Music from the Disc

Evening Post, Volume CV, Issue 147, 23 June 1928, Page 24

Music from the Disc

A New Baritone. ..* Armaiul Cnibbc (baritone), with orchestra: "'No C'oiota", ("Ay, Ay, Ay," l3resili.cn)' (Sobr.hiho), sung in Portuguosc, and "Chant tie Bbrger" ("Lo Temps s'eiivoJe,/ "Tlio, SUcpliord 'a Song," from Gounod's "Mireillo"), ' sung in French, with piano. For fullbloodedness it> would bo very >ard indeed to beat. Crabbo has a very big, very rich voice, and uses it excellently in every way. The Portuguese song is not to be confused with the Spanish "Ay, Ay, Ay," so well known, but it | lis a still more exhilarating piece. The orchestra is superb, for fat tone in the Portruguese, and for quaint colour' in the Gounod. Incidentally, Crabbo's rendition of "Largo ,A 1 Factotum" from "The Barber of Seville," is the most artistic presentation of that famI ous air I have yet heard. Saint-Saens's Musical Joke. "The Carnival of Animals" (SaintSaens). Sir Hamilton Harty (conciliating the Symphony Orchestra. Sir Hamilton Harty and his orchestra are in merry mood as they give us what remains one of the most delightful burlesques in musical literature. The humour of. this jolly suite keeps fresli and roguish throughout. Saint-Saens's pretty wit is well shown by the inclusion of "Pianists" among his Animals' Carnival —they are made to play exercises "clumsily," as if by beginners. "Fossil," too, is a dry bit of fun that comes off very well, and the Long-eared Personages"- is given out as realistic brays by two violins. . But there are also moments of rare tunefulness, and on all counts this is a set of records to bo heartily recommended. Discs Worth Hearing. , The June list includes some popular discs well worth hearing. We l/ivo Paul Whitcman's Rhythm Boys in "Miss Annabelle Lee," and V. Dalhart C. Robinson (with violin, banjo, and guitar) in "Hear dem Bolls." Jesse Crawford (Wurlitzcr organ) in "My Blue Heaven" and "The Song is Ended." National Cavaliers (male quartet, with piano), "in "Dear, on a Night Like This," and "I Told Them All About You." V. Dalhart-C. RobinsonA. Hood (with banjo, violin, and guitar) in "Sing on, Brother, Sing," and F. Crumit (tenor, with organ and guitar), in "Wake, Nicodcmus." V. Dal-, hart-C. Robinson (duet, with orchestra}in "Far Away in Hawaii" and "My Blue Mountainllome." The Salon Orchestra, in "My Blue Heaven" and the. "Just a Memory.' Those are records of a quite new kind, in which popular songs of recent issue have been,sct for large ensembles —for voice and orchestra in the first, and for orchestra in the second. A Master of the 'Cello. (1) "Serenade" (Mendelssohn); (2) "Melody in E. Flat" (Tchaikowsky). 'Cello solos by Pablo Casals. Pablo Casals, who stands on a pinnacle by himself as a 'cellist, gives on this record two [tuneful fragments that arc admirably adapted to his instrument. His tone is superb. In the most diflicult technical passages ho fails not of a rich, velvety smoothness, mellrfVv and deep, and to any keen 'cellist this will be the chief joy of this record. But his phrasing, too, is impeccable. He builds up'his themes with rare skill, achieving a. perfect coherence from the first note to the. last. ' The "Valkyre." ' A now recorded edition of the "Valkyrie" was issued recently iii London, x and will bo hereI.in duo course. Interest attaches to this edition iv that the ! issue'represents Frida Leidcr's first appearance on records. • She is considered to be one of the greatest dramatic singers of the present day, and