Music from the Disc

Evening Post, Volume CVII, Issue 73, 30 March 1929, Page 20

Music from the Disc

Paul Whitoman.

(1) "The Sidewalks of >fi-w York" (waltz); (2) "Uoses of Yesterday" (fox-trot). Played by Paul AVhitcmitu and his orchestra. Who does not know "tho Good old Summertime '! n Well, horo it is, jazzed up with musical frills and syncopated furbelows into a fascinating waltz number. This disc should not need recommendation, bearing the Paul Whiteman "rainbow" label, and indeed it is fully up to the accepted king of jazz's extraordinarily high standard. Both items havo splendid vocal refrains.

Arias from "Otello."

Benvenuto I'ranei, tho La Scala baritone, .who recently gave us two excerpts from "Ernani," now comes to light with two great arias from the .Tago role, Verdi's "Otello" —"Era la notte" and tho "Credo." In the first the crafty lago by innuendo arouses the jealousy of Otello. The guise of diffidence is assumed perfectly. The famous "Credo" is a masterpiece of invective. The accompaniments by the La Scala Orchestra blend with the great voice in beautiful melody. ITranei is. one .of tho great singers of the day, ancL.'.'each record from him is being eagerly awaited. Schubert was the world's greatest song writer. It was ho who brought the modern song to its artistic perfection. "Schubert's songs," wrote Schutter, "next to Beethoven's sonatas represent the completion of modern musical art." With him the. terms '' words" . and "setting,'.' '.melody and. "accompaniment" loso their distinctivo meanings; all are fused into a. single whole, in which no part has the. pre-eminence. He follows every shade of tho poet's thought with perfect union of sympathy, he catches his tones, ho echoes his phrases, • and he almost anticipates tho issue. Four of his songs have been grouped on one record by John Goss, tho cultured English baritone. The numbers are "Whither," "Hark! Hark, tho Lark,"_ "Song of tho Fisherman to the Twin' Stars," and "Tho Hedge Eose." Goss sings in complete harmony with the spirit of tho songs and his artistic use of light and shade make this a beautiful record indeed.

"Forty-seven Ginger-headed Sailors."

(1) "I Just Roll Along Having My Tips and Downs" (fox-trot); (2) "Forty-seven Ginger-headed Sailors" (comedy fox-trot). Ray Starita and his Ambassadors Band. On this disc Ray Starita provides his best two items for a longtime—and that is saying a good deal. Both of these brilliant hits are from the new second edition of "Clowns in Clover," Ronald Jeans's sparkling revuo at the London Adelphi. Ray Starita excels in such snappy tunes and both the novelty scoring and the rhythm make them singularly attractive. The vocal chorus in the "Gingerheaded Sailors" is really great.

Gladys Moncrieff.

(1) "Mexican Serenade;"; (2) (a) "Sweetheart"; (b) "River Song"— from."Bio Rita," sung by Gladys Moncrieff, soprano. It will be remembered that on the eve of Gladys Moncrieff's departure for Europe last year a petition was presented to her manager signed by thousands of enthusiastic Australians begging that she might remain, at least for a year or two, in Australia. She stayed, and subsequently starred in "Bio Rita." But what greater tribute could bo offered to a musical comedy singer—in her own country! The reason for her enormous popularity will be appreciated on hearing this disc played over but once.

A Brahms Symphony.

