Music from the Disc

Evening Post, Volume CXIII, Issue 48, 26 February 1927, Page 24

Music from the Disc

Though "Don Giovanni?' has contributed some very fine airs to old lists of records, one of the most appealing Donna Elvira's "Mi Traddi, Quell 'Alma Ingrata"—lias hitherto been overlooked. Its plaintive' charm, as apparent at the recent- London Covent Garden revival of-Mozart's music drama, has doubtless compelled its reeordiua now, as sung by the soprano, Evelyn Scotney. Her singing of Donna Anna's aria, "Non Mi Dir," on the obverse of the disc, is exceptionally fine. This is a disc well worth while.

Kichard Strauss recently rearranged tho score of his most famous opera, Der_ Rosenkavalier," to accommodate it to the orchestral requirements ot the film version, and came to London to conduct the first screen perfoimance at the Tivoli on 12th April. On the following morning, notwithstanding the anxieties and excitements of th° previous day, the augmented Tivoli orchestra and Strauss met at the Queen's Hall and recorded there various excerpts from the film version. These have now been issued and find accommodation on three and a half discs in a special album. Parts one and two give us the introduction to the first act; part three accompanies tho presentation of the silver rose; -,n part four we are given some of the waltz movements; parts 5 and 0 are devoted to the lovely trio and finale from the third act; and part seven consists of an (a> and (b), the duet between Oetavian and Sophie in Act 11., and the "Presentation" March earlier in the same scene. These are very' enjoyable records, for the results are fully up to the newest standard of orchestral recording, an d the music is semi-suifieient. On the vacant half disc is the Scherzo from Mendelssohn*, music to "A Mid summer Night's Dream," delightfully > » fir Landon Ronald Ind the Kojal Albert Hall Orchestra. It sound ed so-like the real thing that I looked n?st V°fluffJ 7 the C^e toVeo°Si lust nute take his usual bow. For a q Uar t er of ft c(mtm . y Ei of fine sinking al] over the world. Over twenty years back he captured musical America; a few months ago, when he sang his'farewell to that country in Aew lork, over 3000 people crowded the Manhattan Opera House. He appeared in one of his best roles—as Searpia in "Tosca"— the part ho sang in when he made his American debut An account says that the volume and colour of his voice were minutely adjusted to each particular need. He was in magnificent form, and gave an exhibition of operatic art at its best. This famous aria is one of a large number he has sung on the records. His "Barber of Seville" is wonderful for its multiplicity of expression and its bit-'-I ing irony, nis < 5 Masked Ball" and , his-"Even Bravest Heart" are beauti>ful exa.jplcs of his style of singing famous love songs. For sheer dramatic power and vibrant expression there are his "Pagliacci" and "Otollo" records, as good as any yet produced, while his versatility has embraced the inclusion of notable excerpts from Wagner, Berlioz, Donizetti, and other great composers. Stracciari is capable of producing almost unlimited volume, but never to the point of subordinating quality and tone beauty. It is here that .he^ shines;'his voice is nothing if jiot natural and humanj, lie, never forces 4-note or gets' lost on a'tremolo. He: acts in his singing with a realism that one can almost visualise, even on records. In: short, Stracciari is well in the van with the world's great baritones, even though others have names perhaps more familiar to the general public.

We have never heard (declares ais enraptured critic) Mozart's music rendered with more exquisite artistry thnj in Elisabeth Schumann's singing of "Voi cho sapete" (Figaro") and "Batti, batti, O Bel Masetto'-' ("Dou ■Giovanni"), her first contributions tt> tho gramophone.

