Music from the Disc

Evening Post, Volume CXII, Issue 3, 3 July 1926, Page 24

Music from the Disc

There is crispuess and clarity in the playing of Chabrier's "Bhapsodie Espana" by the Aeolian Orchestra under Ithene-Batoii, which is one of the latest Vocalion releases. This is an interesting piece of work seldom heard in the concert room nowadays, and full of vivid colour and rhythm. A little more power would make it a first-class .recording. The Rhapsody fills , both sides of a 12-inch record. ,

An unqualified success is Clara Butt's very charming record of two songs that bring out the qualities of her beautiful voice—AVilkiuson-Stephenson's '' Ships of my Dreams," and tbtit extraordinarily dainty and graceful composition of Sigurd Lee's ''Soft Footed Snow." In this last the singer rises to the height of her greatest interpretative power, and the .recording is in keeping with the artist's delightful rendering. In Thomas's effective "Down by the River Side I Stray" and Leoni's "The Leaves and the Wind," songs of simple sentiment, Dame Clara is s again in line form.

Two fine Puccini numbers are to be found in a bracket recorded by that artistic baritone Dinh ,Gilly—"Vecchia Zimarra" ("La Boheme"), and "Scorri Fiume" ("II Tabarro"). Comparatively recently Puccini, whose music has given pleasure to hundreds of thousands and, whatever its degree of merit, always was music, passed out of our midst. His last three little operas showed no failing powers, but the same flow of melody, the same sure dramatic grip, the same cleverly devised orchestration. "Scorri Piume," sung in the opera by the jealous Michele —the plot is the usual three-cor-nered tragedy—is a fine piece of dramatic writing with an original harmonic touch. Both this and Colline's well-known farewell to his coat are splendidly sung and recorded. There is no better trio combination than Adela Faehiri, Jelly d'Aranyi, and the admirable Ethel Hobday. The talented sister,violinists.are now to be heard in the Handel Sonata for Two Violins and Piano. There have been works of more uniform interest, but good chamber music is always welcome especially when so well- played and recorded. Handel enthusiasts will not willingly part with, this specimen of the old master's, intimate style. There are not many to be found on gramophone catalogues.

Thafr very remarkable Berlioz creation the " Symphonic Fantastique" has already been (mentioned in these notes, but further reference to it may not be amiss. In order to better appreciate ,the inwardness ■of £he symphony one should bear in mind that Berlioz had something of madness mingled with the genius that was to pave tte way for Wagner." A musician, a cultivated man, one of the greatest of orchestral masters, ftpioneer of "programme music" in whose steps trod Liszt and Strauss and many other, great men—such was the man whose "Fantastic Symphony" has achieved such a measure of success. This symphony dates about 1829, and is in five movements. The first, Reveries and Passions, deals with Berlioz himself as the hero subject, in love. This theme f appears in one form or another in all the succeeding movements. The second is a valser—the lover reminiscent —which is followed by the "Scenes in the Country." Here flute and violin and shepherd's pipes (oboe and cor anglais) give a true pastoral atmosphere. In the fourth movement, the lover, opium drugged, dreams he has murdered his loved one, and is condemned to death. Berlioz has been called the Byron of music. This work tempts one to compare him with that.morbid visionary and imaginative genius, Poe, for he demonstrates, in his own element, much that is almost neurotically extravagant and macabre. . .

If you are looking for a good vocal bracket, -you might try Miss Elsie Suddaby's "Lass with the Delicate Air" (Arne) and Hensehel's "Spring." MiBS Suddaby 's art is displayed td perfection in this record. Henschel's "Spring," with, its imitation 'bird warblings, might become, in the hands of an indifferent sipger, a mere vocal exercise; but Miss Suddaby raises it to the much higher levels. Arne's song also is beautifully done. No singer can now complain that it is impossible to record piano or pianissimo tone, for even the softest notes are here caught by the recording apparatus.

A record well above the average is that of Enid Cruickshank in the "Air de Lia" from Debussy's "I'Enfant Prodigue,?' issued by Vocalion. Miss Cruickshank has a contralto voice, free and expressive, and her singing of the Debussy air is marked by artistry and skill. The bracket is completed by the dramatic "Card Song" from "Carmen." When the saxophone came it came for good, and since in the hands of an artist it is an instrument capable of producing good mußic as well as unearthly noises, it is found nowadays in every jazz or syncopated ■ orchestra, in every dance band combination, and is used with vast effect by Al Starita. His records show what he can do with it in higher flights. There is Saint Saens's "The Swan" and Cadman's "..At Dawning," beautifully melodic and graceful, and•-, expertly,. played and recorded. This record alone should do a good deal to'give Adolphe Sax's invention a more dignified status than it has nominally enjoyedi '