has exceptionally wide experience. She possesses a voice of superb ringing quality, and uses it with great intelligence. Friedrich Schorr, who makes his debut as an artist in the part of "Wotan," has been hailed as the greatest Wagncrian baritone since Van Rooy. In his performaneo for this set of records (says a reviewer)^ lie shows that lie has a voice of wide range, unusual flexibility, ' and rich colour. The other singers who ■havo taken part are -well known to the gramophone public through the medium ofvtheir records. Gota Ljungberg makes, an effective "Sicglinde," and shows herself to be a finished actor and a singer capable of powerful dramatic intensity. But superlatives can be written of every artist in the cast. AValter Widdop is now regarded —and deservedly so —as one of the finest living "heroic tenors"; and the voice and artistry of Florence Austral arc,- of course,- world famous, Beethoven. . "Symphony 'No. 6 (Pastoral in F Major" (Beethoven). Felix Weingartnor conducting the Royal Philharmonic Orchestra. . (Five records in album with descriptive notes). Beethoven .tells us that ho did not intend this 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, most of us will read a picture into it. Felix Weingartner has caught the "atmosphere" to perfection. His reading of the storm nrusio is surely one of the most vivid things recorded. In the wild crescendo of rain, and -wind the shattering bursts .of thunder and the flashing of lightning his wonderful control of the orchestra never relaxes, and he rises to heights of serene beauty in the quieter country scones. • Tho whole work is like a breath of sweet country air. There are some excellent records in most issues for the youngsters. Have you he^rd Charles Penroso in "Land of Nod," "Laughing Jazz Band," "Pirates' Island," "Popular Jocular Dr. Brown," "Rainbow Fairy," and "Tale of Tippity Witchit" (on three discs)? It will be hard to find a more satisfying affair than Gota'Ljunborg makes of Franck's "Panis Angelicas" and tho Bach-Gounod "Aye Maria." This is emotional singing at its best, and as a demonstration of what the gramophone can do nowadays it is a triumph for recording. ' . (1) "Carmen" —Flower Song (Bizet) ; (2) "Tosea" —B. Lucevan Lo Stclle. Sung by Ulysses Lappas, tenor. The singing of both these popular extracts from Grand Opera is* very fine. The full; round tone of the Greek tenor (who made liis English debut in 1919) never came out so clearly and strongly, so reminiscent of tho Caruso richness, before. His B flat is not phenomenal, but up to A natural he has a splendid scale, and his breath-control is splendid. The recording of both airs is exceptional I hope we shall hear more from Lappas as time goes on, for ho reveals great promise. Florence Austral, who appears,with Browning Mummery, in two dolicious duets from "II Trovatore," has recently been having a busy run of engagements in various parts of England. In order to keep her widely scattered appointments she has frequently been obliged to travel through tho night, aiid for this purpose fitted her motor-car with n bod. It shows that tho life of a popular b'inger is not always one of peace and quietness; but the December record shows also that the rush and bustle have not affected her voice. Her singing is exquisite. (1) "Ilia Murometz" (Russian Folk Song); (2) "Serenade (Melancholique." Sung by the Kedroff Male Quartet, unaccompanied. The difficult art of quartet singing, once the everyday amusement of English homes, seems to havo [

