Music from the Disc

Evening Post, Volume CVII, Issue 22, 26 January 1929, Page 22

Music from the Disc

"Marsoillaise" of Italy. I Those who have heard the stirring "Garibaldi Maruh" sung by Caruso 1 ivill bo. interested in another martial pioco that has swept Italy—tho i'ascisti hymn, "Giovinczasa," which is sung by Apollo Grauforle. Ouo can , imagine this song exciting the "'Black Shirts" to tho wildest enthusiasm. It has a strident rhythm, mid Grani'orto sings it like.one who bolicvos that Miis-S soliui lias been tho deliverer of his, country* One can understand why this song has been called the "Marsellaise" of Italy. Another' number on a similar theme, "La Lcggcnda del Piavc," is also forcibly sung, and in this Granforto ia assisted by a rousing chorus. , Joseph Szigeti. (1): "Menuet" (Debussy); (2) "Tambourin Chinois" (Kreisler). Violin solos by Joseph Szigeti. Szigeti is not only a master wizard in every executive trick in violin technique, but he prpducos a tone that is -supremely beautiful. Tono and masterly phrasing arb the leading features of his wonderful rendering of Debussy's Menuet, while delightful delicacy, phenomenal double-stopping, and astonishing virtuoso passages distinguish Kreisler 'a fantastic "Tambourin Chinois." This violin record isa gem of puro artistry.

. Brovrnlce's Success. Tho. news of John Browulco's'striking suiicess on his return to tho Paris Opera House after a great season in Australia, whero ho is saiiU at times to havo outshadowerl Grjuiforto, is but ■ another triumph for Molba, who : had great faith in her compatriot. Brownleo is a virile baritone, and his voice is faithfully reproduced on his records, His " Toreador Song," from Bizet's "Carmen," is tho boastful bullfighter to the very life, and ho introduces' many subtle touches into the merry Mozartianaria, "So, Sir," from "Tho Marriage of Figaro." Brownleo is a iirst rank singer who is not arfaid to attempt opera ia, England, and this alone* should be a recommendation to gramophone lovers. Stracciari Re-recording. (1) "Credo" (Vordi), (2) "Idoale" (Tosiii). Sung by Eiccardo Stracciari, baritone. Tho Othello aria is a splendid piece of work—perhaps tlio finest recording of the "Credo" yet made. Both, from orchestral 'and vocal point of yi ew _ or rather, hearing— it is a vastly improved presentation, and whon you consider the' excellence •of..tho. pre-cloc- . trie disc, this is indeed saying a good ' deal. Tho reverse side gives us Tosti s melodious "Idealc" —a rather unusual pairing nowadays, but as Verdi and Tosti wore close friends when' living, - they will perhaps : -now in another sphere appreciate the compliment to each other!- ,'.'., : Big Moment in "Aida.",' The dramatic moment of Act lII.' of Verdi's opera "Aida" when Aida is asked by her father to botray her'lover is portrayed with realism by Apollo Granforte (baritone) and Hilda Monti (soprano^, accompanied by members of the La Scala Orchestra. It is a situation in, which Verdi delights—ho is in his element, and the duet will, remain of one of the most beautiful efforts of the Italian repertory. It is' difficult to bring Aida to mako the designs -of her father agree with her love for the young Egyptian prince, but tho subtlety of the store,.its warmth, its varied and ably managed expression, almost make plausible: the submission; of the young girl to the abjurations of Amonasio, and excusable a decision of which she does not foresee .the consequences. To restore the crown to her father, to .escape ignominious servitude, to prevent her lover becoming the husband of her rival—such | are the thoughts that assail her during this duet. As she is still reluctant to lure from her husband the secret of the route by which he has. planned an invasion of her country; the father changes his tactics and conjures 1 up to her in music a vision of the | carnage of her people, and finally invokes her mother's ghost, until, in pianissimo, ; dramatically contrasting with the force of her father's savage imprecation, she whispers, "Oh, my native land! How much thou demandest of me." The performance by these two great singers is a perfect example of vocal eloquence. The atmosphere is there, the orchestra helps in that, and the listener lives through the scone ' that is vivid in the mind. ;

