode, was adopted by universal consent as . the national patriotic song of Scotland. This song was written by Burns in 1793 on the melody of “Hey Tuttie laitie, Burns stating that he used the tune because of the tradition that it was the air to which the Robert Bruce forces marched at the battle of Bannockburn in 1314. Robert Harper gives a most inspiring rendering. I have rarely heard such tremendous volume on a gramophone before, the great thunder of sound being absolutely electrifying. There is plenty of beef, too, behind his stirring “Scotland Yet ” A record that not only Scotsmen will enjoy. For Boys—and Grown-up Boys.

"Camp Fire Sing-song.” Vernon Lee and the Caterham School Boy Scouts. Columbia 02530. This is one of the jolliest records that has come our wav recently, and one that will be enjoyed, not only by bov scouts, but also by every boy—and every old bov. One can easily conjure’up a picture of the merry little party round the camp-fire and enjoy the fun thev get out of songs like “He Sat by the River” and "Mr Brown.” The singing is infectiously good, and all the 'songs are of the jollv boyish sort that have a permanent place in all our affections. Quite a new departure, but one. I hope, that will be repeated again and again. Friedman, the Master.

“Polonaise in A Flat” (Chopin). Pianoforte solo, by Ignaz Friedman. Columbia 04006. It is some time since we had a record from the great Polish pianist, but it is worth waiting for the marvellous rendering of Chopin’s well-known

“Polonaise in A Flat,” that appears on Columbia this month. this is known as the “Military Polonaise.” It gives us Chopin in his patriotic vein, extolling the glories of his fighting race, and shows "us something, too, of the miseries through which his unfortunate country was passing at the time. Great delicac’v and precision are there, but in the ’most powerful passages the tone remains full and clear. The execution is astonishing, and the great crescendo on the descending _ octave passage in the bass that begins the middle section is truly exciting. It is a Friedman record that everyone, and especially pianists, must have. This number, bv the wav, proved to be one of the most popular in the great pianist’s repertoire when he toured this country recently. Latest,Dance Music. "Cheerie-Beerie-Be” (waltz) —"Waters of the Perlemon” (waltz). Played by the Denza Dance Band. Columbia 0849. The “Cheerie-Beerie-Be” number is the greatest waltz hit of recent months, and the Denza Dance Band play it with their usual excellence, giving a particularly fine vocal chorus. The other waltz is played with dteamy charm with' novel tone effects. “There’s Everything Nice About Yon”—“When Dav is Done.” Played bv the Denza Dance Band. Columbia 0818. Two snappy fox-trots with plenty of tune and rhvthni behind them. Everybody will be wanting to dance to “There’s Something Nice About Everyone, but Everything Nice About You” —a jollv number, with a very happy chorus to it. The Radio Rascal. “My Maori Maiden”—“Wonderful Eyes.” Sung by Jack Lumsdaine. Columbia 0788. We all remember Jack Lumsdaine who toured New Zealand, and made such a success of his tour. He sings these two numbers with the ingratiating wistfulness that made him so popular, and the Maori song should make an instant appeal to New Zealanders Jack is the happiest of all the many “whispering baritones.”

splendid New “Mikado." With each new hearing, the excellence of the new H.M.V. “Mikado," recorded under the electrical . process by the artists of the D’Oyley Carte Gilbert and Sullivan Opera Company, becomes more markedly . impressive. The writer lias enjoyed this set more than any other operatic renderings previously heard, and can vouch for the salient virtues of the . achievement—a sound performance by orchestra, principals and chorus, a standard of merit, in fact, wonderfully clear enumeration all through, and fine recording. The opera may be purchased as a whole or in parts, but so essential does each disc appear to. the complete ' enjoyment of all that it may be doubted whether lovers of G. and S. opera i will be satisfied with the Mikado in selected nieces.

"Thus Fate Knocks at the Door,” Beethoven’s' favourite Fifth Symphony, a very fine complete set, of which was recently recorded by the new H.M.V. electrical process, represents a definite attempt to break away from the conventional 18th Century “symphony.” Beethoven felt that the various separate movements should be connected in' thought; and that the whole work should be an organic whole. We find, therefore, .in this symphony, a definite connection of ideas between the . First Movement, the Third and the Finale; whilst the Fourth- Movement grows naturally and without break from the Third Movement. The famous opening phrase of four notes, with which the First Movement begins, dominates the whole work as its nucleus. About this little phrase Beethoven is said to have remarked, “Thus Fate knocks on ths door,” and the saying gives us an idea of the obsession which this phrase became with him. Bransby Williams on the Disc.

