Music from the Disc

Evening Post, Volume CVI, Issue 46, 1 September 1928, Page 24

Music from the Disc

II JO A Brilliant Orchestra. Philadelphia Symphony Orchestra in "Toccata and Fugue in D Minor" (Bach)- Those who hear this marvellous record will at once agrco that it is one of tho greatest over done by the Philadelphia Orchestra, which already is responsible for such recording triumphs as the "Bicnzi" Overture, Liszt's "Second Hungarian Bhapsody," Weber's "Invitution to tho Waltz." Tschailcovsky's "Cassc Noisott&" Suite, and otherfe. Stokowski made a wonderful transcription of Bach's great "Toccata and Fugue in D Minor." The dramatic and stirring music has been most brilliantly transcribed for the orchestra. Kedroff Male Voice Quartet. (1) "Song of the Volga Boatmen"; (2) "Olaf Trigwason." Sung by the Kedroff Male Quartet (in fEussian). Excellent part singing. These four great vocalists, each . a master as an individual, have made a uniquo namo for themselves in this class of singing. Their volume is impressive and their tono remarkable for its purity and roundness. If the settings are their own, and as two of. them are professors of music there is no reason to doubt it—they must on every count be ranked as tho cleverest vocalists on any stage. Notice the subtle arrangement of the bass in the dramatic and fiery Norwegian Ballade. "Olaf Trigwason. ". Ono of the finest vocal record issued this year. John Brownlee Disc. John Brownlee (baritone), in "The Marriage of Figaro," "So, Sir Page" (Mozart), and "Carmen," "Sirs! Your Toast" (Toreador Song), (Bizet). This record offers an interesting contrast iv styles; both tho pieces are in "march time" yet they are entirely different in atmosphere. "So, Sir Page" is sprightly, witty, and a trifle ironical, for Figaro is telling tho languishing page boy Cherubino how to behave now that he has a commission in tho army. Of course, Cherubino cannot hold himself with anything approaching an adequately "military posture." In contrast to the neat "collectedness" of the Mozart air the well-known "Toreador Song" seems emphatically boisterous. John Brownleo sings both airs superbly. A Popular Tcliaikowsky Movement. Quartet in D—"Andante Cantabile" (Tohaikowsky). Played by tho Lener String Quartet. Ask what is the most popular piece of Tchaikowsky and, after the Nutcracker Suite, nine people out of ten would name this haunting Andante Cantabile from the Quartet in D, which proves that most of us love a good tune. The famous Lener Quartet, playing with perfect understanding of the piece and of each other, produce a lovely "singing" tono; that seems to come so easily, but which is so difficult for a quartet to produce. The flaying is -lovely all through, and has the benefit of almost faultless recording. New Soprano. Hulda Lashanska (soprano), in '"Aloha Oe" ("Farewell to Thee'), (the lato Queen Liliuokalani), (and male quartet); "Annie Laurie." This is the first record by Madame Hulda Lashanska to be issued in this country.' Madame Lashanska is a singer of great distinction. Her voice has an extraordinary individuality and beauty, and you will be struck by its unruffled purity when you hear this record. For her first record she has chosen two of the most popular melodies in the world; thq plaintive Hawaiian farewell song, "Aloha .Oe" and tho old Scottish song "Annie Laurie." In the record of "Aloha Oe" an effective background is provided in the refrain by the male quartet. Sir Thomas Beecham. (1) "And the Glory of the Lord"; (2) "Every Valley Shall Be Exalted." From The Messiah (Handel). Hubert Eisdoll, tenor. Sir Thomas Beecham, orchestra and choir. Without a doubt tho musical sensation of the London year was Sir Thomas Beecham 'a peratrates his high technical ability. His formance was full of an exalted energy and'its vibrant vitality is well demonstrated in this selection. The choir is under splendid control, and Hubert Eisdell sings with extraordinary insight into the meaning of the oratorio. Becording is first-rate. (1) "Valse in A Minor" (Chopin); (2) "Etude—Op. 10, No. 12" (Chopin); (3) "Etude—Op 10, No. 7" (Chopin). Pianoforte solos by Ignaz Friedman." Friedman plays the two lovely Chopin etudes with an airy grace that conceals not only a mastery of this construction, but also an understanding of the mood in which they were written. But more delightful still is the Waltz that occupies the whelo of ono side; ono of Chopin's acknowledged best. He enters thoroughly into the spirit of the composer's sparkling contrapuntal devices, and still contrives to keep the ball of a plaintive melody in the air. The tone, is strikingly rich and shows a profound study of harmonies—a study :in which Friedman has few equals. Altogether a most charming record. George Baker (baritone) in "When We Wero Very Young" (poems by A. A. Milne, music by H. Fraser Simpson), (a) "Happiness"; (b) "Missing"; (c) "In tho Fashion." (a) "Halfway Down"; (b) "Hoppity"; (c) "Growing Up." (a) "Buckingham Palace"; (b) "'j.~o Three Foxes," (a) ."Politeness"; (b) "Market Square." (a) "Tho Ohristoning"; (b) "Brownie." (a) "Lines and Squares"; (b) "Vespers." The words of these delightful little songs first appeared in the London "Punch" and won all hearts by their delicious naivoto. Grown-ups will like theso records quite as well as children, for literature about children is very searco indeed. A. A.' Milne succeeded where a thousand others have failed in giving child pictures that admirably preserve the simple humour and novelty of a child's life. Choir of H.M. Chapols Royal (conducted by Stanley Eoper, organist and ■fcrarposor) in 82693: (a) "Abide With llo"; (b) "Fight the Good Fight"; (a) "Fierce Eaged the Tempest"; (b) "Bock «? Ages." This record should be welcome to a very wide audience. The four fcymns which, are here sung with sincerity and beautiful tone, are amongst the best loved in the English language. (1) "Etude in A Flat" (Chopin); (2) "Waltz in F Major" (Chopin). Pianoforte solos by William Murdoch. Murdoch, who always play 3 with rare sympathy and feeling, here demonstrates his high technical ability. His touch is fascinating—by turns tender and caressing, emphatic and fiery. His Sempo is immaculate, and the brilliance *f his tono well up to the highest stan(l) "Waiata Poi"; (2) "Pokaro karo." (1) "Waiata Maori"; (2) "Song of the Locust." (1) "God Defend Now Zealand"; (2) "Harere Tonn." Song by Ernest M'Kinley, tenor. Alfred Hill, of course, is well represented with his world-famous "Waiata Poi." Ernest M'Kinloy sings them with a discreet understanding of their varying moods, and is in excellent voice. He only needs a wider rango to make a big name for himself. One is entitled to bolievo that theso will give a favourable impression of the

