Music from the Disc

Evening Post, Volume CXIII, Issue 54, 5 March 1927, Page 30

Music from the Disc

The new disc presenting Chaliapin m the "Farewell" and "Death Scenes" of "Bon's Godovnor" is a wonderfully clear recording by the new electric process of this famous artist's greatest operatic numbers. Boris Godounov. in the "Farewell," takes leave of his eldest son^and successor, giving him advice and embracing him. la the "Death Scene," which follows, Boris, surrounded by the praying courtiers and haunted by remorse, prays for forgiveness. With the last cry, 'I am still the Tsar!" he collapses and dies. I. he great basso gives a most stirring and realistic interpretation, and the record does fine justice to the music. The gruesome "death rattle" which marks the close of the scene is a really aweinspiring sound. The chorus and orchestra are well recorded. Altogether a magnificent addition to the Chalipin list. L ■

Of the London String Quartette, whose recent four-record playin; of Schubert's "Death and the Maiden" Quartette has given gramophone lov ers one of the very finest tilings in all chamber music, an American paper, the "Baltimore Sun," states: 'The London String Quartette seems by way of becoming in its own field very much what the Philadelphia Orchestra is in the realm of orchestras. Certainly a more finely balanced, splendidly jjlourful, and imaginative, as well as admirably proportioned performance, has not been heard here by a string quartette in years, if at all. Moreover, there is in their playing a unity, a completeness of understanding " that makes for a degree of responsiveness almost uncanny, and yesterday afternoon's concert became an exhibition of artistry complete and most aatisfying. rt One can listen to disc inusis fully deserving of similar encomiums as far as technique and expression go, on about three dozen records bearing this combination's name. They ■have played many classic works, wholly or in part, that will delight the trained ear, and many that will eminently serve to initiate the newcomer in the beautic-s of chamber music perfectly played and recorded. Of nearly all of their discs it may truthfully be said that "one trial will convince."

Baekhaus has gilen us in the March records an admirable Chopin disc, consisting of five short but characteristic studies from the album of Chopin. It is ti-n" that Chopin presents many technical problems in his studies, but the pieces are rather studies in the expression of diverse emotions, in which the composer quite incidentally presents great difficulties to the performer. An impression of the extraordinary diversity of emotions portrayed in Chopin's "Studies" is excellently conveyed by the four examples recorded on this disc. Greater contrast could not be imagined than that presented by the wild " Revolutionary . Study" and the delicate and melodious " Study in V Major," or, again, between the •'Chromatic Study," which is cast in tho style of a brilliant "Perpetuum mobile," and the attractive "C Major Study." The latter study is most appropriately preceded by the "C Major Prelude" (the .first.of the set of Preludes). The record presents a magnificent reproduction of the pianoforte. Baekhaus's performance is notable for the agreeable fluency of liis interpretations and his positively dazzling technique. Born in the poorest circumstances, handicapped by owning a harsh and intemperate father, Ludwig van Beet hoven showed incredible musical pre cocity at an incredibly early a?e. At twolve ho was a public organist of renown and before he was twenty was a phenomenally brilliant pianist. Then he began composing in real earnest, and through a career of domestic adversity that would have killed every atom of spirit and ambition in many men, rose to supreme heights, not even deafness conquering his wonderful will to win. Ho produced several hundred works in his 57 years—symphonies, overtures, varied Btring music compositions, and . eminent works for the piano—including no less than 32 sonatas for this instrument alone. Brilliant as he was in this sphere, none the less his orchestra) compositions'are miracles of conception and expression, all showing his great artistic individuality— and an astonishing freedom of form that havo set them in the -lighest class of musical croation. Of his innumoraablo quartettes for strings, his B Minor Quartette, opus 59, written in 1809, has fortunately been recorded for the gramophone, tho set of four twelwincli discs being absolutely one of the. finest reproduced versions of this beautiful work. Tho London String Quartette officiate for this production, giving us all that artistry and understanding for which this combination is famous. Tho fivst movement, allegro, occupies the first disc; tho arresting principal subject with its silent, abruptly interrupting bars gives an outline of the theme. The work is very equally divided between tho four instruments, and tho part writing is full of interest. 'Cello and first violin begin the second subject as a duct against a gently murmuring figure for the viola, and a strongly syncopated passage leads to a short coda which closes this part of tho subject. Somo finely effective passages of trills in unison precede a recapitulation, this following, in the main, the exposition, although there is a nice difference in treatment. The second movement, niolto adagio, holds .1 broad and dignified main theme played by first violin and repeated by second violin and viola, the first violin hero having a lovely counter melody. Rhythmic throughout, this alternating form is carried into a new theme for some length, but tho main theme is then reheard on first violin with tho second playing a charming new melody above it, and the 'cello carrying on with the first violin's earlier part.

