Music from the Disc

Evening Post, Volume CV, Issue 151, 30 June 1928, Page 24

Music from the Disc

Wagner Recordings. A piece de resistance of the July list "is "The" Valkyrie," issued as "a representative series,'' on fourteen double-sided discs' (black label), complete in a handsome album. Tho following is the' cast of singers:—Brunnhilde, Mins. Frida Lcider and - lorence ■Austral; Sieglind'e, Goeta Ljungbcrg; Siegmund, Walter Widdop; • Wotan, Friedrieh Schorr; Hunding, jioward Fry; the Eight Valkyries, chorus, State Opera, Berlin. With tho London Symphony Orchestra, conducted by Albert Goates) and the Orchestra of the State Opera, Berlin (conducted by Dr. Loo Blcch). This set of records has been made with the intention of presenting for the first time in tho history of the gramophone a completely representative series of selected- passages from Wag"ncr's. great music drama, "Tho Valkyrie." To a considerable extent these new-records.replace a previous and historic sot' made a few years ago, but they go farther and do more than that earlier set could hope to do. The powers of the new electrical recording have made possible the creation of records of exceptional realism, volume, and clarity. No effort has been spared to make these records the finest of their kind ever made. A east of world-fam-ous Wagnerian artists has been used, together with-two of the finest conduc-tors-and orchestras in Europe. Half tho total number of records included in this group were made in London, in Queen's Hall and the Kingsway Hall, and to make the artistic scope: of the plan as wide as possible the remaining passages were recorded in Berlin. The Wagnerian enthusiast should welcome these, records, for they add notably to the repertoire of the gramophone. The St. George's Choir. ' originality (1) "Magnificat in G" (Stanford); (2) "Magnificat in D Minor" (Walmisley). The Choir of St. George's , Chapel, Windsor. 'In this sotting of;tho Magnificat Stanford showed great originality, breaking entirely new ground. - The song of tho Blessed Virgin is given to a.sole treble, accompanied by the remainder of the choir, while the organ plays a kind of moto perpetuo. Tho whole effect is singularly happy. You will notice how the composer has considered that the Virgin was then no more than a child in years. Walmisley's setting in D Minor • provides a remarkable contrast. The"words are treated as the utccrings of a body of worshippers rather than of a single individual. Ho employs men's voices in unison alternately with the trebles and altos. The music has great dignity, and tho organ accompaniment "is finely written. New Rachmaninoff Disc. Sergei Rachmaninoff (pianoforte), in # "Liebesfreud" (Love's Joy), Kreis-ler-Rachmaninoff. Rachmaninoff is a famous composer and a superb pianist as- well. Ho,has taken one of _ the old Viennese melodies ■'■ which Kreisler brought to light, and round it he has woven a concert piece of exceptional brilliancy. The old, waltz tune floats serenely through a bright flood of notes, and occasionally a wave will catch it up and invest;it with a fresh glitter. It is a very fine reproduction of the pianoforte. " (1) "La Donna c mobile" (Verdi); (2) "Questa o quella." (Verdi). Sung by Thomas Burke,- tenor. Perhaps no story is moro interesting than that of the pit boy who achieved instant fame overnight at Covent Garden a few years back. How much progress ho has made, and how'he has earned and improved.:upon, .his fame, this record "can tell' better than words can describe. Tho rich, round, open ton^e, so reminiscent of Caruso, has the true operatic timbre, richness and power. Burke only needs to learn a little moro restraint, chiefly for the purpose of enhancing his* more emotional • phrases, in order to become one of the really great. The two extracts from Rigoletto that he has chosen aro always worth hearing ftgain, especially that groat favourite "La v Donna c Mobile." j Great 'Cello Player. The ' London Symphony Orchestra (conducted by Pablo' Casals), in "Variations on a Theme by Haydn" (Op. 56a, Brahms). Pablo Casals'is tho greatest living 'cellist. He is also a conductor of the first rank. For his- debut as a conductor he has chosen an important work of Brahms, tho "Variations on a Theme by-Haydn." Many of the fine qualities which distinguish his performance as a 'cellist characterise his conducting. The results are admirable. Brahms's "Variations on a Theme by -Haydn",were