fallen into decay, but this record by the Kedroff Malo Quartet proves tliiit there are still high-class pxponcnts of it. The Kedroff! four arc all famous as soloists; tho high quality of the vocalism.is apparent; ■ but they arc even, better in combination. Tho Folk Song is really striking, and both sides make a most agreeable record. A delightful number is Sydney Coltham's singing of Cowen's "At the. Mid-hour of Night," which must be considered, as among Sir Frederic's most I charming inspirations of a. notably inspired period. The Neapolitan Trio in "Scrcnata Silver'stri" (with1 violin, flute, and' hnrp) and the Florentine Quartet, "Torna a Surriento" (with violin, 'cello, ilute, and harp). Two soft and lovely numbers by well-known organisations. The separate tones ef the violin,- ilute, and harp arc easily recognised; and once recognised, the listener is very likely to be somewhat proud of his knowledge. On the companion number, of course, the 'cello is introduced. "Xn Irish Melody"- (The Londonderry Air) (Bridge). Played by the London String Quartet. This familiar and wellloved melody is here presented in new dress, with all the modern tricks of the trade in the way of harmonising. Seeing that Frank Bridge is responsible for tho arrangement one knows that tho reading will bo worth while; but it is,' if anything, inclined to over-subtlety. Tho mel.ody is too rich to need obscuring as'lie lias done it, and though doubtloss his arrangement grows on one, we hanker for tho old simple methods. The playing is direct and dignified and has good tone. V. Do' Loath (soprano) in, "Sing Sic a Baby Song" (with guitar/violin, and piano) and "Who are You Fooling Tonight?" Two popular titles, very successfully rendered by Vaughn Do Leatli, who is one' of the most popular radio, artists in the United States at the present moment. (1) "Marcho Militairo" (Schubert); (2) "Spanish Bolero" (Arbos). Played by Arthur Catterall (violin), W. 11. Squire ('cello), and William Murdoch (piano). Cattcrall, Squire, and Murdoch made a happy trio, each of distinguished artists' subordinating his individuality to give iis a combination that is richer than the individual.; Their tone is almost orchestral in its amplitude, but has additional brightness and clar-.. ity. They play the familiar Schubert March with great boldness, and a forcible rhythm, and where the lovely second theme creeps in are capable of striking a softer note without spoiling the martial character of the music—a great test of understanding. The Spanish Bolero makes a call on their executive ability'which they well stand up to, but apart from its cheerfulness and rich colour it amounts to little.. Here is a good record: Arthur Ches)iey (musical monologues), "Subtleties" and "Hoops and Saw.dust." An introduction of unusual interest. '» A pleasing change from songs and iustru- ■ mental music. Arthur Chesney's long stage experience and personality are effectively impressed on this record. The royalties on Caruso's gramophone , records arc stated in a New York Court to have amounted to £.150,000 during the past seven years, thus making a very generous income for his eight-year- J old daughter. Here is a severe blow to the old theory that scicntii'c invention and mechanical1 ingenuity were inevitably antagonistic to tho artist. Tho film and the gramophone have enormously increased not only the rewards, but tho influence of writers. and musicians. ' '.:■'; "William Tell Overture" (Rossini). Sir Henry Wood and tho New Queen's Hall Orchestra. "William T&l" overture remains as one of a few compensations by which Rossini is remembered. ■It begins with rich phrases for 'cellos and bassos suggesting tho dawn breaking over distant hills, and then tho orchestra tutti gives out a theme representing torrential rain and a thanksgiving storm. As this dies down we hear a, tuneful andante representing the thanksgiving of the shepherds and 'a, brilliant and long coda closes the work. Sir Henry Wood shows a keen understanding of the difficult instrumentation and a'superb-control of his orchestra. A Brilliant Pianist. (1) "The Erl King" (Schubert-Liszt); (2) "'Prelude in G. Minor" (Kaehman-. inoff). Pianoforte solos by Josef Hofluann. As an exhibition of technique the Hofmann version of Liszt's "Erl King" is amazing. His fingers meet all demands that tho exacting Abbe makes in him, and tho beauty of the transcription is that all tho Sehubertian tunefulness is retained. Hofmann plays tho Rachmaninoff with a nico sense of restraint, and makes this really beautiful Preludo the most interesting piece of tho two. Music by famous orchestras, artists, and dance bands will in future enliven passengers travelling on- the HarwiekAntwerp route of tho London and North-Eastern Railway, special apparatus having been fitted for the purpose on board the steamer Bruges. The system employed is a combination of gramophone and electricity. This system uses the ordinary gramophone record, but dispenses with a tone arm. From the record the impulses are taken by tho needle to a microphone, and then through d?_valve amplifier to a loud-speaker. By dispensing with • a horn greater purity of tone is assured. In the production of Tennyson's "Harold" at the Royal-Court Theatre in London recently, Sir Barry Jackson

ma do arrangements that Miss Gwcn Ffrangcon-Davies, when singing "Love is Come with a Song and a Smile,"she wtmld be accompanied by the gramophone. Tho record chosen was that of the famous nightingales singing in ,chorus. It will be remembered that this record was made in tho garden of the well-known 'cellist, Miss Beatrice Harrison. The record.is called "Dawn."