Music from the Disc

Evening Post, Volume CXII, Issue 117, 13 November 1926, Page 24

Music from the Disc

The latest issue includes Nellie Melba's "farewell" at Covent Garden Opera, represented by her singing of Mimi's good-bye song and the artist's own speech. The late season was also utilised for recording Chaliapine in Boito's "Mefistofele" during an actual performance. There is a gain of actuality, as when the singer stamps a foot to emphasise a dramatic point, but extraneous noise more frequently detracts from the musical quality than adds to it. The shifting position of the stage, too, seems to affect the consistency 'of the recording by, presumably, fixed or less mobile instruments. It is quite different in the ease of con-cert-room performances, as has already been shown in numerous orchestral and choral records, and again in the reproductions from the Boyal Choral Society's singing of oratorio at the Boyal Albert Hall. There is in the latter case that sense of spaciousness and of weight without noise. . A military band has given us a really fine lOin disc in the latest issue, its numbers being "Funeral March of a Marionette" (Gounod) and "Punjaub March.". (Payne). The dainty staccato .work, of the former contrasts vividly with the heavier and more colourful work in the march. The record may be confidently recommended. It is a new process recording. "Solveig's Song," from Greig's "Peer Gynt," has been sung and played scores of tlme3, and it is not surprising to find ifc the subject of a violin record. Leo. Strochoff plays with skill and grace this memory-haunting little tuiie. It is. the song of a Norwegian lass.who sits at her spinning wheel in the. far north of Norway, singing of her long-gone lover, on the "he will return, ho won't return, he will return' ' plan. It is not a Norwegian folk song, but there ■is a clear suggestion in it of Norwegian folk-music. Strochoff plays this beautiful melody with undeniable success; his string tone is superb, and records with wonderful fidelity.. He brackets with it Bohm's "Still as the Night," a simple but ineffably delicate and tenderly appealing air, and one that fits in admirably with the mood the previous number calls up. Although most new inventions have the effect of adding to the world's sum total of prosperity, they often either oust ' old-fashioned industries altogether or,- force them to adjust themselves to the new conditions. For a long time there was a belief that broadcasting would kill the gramophone. This expectation has been unfulfilled. For one thing, the listener-in only, has a limited choice of what lie can pick up, or if, as seems to be tbo case in America, his choice through the multiplication of stations becomes virtually unlimited, he finds that at any given moment lie is picking up considerably more than he bargained for. Hence the maintenance of his allegiance to the gramophone. Richard Lloyd's new organ record is a record which should attarct attention. The numbers, " Marcho aux Flambeaux" (Scotson-Clarke) and "WaiMarch of the Priests'' ■ (Mendelssohn) are well, known as voluntaries and aro stirring pieces. Mr. Lloyd gives a fine interpretation, of both, and the recording leaves nothing to be' desired.

Michael Mortimer is a new-comer to Columbia ranks, and apart from the fact that he has a tenor of very pleasing quality, a method-of phrasing that shows intelligence, and a voice that reproduces- with unusual clearness, his record giving "Always" and "Without You" is very remarkable for another fact. This is in his voice resemblance., to Hubert Kisdell. To hear his "Always".disc immediately after, say, Eisdell's "I Love the Moon" or "O Dry Those Tears'' records, one would feel positive that the singers were one ■identity. This is not the case, of course, but. it is very seldom indeed one conies across such a remarkable similarity. Mortimer sings these two great topical waltz-song favourites with: exquisite ease and flexibility. His voice has that silkiness and subtlety that make the likeness to Eisdell records startliug; . At present electrical recording is still a novelty, and so much music already recorded under the older methods is ou the "waiting list" tbat selectivity does not count greatly at the moment. Ono can feel that the, technique of the recorders in their new medium is improving japidly. To take an example: The recordings of "Parsifal" were quite wonderful; but their great power was accompanied by a stridency of a quality quite new.. Hear the latest Wagner records—"the Fire Music" from the "Valkyrie,?' and "^Siegfried's Journey to the Ehine"—wliieh were made by a symphony orchestra of ninety-four players in Queen's Hall, in London, and you have depth and grandeur that almost take one's breath away, so faithful are they to the original. Albert W. Ketelby has composed some of the most popular orchestral band music in recent years, music which, if not great, is at .least distinctive. In this class must be placed his "Cockney Suite," which is unlike much of his other work. The Premier String Orchestra has recorded this suite on three lOin discs. The work is divided into five par.ts, as follows:—"A State Procession, " " The Cockney Lover," "At the Palais de Dause," "The Bank Holi.day," and "Elegy;" the last part occupying a complete disc. The music is descriptive and spirited, but there is a similarity in all except the last part, whore the music is slow and expressive.. This part is easily the beat portion of the suite. The suite combines beauty of melody with unusual orchestration. The new process recording gives the best reproduction and the surface noise is minimised.