written in 1873, uid were first performed in tho same year. The work, created great interest, for it was Brahms's first orchestral work on a large scale. It was;very successful and aroused exceptional enthusiasm. Tho "Variations" remain one of his most popular works. The theme on which the "Variations" are built is an old "Chorale" tune, "St. Anthony," and it is possible that Haydn himself merely borrowed the tune from some ancient pilgrims'■ song. There are, in all, eight variations and a "Finale," dividing the work into ten distinct sections (including the' introductory section in which the theme is set forth). Many moods are touched upon in these variations. ' Wanda LandoVska (harpsichord), in "The Harmonious .Blacksmith" (Handel) and "Turkish March" (Mozart). Madame Wanda Landowska is one of the greatest performers on the harpsichord the world has seen. This is her first record to be issued in this country. Her artistry is of such order that its exquisite polish and finesse is readily appreciated, by the least perceptive. Her gay and perfectly-poised performances of these two little pieces are a sheer delight. Mischa Levitski- (pianoforte), in "Hungarian Rhapsody, No. 6" (Liszt). Mischa Levitski, who needs no introduction to Australia or New Zealand, has made a most brilliant debut on rerecords.. This performance of the sixth" of the "Hungarian Rhapsodies" of . Liszt is a remarkable one in r°ny ways. The playing is of a very high order, and the reproduction is technically superb. In sonority and outstanding volume the record is one of the finest productions of modern times. New Organ Records. W. G. Alcock, M.V.0., Mus. Doc, in C.1376 —Reverie (Lemare), Interlude (Guilmant), Idyll in D.Flat (Faulkes). Dr. Alcock is one of the greatest of present-day English organists. His performance of these three slight, but very attractive, pieces is characterised by a delicacy and curious beauty of registration. Tho organ on which these records were made was that of Salisbury Cathedral. Derek Oldham (tenor), in "Tho Gondoliers" ("Take a Pair of Sparkling Eyes"), and "The Sailor's Grave" (with piano accompaniment), both from Sullivan. Derek Oldham sings two well known songs by Sir Arthur Sullivan, proving his versatility and refinement of, style. ''• Peter Dawson, in "Song of the Volga Boatmen." "The Bear Homeland" (Slaughter). Peter Dawson has made a very wonderful record indeed of the "Song of tho Volga Boatmen." It is as if he had been inspired to great things by the song> for ho certainly sings with astonishing volume and clearness of tone. Light Opera Company, in "Lilac /Time," introducing "Four Jolly Brothers," "The Flower," "I Want to Carve Your Name," "When Skies aro Blue,"

"Girls and Boys," "I Ask Jthe Spring," "Oh, \V\ia\ is so Sweet us ;i Golden Song," "Dearest, all is Ours.". It was a particularly charming idea to build a musical play around the life of Schubert, and to provide the music from the vast storo of melodies ho wrote.' It will bo scarcely necessary to de--scribe the charm and grace of the music, partly because "Lilac Time" has had a most remarkable success everywhere for a period of over four years, and partly because Schubert is well known to have been the greatest of all melodists. . This delightful vocal selection conveys a pleasant recollection of some of the best moments in the production. A Splendid Tenor. (1) "Mother Machree," (2) "The •Rosary."- Sung by Alfred O'Shea, tenor. There is more to admire in o'Shea's voice . than fine vocalism, though that is certainly not wanting; but what makes all his records so interesting is the fervour and intensity of feeling he infuses into everything he sings. Especially good is lie when he approaches such well-known ballads' as the two under review. The way in which ho seems to caress the familiar notes charges them with meaning. And yet, however tender his treatment, there is always the hint of tremendous, reserves of power. He sings a particularly round and open note, and has a very fine range. Murdoch Again. (1) "Los Collines d'Anacapri" (Debussy), (2) "Bruyeres" (Debussy). Pianoforte solos by William Murdoch.Debussy came to the piano after the greatest of the musicians seemed almost to have exhausted its possibilities, and out of it extracted an entirely new colouring and idiom. In place of solid progressive movements ho has given' us a shimmering fluidity; in place of a curved melody his compositions