Two Tchaikowsky Songs. . . ' (1) "Cradle Song" (Tchuikowsky), (2) "None But."the Weary Heart" (TchaikowskyO. „Sung by Maria Kurenko, soprano. Maria Kurcnko sings two beautiful Tchaikowsky songs, tho Cradle Song (Woingenlied) being an early work of tho composer, and whose soothing melody is enhanced by a beautiful accompaniment. "Nur wer die Sehnsucht Konnt" (To Who HaveYearned Alone) usually translated into English ,as "None But tho Weary Heart," is one of Tchaikowsky's best known songs, pervaded by a deep sorrow and yearning, typical of most of his works. T.ho Russian soprano sings both songs ■with feeling, and is assisted in "None But the Weary Heart" by a 'cello bbbligato. "Sonata in A Minor" (Grieg). Played by Felix Salmond ('cello) and Simeon Rurhschisk/ (piano). This sonata is .one..of the most brilliant of 'cello and piano compositions, full of splendour, charm; and beautiful effect, arid has been.ideally rendered by Felix Salmond and Simeon Rumschisky, the technical difficulties being surmounted in "a very accomplished manner by both artists. P6ssessing an atmosphere of Norwegian foik music, the treatment is most typically and individually Grieg's. The 'cello part is remarkable for its extreme range, but Salmond's ('one is equally effective whether playing fundamental buss notes on his lowest string or violinliko melodies high in tho treble. Especially nno aro tho rippling arpeggios in tho cadenza of the first movement, tho lovely cantilena of the tranquil Andante,' and tho riotous abandon of the Finale. Rumsctusky's rendering of the.piano part is delicious, and the two artists form an ideal partnership. (1) "Mazurka" (Chopin), (2) "Butterfly Study"' (Chopin), (3) "Black Keys Study" (Chopin).. Pianoforte solos by Ignaz Friedman. The wonderful artistry of Friedman—a pianist with a universal reputation for the excellence of his Chopin interpretationsis admirably reproduced in'his latest record. AH three numbers are played with'the cleanness of-touch and artistic phrasing for which the greatest artist is so renowned. The "Mazurka" is exceptionally welcome, for .these idealised examples of the national Polish dances are often neglected in favour of the waltzes and studies. Great Spanish. Composer. Two brilliant excerpts from the works ,'of Do Falla are'included in next month's list. One is tho adorable "1/amour Sorcier" -("Ritual Fire Dance"), and the other the vital La Vida Breve" (Spanish dance). Tho record was made in France; and the, pieces are played by tho Symphony Orchestra under Picro Coppola. Both pieces have a strong rhythm, and accent, and are graphic portrayals of tho varying moods of the dance. Do Falla is one of the greatest of the Spanish ' composers,' and his greatness .has been

recognised recently both by tho loading orchestras and j)ianisls of the world.

The list of Wugnorian arias is considerably enriched by the two soprano numbers, "Elizabeth's Greeting," from "Tannhauscr," and "Klsa's Dream,," from " Lohengrin, "by, Elizabeth-Jicth-borg and tho Berlin State Orchestra. More is a voice so clear and pure that it is a sheer joy to listen to. Kctlibcrgs' technique is rather tliu servant of beauty th.'ari.'o'f display. The "Tann•liauser" aria depicts Elizabeth's joy at Tannhauser's return, and as she enters the hall of song she greets the scenes of the knight's former triumphs in bVoadly dramatic phrases. In "Elsa's Dream" tho singer tells, in dreamy rapture of a glorious knight, who will bo her defender and champion. ' It is soft, gentle, and plaintive, as if the maiden, being conscious in her innocence, does not despair of her fate. Eethberg is not only a beautiful singer, but she is also a skilful and artistic delineator of Wagnerian roles.

Tito Schipa, perhaps the world's greatest .lyric tenor, follows up his great re-recording of "The' Dream" from .''Manon" and "Serenade from "I Pagliacci" by a record giving Handel's "Largo" and "M'appari" from Flotow's "Marta." The beautiful leggatp passages of the "Largo" are sung with notes that gradually swell and diminish with astonishing. c:ise. The Flotow romance is one of the niost popular melodies in all opera, .and the viola 'accompaniment, is one of rare beauty. In this, aria Lionel sings of the maiden he lias lost. To him it scorns liko a dream.