Bransby. Williams is one of the bestknown of London’s . contemporary monologue artists. That there are excellent H.M.V.' recordings of. his most popular platform numbers is a fact, .not so- well known as it. should be. Amongst these way be mentioned “Devil-may-Care,” and a scene between Micamber and Uriah Heep, from “David Coppereld,” on Disc C 501; “Scrooge’s . . Awakening,” from ‘‘The ..Christmas... Car01,.”..-and “Sydney .. Carton’s Farewell,” from “A Tale of Two Cities (C 500 While on this ; subject, one-might also 'mention quite an amusing sketch by Tom Clare, "Cohen Rings up his Tailor” (C 617 to which is coupled an inimitable item from George Robev, “And that’s That.” Another whimsipal number.comes from Norman Long", a droll humorist, who presents “The Good Little .Boy and the Bad Little Boy,” coupled with an irre ; sistible number, “Under the Bazunka Tree” (82454). A Voice Like a Violin.

Newman, the celebrated London rpusical critic, once said of Fernand Ausseau, the Belgian tenor, that his voice had all the subtle quality of a very fine violin. You may judge for yourself- the truth of that remark by . hearing . the famous singer in two rapturous H.M.V. numbers from Gounod’s “Romeo and Juliet” —the “Cavatina,” • and the “Salut Tombeau” —tp excerpts from a remarkable opera that display all the artistry of interpretation and vocal superlativeness of seau’s j singing. (D.B. 951).

The Bacfciiaus Contributions. ■A correspondent expresses regret that the Backhaus contributions to recorded music seem to be so few in comparison ’with the output of musicians of more or less equal rank. There is no musical or recording reason that would explain the comparative limited output’ of records bearing, the name of this famous pianoforte virtuoso. He plays' divinely and records admirably. The correspdnderit referred to mentions three discs only, but there are niore "than that, and all new process recordings/ We have his much admired “Chromatic Study in A Minor” (Chopin), to which are coupled five delightful studies from the same composer—his “Prehide in C Major,” Op. 28, No. 1, the “Revolutionary Study,’’ and the “Studies” in C major (Op. 10, No. 7), C major (Op. 10, No. 1), and F major (H.M.V., D 8928). Then there are Beethoven’s “Emperor Concerto,” played 'with' the Royal Albert Hall Orchestra (four records, H.M.V., Dll9Bt 1201).; the Liszt “Rhapsody No. 2,” and a delightful bracket, “Waldes. rausclien” (Liszt), and Chopin’s, “Waltz in D Flat” (Op. 64, No. 1), on H.M.V. disc No. D 8929. Peter Dawson’s 1927 Record.

Mr. -Peter Dawson has been a faithful contributor to H.M.V. record list during 1927. This satisfying bassbaritone never demands too much of his listeners, neither too high-brow nor. too low-brow, but in his pleasing style, with remarkably good enunciation, enlivens those musical moments when our desire is for easv enjoyment. In his 1927 list we have tfie following brackets, all characteristic of.this widely popular singer, and all of high average merit as musical compositions—- “ The Deathless Army”—“trooper Johnnv Ludlow” (C 1275 ; ‘ Even Bravest Hearts” (Valentine’s _ song from “Faust”)— Wagner’s “O Star of Eve,” from “Tannhauser” (C 1267 “The Fiddler of Dooney”—"Molly of Donegal” (82139) ; “Floral Dance (Moss)- and Allitzen’s.. “The Lute Plaver” (C 1313 ; “House of Mine — “Wood Magic” (82154) ; “Oh, Could I but Express in Song”—“Sincerity (8’2425) ; “Pride of Tipperary — "Simon the Cellarer” (82324) ; and the "Prologue” from “Pagliacci” (in English) , on disc C96S, two parts.