One who faithfully sums up tho rich inheritance of the past and uses it for tho expression of his own individual genius cannot fail to have a most potent influence upon art. Such a one assuredly is Johannes Brahms, whose symphony in C Minor has just been recorded by the London Symphony Orchestra under the conciuctorship of Hermann Abendroth. In this work the composer has taken a number of melodies, and has welded them into one forceful themo that is amongst the most masterful things in modern music. With such pliable material to work upon there is no check to Brahms's inventive genius, and the music plunges on, using themelodies in ever now relations. The symphony speaks with a living intensity by sheer force of thematic development. A characteristic of Brahms is that his strongest passages aro not built upon complicated harmonies, but on powerful sequences of common chords. After an impressive introduction the composer summons his energy and leaps into the allegro—the first movement. The andante and allegretto are alike most refreshing. In tho former one need only grasp each feature of the lovely violin tune given out by the violins to follow tho whole movement. The fourth and final movement opens with a mysterious adagio. Then follows the gorgeous allegro and a gallant, swinging tune is heard until the climax, an ecstatic coda. For big and intensely expressive playing, faithfully reproduced, tlioso records will not easily bo be"/ten.

John Browulcc, the Australian baritone, who has been prominent in the cables lately, as chief baritone of tho Opera House, Paris, has caught- the public - fancy with two ballads, tho gentle little love song, "Passing By" (Purcoll), and tho bluff good-hmuour-ed "King Charles," by Mmid Valeric AVhite. For volume and clearness of tone this is a remarkable record.

For simplicity and charm it would be difficult to find the equal of Hulda Lashonska's latest record, which includes "Ma Curly-headed Baby," a plantation song by Clutsam, and "TheSweetest Story Ever Told" (Stutts). Here is one of the great voices of the world—one might say the John M'Cprlnack of the sopranos. The crooning of the plantation song falls as softly as blown rose petals.

Another capital recording in the new issue is Mozart's 13 flat Symphony, played by the Berlin State- Opera Orchestra, under Erich Klcibcr. The B flat is tho first of Mozart's last throesymphonies, which, in a burst of remarkable inspiration and astonishing industry, he wrote in six weeks in tho. summer 140 years ago. It is Mozart at his finest. Each lovely subject is moulded and developed and built upon with all Mozart's supreme command of musical means and with all the genius for ineffable beauty which places him in a place- of his own among the immortals. There- may Ijo somereaders who stand hesitating at the door of the classics, doubting but sincerely seeking tho glories beyond it. Lot them step in through the Menuctto of this symphony. They will not wish to look back. The tunes of the M.enuetlo, or .Minuet, and its trio are two o£ tho loveliest in music; and the whole symphony is prodigal in beauty. Kleiber's reading is lively and light-footed, and is always graceful.

"Trio No. 1 in B ilnt" (Schubert, Op. 99). Flayed by Yclly d'Avanyi (violin). Felix Sahnond ('cello). Myra Kess (piano). Parts 1-8. In this rendering of Schubert's lovely Irio, Columbia have secured two new artists—Vclly d'Aranyi and Myra Tlcss. Both combine with that master of Uu: 'cello, l''elix Saluiond, in producing possibly the mast notable recording of (his melodious work to date. From the opening allegro moderate to tlio final allegro vivace, the work is handled in

true keeping with the spirit of Schubert ?s writing. It is to be hoped that these three brilliant players will ho heard.again together.

John M'Cormack, clearest oi! all recording tenors, gives us "Just For Today" (Partridge and Leaver) and "The Holy Child" (Easthopo Martin). Tho two songs are light and delicate, but M'Cormack handles them like a magician.

(1) "By the Clue Hawaiian Waters," (2) "Jungle Drums" —Patrol. PJayod by the Band of H.M. Grenadier Guards. The Hawaiian tone picture is, of course, founded on the native musical idiom and introduces tho spirit of the liulu and karaka dances, and also the dance of tho betrothal ceremony. The "Jungle Drums" is sufficiently barbaric to appeal to tho senses of everyone. With admirable restraint Ketelby manages to keep actual drum music out ■of. the score. The awesomo rhythm of tho inarch is obtained through clever phrasing in the heavy reeds and brass

basses,

Not even Elman has a finer and rounder tono tlian the boy violinist Yohudi Meiiuhin, whoso scuaafcioiial concert's' in America last year will go down'as outstanding events in musical history. .' The boy is a virtuoso ranking in brilliance with Heifctz, and with perhaps more soul. ltis first record embracing "Allegro" (Fiocco) and "La Oapricciosa" (Eics) displays not only impeccable- technique but warmth and breadth of tone. His stopping is astonishing. Judging by this record tho boy has all the attributes of any of thc'm'atters we know.