sparkle with sharp points of light; wo sco the flashing of morning dewdrops, the racing of little beads of mercury. But Debussy depends, I think, more than any other composer, upon his interpreter^. ■ The clear-cut, crystal-like beauty of the record is due almost as much to Murdoch's faultless and poetic playing as to Debussy's writing. (1) "La Traviata"—Je suis aime de toi (Verdi); (2) "Herodiadc"—Air do Jean (Massenet). Sung by George ■Thill, tenor. G.eorges Thill is a.tciior .with outstanding depth in tho lower register, and still more astonishing clarity higher up the scale. Like all Trench singers, ho is given to emotionalising his subject, but here the subject will stand it, and the remorse and love in Alfred's song from ""Traviata" become, poignantly real. From "Hcrodiade" ho sings John tho Baptist's impassioned music with thrilling intensity. Thill is clearly a supreme artist and a no less gifted vocalist. This is his first appearance on Columbia Records. I hopp they will see their way to give us many more. (1) "Concerto for Bassoon and Orchestra" (Mozart). In Five Parts); (2) "Allegro' Spiritoso" . (Senaille). Archie Camden (Bassoon), with Orchestra conducted by Sir Hamilton Harty. This recording should do good work in. disabusing the general idea that the Bassoon is a "clown" instrument. Far from it. The .beautiful "cantilena" effects in the slow movements, and the expressive tone—liko a reedy 'cello— and rendering may come as a surprise to many. The Concerto dates back to 1774, and is therefore a fairly early work, but gives a fair idea of the limpid clarity that makes'MGzarty work so happy aitd fresh, and so eminently enjoyable. ■ Senaillo's "Allegro Spiritoso," arranged by Archie Camden, who plays it, is given as a makeweight on the sixth side of this complete recording—a thoroughly, enjoyable little trifle. . Mr. Camden gives a delightful performance throughout, and tho recording is of the highest. (1) "Less Thau the Dust," (2) "Till I Wako" (from "Indian Love Lyrics"). Sung by Dame Clara Butt, contralto. A London paper declared tho other day that only four artists could fill the Albert Hall—and, needless to say, Clara Butt is one of theni, and the only woman of the four. Without oven being at her best on this record— and perhaps it is because she ought to leave tho Lovo Lyrics to lessor singers —she nevertheless proves yet' again that she is peorless among singers^ and this record will givo infinite pleasure to all gramophonists. (1) "Zephyr". (Hubay), (2) ."Sicili.ano and Rigaudon" (Francour). Violin solos by Joseph Szigeti. The naively coquettish little Franeour piece, arranged by Kreisler, is altogether delightful, especially the first part of it. Hubay's "Zephyr," on the other side, makes an admirable foil. It is a marvel of technical brilliance^ whereas the other is no less remarkable for its airy poetic feeling. After hearing this record I can well understand the reason

for Szigeti's. rapidly increasing reputa--1 (1)' "Arietta" (Aleock), (2)' ''Jig" (Charles Wood). 'Cello solos by W. H. Squire. Wo know, and this reeor'J proves it once again, 'that in satisfying resonance of tono and finish of technique Squire need bo afraid of.no rival, save perhaps Pablo Casals. It is a pity that his great abilities should not be used to grace tho greater masters. However, the stuff ho has chosen is pleasant enough; Aleoek's charming little "Arietta" shows, off his eantabile playing .to advantage, while the merry jig gives ample . scope for his executive ability. The richness of tone is tenderly cared for by the best of recording. John Goss and "the. Cathedral Male Voice Quartet, in "Shenandoah" (Sea Chanty), "Rio Grand" (Sea Chanty), "Billy Boy" (Sea Chanty). John Goss, the young British' baritone, has established quite a fame as au unrivalled interpreter of sea chanties and ditties. ~ Victor Mixed Chorus, in "Songs of Ireland" and "Songs of Scotland." It has puzzled some of us, now and then, to know exactly what people mean' when they claim' a ''Scotch-Irish" ancestry. This record may claim' it, however, with perfect justice, one half being Irish, and tho other Scotch. Bits of the more popular and familiar songs of both countries appear in these new recordings. If you listen close enough, you may find in the Irish songs, though few of them are old, the traces of the Soontroe, the music which causes sleep; the Gauntreo, the music which induces laughter; and the