Music from the Disc

Evening Post, Volume CVIII, Issue 24, 27 July 1929, Page 24

Music from the Disc

Songs of the Soa. j Two rollickiug songs (if the sea, "Cargoes," by the late Martin Shuwj whose work is now rightly becoming very popular, and "Captain Harry Morgan," by another front-rank mod crn English composer, Granville Ban tock, axe sung with vigour and rhythm by Peter Dawsou. These composers have caught up the spirit of the sea and her men, and Dawson, with his resouant voice, gives adeqnato expression to the music and tho words. • (11.M..V. 132554.) Italian Contralto. Ebe Stignani, an accomplished eouu'.ilto who has deservedly won a high reputation in Italy, is there consider p.& to be the best Azucena of the day. tt is more than probable that the verdict is a just one, if wo may judge j by the singing of the gipsy's great I air, "Condotta ell'era in Ceppi" ("In' falling Fetters They Bound her"). | By dividing it into two parts she has gained the necessary time and space for a highly dramatic and full blooded performance. Especially pleasing are her notes in the lower register, which she produces with flawless ease and with all the purity that the Italian school insists on. (Columbia 03633). A boys' trio, in which Ernest Lough takes tho soprano part, and two other voices of exquisite sweetness •ling tut' mezzo parts, this month gives "Coro nach" (Schubert) and "Come Away Death" (Brahms), two of the most beautiful examples of German licder The bleud of the voices and tho lovely melodies make this disc one of tho geiii's or' the catalogue. The training of boys' voices in England is traditional, and nowhere els.c can they be equalled for their sweetness and charm. (H.M.V 1J2530.) . / N.It seems hard to credit that a young lad of seventeen could have written the delicato and yet maturely polish ed "Midsummer Night's Dream1' music.' Yet Mendelssohn at this age was in addition an all-round athletic, a brilliant pianist, and a writer of considerable ability. This new version of the Overture by Wood and the N.Q.H. is.a delightful piece of workas light and graceful as tho score calls for; and the delicious Scherzo by the Dutch Orchestra is equally brilliant. It is worth while noting that this splen did recording is issued on Columbia's lowest priced labels. (Columbia 02780----81). From-Puccini's "Turanaot." With a voice of penetrating power allied to flawless diction, the French soprano, Mile. Denya, imparts the necessary tono. of authority to the commanding utterances ofTuraudot. and makes them proportionally interesting. She is tho only singer" besides Eva Turner, who has succeeded in doing this, a London critic points out. She gives us two of the most moving of tho arias by Liv, Turandot's love. As a whole, the record could not be improved upon. Her voico records ad mirably because naturally produced, and requires no artificial aid to lender it imposing. (Columbia 03G34). An Blgar Trio. For works by Sir Edward Elgur we are always grateful. Ho is the greatest English composer to-day—some say the greatest in the world. Ho builds upon tho designs laid down by the old masters, adding the English idiom and his own gift for melody. A trio by Elgin-, "My Love Dwelt in a Northern Land," sung by the Baraldi Trio, is a beautiful example of his vocal music, and an example of the best English part singing. On the reverse side the trio gives "Just a Little Ring" from "Lilac Time," a musical play based on tho melodies of Schubert, and onn of tho best productions of its kind ever written. This delicious littlo number will revive pleasant memories. (H.M V B2830.) Tho popular "Ballet Egyplicu" is ono of the most delightful suites in the repertory of light orchestral music. Tho four pieces that comprise the suito are alive with the colour and , sparkle of Eastern pageantry. Tho Paris Symphony Orchestra give us tho fully scorod version as scored originally by Luigini. They aro evidently out to enjoy themselves, for the delightful pseudo-Oriental music comes through .n hearty and slick fashion. Pierre Chaguon, ' who conducts, is quiti; right in not di^"-iii>' philosophical depths where no "Dili's are hidden. But if there ia no deep thought, tho engaging rhythms and riotous orchestral colour 'will appeal to tho multitude. (Columbia 02755156). "The Year of Grace." Tho announcement that tho groat London success, "Tho Year of Graeo," a rcvuo by Noel Coward, one of tho greatest of modern playwrights and authors, is not coming to New Zealand has caused widespread disappointment, but tho arrival of a bunch of H..M..V records giving some of the "hits" of this successful show should be solace to those who wero looking forward to seeing tho production. Additional interest is given to throe of the records by tho fact that Noel Coward himself sings sis of tho songs. Even had tho revue come this way, it would not have included the author himself, who could not bo induced to leavo London. Coward has a pleasing baritone voice and is an artist in the interpretation of light music. Hiß songs and review will be living when many of tho present stage successes aro dead, becauso there is more than mere sentiment or empty humour in his songs. They are the work of ono of tho greatest writers of tho day. Coward's threo records comprise: "Many Mako Boliovo" and "A Room With a View"; "Danco, Little Lady" and "Try to Learn to Lovo"; "A Dream of Youth" and "Lorelei" (82710-20-37). The New Mayfair Orchestra groups a number of selections from "This Year of Grace" on to the sido of a twelve-inch record, and on tho other sido Wiring's Concert Orchestra plays "Ah! Sweet Mystery of Lifo," from "Naughty Marietta" (E. 8.37). Two fox trot records, "Try to Learn to Love" and "Dance, Littlo Lady," by Ambrose and his orchestra, and "A Room with a View" and "Teach Me to Danco Like Grandma," by the Ehythm Band, complete tiio list of records from Coward 'a Rrcat rovue. (85487 and EA471.) "Show Boat" Records. Columbia have provided a real treat for gramophono lovers in two 12-iuch discs of the London (Drury Lane) artists in "Show Boat," the musical play Miat has scored such a big hit itii „n tho world. On No. 02768 tho famous Mississippi Chorus, accompanied by tho popular Mario Burke give us "Bill," and "Can't Help Lovm' Dat Man," to a pleasing accompaniment provided by Herman Finck and the Drury Lane Orchestra. The same combination regale us with "Vocal Gems" and "01' Man River," on No. 02771, except that Norris Smith, a capital baritone, takes the place of Marie Burke. ■ That the Layton and Johnston effort is a winner goes without saying. They give us "01 Man Rivor" and "Can't Help Lovin' Dat Man" (Columbia 01407), and the attractive Southern quality of their negro voices just suits these songs. . Tho same two songs aro also paired on Columbia OUo4—"Can't Help Loviu'" again by a negro voice from the lips of one "Aunt Joraina," who has the most delicious and caressing Southern "burr" imaginable. "OP Man River" is agreeably harmonised oa the xk-

