Music from the Disc

Evening Post, Volume CVI, Issue 68, 29 September 1928, Page 24

Music from the Disc

"Rigoletto" Collection. ' The recent grand opera season has given a decided fillip to the demand for good recordings from the more popular works .presented. Probably tho most enjoyable of all tho Verdi operas is. "Rigoletto," by reason of tho wonderful melodies which characterise the work. An excellent "Rigoletto" series is that which has been arranged and duo for release with the October list. This includes the sparkling "Questa o Quolla," recorded by Caruso, Montenelli, M'Cormack, Miughctti, Schipa, and SilVa. There are three recordings of tho monologue, "Pari Siamo," by De Gorgoza, Ruffo, and Granforte. From Ruffo and Magrini we have the seena "Doh! non parlare," in which De Lucia and Huguet give us the celcbated "Love Scene" ("E il sol dell' anima"). There are also recordings of the same scene by Galli Curci and Schipa and Minghetti and Paikin. "Caro Nome" has been almost exhaustively recorded —by Galli Curci, Melba, Sem'brieh, Tctrazzini, Talley, Dal Monte, Scotney, and Castles. So you may take your'choice. From the same galaxy of talent we have seven gems from Act 11. and three from Act 111. The list is fully catalogued, and should certainly b inspected, for from the various records available a representative set of this favourite opera may be selected. * New Schubert Record. "Old Vienna"—(Schubert Airs arranged by Friedman). Pianoforte solo by Ignaz Friedman. The arrangement of a number of Schubert's waltzes which has been made by Friedman is extremely charming, and retains all the old-world gaiety and beauty of the original tunes; one or two of the melodies will be familiar to those who know the "Lilac Time" music. The play ing of the pianist is most attractive, being full of the happy abandon of so much of Schubert's music, while the recording is perfect. Philadelphia Orchestra. The name of the Philadelphia Symphony Orchestra under its gifted conductor, Leopold Stokowski, on a record, is sufficient of itself to buy the disc. This brilliant orchestra's recording of the Cesar Franck "Symphony in D Minor" is no exception. The Symphony is recorded on five double discs, in an album, and may be unreservedly recommended both for the splendour ,of the music and the faultless recording. It is not intricate^ and its appeal will be found irresitible. A Great Foreign Orchestra. "The Merry Pranks of Till Eulenspiegel" (R. Strauss). Desire Dofauw conducting tho Brussels Royal Conservatoire Orchestra. This is one of the jolliest tone poems ever composed, and we have no difficulty in following the adventures of the lovable rogue, his pranks and jests. A brief epilogue rounds off the work. A noticeable feature about the records (there are four parts on two records) is tho clearness of the ensemble parts and the beautiful quality of tho manly solo passages, such as the extended horn phrase in the opening and the passage for the E flat clarinet near the end, which depicts Till 'a spirit leaving his body. The string tone throughout is particularly fine, and M. Defauw's interpretation is both individual and convincing. Songs by Schumann. Two songs from Schumann by Elizabeth Schumann are very welcome— "Standchen" and " Morgen." Elizabeth Schumann possesses all the virtues of a great lieder singer. Her record of Richard Strauss's song, "Morgen" (Tomorrow) is magnificent; not by reason of any dazzling display o"f "technical ability," but by reason of the exquisite intelligence with which the song is sung. Even were we to ignore the lovely quality of her voice, the perfection of the phrasing and the subtle nuances to be found everywhere would in themselves enslave us. Theodor Chaliapin (bass), in "Prince Igor"—How Goes It, Prince? (Borodin), and "Sadko" —song of the Viking Guest (Rimsky-Korsakoff). Since Chaliapin left Australia in 1926 he has rerecorded several of his most important songs and operatice numbers. In "How Goes It, Prince?" is an air full of humour, which is broadly suggested by the great artist. Rimsky-Korsakofi is an incomparable master in depicting the evolutions of Nature in music. In the excerpt from' the opera "Sadko," the Viking guest describes a picture of his country, a castle standing high upon a rock, below which roll the ocean waves. The Royal Opera Orchestra, Covent Garden, in "Shepherd Fennel's Dance" (Balfour-Gardiher) and "The Sleeping Beauty" (Tschaikovsky). BalfourGardiner's "Shepherd Fennel's Dance" is a little tone picture. Many people will have read the description of the dance on the prose of the late Thomas Hardy, and its realisation in music should prove an ideal echo or counterpart to that delightful passage. On the other side of tho record is a charming extract from the well-known Tschaikovksy ballet "The Sleeping Beauty." Sir Thomas Beecham. "On Hearing the First Cuckoo in Spring" (Delius). Sir Thomas Beecham conducting the Royal Philharmonic Orchestra. Delius's little poem is one of the loveliest as well as one of the most individual of Delius's shorter works. Seeing that Sir Thomas Beecham is the man who practically discovered the genius of Delius, it is peculiarly fitting that he should conduct this performance. No one understands the elusive atmosphere of the composer's music as well as Sir Thomas, and he secures a rendering that is truly inspired iv its delicate imagery. It is