With difficult records, such as many Caruso's, sextettes, bands, etc., first use the fullest length of fibre out of socket; later oh you can find that shorter length will safely do. Slightly warm fibres before playing, especially if there is any tendency to dampness in room. A good plan is to have a metal airtight box with a few fibres carried in waistcoat pocket, for. warmth without humidity is thereby obtained: When they were first issued years ago William Wallace's "Freebooter Songs" had quite a vogue. They are less heard nowadays, but Roy Henderson has revived them. Mr. Henderson has a resonant baritone of good quality and no little dramatic ability, though he is inclined to be;over-strenuous in places. Occasionally, too, the words are not as clear as they might be. There are four songs, "Minnie Song," "The Eebel," "Son of Mine," and "Up in the Saddle," and they cover two lOin records. ■ ' - ■ . Frank Mulling's singing is very popular with most gramophonists, and ho is an opera star with a big reputation in England. He reappears here in a disc sense in a fine new Columbia record, in collaboration with Norman Allin, equally well known in vocal circles, whose powerful bass voice harmonises finely with Mulling's finished tenor. They sing together Offenbach's Jolly Gendarmes' duet fronf "Genevieve de Brabant," while Cooke's stirring | "Love and War," which completes this | recard, is rendered with*extraordinary power and feeling. ■ The Chopin "Mazurkas" in A Flat and F Sharp Minor (Op. 59, Nos. 2 and 3) may be regarded, from the gramophonists' point of view, as Paderewski's best effort in the recording room. No such beautiful record as Paderewski's in its own kind lias been issued for a long while. His previous records oannot be accounted successful in point of tone, and this tone, though much better in that respect, is still a little banjo-like. What enraptures one is that noble mind of thi artist illuminating Chopin '• music ii

such a way as to make us feel we have never really heard the mazurkas before. The lovely touch, the gradations of tone, the rubatos, the whole "makeup" of'the.'igreat player are here faithfully reproduced. In the first mazurka in A flat you must notice the fine control of the keyboard when the melody passes to the bass, the' way an exquisite modulation followed by a rippling coda is managed near the end of the piece: The F sharp minor mazurka is well known.' It is the most vigorous of the two and has a most interesting coda of some length introduced with much piquancy just when the music would seem to have ended.

An elocution record is something of a novelty nowadays and Vocalion- have just issued a disc of the famous Shakespearian actor Henry Baynton in three extracts, from "Bichard III.," "King John," and "Henry V,," and also the "Seven Ages" soliloquy, and Hamlet's "Alas, Poor Yoriek." Mr. Baynton has a sonorous and expressive voice, but his method in the "Seven Ages" is apt to be a little disjoined.

Murdock's piano work is admired wherever it is heard. In association with Lionel Tertis (viola) he will be heard here shortly in a recent Columbia release—yon Dohnanyi's Sonata.in G Sharp Minor. This was originally written for violin and piano, but richness and power were increased by transferring the string work to the viola. Dohnanyi is one of the classic'pianists of the world, and Murdock's interpretation is a great example of tone and technique that the composer-player himself has warmly praised. The work of Tertis on the viola is, in its turn, full of expressive phrasing and beauty in the more sustained passages. One of the finest orchestral recordings I have ever heard—Beethoven 'a overture to "Coriolan," gave me a permanent respect for the New York Philharmonic Orchestra. This orchestra has a history associated with practically every distinguished musician who has visited America. Wagner, Mendelssohn, Liszt, Rubinstein, and Dvorak were honorary members. Its first concert was given in 1842. The following records were made by the great Dutch conductor, Willem Mengelberg:—-'' Coriolan Overture" (Beethoven): Parts 1 •and 2. This at once displays Mengelberg's superb power and present Beethoven far above even 'the good rendering by Sir Landon Ronald. The recording is good. "Oberon Overture" (Weber): Parts 1 and 2. Another fine example, clearly recorded. It is taken rather fast, but it is a later and better recording tftan the old Nikisch version in tho H.M.V. Historical Catalogue. "Les Preludes - Symphonic Poem" (Liszt): Parts 1 and 2: (6373) Parts 3 and 4. These- are fine records that show Liszt as a greater' orchestral composer than i* generally recognised. Mengelberg brings all his musicianship and technique of the baton to make two excellent records.