, Generally speaking, big orchestral, works are bought,by but a select-few, but since the adveut of. tho Philadelphia Symphony Orchestra they have been given a big "lift up." Declared by competent critics to be. the finest orchestra in the world, the Philadelphia Orchestra has recorded for His Master's Voice the Cesar JTranck Symphony iv |D Minor. It is Franek's - only symphony, and considering his temperament, it is-not. surprising that in this work his mystic moods should find orchestral expression. Mr. Leopold Stokowski, who conducts, sees to it that those moods have definite elucidation. And while ho can delvb deeply into' them, Stokbwski, on the ojther hand, can ?lash his forces into passionate energy, and several examples of this'^re to bo, found in. the symphony. • , / ■

>/ "The Carnival of Animals" (SaintSaons). Sir Hamilton Harty conducting the Symphony Orecstra. This, jolly orchestral suite is^still one of 1 the finest examples extant of humour in" music. Saiut-Saens was very jealous-ol! it, and only permitted its public performance after his death, evidently regarding it as a family joke to be relished in a select circle of friends. Apart from the characterisation, which is always unmistakable, it contains some fine orchestration, notably in the March Eoyal of the Lion, and some exquisite melody, as in "The.Tortoise," tho famous "Le Cygne" and ;."Tho Cuckoo." Sir Hamilton .Harty's combination play it with,, a'keen sense of humour. The elephant is delicious — brass and piano together, tho former attempting a ponderous measure bor j rowed from Berlioz's Sylph's, Dance from '' Faust:" Realisnj fropi "Ernani." The policy of recording operatic excerpts in the actual opera house with tho full orchestra and chorus must, commend itself to all, and especially are we interested in records from La Scala, the home of Italian Opera, The latest disc of this nature introduces a new baritone, Benyenuto Franei, who displays i?a voice of resonant quality and power, expressively controlled. The record gives two excerpts from the vault scene (Act III.) from Verdi's "Ernani'.'—"Oh, Sonno Carlo," and "Gran Dio." The conspirators' trio is included, and, this is sung with full realisation of the dramatic situation, in which the plotters are discovered by the king. The stiuation also derives impressiveness from the music's flowing measure. Tho stirring finale is but another example of Verdi's vigorous chorus-writing in. this opera. To a very largo number of gramophone lovers tho record for February will be *'La Campanella" (Litszt) and "Nocturne in F Sharp" (Chopin). There are those alive who have heard Liszt .play that littlo show-piece; none to-day has heard Chopin, though tho tradition is alive as alive can bo. Now comes Ignaz Padorcwsld, the iddl of the oiaor generation, a mystery to tho younger* playing these things on the gramophone so that all shall hear. For a time ,'tho 'eminent pianist and statesman gave this electrical contraption a wide berth; to-day ho falls into line with the great artists of tho world, and these records, betraying their little idiosyneracies of • phrasing and accent, will bo passed on. To oia these records have a meaning;, to a future generation they will at; least show how the first Prime. Minister of a freed Poland looked upon the music of Liszt and Chopin.

. "Danse Macabre" (Saint-Saens). In two parts. Sir Henry Wood conducting the New Queen's Hall Orchestra. This weird symphonic poem is based on a "Death Dance excerpt from a littleknown poem by Henry Cazali, which Saint-Saens appended to his seoro. The composition opens with an appropriate symbol of mysteriousness —the striking of midnight.. The skeletons begin their bizarre and fantastic revels, represented by the zylophone. Death, represent-, ed by a hauntingly. lovely violin solo, stalks through the orgy, which moves to a startling crescendo untiltho crow of the cock is heard, and the turbulent riot fades into silence. Sir Henry Wood and his fine orchestra play this piece with a relish for,its ccriness, entering whole-heartedly into tho spirit of tho' fantasy. Their toiro is astonishingly ample and round, for which doubtless tho recording in tho vast Scala Theatre, London, is much to bo thanked.