Music from the Disc

Evening Post, Volume CXI, Issue 85, 10 April 1926, Page 17

Music from the Disc

When Debussy broke from convention and deliberately tried to convey impressions and conditions, he had'to stand a tremendous amount of opposition, but tho world was forced to admit his genius upon tho presentation of the tone-poem, "Prelude a I'Apres-midi dun Faune." Tho prelude was written in 1892, and soon after, in 1893, appeared the String Quartette (in G minor). This, unlike most Debussyan compositions, is not intended to convey impressions, but is absolute music. It is a delightful work, melodic, and piquant, and, like a good novel, "fulLof incident." A feeling of unity is achieved by the way in which Debussy treated his themes. Debussy has in this' achieved tremendous variety and effect, and it would be impossible to desire anything more brilliant and pleasing. For those who approach the work for the first time, the fairy-like Second JVfovement might be considered a good introduction; the fascinating rhythms whichy at the beginning, remind one of a Spanish dance and later of an Elfin dance, and the peculiar but haunting melodic quality of the music, contain much that will attract —and, what is more, will act as a '' key "to the remaining movements of the quartette. -This quartette is issued on four double-sided H.M.V. records in a handsome album, and from a recording point of view (declares a reviewer) it is one of the finest any company has ever issued.

There wa3 a great to-do at La Scala, in Milan, a few weeks ago, when the management arranged to' give Verdi's "Bequiem." This notable work was written in memory ■ of Manzoni, the romantic' noVeli?t, who gave the world that beautiful story, -"I Promessi Sposi." The artists, chorus, and everyone elssat La Scala struck against the "Requiem," notwithstanding that it was to be given in memory of Verdi himself. A compromise was effected with "Aida," and the strike was called off. The "Confutatis Meledictus," from the "Dries Irae" in "the "Requiem," has just been recorded by Columbia, from a performance by Mr. Harold Williams. This artistic baritone has selected a sacred solo in, which he excels, for he treats it with reverence and yet: with the necessary dramatic feeling that it inspires. Happily enough he is recorded on the reverse side of the disc in Wolfram's so-called fantasy in <fTannhauser," which he sings in English. The accompaniment by the orchestra is perfectly, played, and is really an essential part of the whole performance.

A feature of the new H.M.Vi recording which has perhaps hardly,received the recognition which, is due to it, is the life and vitality which it has infused into the recording of musical comedy. The realism and fidelity with which the yariori numbers are now "put over "is amazing. The vivid atmosphere : of the footlights has at last been successfully translated into terms of sound, and - the personality of the arltists, as well as the general musical ensemble, comes to. us almost as •if we were } leated in the theatre. We have some vivid examples of this quality, in ''The Blue Kitten," the principal numbers of which (reports a reviewer) -'•■ has '.been recorded by His Master's- Voice with, the original artists, ■ chorus, and ' orchestra of the Gaiety Theatre, with Howard Carr conducting. The recording of all the numbers is of'unifqrm excellence. The vivacious rpersonality of Ethel Levey is wonderfully conveyed, and so is the drollery; of W.H. Berry. The duets of Roy Boyston vand Dorothy Brown are particularly good, and it is worth noting how satisfactorily the work of the chorus come- through in practically every instance. A capital example of this is to be heard in the fascinating du^t,- '.'l've Found a Bud Among the Roses, '' undoubtedly one of the best numbers of the whole series. As for the music: of Friml, it is tuneful, rhythmic, and full of vitality without making the modern mistake of being too "jazzy." in the American style. The. set of discs should be very popular.

"Martial Moments" is a fine record from the Band pf the Grenadier Guards, one of. the finest regimental bands in the world. It is,'a. blending into an unbroken musical narrative of some 20 military marches by Aubrey Winter. One pleasure that hearers of this record from the Columbia studios will have is the memories conjured up by such marches as "Washington Post," "Under the Double Eagle," and f Entry of the Gladiators," when .such popular -tunes were nsw.

A good many, records of the Hallelujah Chorus, by the way, have been made at various times, and by all sorts of choirs, but one of the first if not thevery first, to claim attention, and which 1 still have in my collection (states a correspondent), was the one issued by Zbnophone, sung by the "Festival Chorus." - This must be over fifteen years ago! ii is still in the catalogue, and the serial number is Al4 (12in double-sided). In the foreground of the chorus one celebrate^ voice stands out above the others and can easily be identified. It is the voice of Peter- Dawson, and is easily distinguished at the words, And He shall reign for ever and over." On the reverse of the disc will be found one of the few vocal recordings of the "Pilgrims' Chorus" from "Tannhauser," and a very good one, too, even now.