an exquisite record, and Delius himself has expressed his delight and approval of it. Famous Trio of Musicians. The conjunction of Cortot (piano), Thiband (violin), and Casals ('cello), by this timo means something quite exceptional in recorded music. Of the trios already recorded we have had that by Schubert in B flat and the gay little G Major "Trio" by Haydn: We aro now given Mendelssohn's delightful "Trio in D Minor" (Op. 49). The four records, which comprise the set, are in every way fit to rank with the wonderful records of the Schubert Trio mad 6 by, these same artists. The Men delssohn trio is a work characterised by' the beauty of melody, which flowed, indeed, unstinted and in a continuous stream from the composer's pen. Giovanni Martinelli (tenor), in "Aida"—Celeste Aida, forma divina (Verdi), and "La Boheme"—Che gel ida maniiia" (Puccini). Giovanni Martinelli, one of the world's leading Italian tenors, has made two unusually successful electrical recordings of two favourite operatic arias. In "Celeste Aida" and ri the "Poet's Sing" from "Boheme" Martinelli reveals his fine and robust voice to excellent advantage. (1) Gotterdammerung—"Song of the Rhine Daughters" (Wagner). In three parts. (2) "Ride of the Valkyries" (Wagner). Sir Henry Wood conducting the New Queen's Hall Orchestra. The "Gotterdammerung" music is an orch estral arrangement of the opening scene of Act' 111. Siegfried has been hunting with Guuther and Hagen and has strayed away from the party in pursuit of a bear. He finds himself on the banks of tho Rhino, and tho Rhine maidenß try to coax him to return to them the magic ring ho is wearing They tell him that if ho retains it, it will prove his death, but this only determines him to keep it. At last they swim away with mocking laughter The tone of tho records is very beautiful, particularly the wood-wind and the harps. John M'Cormack (with pianoforte, organ, and 'cello accompaniment), in "Panis Angelicus" and "La Procession", (Cesar Franck). John M'Corniack's exquisite smoothness of tone and his wonderful "legato" are ideally suited in these two great religious songs by Cesar Franck, who for years acted as organist of St. Clothildo 's Church in Paris. Marcel Dupre (organist), in "Prelude in Or Major".(Bach), and "Fugue in G Major" (Bach). This is indeed a magnificent interpretation of Bach's wellknown Preludo and Fuguo in G Major by one of the greatest organists of tho present day, Marcel Dupre, who enjoys international reputation. The recording amazingly brings out the full tone of Queen's Hall organ. (1) Faust—"Le Veau d'or";'(2) "Mephistophele's Serenade" (Gounod). Sung by Alexander Kipnis. bass. His wonderful singing in the vocal records of the Bayreuth Festival, recently issued has created unprecedented interest. He invests the part of Mephistopheles with a diablerie of a most realistic degree, and in his treatment of the "Calf of Gold" displays a sinister gaiety. (1) "Elegio (Massenet); (2) Traviata—"Addio del passato" (Verdi). Sung by Maria Kurenko, soprano. In the excerpt from La Traviata, the artist gives a vivid interpretation of tho beautiful and pathetic "Addio del pas-, sato," sung by Violotta on learning from Germont that Alfred is hastening to her side, and is awaro of her early sacrifice. Massenet's "Elegie," beloved of all, is no less satisfying, and is enriched by the addition of the fine 'cello obbligato. Brahms's- "Concerto in D," for violin and orchestra (Op. 77). Played by Fritz Kreisler and tho Berlin State Opera Orchestra. Five double discs. This is the first recording of a remarkable concerto, and by an ideal interpreter. It is a work of great; difficulty. In fact, a certain critic once described it as "a concerto against the violin." It is to-day one of the most popular works in. the repertoire of violin virtuosi. As an authoritative presentation this set is highly recommended. De Groot and the Piccadilly Orchestra, in "The Waltz Dream," selection (0. Strauss). De Groot's records are little lessons in music. You cannot . help but enjoy his playing, but it is noti until you hear the same piece played by someone olse that you begin to realise what a vast amount of the record's charm is due to De Groot's genius for effect. On the Loughborough Carillon, by W. E. Jordan (borough carillonnenr), "Spring Song" '(Mendelssohn), and "Country Dance in G Minor" (E. Newton). 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. i "Ballet Egyptien" (Luigini). Compton Organ Solo by Quentin Maclean, in four parts. Quentin Maclean's playing shows extraordinary skill in contriving intriguing and fascinating tone colour effects, as well as his wonderful execution. Ho makes "Ballet Egyptien" almost more effective than in its original orchestral guise. All four movements are excellent, but perhaps the finest is the Andante Sostenuto where the string toned stops of the fine Compton organ in the Shepherd's Bush Pavilion are able to display their beauty to the utmost. (1) "Duetto" (Song Without Words, No. 18)—(Mendelssohn); (2) "Minuet in G Major" (Paderewski) Pianoforte solos by William Murdoch. This month Murdoch gives us the "Duetto," from Mendelssohn's "Song Without Words,", and Paderewski's dainty "Minuet in G." Both are perfectly played and recorded, the "Duetto„" in particular showing by the nice differentiation of the two "voice" parts.and the accompaniment not only Murdoch's fine taste and technique but tho faithfulness of the recording process that retains „ these delicate inflexions so beautifully. Salon Orchestra, in "Serenade" (Schubert) and "Serenade" (Toselli). Two well-known serenades, Schubert's intensely romantic,-and very serene work contrasted with the more emotional music of an Italian composerpianist. Toti dal Monto (soprano), in "Lu-