The first composer to fully explore and utilise the capacity of the modern piano, x .ethoven was also {he first to bring out 'the latent power of the modern orchestra, nis genius in both spheres is shown in his C Minor piano concerto, one of five written fov this instrument, the sonata being by far his favourite form of expression. ,The one mentioned was composed in 1800, and \'.as one of Beethoven's own favourites. It has been recorded in its complete Form .and with undeniable success for ! Uieu-.four twelve-inch discs devoted to.. it finely preserve much of the artistic individuality that characterises all"; Beethoven's work. This comprises no less than two hundred and fifty compositions—symphonies, overtures, concertos for splo and grouped stringed instruments, innumerable lovely chamber •works and thirty-two piano sonatas to say nothing of many masses, cantatas, and other vocal works. All 'of which serves to remind one that when all is said and done there remain in^ finitely more composition of this and other masters to be recorded than have ever boon touched upon to date. To revert to the C Minor. This is given to \\ ilham Murdoch, in the principal part uud to Sir Hamilton Harty and the oymphony Orchestra. Most of Part I is taken up by the orchestral introduction in which the main themes of the movement aro given out. Strings in unison begin the first subject, the first four bars of which contain the spirit o± the whole theme. Woodwind charmingly replies to strings, followed by full 'orchestra. The second subject, played: first by violins and clarinet, leads to a return of the first subject- then the piano enters with some lovely uuison scale passages and recapitulates the themes suggested by the orchestra.-This first movement is carried throughout the first two discs in its entirety. Piano alternates with strings in effective style, and some fine flowing passages hn^r tl" f\ th? ma;ior i^trumfnt holds the melody in octaves over a string background. Tho whole, almost, of tho conclusion of the first movement is given to the solo cadenza, a necessary part of all concertos of this date This consists of a concise little miniature movement holding in a remarkable way the elements of the two chief motifs and concludes with the novel inclusion of a rhythmic phrase heard on the tyinpam—this being one of tho first ex-' amples known of the'use of drums as solo instruments. The theme of the second movement, Largo, is given out

by the piano, which deyelopes into an elaborate passage in thirds and afterwards in octaves, followed by a duet for flute and bassoon, with intricate arpeggios by the ; piano.. The last two parts are in the form of a most melodious -aid tuneful rondo, and delightful woodwind association continues the main theme given out by the piano. This is taken up by full orchestra, and leads into a lilting new theme, and then b'.fc again to the main Rondo theme. C.armet, bassoon, and piano, alternately, and m combination, close this side and the second side is again fascinating with its string, woodwind, and piano melodies intertwined or alternated Altogether, a noble and compelling work finely executed and well- recorded. Murdoch has done nothing better. •Two passages from "The Mastersingers of Nuremburg" have provided the Symphony . Orchestra and chorus conducted by Eugene Goossens with the ■means to give us a brilliant recording Tudor Davies as Walther gives us the prize song, which contains whafis perhaps Wagner's most beautiful melody -Robert Badford contributes a vo'ca) gem in Hans Sach's "Panegyric on GerT?'™\" a fl-, tting fiaish t0 a wholly delightful vocal record which will be greatly m demand by music-lovers all over the country. The fine singing of the chorus and the two magnificent solos make this record one of outstanding merit. .°

Among just issued vocal records at a popular price those of Jack Blake are extraordinary in so far as their fidelity to the human voice goes. He is a baritone very expressive and pleasing and us singing of "Moonlighted Rises'' is so attractive and artistic, and the actual reproduction so stereoscopic that this well-known favourite will be heard again with undiluted pleasure. He sings, too, on the reverse of it, "Whit Can I Say After I Say I'm Sorry?''and here agajn the illusion of the actual voice is remarkable. Both are c h ar m chStra Wlth a wel^alanced or - + Whilst Wellingtonians are hearing throughout the day the efforts of o^f own bands—sometimes,-one might add rather too early in^W morniL^t would not be amiss to hear and compare some of tW recorded numbers ?f a band organisation such as the ParlopMne Military Band playing, for instance, the well-known favourites, sfol;d's ''Colonel Bogey March," Sou-sa's-E ICapitan " or Fueih's '"Vn™ y o± the. G1adiat0r5.".;..,...,;.. . .

Whilst on the subject of band and orchestral music, one might mention a noteworthy number recently issued "The Ballet Music," from SaintSaens's "Samson and Delilah," played by the orchestra of the State Opera House, Berlin, conducted by Dr. Weissmann. The interpretation, in the safe hands of Dr. Weissmann, is appropriately vivid in part on and langourous at the opening of .part two, while' the many ingenious colour effects devised by Saint-Saehs are exceedingly well recorded. ■■:■':■■■ . ■ . '■

The tango, that is to say, the Correct Argentine Tango, is very .seldom seen to perfection, but when danced correctly to the proper rhythm, is a very beautiful dance. Correct tempo and rhythm,' however, are absolutely necessary, and the tango as played by the '|Orqu.esta Tipica" gives this seductive rhythm and delicious colour; in short, the real spirit and meaning of the tango. Theso records are played by the most famous of Argentine tango orchestras, and recorded in Buenos Aires."

