Music from the Disc

Evening Post, Volume CXI, Issue 79, 3 April 1926, Page 17

Music from the Disc

Bach was a past master in writing for the choir, and a wonderful example of his work is given in the performance lof "Blessing, Glory, and Wisdom" (Parts 1 and 2), by the choir from the chorus of the British. National Opera Company* Mr. Alfred Coates is the conductor and he is to be.congratulated on his handling of a difficult piece of work. The recording too has been very adequately and effectively achieved. All lovers of choral music will appreciate this latest H.M.V. record. Tschaikovsky's Symphony, No. 4 in F minor has been very finely recorded by the Boyal Albert Hall Orchestra, conducted by Sir Landon Ronald. This is one of the most charming examples of the composer's work, containing a strong flavour of Eussian folk-song, I with iiery energy effectively blended , with lightness, gaiety, and cosmopolitan ' effects. :A full analysis of the work is ! given in the. artistic album, which is presented free with each set of these five double-sided H.M V. records. Pachmann has so completely identified himself with Chopin's music that it is Chopin himself who speaks to us when Pachmann's fingers touch the keys.. The latest H.M.V. addition to their remarkable series of Pachmann records has just been issued. "Nocturne in D Flat Major, Op. 27, No. 2: (a) Etude in F Minor, Op. 25, No. 3, and (b) Valse in" O Sharp Minor, Op. 64, I No. 2," are three contrasting examples of Chopin's moods which the great pianist has faithfully interpreted. Madame Luella Melium (soprano) has chosen two extremely brilliant arias foi her recording debut to the H.M.V. gramophone public, two solos from Mozart's "II Flauto Magico," both sung in Italian, a vocal display that is said to be remarkable for its brilliance. Chaliapine (bass) is unapproachable in Russian opera, and in his latest recording ;he contributes two solos from "Prince Igor" (Borodine), in which his magnificent voice finds its true environment. The two arias are both taken from Act 11. of the famous opera, and being among the finest of Chaliapine'a repertoire are.well worth hearing. ■ ; \ Miss Florence Austral delights in the bold,sweep of Handel's mighty, phrases, and her rendering of "Let Me Wander Not Unseen" exhibits an understanding of his style. The Sullivan song, on the reverse of this record, "Orpheus «4th His Lute," is an old favourite, and shows,that composer at his best. Miss Austral is outstanding in this song. .' ■' ■•.•'■'■ ":' ■ . ' Frank Bridge's"Christmas Dancla" (Sir Eoger de Cpverley) and "Poem" (Richard Jefferies) will come as a surprise to those who are accustomed to the classics. They are excellent examples of so-called modern music, remarkable for their departure from lines followed by> say, Bach, Beethoven, Haydn, or.Mozart.' Credit is due to Columbia for'its enterprise in recording music of a kind that is not likely to be heard in; New Zealand orchestral performances. The.idea of the "tune" seems to be a matter of no .moment in these dazzling: displays of courageous orchestration. Perhaps this is to be the .music of, the future; if so, posterity is in for a;lively time. In the "Dance," it is true, the old melody. of Sir Roger can be heard,. '■ struggling as it were for recognition, but the "Poem" by a little imagination can be compared with the thousand sounds, from cricket's shrilling to the croak of crows, the squeal of.rabbit to the baying of dogs, sounds that would be .of special significance to the author of "The Gamekeeper at Home," "After/ London," and some other . fascinating '-nature books. To the listener, hungry for melody, these records will appeal less than to the cultured musician- in search of novelty. The recording from the performance of the Queen's Hall Light Orchestra is extremely well done. Elena Gerhardt is unique and alone in ier masterful interpretations of the glorious treasure house of Gernianlieder. She was vthe first of all German singers, to reappear in England after the war, and her. wonderful sing- | iug dispelled prejudice and rankling j memories. The Queen's Hall audience of that evening would not let her go, and she sang erfcorc after encore. The same feeling is aroused on hearing the truly beautiful disc on which she records Brahms's lovely "Eternal Love" • and his plaintive "Fainter, Fainter ; Grow My Slumbers." So entrancing is the effect produced (enthusiastically writes a reviewer) that we are, in the absence of an encore, compelled to. turn the disc over and hear these lovely melodies again. Never before have we heard that masterpiece,, "Eternal Love," sung with such a perfect appreciation of its spirit. Gramophonists will be interested to learn something of. the. new Columbia records on their way to the Dominion. Foremost of these are Schubert's Quintet in A major, Op. 114 ("The Trout"), by the London String Quartet, which made a most favourable impression on critical audiences when recently performed in Berlin. The London String Quartet is well represented in the Columbia catalogue,' with Albert Sammons as first violin, in works by Beethoven, Schumann, Brahms, Mozart, Haydn, and movements from Glazonow, Debussy, Bavel, and Grieg, and in Frank Bridge's "Three Idylls," so it cannot be accused of want of catholicity. Two records, by the Cherniavskys ' will be ■welcome. These are a serenade by Widor, the eminent French organist and composer, and the Rondo from Haydn's Trio in G major. Hitherto Percy Grainger's place in .the Columbia catalogue has been. as an exponent of Liszt, but he has just had recorded Chopin's Sonata in B minor, op. 58. William Murdoch, whose splendid performance of the Beethoven Concerto in C minor, ■ with' Symphony Orchestra, has just arrived in record form from Columbia, is ■ responsible for sympath-