(l)'"Eag Doll," (2) "Laughing Marionette." (Novelty Fox Trots). Played, by Debrdy Somers Band. Walter Collins, .composer of that recent dance success, "Moontinie," has created an equal furore with his newest fox trot; "Laughing Marionette." "Bag Doll" is by the composer of tho phenomonally successful "Doll Dance," and bids fair to outdo it in public favour. Both of these little gems of dance writing might be classed as descriptive pieces in dance rhythm. Handled by Debroy Somers, they are brilliant numbers.

The first volume of "The Golden Treasury of Recorded Music," by Alec Kobertson, is just to hand. This series is to deal with recorded music other than opera as far as possible in a nontechnical way. Bach and Beethoven arc the subjects of tho first volume, and with the aid of this book one needs no preliminary knowledge of music to fully understand the records illustrated. No longer should these men appear forboding to tho possessor of a guide such as this. Tho descriptions of the various works paint a picture rather than." expound the peculiarities of each bar. The book is admirably suited to those who have up to now been groping in the dark, and to those who are more familiar with the greater masters it presents frqsh points of beauty.

■ (1) "Das Wandorn"; (2) "Der Leiermann" (Schubert). Sung by Sir George Honschel, baritone. These two splendid songs, "Wanderlust" and "Tho.Hurdy Gurdy Man," are assured of an exceptionally warm welcome. Not often heard now in public, Sir George Henschel's records are eagerly looked for. No doubt there are many musiclovers throughout the' Dominion who are unaware of this famous baritone's unusual interpretative qualities, and to these folk especially these two numbers arc warmly recommended. The treatment of each of the songs is original and vigorously real. The recording is exceptionally fine.

The French military march forms an interesting contrast to the English. There is the difference between "La Marseillaise" and "God Save the King." It is a matter of temperament. The Englishman loves something that swings him along, Frenchmen want something moro buoyant, moro exciting. This is exemplified in the two marches, "La I'ere do la Victoire" and "Sambro ct Meuso," played by the famous Garde Kcpublicuino Band. Both are brilliant numbers.

(1) "Humoresque" (Dvorak); (2) '■'.Thais" —Meditation (Massenet). Violin solos by Toscha Seidel. It has been stated in musical circles that these are the finest violin solos yet recorded by the electrical-- process. We feel inclined to agree. It is some considerable time since Toscha Seidel recorded for Columbia, and there is little doubt that this record will create

a great deal of interest. The violinist's languorous interpretation of „the "Meditation" contrasts artistically with tho spirited gracefulness of Dvorak's "Humoresque." Both numbers give scope for Seidol's magnificent versatility in technique and expression, and the recording displays with vivid faithfulness the intense richness of his expressive tone. Somo of the new dance records are worthy of special mention. Gradually it seems that jazz is finding its level.- The reign of ear-splitting apologies that shrieked through our dances in the days following the war appears to bo over. Out of the maze there has issued some very enjoyablo music and of this type one singles out the following: "That's Just My Way of Forgetting You" (fox-trot) and "Memories of France" (waltz), by Jean Goldketto and his orchestra; "Beautiful Ohio" (waltz) and "Throe o'clock in the Morning" (waltz), by Paul Whiteman and his orchestra; "Neapolitan Nights" (waltz), and "Somo Day, Somewhere We'll Meet Again" (waltz) by tho Troubadours"; "Baby's Blue" (foxtrot), by Nat Shilkrct and his orchestra, and "Old Man Sunshine" (foxtrot)/ by George Olson and his music; "Flower of Love" (fox-trot), by Ted Weems and his orchestra, and "Lonesome in the Moonlight" (fox-trot), by Nat. Shilkret and his orchestra.