Music from the Disc

Evening Post, Volume CIV, Issue 68, 17 September 1927, Page 26

Music from the Disc

'A Labour of Love." Kreisler, the world-famous violinist, writes:—"l feel privileged that my interpretation of the Beethoven Concerto, recorded in co-operation with Dr. Leo. Bleeh ana the State Opera Orchestra in Berlin, is being brought before the public on the occasion of the Beethoven-, Centenary. These gramophone records are the outcome of a labour of lpve and infinite reverence, and I shall be proud if they contribute to broaden popular appreciaion of this immor-

tal work.—Fiita - Kreisler. '' Commenting on the above, a London critic says: "I might array here the six most famous violinists of the present day, and place them in order of merit, giving each bo many marks for tone, so many marks for technique, and so on, and I have no doubt it would be qiute an interesting experiment, but it would only lead us to the acknowledgment of Kreisler as the supreme violinist of our present age. Even his closest, rival would acknowledge that When he recorded the great violin Concerto of Beethoven with the Berlin State Orchestra in the Singakademie of Berlin, he must have been conscious of the importance of the occasion, for he could not but recognise that the greatest music critics of the world were awaining his interpretation of the work as the final version possible with our human limitations. The concerto is acknowledged to be the greatest- work ever written for the violin, and as a mere technical accomplishment presents innumerable intricacies and difficulties. It is one of the few big works big enough for Kreisler. (The discs were issued in the September catalogue, and have already been mentioned.)

Beethoven's Happiest Symphony.

Sixth Symphony—"Pastoral" (Beethoven); five records in art alEum. Felix Weingartner conducting the London Symphony Orchestra. This symphony was composed in the summer of 1808. Some say it must be considered "more the, expression of feeling than painting," and that Beethoven did not intend it as "programme music." But as it depicts a nightingale, a quail, and a cuckoo, to say nothing of a storm of thunder and lightning, and the trickling of a brook, it may logically be called either painting in music or programme music. It received its first performance on 22nd December, 1808. There are five movements, best described and most easily understood by the following analysis: (1) The awakening of cheerful feeling on arriving in the country; (2) scone at the brook; (3) merry meeting of country folk, interrupted by (4) thunderstorm and tempest; interrupted by (5) song of the shepherds; glad and thankful feelings after the storm. Every movement has its own peculiar beauties, and the whole work.abounds in a joy.of nature which is unparalleled in the annals of musical literature. In the main, the symphony varies between exuberant joy and a peaceful and roflective serenity; but its general happy nature is broken by the overpowering storm music of the fourth movement. Here we have Beethoven at his very greatest. It is a movement to which no one can listen unmoved; all the usual effects are here —the howling of the wind, the torrontial downpour of rain, the thundor and tho lightning; but the awfulness and the sublimity of the interpretation is beyond description. This recording is a great triumph for Wiungartncr. Programme music of this sort calls for imaginative qualities of high order, and Beethoven's orchestration calls for tho highest skill in conducting. ■Weihgarter has both. Ho carries us with him in every movement, and tEo storm scene will rank as the grpatest orchestral recording of the day. . The tone is