verse side by the Goodrich Silvcrtown Quartet, with piano accompaniment That the two popular tunes make excellent fox-trots is cleverly shown by Don VoorMes and his orchestra (Columbia 01406). Noble and Dramatic. Two of the most dramatic arias in all opeva are magnificently sung by Apollo Granforte, the glorious baritone, whose visit to New Zealand is still remembered. r« "Era la Notte" (It was Night) from Verdi's "Otello," the crafty' Jago brings forward to Otello certain proof of relations between Desdemona jand Cassio, telling him that ho has overheard Cassio talking of her in passionate accents in his sleep. He follows with other unscrupulous slanders The great air from "The Masked Ball 1' —'' Eri tv che macchiavi quell' anima' • U"d wouldst thou thus have sullied a I sou! so pure?)—with its intense and | changing emotions, are afforded vivid artistic realisation. After a rhythmical opening; in which a wronged husband vents his anger, there is a touching air winch reveals his grief as he looks back upon the time of happiness now destroyed. (H.M.V., D 8937.) In her latest record Elsa A sen, mv? m aSt P?f ha Ps ? ne of purest and most silvery voices in existence, gives us three lovely examples of German liedcr. Ou ouo side ia an exquisite sample of Schumann's songwritmg—an art in which he specialised— in "Seit ich ihn Gosehen " On the reverse are two melodies ballads from Dvorak. The mezzo voce effects ot .Lisa Alseu are worth a iournev to listen to. (Columbia 03598). One of the gems in this month's list is the 'cello record by Lauri Kennedy Mr. Kennedy is clearly a finished player with an artistic sensitiveness, for his playing of Brahms's lovely "Cradle bong," of Dvorak's dreamy "Songs Mv Mother Tauglt Me," and Popper's quite interesting and engaging "Hungarian Rhapsody," is all beautifully phrased and polished in execution. The recording of the 'cello and the piano is ) Xu\,% tOn? and beautiful tone it is. (H.M.V., C 1595.) The First Hungarian Kliapsody. Like all the other rhapsodies, the nrst is founded on fan art form developed by Liszt, and is built up from the national Hungarian dances, the nrst stately and sombre, the second wild and suggestive of its gipsy origin Liszt has chosen two finely defined melodies for the "First" and dovetails them with the neatness of a ■t i^ *V ° are fort™ate « hearing it directed by the baton of Ernes? eading an Hungarian orchestra. The Budapest players give a performance ruJJy resisting any temptation to lard ?o «,»♦ T tme, nt m t0 allow tho Power wp'S i ♦ n yM .contro!- a makeu eight they givo us, on the fourth r r a» f. Pi" ted wterpretation of Berlioz's "Kakoczy March"—a fine stirring tune that ranks a 3 one of the few memorable melodies that Berlioz invented. (Columbia 02725-29). Historic Occasion.