With the "Marehe Hongroiso" (Berlioz) and the "Marehe Militaire" (Schubert), the Royal Opera Orchestra at Covent Garden makes its debut this month. This is a splendid record, and cheap at the price (plum label). It is described as the first of a series of some of the most wonderful orchestral records yet made; like the superb Wagiicrian records recorded by the Symphony Oichestra under Albert Coates in the Queen's Hall, these records were made in one of the big London concert halls, in this case the Kingsway Hall. The record introduces one of the finest orchestral bodies in the country, the Royal Opera Orchestra, Covent Garden, recruited from the famous symphony orchestra of the metropolis. Berlioz was so enamoured of the "Rakoezky March" (the national March of Hungary) that he introduced it into his opera the "Damnation of Faust." His arrangement is a brilliant one both from the-point of view of orchestration and by reason of the extraordinary manner in whicq. the excitement of the finale is built up. Berlioz used to say that his audiences never heard the last chords for applause.

The Allegretto, part 6, is a theme of striking rhythm in beautiful proportion, a triple figure being treated by each instrument in turn. The Presto Finale, taking the last of the records, has a leading theme of a riotous marchlike tun-e, in which a rising three-figure note is thrown about from one instrument to another with beautiful effect. Some vigorous quaver phrases for first violin and 'cello then alternate, leading to a passage founded on the main theme. The fortissimo climax is a typ-

ical Beethoven joke, suddenly interrupted by a silent bar and then carrying on in a different key. The chief subject reappears and runs into a presto coda for a brilliantly spirited finish to a most entrancing movement

Prior to the advent of electrical recording, the harpsichord was not easily captured on to the disc, but now its most peculiar and fascinating tone is perfectly '.aught. It wit be remembered that Handel was a wonderful harpsichordist, and one of his c >mpositions, the "Passaeaglia," is an oldworld dance having the characteristic features of a ground bass. Coupled with this are two morceaux, "Lo Coueou" and "La Tambourin." A few words on the harpsichord will not be amiss. Its construction differs notably from that of a piano. In the latter instrument the strings are hit by a key; in the former they are plucked by a pointed quill called a jack. Moreover, there are no artificial devices for sustaining the tone. There can be no the .music takes on the quality of a fine etching. This record is a perfect gem, and no collection should be without it.

The opportunity of placing on one record such stars of the Italian operatic ' world as Pertile (tenor), Ferraris JRighetti (bass), and Baromeo (bass), accompanied by chorus and full orchestra, is seldom given, but this is offered on a recent record. 1 Singing excerpts from that world famous opera by Verdi, "Un Ballo in Maschera" (a masked ball), "E Scherzo ode follia" (but food for mirth and mocking, coupled with "La Rivedro nell 'estasi" (I shall behold her form again).

One of the best, if not the best, foxtrot of the moment is "Petruska" — which reminds one somewhac of the "Song of the Volga Boatman." It is coupled -with "On the Riviera.'" These two numbers are played by Ronnie Monro and his orchestra, each having vocal chorus, and making a splendid double.