Goltree, the music of sadness and tears. Despite all r^ial kinships, the Scotch music is of widely different. character., The. Band of H.M. Coldstream Guards, in "Zampa" overture (HSrold). Herold's operas enjoyed a great vogue (luring Paris in the .first half of the nineteenth century. Of all his works, "Zampa" is the. only one which has survived the ravages of time, and its fine overture still delights concert audiences all over the world. An exceptionally, fine electrical re-recording. The Victor Symphony Orchestra in "Traviata —Prelude" (Verdi) and "Sylvia Ballet—Cortege do Bacchus" (Delifos). An interesting and beautiful new roeording of the Prelude to "Traviata," one of the few separable preludes Verdi loft in all his fairly long array of operas. Its chief melody, sung by the strings against an engaging but simple rhythm, is one of the best-known airs in' tho whole of the work. With-it is the "Procession of Bacchus," from Delibcs's "Sylvia," one of the greatest of all modern works, especially composed for the ballet. Its processional and more or less 'pedestrian character sots it apart, musically, from the groat range of airs known to' the music-loving world from tho ballets of Delibes, which include some oil the most beautiful waltzes, for example, in. all music. (1) "Adagio from Organ Toccata" (Bach-Siloti); (2) "Arioso" (Bach), 'Cello Solos by Antoni Sala. Sala's record is another that I heartily recommend. 'He has left the beaten track and discovered in the wilds some Bach that is as beautiful as it is unfamiliar. Sala plays both' pieces most beautiful]y x and expressively. Sir Thomas Bcecham evidently caught tho ear of musical America during his recent visit to the States, for within a week of his return to England he received cables offering him various sums to conduct in New York, one of which amounted to the colossal sum of 100,000 dollars (£20,000) for a five months' season. "But colossal or not, it is not part of the Beecham idea that he shall settle in New York," writes Robin H. Legge in'the f Daily Tele : graph." "It is perfectly true," he himself says, "that I have received very tempting offers to go to America for varying periods. I am not accepting these offers at present. I do not want to accept them at all. My interest is in my own country and the credit of my own country. I want to know if my country, of which I am inordinately proud, does not really want a great national, opera—a national opera of this country which will provide a future for students of music and singing, a fact they don't seem to realise because their

support has hitherto been negligible." In America Sir Thomas gave fourteen concerts, in Boston, New York, Providence, Washington, Baltimore, and Philadelphia, and at the very first, in New York, he disarmed his orchestra by saying to them as they met before going on to the platform for the concert, after their very limited rehearsals, "Gentlemen, let us show them what you can do with my small assistance." Louis Bennison, the well-known actor, has1 forfeited a step in his action against J. C. Williamson, Ltd. He has failed to comply with the order to provide as a preliminary to the hearing of the case security for £150 for the defendants' costs. Bennison's action was. for £1130, the amount which he alleged he had been short paid by tho firm, under contract with whom he was appearing in "The Road to Rome" and other productions. In addition to' denying liability, tho defence suggested that the actor was too realistic in ! parts of his work. For. instance, a kiss he gave to Daphne Bairn, playing the senator's 'wife, in the "Road to Rome," was considered to be much too enthusiastic. Louis Bennison, who is now in America, was given until 31st March to lodge security. Failure to j do this enabled Mr. A. G. Hill to move successfully for leave to sign judgment. Theatregoers' fondness for crime plays, of which Edgar Wallaco is the i pioneer, shows no sign of diminishing in London. Ten thrillers are playing to packed houses nightly, while the youth of the country is inundating Scotland Yard with shoals of applications to join tho detective force. Sex dramas have gone to the wall, and I orthodox comedies are being withdrawn, ' or are sheltering in suburban theatres. Latterly the Press has been full of protests against the demoralising effect ■ of the crime play, one writer denouncing it as "not drama, not melodrama, but Sadism, run amuck.".