faultless throughout, and this work owe 3 much to the quality of the recording. The "Unfinished" Recorded Again. The electrical recording of Schubert's beautiful "Unfinished Symphony" has been well received. This work is a kind of instrumental swan song, a creation which is sometimes spoken of as comparable with any of the Beethoven symphonies. This re-issue is something which will cheer the heart of the Schubert worshipper, so faithfully has an inspiring performance by the Royal Opera Orchestra, Covent Garden, conducted by Mr. Eugene Goossens, been transferred to three discs. # The fine sweeps of melody stand out in all their magnificence, in. places over effective syncopated harmonies, while the occasional urge in the mßsic is given its full impulsiveness and imperious dignity. A Fine Performance. "Hungarian Fantasy" (Liszt), in two parts. Pianoforte solo by.Percy Grainger, with orchestra. The "Hungarian Fantasy", is pure Liszt from beginning to end, and that means that it calls for tho highest possible technical skill on the part of the pianist. Fortunately, Percy Grainger provides it, for anything less than something closely approaching perfection would spoil the whole work. Hear this record, and try and imagine what it would be like without the shimmering delicacy of the aTpeggio passages, the thrilling glissandos, the rich majesty of the bass. Some of the phrasing absolutely electrifies one; the sheer beauty strikes like a cold shiver down the back. The fantasy is immediate and irresistible in its appeal. Around simple Hungarian folk-tunes Liszt has woven a fancifully complicated embroidery that sets off the melodies to perfection. At once amazingly rich and beautifully simple, it is perhaps the most interesting of all his works. A Giant "Work. What will rank as one of the giant works in gramophone chamber music is Brahms's Quintette in F Minor (observes a London critic). It is performed by some distinguished players, who are the Flonzaley Quartette and Mr. Harold Bauer (piano). The "run" is a fairly long one, there beifig five records, or ten sides, but there is not a dull or uninteresting moment throughout. In the quintette are some delightful melodies. One of the boldest and liveliest is the semi-military theme belonging to the Scherzo, while in the closing stages of the finale, which reveals the musical strength of the early Brahms, piano and strings rise to heights of brilliance. An alternating use of contrasting rhythms is among the attractive features of the Scherzo. George Bernard Shaw has recorded his voice for the benefit of posterity. This record will bo placed in the British Museum, in which are already records of Caruso, Melba, Patti, Count Leo Tolstoy, etc. A Great 'Cellist. "Kol Nidrei" (Max Bruch), in two parts. 'Celo solo by Pablo Casals. Without disrespect to the tune, which has all the sorrows of Israel behind it and is as plaintive as only Hebrew music really can be, tho chief interest in this record will be reserved for the flawless playing of Pablo Casals. This record must be heard half a dozen times before its full beauty is apparent. One appreciates tho tono at the first hearing, but the subtlety of tho playing is such that one finds new delights in it every time it is replayed. The Salon String Orchestra^ play with dolicate delight the Wagnerian ro•raaneo "O Star of Evo,' with the very different rippling Poupee Valsante of* Poldini's on the other side of the disc. S. distinct novelty is the record made by Ken Warner and Peter Yorko, the sj-ncopated duettists, on one pianoforte. This is really a great record to danco , to, tho rhythm being irresistible. A Brilliant Tenor. "Ora c per sompre addio" and "Monologo," <<Otello" (Verdi). Sung by John O'Sullivan, tenor. John

O'Sullivan has been celebrated for so long that one is-surprised at the small number of his recordings. The quality of this record makes one hope that here ! is an omission which will be speedily i repaired. O 'Sullivan % voice, with all the power, range, and volume of a irue operatic tenor, nevertheless has a refreshing intimacy that makes it as agreeable in a small drawing-room as in a great Opera House. It lingers almost lovingly over the more delicate phrases, In his most tender moments he reveals, as so few operatic singers do, a subtlety and feeling as great as in his more dramatic phrases. Truly a fine record. Alfred Hill Records. "Tangi—Maori Lament" (A. Hill) —"Waiata Poi" (A. Hill). Mayfair's Orchestra, under Alfred Hill. First record by. Alfred Hill, the well-known New Zealand composer, who has been connected -with the Sydney Conservatorium of Music since its ir *-eption. He is a fine musician, and an authority on Maori music. His "Waiata Poi," a bright Maori song, has become internationally known and appreciated for its fine rhythm and characteristic melody. The beautiful melody of the "Tangi" is .pervaded by intense feeling and impressive simplicity, which enhances the harmonic effect of the work. There is rare swing also irT "The great little army" and the traditional "Thou hast left me ever, Jamie," played by the 2nd Argyle and Sutherland Highlanders Band, the bagpipes figuring as lead in the second piece. A capital vocal record is Foster Richardson in "The floral dance and "A Din dor courtship." "The Island Herdmaid" (Songs of the Hebrides), (a) "So Sweet is Shee," (b) "Song of the Palanquin Bearers." Sung by. Arthur Jordan, tenor. One admires Arthur Jordan's choice of songs as much as his singing. After the hackneyed selection that is usually served up on this sort of record, it is a pleasant relief to find that there are good old songs that one hasn't heard before. The» Hebrides Song is specially good, and is sung with a fine manly voice. "So _ Sweet Is Sbee" is a traditional English air which is well worth reviving.

"A Request" (Woodforde Finden) —"I Know. of Two Bright Eyes" (Clutsam). Sung by Walter Widdop, tenor. The rapidly-maturing powers of this fine singer are apparent in every record he makes, and many are following his development with intense, interest. The present disc certainly represents Widdop at the top of his form. The Carlton Hotel Dance Orchestra have made some records which will nicely reinforce one's stock for the parties which shortly will be taking, place. . - '