Duettists at tho piano are very popular nowadays, and in Scovell and Wheldon we have an excellent pair. They are heard in the flesh at the leading English variety theatres, and also over the air from the London broadcasting station. They have given us many up-to-date numbers, and amongst their recent recordings are: "When, the Red, Red Robin," "Don't Let Us Say Goodbye," "Then I'll be Happy," "Gentlemen Prefer Blondes," "Lonesome and Sorry," and "I'm Taking That Baby Home." Much has been written recently of Wagnerian music, and in the leading Wagnerian baritone. Robert Burg, of the Dresden Opera House, a theatre world famous for its high standard and artistry of its performance, we have a very fine exponent. One cannot do more than quote the English "Daily Mail" of Cth April, 1926, which says, "But what a magnificent voicel The singer is called a baritone, but he is a true bass —and one of tha finest (to judge from this disc) now singing Wagner." Burg's recorded efforts include Wotan's "Farewell"—one of the most beautiful and moving pages of the "Ring." It closes the "Valkyries." On one side of the record is "Farewell Thou Brave and Beautiful Child,'' the solo in. which tho vivid fire music is heard, and on the other side the lovely slumber motive, "Those Eyes so Lustrious and Clear," in which sound the wonderful harmonies of the "Kiss Theme." The record is an invaluable addition to the Wagnerian series. The orchestra of the State Opera House, Berlin, gives us Wotan's "Farewell" and fire music 'n four parts on two 12in discs, the orchestra being conducted by Edward Moerike, who, on his recent tour in America, was acclaimed the master interpreter of Wagnerian opera.

Parlorphono syncopators giving that popular fox-trot, "I'll Climb tho Highest Mountain if I Knew that .I'd Find You," provides us with yet another variation of present day dance music. Many of us will have heard Santrey's orchestra in this number, and the comparison is interesting.

Ever and anon the "Song of the Plea" is recorded, and whether heard in concert hall or on tho disc t never fails to produce the effect at which Moussorgsky aimed when ho took it from Berlioz's "Damnation Df Faust" and rewrote it. Tho runs in tho song aro extremely difficult and the bane of amateurs, but to a man with a firstclass voice there are few songs which give .'■/ h opportunities for range of expression. Of all those who have sung tliis famous number for the disc there is none better in result than Vladimir Hosing, a Russian tenor of the front rank, whoso recording of "The Song of the Flea" is bracketed with another and weird Moussorgsky song, "Tlip Gout." Frank St. Leger plays the pinnoforto accompaniments.

The Modern Chamber Orchestra, whose playing of do Falla's "LoVo the Magician" impressed so much earlier in the month, has released three other records which are extraordinarily good. Two of them are taken up by the "Siegfried. Idyll," which is as well played as one could wish and full of that clusivo' tono-colour which so often flies before tho recording process. The other is filled by two works of Delius, one of our greatest living composers, the c.xouisito "On Hearing the First Cuckoo in Spring" and the "Song Beforo Sunrise." Both are written in that rhapsodical fashion for which Dolius is famous, and both are well recorded. This, above all others, a record to buy.

Easthope Martin's "Songs of the Fair" havo been recorded by Horace Stevens am 1. John Buckley. The ice of Horace Stevens, a ringing bass-bari-tone, should be familiar to all, as also should be his definite art and decisive phrasing. John Buckley's melodious bass is lesser known, but 'ully as good. Ste-ons sings "The Ballad-Monger" and "Fairings," while Buckley is given ''Come to the Fair" and "Hatfield Bells." The first and third, second and fourth, songs are bracketed, so that there is one by each man on each disc. The many who admire this suite will find H-v numbers to their taste. The Hawaiian Entertainers return with their haunting harmonies, this time playing . the "Honeymoon Chimes" valtz, which is pure moonlight, and the "Honolulu Bag," for which Ferera and Franchini are responsible. The record has a peculiar appeal. l "Memories of You," played by Don Parker and his band of Piccadilly Hotel and Kit-Cat Club fame, is the only record for mention in the dancing division this week. It is bracketed with "Me, Too," the oddly syncopated strains of which should be familiar in our cabarets very soon.