etic renderings of two examples of the works of modern 1 Spanish composers, De Falla's "Cubana," and "Albeniz," '' El Puerto." W. H. Squire, the famous Loudon 'cellist,: is'to be heard in ," Harlequin," and "Mazurka," in. G minor, both '.by the gTeat master for the 'cello, Popper, works:that tax.both player and instrument The Kedroff Russian Male. Quartet Has been. again recorded with astonishing success in two Eussian. songs, both' in that language. Operatic. numbers among the coming, records are . taken from "La Damnation de Faust" of Berlioz, and are "The Song of .'the ' Flea," and Mephisto's seductive aria, . ."Where Roses Three discs of "Lionel and Carlissa," containing thirteen numbers from Dibdin/s > comic' opera, will be eagerly welcomed by ..those who have wondered over the nature.of the music that has. caused the latest excitement down Hammersmith way. Dibdin wrote "Tom Bowling," "The Lass that Loves a Sailor," and ".The Bells of Aberdovey," in the course oi his industrious life, which.ranged from 1745 to 1814. It should therefore. .be no surprise that the man 'who could write songs that .have'lived, as.long .aa these have in popular affection wrote a great deal more that breathed'the very spirit of English' song, but if two of those here recorded, "Come, then, Peevish, Pining Lover" (sung by Stella Seager) and "Ah, Talk Not to Me," a delightful record of the tenor Wilfred Temple, were put up as a- test many people would date them back into the 17th century, possibly, the work of our greatest English music-maker. The opera has been arranged by Mr. Alfred Reynolds, who also conducts the Lyric Theatre (Hammersmith) Orchestra in the accompaniments, and whatever hand he has had in creating this atmosphere the effect is gloriously English. It is impossible to enumerate all of the very lucky thirteen chosen for these records. Some are short, but nothing is easier than to grant yourself an encore on your own gramophone. Amongst the longer ones is "Come and on My Truth Belying," pleasingly sung by Olive Groves, whilst a whole side is given to the splendid finale to Act 2 —"O What a Night is Here forLove^" which has the.listener's ear from the opening phrase. This is one of the two numbers in which Nigel Playfair is heard. Others who take part in different items are Ivan Samson, Rupert Bruce, and Nadine March. • They can apparently be played in any order, but I am willing to gamble that wherever the quintet in "0 What, a Night" appears at the first hearing, it will go on again at the end for an encore. Bloom," incidental to the dreams of Faust among the Sy'phs, both sung by the peerless Stracciari. Maviam Licette is represented by "Elizabeth's Prayer" from "Tannhauser," aid by way of contrast) that-other prayer of La Tosca, "Vissi d'Arte," from the opera to which she gives her name. Harold Williams'.is recorded in the prologue from "I Pagliacci," and Ulysses Lappas, ..the Greek tenor,;, one of Govent Garden's favourites, is heard in two more Greek; songs. Among the recorded ballad singers' are Dame Clara Butt, Carrie Herwin, ,W.F. Watt, and Wi'liam Haseltine, ■ tenors, and Edgar Coyle, baritone. 1 The " Russian Balalaika Orchestra will be heard in one Bussian song "Oji'ra," and a selection from Mozart. The lighter music is well represented by vocal selections from "No, No, Nanette," and exclusive Columbia recordings from original casts in "Betty in Mayfair," and further re-issues • of.''Mercenary Mary,'' "Katja the Dancer," and "Rose Maria." v "The Sword of. Ferrara" and the "Hunting Song" from "Bobin Hood" give the Associated Glee Clubs of America all they could ask for in opportunity to display their sound knowledge of time'and fine judgment in the matter of light and shade. This great choir of 850 male voices made a justifiable sensation in singing "Adeste Fideles" at the Metropolitan Opera House, New York, when the''audience of 4000 was asked, and did, join in. ,This notable record is now to be heard everywhere in New Zealand.' The newest records of the 850-voiee choir- will win their way into many collections. "The Sword of Ferrara," it is.pleasing to note, has the words of the song issued with the record.