Tho whispering baritone has evidently come to stay, and in Sydney Nesbit we have a very clever exponent of this art. Nesbit is very popular in England, and is almost a fixed fedturo over the air from the London Broadcasting Station, 2LO. He accompanies himself on the ukulele, and in- such numbers as "Ukulele Dream .Man,"' "Lonesome and Sorry," "After I Say I'm Sorry," and "I've Seen Isobel" (dressed in her dishabiMe) is well worth tearing. Of all tho light orchestras available on records, tho combination known as Marek Weber and his orchestra is perhaps the best of all. This orchestra plays at one of the leading Berlin hotels, and the life story of its namesake is somewhat romantic. Marek Weber was a peasant boy, uneducated, but having a musical genius inborn. His efforts on the violin were heard by a director of one of the pronnnent recording companies whilst on holiday in the country. This director felt that a genius was playing, and he arranged to give Weber a thorough education, including musical tuition by the leading German teachers. The results are apparent to-day, and to Jear this talented player render such numbers as "The Blue Danube Waltz," "Le Lys Noir," and "The Indian Love Call" is a revelation. . One of _his finest numbers ,is the " Electric Girl," recorded some months.ago, End this i° a light orchestral work which will not be easily outclassed by any prese,nt-day effort. Another record by Adila Fachiri and Jelly d'Aranyi, those talented sisters and descendants of the great Joachim, will be interesting to all lovers of the violin. Fachiri and d'Aranyi have recorded two violin duets, the first from six sonatas for two violins by Leelair, the second the Allegretto from Sinding's Opus 56, ' the Andante of which is also given. : This is real music delicately played,' and with a wealth of harmony for the, discriminating ear. Both numbers are of thorough merit, and to their worth is added the appeal of musicianly and often brilliant playing.

Victor Came is a tenor with an excellent voice and good control of it. Well known in oratorio and on the platform, he is equipped very well, and in devotional music can easily hold his own with: Britain's. best. The issue of two devotional numbers by him then is especially interesting. The first is the old/favourite, "The Holy City," the second is by the same composer, Stephen Adams, and is called "The Star of Bethlehem." Few composers have got niore devotional fervour into .a song and few singers could respond to it sowell. Both items have orchestral accompaniments.

Two cheery songs for an idle moment are given by Ernest Butcher, a baritone with a well-developed sense of humour. These are the rollicking "Pride of Tipperary" - (Lockhead) and "I Married a Wife" (Melvin), which"cannotffairl r to appeal to anyone who likes a jovial song. -Stanley Chappie plays the pianoforte aeeompanimejits. t "Am I Wasting My Time on- You?" as played by Billy Mayerl's orchestra, is the,fox-trot of the week. This popular number is bracketed with "Hi-diddle-diddle," in which Buddy Lee does the incidental singing, and which is also good dancing time. Gwen : Farrar and Billy Maye^l combine in two efforts this;week'. They sing the humorous jazz'duet, "Can's Your Friend get a Friend for Me?" very snappily, and they played.,'.an instrumental excerpt on piano ' and 'cello. This is a novel ■ combination, which should attract notice. ' Again come Lupino Lane and Wallace Lupino in their famous "Nip and Nunky '' series. Nos. 9 and 10. are reported this week, and are fully equal to: the swift-fire humour which made the earlier records so popular. These l\i ' '■'■■'' ■■ "'■;."■ '' : ' ] ;:

two dialogues deal-with Christmas Eve and Christmas morning, and Nip reveals himself in particularly small boyish mood with long strings of rapid questions and awkward posers which cannot fail to entertain. The second side, which deals with the catching out of Santa Claus and the accident of a gift bicycle, is particularly good.