civ lo Lummermoor?'—"Spleudon lo , sacrc t'aci" and "Spargi d'amuro piauto," from Donizetti's "Lucia di Lauimermoor." Toti Dal Monte, who has just concluded her very successful appearances in grand opera in Melbourne and Sydney, has made a remarkably fine electrical re-recording of the Mad scene from Donizetti's "Lucia di Lainmormoor" (in two parts), giving a most brilliant display of- her dazzliug tochi nique and beautiful voico. Mark llambourg (pianoforte), in "Au bord dune source" (Liszt) and "Nocturne in E Majo." (C(opin). Liszt's brilliant little tonc-picturo, "At n Brookside" (Au bord dune Source") with its dazzling pianistic adventures, its bright splashings and gurglings in terms of music instead of water, forms a curious companion to Chopin's "Nocturne in E Major." (1) L'Arlcsienne — "Adegietto'' (Bizet); (2) "Serenade" (Pierne). 'Cello solos by Felix Salmond Felix Salmond has a world-wide reputation as a solo 'cellist of the first rank. A feature of the recording in the deserv edly popular "Serenade," by Pierne is tho brilliant tone colour of the 'cello —in the companion piece, tho artist cer r.ainly makes the most of his opportunities, playing with great brilliancy and giving ample illustration of his tech nical ability. (1) "Melodic" (Gluck-Kretslcr) : (2) "Jota" (De Falla). Violin solos by Yelly d'Aranyi. Yelly d'Aranyi, the violiu discovery of the current American season, is a grand-niece .of. the virtuoso Joachim, and a pupil of the celebrated Hubay. In this record is-revealed genius and attainment of a very high order—the violinist portraying a fine sense of the spirit of, both subjects. Edwin H. Lemare (organ) in "Andnntino in D Flat" (Lom.irc) and "Trauincrei" (Schumann). This record is particularly interesting to all who like melody and for all who admire tho grand organ. Mr. Edwin Lemare is one of the world's greatest organ rccitalists. He was for some years at a famous church in London, and his recitals there were amongst tho musical events of the season. His first

record contains a supei-b rendering oi one of- his own compositions—a melodj famous throughout the world either under its own name or as "Moonlight and Roses.'' Peter Dawson (bass-baritone) in "Don Juan's Serenade" (Tchaikovsky) and "Tho Erl King" (Schubert). Peter Dawson gives us two really magnificent sings this month. Schubert's great "Erl King" is perhaps the greatest dramatic ballad ever written and it is given hero with such force tb'.c. tho terrible climax in the last bar is genuinely thrilling. "Don Juan's Serenade" is a pleasant contrast. Sergei Rachmaninoff (pianoforte) in "One Lives but Once," waltz (StraussTausig). The secret of the successof Johann Strauss's waltzes seems to be that of eternal vitality. When we hear a- Strauss waltz to-day it seems to preserve untouched the gaiety and sparkle that it had fifty years ago. This superb performance of a concert version for piano of ono of the Strauss waltzes is very welcome.