<j !L -;■■.,!.'■' strength of New Zealand music in other countries than our own. ..'•'• John M'Cormack (tenor) in "Who is Sylvia?" (Schubert), and "Die.Licbo hat Gologen," Op. 23, No. 1 (Schubert). This delightful record by John M'Cormack is most appropriate in view of tho Schubert centenary celebrations. You would have to go a long way to hear "Who is Sylvia f'' sung with such charm and boauty of tone. A feature of additional interest is the inclusion of "Die Liebe hat Gelogen" in the reverso side.; a beautiful little song that is not so well known as it deserves. (1) "The Call of Aloha"; (2) "That's What the Lei said to Me." The South Sea Islanders, with vocal, chorus. Two tuneful and rhymthmie waltzes that everybody will enjoy. The South Sea Islanders stand out as, the supreme purveyors of the "Hawaiian" stylo, and they are at their best on this attractive record. Four Norwegian Dances (Grieg) Georg Schneovoigt conducting the London Symphony Orchestra. Georg Schneevoigt, once a famous "stormy petrel" among conductors, has lately developed a singular sweetness of interpretation, and if theso records of Grieg's "Norwegian Dances" lack the fierce energy of his earlier works they' have instead a wholesomeness and charm more suited to them. Schneevoigt emphasises the melody in delightful style. All four tunes are extrancingly simple and melodious, conceived in the happiest vein and executed ■with a sort of care-free abandon. Lomelino Silva (tenor), in "Bigolctto," "Questa o Quella," and "La Donna c Mobile" (Verdi). Considerable interest will be created by the release of this record by a new young Italian tenor, Lomelino Silva, whose beautiful voice and artistic phrasing show great promise for the future. Loughborough Carillon (played on tho Loughborough War Memorial Carillon). "Old Folks at Home," "Massa's in de Cold, Cold Ground," "British Grenadiers/ "Como Lasses and Lads," "The Miller o' Dee," "Ye Banks and Braes." The Loughborough Carillon can be compared with any carillon in the world, and made doubly interesting by its clearness and the dexterity of the accomplished carillonneur. Evelyn Scotney (soprano) in "Blue Danube Waltz" and "Voices of Spring" (Strauss). This record has a threefold attractiveness: It has melody, world-famous melodies—brilliant singing, and an indefinable something which may be called "life." Mme. Scotney has seized the opportunities offered by these waltzes for a dazzling display of vocal fireworks. (1) "A Wandering Minstrel I," sung by Eric Courtland, tenor; (2) "A More Humane Mikado," sung by Harold Williams, baritone. Harold Williams, with his great and growing reputation, should be senior partner on this record, but ho is not. Eric Courtland takes chief honours for "A Wandering Minstrel I," singing with perfect enunciation, a sense of fun and a fine open voice. Williams is inclined to be a trifle monotonous, through failing to vary his emotional stresses. However, his vocalism is good, and with two such popular songs this record should be quite popular. (1) "Still Wie Die- Nacht" (Bohin); (2) "Tho Message" (Proctor); Bung by Alfred O'Shea, tenor. O'Shea's strongest point is his gift of sympathetic expression, and this was never shown so clearly as in his moving rendering of the popular "Still Wie Die Nacht." Herein he is tenderly soothing and restful, and those who know his great power will bo surprised at his nice sense of restraint. A fino record. In "The Message" he sets a model that any tenor in the world might copy in the production of head notes. Stuart Bobertson (bass), in "Bright is the Bing of Words" and "The Boadside Fire" (Vaughan Williams). Stuart Bobertson has made a splendid record of these two songs. Vaughan Williams's stylo is peculiarly "English" in the best sense and the singer has here achieved the feat of absorbing the typical atmosphere of each song perfectly. Margaret Sheridan (soprano) in "La Boheme," "Si, mi chiamano Mimi" (Puccini); "Lohengrin," "Elsa's Dream" (Wagner). "Madame Butterfly," "Ancora un passo" (with chorus), "E questo?" (Puccini). Miss Sheridan is of Irish birth and has a great reputation in Europe, especially in Italy, where she is classed as one of the finest lyric singers of her day. She has won deserved praise for her singing at Covent Garden in recent seasons. In the "Madame Butterfly" record she introduces the melodious entry of the heroine in the first act. This had never been previously recorded with chorus, so that the selection is a very attractive one. On the reverse side is a part of the dialogue between Butterfly and the Consul. The second record consists of Mimi's lovely narrative from "Boheme," which is sung very expressively, and "Elsa Dream" from "Lohengrin" in which Miss Sheridan's lovely and sweet voice is heard to excellent advantage. State Opera Orchestra, Berlin (conducted by Otto Klemperer), in "Tristan and Isolde" Prelude (Wagner). These are Herr Otto Klemperer's first His Master's Voice records. He is one of the finest conductors of the present day. His outstanding qualities—and by that is meant the qualities which make him an outstanding figure amongst conductors—are a very remarkable control over the orchestra together with a sympathetic vision. It is due to these things