One of the latest records of notable classical works to,be released by Columbia is the superb Beethoven Concerto for pianoforte and orchestra in C minor. The soloist is Mr. William Murdoch, an Australian whose name is

■as familiar to discerning gramophonists as it is to concert audiences in London and the large centres of England. The record does not state the name of the orchestra sharing the work with him, but, as Sir Hamilton Harty conducted, it is likely to be the Halle of Manchester. There is no doubt about its capacity. The work is recorded ill full on four discs. Conveniently enough, the first movement occupies two of the discs, the second covers one, and the Konda one. This.enables those who do not wish or do not find it convenient to procure the full work, at once, to buy and enjoy it movement by movement. The notes on the work in the album show how it is opened by the initial movement, the strings taking up the first movement subject answered by the wood, and then the full orchestra. With elaborations the pianoforte takes up the first theme, and proceeds to the second subject which it concludes in a rapidly descending passage, played, as is the pianoforte all through, with that brilliancy that listeners are accustomed to hear from Mr. Murdoch. It is not easy to isatisfactorily record drums, but they have been most satisfactorily dealt with when, they bring this movement to its-close. A lovely melody, gracefully conceived and delivered, is a feature of the largo which contains a delightful duet for flute and bassoon. To the pianoforte is given the imposing opening of tho Hondo, oboes and bassoon following. The concerto is remarkable, too, for the sound interpretation by the orchestra and the delightful manner in which Mr. Murdoch handles the pianoforte part.

"Summer is Gone" (Coleridge-Tay-lor); "Cargoes" (H. Balfdur Gardiner). Glasgow Orpheus Choir, unaccompanied, conducted by Hugh S. Roberton. Another noteworthy choral recording on a smaller scale, but showing some fine vocal artistry. Some remarkable tonal contrasts will be found, in Balfour Gardiner's "Cargoes,'* and v the Coleridge-Taylor composition is one of melodious charm. The recording again brings ont the lights and shades of the ensemble in the most faithful manner.

"Cradle Song" (No. 1), "Rann of Exile" (No. 2), "Three Irish Songs" (Arnold Bax). Anne Thursfield, mezzosoprano, with pianoforte accompaniment, played by Gerald Moore. Two uncommon songs—but they are from the pen of an uncommon composer— both uncommonly well sung. , There is something elusive, almost spiritual, about these Irish melodies as conceived by Arnold'Bax. :

Mr. Arthur Jordan, who made such a deep and favourable impression on New Zealand audiences in tenor arias, solos, and parts in oratorio, and grand opera, is one of the exclusive artists for Columbia. The latest of his records to reach New Zealand is the evergreen, "Who is Sylvia?" Its complementary solo is Joseph Holbrooke's beautiful song, "Come Not When I Am Dead."

"Prelude and Allemande in B Flat," "Courante" (Partita in B Flat) (Bach). Harold. Samuel, pianoforte, if not actually the best, is at any rate the most satisfactory piano record issued for a long time. " The happy combination of Harold, Samuel playing Bach in itself spells perfection, musically; but here we fortunately get an almost equal perfection of recording technique. The result is that this great artist is practically performing these delightful tonal arabesques in one's own'room and on an instrument with the real piano tone. The wonderful lucidity of the " Allemande " is a revelation in itself. No Ba6h lover can afford to miss this disc.

Another Columbia tenor, whose records are distinguished by their clearness and the excellent distinction, is Mr. Wilham Haseltine. He has selected the extremely popular Neapolitan love song, "0 Sole Mio," but he sings it in English. Its companion on the disc is Come Back," the appealing serenade by Toselli.

"Leonora Overture, No. 3"; three sides; fourth side, "Rosamunde," ballet music in G (Schubert). .Beethoven, as most people are aware, only wrote one opera, "Leonora" (afterwards called "Fidelio"), but to this opera, in a more than usually self-critical attitude, he wrote no less than four overtures. Of these, the present one, No. 3, is not only the finest but by far the most popular. That this popularity is thoroughly well deserved ,jio one can doubt for a moment on listening to the wonderful vitality of the music. The Sverture is in the conventional form of the period, which may be termed a compressed symphony iprm—a slow and impressive introduction, followed by an allegro, in which the chief theme of the overture is introduced and developed and a thrilling and glorious finale. All in all, the overture represents Beethoven at his finest. Several remarkable features stand out; the dramatic , and effective handling of the various themes, the trumpet fanfare (in the second part), first played off and afterwards repeated at close quarters, the massive syncopated chords, and the wonderful rushing scale passages in the finale. The overture, however, is full of both beautiful and dramatic music, which the hearer must assimilate at his leisure. It is splendidly played by the Boyal Albert Hall Orchestra, as jg the entrancing ballet music from "Bosamunde" on the odd side.