Yet another historic event at Covont Garden has boen recorded for the eramophoiie. Tho result of tbo achievement has just reached Now Zealand in tho,form of three records of scenes from Moussorgsky's opera, "Born Gordou nov, for which Chaliapiu was specially engaged. "Boris Godounov" is perhaps tlio greatest Russian opera and « h\T C!lUe(1 il musical chronicle .•liter the manner o£ the historical dramas of Shakespeare. Each scene taken separately, awakeus a real interest, and thus the records, which in elude- scenes from Act 11. and Act. IV (final), givo complete pictures, Tho re-1 eordings include the grimly realistic! vision of Boris in the clock scone whon i ho is confronted by the spectre of tho murdered Tsarevitch, and his farewell to his son in tho last scene. Chaliapin is at his greatest in thesu three wonderful rocords. and one can quite understand tho enthusiasm which greeted tho performance. One feels, on hearing tho excerpts, the groatness of tho occasion, and it takes no stretch of tho imagination to transport oneself into tho midst of tho great assembly that sat enthralled by tho great singing and dramatic acting of Chaliapin. The work of tho chorus and orchestra is magnificent. Theso records have caught up tho atmosphere as well as the music (H.M.V.. DB 1181-S2-53.) A Schumann Symphony. ( The Opus No. 120 tagged into Schumann's Fourth Symphony is misleading, for it is really his second, and the number was given it after he made certain structural alterations. Put Schumann beside Beethoven and we find obvious structural weakness. But the comparison is hardly fair, and this recording by Bruno Walter and the Mozart Festival Orchestra will do much to spread affection for the real Schumann. Ho allows his lovely melodies to flow into our minds with carefree happiness. Tho ordinary man who has no sympathy with "high brow" music will revol in Schumann's lovely tunes, and tho "high brow" himself will forget Schumann's in adequato instrumentation in Walter's sensitive and poetic reading. No one will cavil at this work from the point of recording. (Columbia 04244-47). In the latest dance music on the Columbia list there are one or two winners that everyone will bo on to. One of theso is the old favourite "Casabianca" served up in a new dish as a G-8 one-step by tho Dobroy Somers Band (Columbia 01470); The talkies will create a big demand for the various "theme songs" of the movie-touo pictures that are here or coming. "The Broadway Melody" yields two very appealing numbers in "Broadway Melody" and "You .wore meant for Me," attractively presented by the Broadway Nitelites. (Columbia 01491). Prom "The Divino Lady" wo get "Lady Divine," a waltz by those famous waltz artists, the Cavaliers, which is paired with a jolly little novelty time called "I'm Wild About Horns on Automobiles« That co Ta-ta-ta-ta-ta" played by Harry Reiser's Sync-paters. (Columbia 01543) From "Syncopation" comes "I'll Always be in Lovo With You" and "My Mammy," given with dauh ana rhythm by the famous Gil Dech and his Syncopaters. (Columbia 01520) For a catchy song hit Will Prior and aiß stage Band give us a real winner ■wzth clever orchestral effects and "I Paw Dowa and Go Boom." (Columbia 0X578.) The Eoyal Air Force Band give us two stirring marches in "Our Director" and "Eepasz Band" on their latest record. (Columbia 01354). The tunes go with an infectious swing and tho brass comes through with excellent ing effect.