Tho Yocalion Company lias reissued a copy of the favourite old "Bambalina" and of " Wildflow'er," from the musical comedy of that name, and it. is a successful bit of work. The old "Bainbalinal^ was somewhat too glow for comfortable dancing; in thi» lively record thete is not that defect. Another successful dance record just issued is '"Sleepy Time Gal," which hag been a hit in London cabarets, and "Deep in My Heart, Dear" (from the opera "The Student Prince"), '■ waltz which' has, been one of the principal attractions of that successful show. Both are played by Ben Selvin's orchestra. ■•

The sound box of your machine is too vitally important a component to. need any stressing of ita importance. If you suspect yours is not operating correctly, it is far better to send it to the makers in preference to tinkering with ij; at home. It calls for very special craftsmanship. Remember that mica is not mechanically strong, and tho stylus bar is a delicate piece of apparatus. The Church of..England service hag been recorded by His Mtster'g, Voice in co-operation with Dr. E. H. Fellowes and a, choir from St. George's Chapel, Windsor. The series of four large double-sided records includes settings by .Thomas Weelkes, James Nares Garrett, James Turle, Jonathan Battishill, S. S. Wesley, and Henry Purcell, the famous Westminster Abbey organist. It covers the morning service and the evening canticles, and it is intends ed both for the use. of'people who are remote from church services and as a model for village and other church choirs without a musical foundation.

. A very good M'Cormack disc is the Irish-American tenor's "I Saw from the Beach" (traditional) and "Padraic the Fiddlef" (Larchet). Padraic seems to be an old mystical fiddler such as one woul.d not bo at all surprised to meet with in the Emerald Isle. There is much in these two songs which tugs at the heart-strings. George Schneevoigt is riot a very familiar name in the Southern Hemisphere, but as one of Europe's greatest conductors and an accepted authority on the art of the great Norwegian composer, Grieg; his. recent production for Columbia (shortly to arrive here) should prove of interest. He leads the London Symphony Orchestra through a series of four of Greig'a most beautiful Norwegian dances. In these is proof that Schneevoigt has a perfect understanding of that composer's works partly due, no doubt, to the fact that he has close racial relationship, and a wide reputation for work in which Grieg is prominent. A very good example of "modern" orchestral music as distinguished from Beethoven, is '< Debussy's "Three Nocturnes" ("Nuages," "Fetes," "Sireues"), composed in 1899, and played by the Queen's Hall Orchestra, with the composer conducting at a concert of his works in February, 1909. Fetes" was encored, together with the "Prelude a Papre» midi dun f aune." " Fetes'» is a most attractively scored work, and has been recorded exceptionally well by the Boyal Albert Hall Orchestra—as anyone might have prophesied. As. is so often the case in Debussy's music, the composer is apt to repeat one rhythmic figure ad nauseam, a trick he probably learnt; from the Euasians. The gradual crescendo to a climax that the inarch reaches comes out finely. There are many delightful-: touches of colour, such as those afforded by. the harps and drums and the muted trumpets. Of the records from Verdi's masterpiece "Otello," there are two which | seem to me to be the most popular. One is the "Oath Scene" ("Si, pel fiiel marmoreo"). This is a duet for tenor and baritone, and has been recorded by Buffo and Caruso. vlt is a magnificent number, and a first hearing of the duet by these great singers will make one want to hear more of the opera. Hearing Caruso makes one aware of the emptiness- he has left in this world. Coupled with this record is the famous "Credo in uu Dio cruflel." This has been recorded by three fine baritones, and I would place them in order thus: Ruffo, Amato, and Dragoni. Buffo's is the finest of all. Apollo Granforte, by the way, added his recording to' the list quite recently. • ■ ' '•

There are fine little gems in the folk songs of Italy, many 'of which have been recorded by Caruso. "Mamma mia, cc vo' sape' " is a popular favourite. The words arc by Perdinando Eusso. "Perohef" on the other side, is a very good song, and one of Camos's own favourites. He singg all three versei.' which »r« »ddTMi«cJ v,

Came. She has stolen his youth—why does she not return to him? He too is advised by his friends to forget her, but it is obvious that this counsel also has fallen on deaf ears. "'A vucchella," which means "little mouth," is written by Gabriele d'Annunzio, and is all in charming diminutives. In "Cielo turehino" the singer praises tho sea under the sun, the moon, and the stars, but—what, is the good of it all?—Roßina won't make up her mind. "Luna d'estate," a melodious Tosti song, and "Viene sul mar,'' which is no other than '' Two Lovely Black Eyes" Italianised, are not particularly Nepolitan, but both are in Caruso's best manner, and the latter as '' Pimpinella." on the other side. ■ .. •--•' '■'--■• ■'-■■'-■--*•' '■-.. -..- Under correct needle "track alignment fibre needles - waar the record very little indeed, but they are' at their best on machines where alignment is not correct, or where there is a harsh raucous tone. They make considerably less surface noise than most loud-tone steel needles, but the latter are best if alignment is correct. Fibres cannot give a maximum definition in any case, and they are very useful on percussion records. ■ ■ ■ . . •