Rex Palmer is a baritone' always worth listening to, for to a rich and natural voice is "added the priceless asset of clear diction. Whether singing such hale and hearty songa as "The Yoomen's Wedding Song" (bracketed with "Passing By") or sacred solos such as "Abide With Me" and "Nearer, My God, to Thee,-' with

beautiful accompaniment by the J. H. Squire Celeste Octet, .he is equally facilo and always enjoyable. An interesting, strongly rhythmic Jota by da Falla is well sung by Tito Schipa; on the reverse is a "Madrigal Espanol," by Huerte, a very pleasant record if played with a fibre needle; most of the modern records on a modern cabinet machine demand .fairly soft needles.

In a lot of gramophones the stylus, bar angle is much too near the vertical. This means the needle digging into the record, which may be good business for. the makprs, but bad for the individual. Where this is the caso (it is, of course, different with the latest and best instruments) alter the stylus bar angle to 45 degrees, and you'll have as perfect a rendition, with less scratch and less record wear. This applies to instruments having correct or nearly correct needle-track alignment. Where this is bad, one is in a bad plight, for in lessening the severity of the needle angle will put the needle further still out of tuno alignment. The above applies only to steel needles. Fibres do^/not enter the grooves effectively at any other angle than 60 degres (the 7 o 'clock angle)Two attractive humorous songs have been recorded by the versatile Ernest Butcher in his own inimitable dialect. They are "Tavvystock Goozey fair" (C. J. Trythall) and "Beware of-.the Maiden" (M. C. Day). The former is of the best stamp of folk song made anew, the second number contains a highly amusing exhortation to all bachelors which loses nothing in the singing; •In the accompaniments Stanley Chappie shows once again that he is excellent in this class of work.

Another record by Adila Fachiri will be widely sought by all violinists. This newest disc beajs an Adagio of Mozart (from the "Divertimento") and Bach's Gavotte in E Minor. The first is typical Mozart, beautiful melody of supreme daintiness and is played with great delicacy by^ this descendant of the mighty Joachim. The E Minor Gavotte is unaccompanied and is too well known to need any description. Its tripping measure has been heard on every platform where any violinist of repute has performed for many years past. The playing is extremely effective, with some brilliant double stopping.

Local performance this week gives fresh interest to the Cesar Franek Sonata in A Major which has been recorded by Phyllis Allan and Ethel-Hob-day, a brilliant pair of girls who combine extremely well. The Sonata is for violin and piano and is one of the very best of all Franek's works. It has great beauty and imagination, 'though of course it is modern in style and appeals most to the cultured musician. It has been recorded completely on two discs, two movements on each, and the reproduction is extremely good.

A fine bit of cornet solo work lias been done by Trumpet Major H. N. Hannan of the band of the Life Guards. Trumpet Major Harman has ehdsen two Sullivan numbers for his recording aiid one of them is very well known—oui old friend "Take a Pair of Sparkling Eyes." The second is the lesser known, but extremely melodious "Distant Shore." The tone of these solos is remarkable and makes one realise just what that abused instrument the cornet can do in the hands of a master.

Billy Maycrl and his orchestra are responsible for the only fox-trot record to bo recommended this week. Playing with great vim they have gone above the-usual level with "I'm Taking-Thai Baby Home" and "Summer Earn Brings the Eoses Again." The latter is out of the rut and possesses a good share of likeable melody. Two conventional songs well sung arc by Colin O'More, a pleasant tenor who has recorded "I Look Into Your Garden" (Wijmott-Wood) and "I'll Tell the Sunshine." Both will appeal to those who care for drawing-room ballads. The songs are given neat orchestral accompaniments.