1927,111 Retrospect. The vear 1927 lias been a wonderful one for H.M.V. achievements in recorded music by the new electrical process, achievements' that nobody e . l S“tecn months ago would have imagined possible. Such productions as Beethoven’s “Fifth Symphony,” the complete recording of “The Mikado,” Cortot’s “Twenty-four Preludes” (fr°( n Chopin), the celebrated Schubert “Irio in B- Flat,’ ’by* Casals. Cortot, and Theband, the Wagnerian series of orchestral recordings fiom “lhe .Ring music,” and “Die Nierstersingers, Elgar’s “Lingma Variations,” the wonderful best seller, “Flear My Prayer, are merely -a' few of the masterpiece contributions of the best in musical art The British Gramophone Company is entitled to the heartiest congratulations, and best wishes for a year of new wonders in the art of recording. A Gem From Beethoven.

It is possible that the unique merits of Beethoven's remarkable “Quartet No. 6” (Op: -18), recorded for H.M.V. by the Virtuoso String Quartet on' four discs (D120G—1209), may have escaped attention in the rush of good things for which 1927 has been noted. The six quartets .included in Op. 18 represent Beethoven’s first published attempts at this most difficult form of composition. His success was complcte, as the example before us amply demonstrates. For the most part, certainly its style is that of the composer’s so-called “first period” and in it we frequently see Beethoven as the brilliant pupil of Haydn. But while he shows, particularly in the first movement, how completely he has assimilated what earlier masters had to teach him, yet the Scherzo, and still more the brief fourth movement, give prorn-

ise of developments quite outside Havdn’s philosophy, realms of feeling which it was given to Beethoven alone to open up to us. On the eighth side of this set of records is a delightful arrangement for string quartet of Schubert’s ever fresh “Moment Musical.

Mendelssohn’s “Spring Song.” Mendelssohn’s well-known but somewhat hackneyed “Spring Song,” had a great yogue in the earlier days of gramophone recording. Since the recording companies have essayed more ambitious works, it has been left more or less in the background. Well played and recorded, however, it is always a pleasing and melodious item for an evening’s home programme. This reference is prompted by a letter from a correspondent, who, asks for a recent recording. Of these there were three from His Master’s Voice during 1927 — Mark Hambourg (82433), the Florentine Quartet (82404), and the Instrumental Trio (C 1113 Another "Spring Song” much in favour amongst organists is Hollins’s, which Dr. Goss-Custard has recorded for H.M.V. (C 1316

Gems from “Otello.” Verdi’s “Otello” is one of the composer’s greatest achievements. Gramophone libraries of the more fastidious taste should not lack at least a few of the gems from this magnificent opera. The splendid “Ave Maria” number has been sung both by Dame Nellie Melba (DM118), and Margaret Sheridan (DB981). Of these two the writer prefers the 'latter, for the full-throated, warm vitality of the singer’s art—a fine record this. In the “Mio Signore” duet scene, ■ we have a fine recording from Zenatello and Noto, with its bracket, “Ora e per sempre” (D 8953 while Zentella has also been associated with Madame Spa'ni in "Grando Nariavi” and “Verga la Morte” C 1006).

Bird Songs. The recent issue by H.M.V. of a remarkable reproduction of the song of the nightingale, taken in the open by microphones connected with a portable recording apparatus, .mounted on the chassis of a motor-car, remind us that this is not ■ the -first bird song to be recorded by His Master’s Voice. There ■is available the record of a captive blackbird (8392) , to which is bracketed the ‘song of a captive thrush; while on two other discs (8390 and 8467) we- have the reproduction of the notes of-a: captive nightingale.’ The ’Cello in 1927. There, have been gome very attractive reproductions from the “cellists during the" recording year which has just closed; ' • Of these the two principal artists ’-have been Pablo Casals, the greatest" of : contemporary. ‘cellists/ and Cedric Sharpe,' one of the best-known of British artists. The Casals contributions have been comparatively few, for it was only last year that he was added to the H.M.V. - list-<sfrecording artists.;' ::: He "lias given us the. following brackets,--/“f Prize • ? Song” (“The Mastersingcrst’) — ‘Star-of-Eve” (Tannhauserj, on HiM.V.r DB:1012; ’ Riibenstein’s ..“Melody,. in F”—Schumann’s' “Traumerei” (DA 833), and,, of course, there -.Was liis..notable..association with Cortot and-: The band’ in.'.'theagreat. Schubert “Trio.”- From Sharpe we have had several- pleasing items: “Chanson Louis Xlll”—“Harlequin and Colutn-. bine,” and Couperni’s “Pavane” (B24J3).“Gentle- Maiden”—Palmgren’s “RpCoco” . and. two -minuets-, from Beethoven and’ Pierne (82390),.-.

