Music from the Disc

Evening Post, Volume CVIII, Issue 42, 17 August 1929, Page 24

Music from the Disc

Interesting Comparison.

The re-recording of Elgav's orches- ( tral arrangement of the Bach Fantasia ! and Fugue by the London Symphony ; C-Mhestra, under Albert Coates, makes ' na interesting comparison with the preelectrical disc. The new record has all ' the added power and impetus of the new. system. There is more clearness, of. detail, and increased sonority vrbicb the-:'glorious music needs. The Fantasia is a lovely bit of expressive writings and the Fugue, with that middle section founded on the chromatic rising phrase, shows how free is the form, and how'the right man-can make it one of the most powerfully impressive of all forms. This is a record- to keep with the recording of, the Toccata and Fugue of last year. (H.M.V. D 1560.) In. his latest picture, "Auld Lang Syne," Sir Harry Lauder is to sing some of Iris most popular songs. George Pearson, who directed "Auld Lang Syne," is fitting these songs by, means of gramophone records mado by His Master's Voice. The songs will be "Tho End of the Road," "It's a Fine Thing to Sing," "'"A Wee Doeh an Doris," "I Lore a Lassie," and "Auld Lang Sync." > His Master's Voice -\vill play a very' important part in Ihe 'production of talking pictures. ' An entirely now plant has been installed at Hayes for the pressing of the 16-in.ch records used in talking pictures. The library of existing." records at Hayes, which is the finest in the world, is now available to talking picture producers.

Joseph Szigeti,

Eypn at the age, comparatively young, of 37, Szigoti can look back on a glowing career as a violinist, for he "was world-famous as a cliild, and is one of the few infant prodigies who have'gone from, strength to strength,

building ever afresh on their reputation. ' No fiddler can produce a more suavb and competent tone, and few have'so complete a mastery of bowing technique. But tho qualities which have won him fame are more of the spirit. His boundless enthusiasm gives a triumphant ring to his tone, so that his playing stirs like a trumpet call. And. yet, in some moving Andante, he shows'how deeply he can feel a sincere emotion. Pew violinists are more interesting to watch. . The smooth sureness of his tone seems to be a logical outcome of his neat bowing.,A revealing recording by Szigeti is'his recent "Sonata in G Major," by Tartini, reviewed

in these columns a few weeks ago. It is a truly wonderful performance, for all three movements are brilliantly played and suffused with a kind of 'warm light. . The heady music has a glitter and sparkle that Szigeti ably captures. On the fourth side of the two discs is tho '' Allegro Vivace

from Beethoven's "Sonata in G," no less effectively rendered. (Columbia, 03621-22). An early recording gives us "Tijuca," MiHiaud's dazzling Brazilian dance, paired with a Bach "Bouree m B Minor." The.two numbers arc vastly different in character, but with tho bewildering technical demands of the first and clear pellucid beauty of tho second, Szigeti is equally at'home. (Columbia 03628.) A splendid cxamplo of his daring surcness of technique in a pieco of -consummate difficulty is his

flawless interpretation of the Paganini "Caprice No. 24," dashed off with snperb ease. (Columbia 03573.) »light Orchestral Gem. '

One of the half-hidden gems amongst the light orchestral music is the disc by the Now Light Symphony Orchestra, embracing "The "Waltzing Doll" (Poldini) and Cadinan 's ' "At Dawning." Poldini's -"Dancing. Doll" comes from a suite of Marionette pieces. It has just tho fragile stiffjointed charm that echoes the almost real antics of the dolls. "At Dawning" is an orchestral version of tho popular song. (H.M.V., B 2620.) Two Songs by a Famous Contralto.

Sophie Braslau, one of America's leading contraltos, gives a very attractive rendering of two popular songs, "I Love You Truly," by Carrio Jacobs Bond, and "Just A-wearyin' for You," by the same author. Though tho material is hardly worthy of such a fine singer, yet anyone, who takes an interest in good singing will enjoy these. They.are fine examples of voice production. Tone is round and open, sorno. magnificent notes aro struck in the lower register, and phrasing is long and satisfying. (Columbia 03618.,)

Spanish Music.