that liis rccoi-d of the Prelude to the immortal Iragody of "Tristan and Isolde" is so splendid. .'J'liu interpretation is remarkably moving and straighl■forwai'd, whilst, tlic oruhcstrul tono is -of'unusual beauty and perfection. John Turner (tenor) in "I Did Not Know" (Trotcro), and "One Littlu Hour" (Sliarpc). These two very pleasant "littlo ballads receive a superb pcrformanco in the hands of John Turner. John Turner is now unquestionably ouo of tho^ finest tenors in the country. Dnsolina Giannini (soprano) in "Aida" —"0 Patria Mia," "Bitorna Vincitor!" (Verdi). Dusolina Giannini gives a magnificent' rendering of the two groat arias from "Aida": the "Ho turn Victorious" from the first act. and the lovely and wistful melody, "0 Patria Mia." Jaseha Heifetz (violin), in "Hebrew Melody'" (Achron), and "Zapateado" (Spanish dance), Op.. 23, No. G (Sarasate). The depth of tone in Heifetz's interpretation of Achron's beautiful "Hebrew Melody" is quite surprising. On the reverse side he plays with his usual brilliancy Sarasate's very, difficuTt and animated "Zaputeado." Guilhcrmina Suggia ('cello), in "Kol ■Nidrei," Op. 47 (Brueh). If you were to .'.make a list Of the really great 'cellists in the world you would find that Suggia's namb . was in the first three. Her records proclaim her artistry in a far mare adequate manner than mere words can. The rich, yet suave tone, the broad phrasing, and the extraordinary intensity of expression which are amongst Mine. Suggia'a chief attributes will not fail to impress you from her records as strongly as'they have her thousands of enthusiastic audiences. She has here given a performance of Max Bruch 's arrangement, of the "Kol Nidrei." This ancient.'Hebrew melody is afforded a remarkably fine setting and a very moving rendition. .The recent successful recordings of Wagncrian opera have just been supplemented by a set of six double discs, on which have been impressed the gem number from "Tristan and Isolde." The Berlin State Opera House Orchestra and tho Symphony Orchestra between them supply the prelude. The Florence Austral-Trenton combination are responsible for "Isoldo's Narrative" arid "Isolde's Curse." Florence) Austral sings the "Introduction to.Act 2." With Tudor Davies sho is associated in the "Love Duet," and these two also present the scena, "The Lovers Drink the Potion," with chorus. The "Introduction to Act 3" and "Isolde's Love Death" is played by the Royal Albert Hall' Orchestra. Glasgow Orpheus Choir (conducted by Hugh S. Robertson), in "Dim-lit Woods" (Brahms), and "Great God of Love" (Pearsall). Brahms' importance as a writer of choral music is all too, frequently overlooked nowadays, and, apart from tho occasional performance of the "Bequicm" and the "Song of tho Fates," his choral music does not get the attention it deserves. This record of the short piece, "Dim-lit Woods." is therefore made . doubly interesting. The splendid singing of the Glasgow Orpheus Choir makes a very fine thing of it.