Farlpphpiie, There;are same :excellent vocal Records amongst--tile; new Parlophone discs. Emmy Bettendorf-, soprano, sings "Monduacht” (Schumann) and “Der Lm.denbaum” (Schubert). Into Mme.. Bettendorf’s voice, there seems to be distilled;, the -silvery, quality.- of ~ the “moonlight” of which .she sings. Muted violin and ‘cello,, with the. pianoforte, contribute, a background of gossamer loveliness.- One is entranced’ to the last.note.r.iThe.:gentle breezes that blow round the'“Linder Tree'!- are. suggested by the same combinaton of-instruments. This is a record-of outstanding-beauty. Mme. .Bettendorf also sings .“All Souls’ Day” (Lassen) and “The Last Rose of Summer” (Flotoyv), Lassen’s is the best song, lie wrote, and as Dime. Bettendorf sings it a thing of most tender beauty. Mme. Bettendorf interprets the lingering phrases of “The Last Rose of Summer” in a superbly artistic manner. Robert Watson, baritone, sings “Drake’s Drum” and “The Old Superb.” Here poems and music are perfectly .wedded- as-Mr.-Watson’s excellent diction and the splendidly-recorded orchestral accompaniments .enable us to perceive. The Parloplione Odeon Series of International Celebrity Records contains vocalists of great distinction. Richard Tauber, a new tenor star, has made two records which show him to .be the possessor of a voice of genuine lyrical beauty. One disc contains “Die Lotus illume” (The Lotus Flower), by Schumann, and “Ungeduld” (Impatience), by Schubert. . These two well-known songk are rendered in such a way that one turns eagerly to Tauber’s second record. The first of these two songs is a greeting to spring, sung with fine and thrilling' effect. /The well known and lovely old German folk song “Das Zerbricliene Ringlein” (The Broken Ring) is a great contrast to this impassioned number, and is sung with commendable restraint.

Madam Lotte Lehmann (soprano) appears in the dual role of lieder and opera singer. It is one that very lew living singers could fill with equal success. The rippling accompaniment to “Murmuring Breezes,” though originally written for the piano, is admirably adapted to the orchestral medium, and .Mme. Lehmann floats her golden voice exquisitely upon it. The operatic Dime. Lehmann appears with triumphant success in the highly dramatic aria from "Andrea Chenier.” . "

In excerpts from “I Pagliacci,” Aureliano Pertile (tenor) is particularly successful. He succeeds in suggesting the unsuspected fires of jealousy that lie behind Canio’s lightly-spoken words. His voice rings out finely in the description of the evening’s entertainment. A performance admirably given and recorded.

“V’ho ngannato copevole son,” the dramatic duet from “Rigoletto,” is splendidly sung by Wanda Bardone (soprano) aiid Giulio Fregosi (baritone). The magnificent quartet on the reverse side—“ Bella figlia dell’emore”—is also .finely rendered Lovers of operatic singing should obtain these really highclass discs. Brunswick. The." Whispering Serenader” (Chester Gaylord) appears on a Brunswick disc with two. good baritone items —“The Whisper Song” and “.Sixty Seconds Every Minute” ..(3562). ’ Harry Richman, well' known by Brunswick . listeners for his versatile whimsicalities, presents in his latest disc “My Idea of Heaven” and “It’s You, C’est Vous.” An amusing bracket (2538). That fox-trot combination known to Brunswickians as the Six Jumping Jacks, present two dance novelties, with vocal chorus —“There’s a trick in pickin’ a chic-chic chicken” and ■f/ositively—Absolutely.” You may guess the character of the music from the titles. (3582.) Clarionet solos, with guitar and piano accompaniment, oiler a change from the usual run of things. On a Brunswick disc, by Johnny Dodds we have “San” ard “Clarionet Wobble” (3574).