There is no denying the fascination ■- ■ of the Spanish idiom in music. _ It is ' picturesque and strongly rhythmical. This month a. do Falla symphonic poem, "Nights in the Garden of Spain," is played on five sides of three records by the Symphony Orchestra, under M. Coppola, assisted by the eminent pianist Madame Van Barentzen, and on the sixth side Madame Barentzen plays a solo, "Andaluza," by the same composer. The "gardens" is one of Manuel de 3?alla's most characteristic compositions. ■tions. It is not a piano solo •with orchestral accompaniment, but a suite of three symphonic movements in which instrument is of importance. The composition is strongly national. De Talla is so immersed in his country's folksong that his work is not only Spanish music, which may be —and, indeed, has been —all sorts of things, but suggests particular aspects of Spain with extraordinary vividness. The almost Oriontally decorative lavishness of the present work leaves no doubt that it is . concerned with Andaluza, the part of the Iberian peninsula where the Moors left their mark, not only on the architecture of the. Alhambra and tho Alcazars, but on the folk lore and," if tho

gardens of Spain be called true coi»u-

try, on the very landscape. A most 1 excellent pianist takes part in the performance and the tone of her instrument is very cleanly reproduced, but the orchestra also conies over well (H.M.V., D 1569-70-71.) Brahms Tirst Symphony.

■Wheii this great work was first produced, critics hailed it as "The Tenth Symphony."7—a suggestion that here, at last, was a real successor to Beethoven's immortal nine. Brahms seems to have inherited all Beethoven's rugged masculinity, his lofty intellectual qualities, and his noble sincerity. But here is no pale imitator. No one could fail to absorb some of Beethoven's influence 00 soon after his death; but there is, oesldes, the powerful and unmistakable imprint of the most profound of all the nineteenth century composers. In Weingartner the Eoyal Philharmonic Orchestra have found an ideal Brahms interpreter—one with an unfailing dignity of style and an infinite fund of scholarship.. In the "Andante Sustenuto" he achieves a sheer beauty of sound which has rarely been surpassed. (Columbia, 04258-61.) Art of Rachmaninoff. Bachmaninoff is a famous composer and a superb pianist as well. Ho has taken one of the old Viennese melodies, "Liebesfreud," which Kreisler brought to light, and round it he has woven a concert piece of exceptional brilliancy. The old wait/, time floats -serenely . through a bright flood of not,es, and occasionally a wave will catch it up.and invest it with a fresh glitter. It is a very line reproduction of the pianoforte. (H.M.V., DA 786.).

For some time past at tho Middlesex' Hospital professors of physiology have

boCti conducting experiments to judge tho effects of music upon human blood pressure. For this purpose an "His Master's Voice" gramophone, and a wide variety qf records were used. Up to now tests have been made upon some eighty-people in good health, many of them being students, and others associated with the hospital. In no case, however, emotional or powerful the music, was any detrimental effect recorded,, arid in practically every trial the results were beneficial, especially with vocal and light orchestral works. To non-musical peopls. heavy, classical opera was not so elevating and / ono man, who likes nothing but the lightest dance music, revealed a depression in his blood pressure wher. jazz music was played because, at the moment, he was not in the mood for music at all. The best type of subject was the musical amateur of good taste and emotional susceptibility who makes a. habit of listening to records without the exercise of too mucli critical faculty. Tho professors discovered—and this is a useful tip to gramophone users —that the subject should remain comfortably seated for a few minutes before a' record is turned on. The analysis of the cases already experimented upon is leading the doctors to try the effect of playing gramophone records to convalescent patients, in tho hope that, as in the case of His Majesty tho King, at Bognor, the music may have distinct beneficial results upon progress towards complete recovery. Tho tests are being carried out by Dr. Swale Vincent, Professor of Physiology in the Ujuvcr sity of London, and Mr. J. H. Thomp sou, demonstrator in tho Department of Physiology, Middlesex Hospital Medical' School. ■

Lener String Quartet.

Though all musicians have their favourites among the Beethoven-Quartets, yet probably most of them would unite in considering the "first Ba'soumowsky" in F Major as, on tho whole, the greatest of the second-period works in quality, as-it certainly is in quantity. In one homogeneous whole it runs the gamut of gmotions. "Here is God's plenty"—as Dryden would say; breadtli and dignity, humour, pathos and tenderness, and moments of unspeakably touching beauty. Glorious melodies play through the whole. The famous Lener players achieve' one of their masterpieces. Their playing is massive and powerful, intimate and energetic by turrf. This glorious unity of tone speaks of their years of experience of playing together, and we have gone beyond the stage of thinking of them as individuals. (Columbia, L 1837-41.)

Sea Shanties.

Pour more capital sea shanties from the s collection edited by Sir Bichard Terry, "Miss Lucy Long," "Walk Him Along, Johnny," "Johnny Comes Down to Hilo," and "O Shallow Brown," have been recorded by the English baritone/ John Goss and the Cathedral Male Voice Quartet. They are sung with that authentic tang which lias marked previous shanty recordings, and it is almost impossible to beliovc that this can. bo the result of art and not of rum and shag. "Miss Lucy Long" is a tune with a most engagingly queer shape, and "Johnny Comes Down To Hilo,".witl\ its sudden halts and jolts, rip." along as exhilaratingly as a clipper in a choppy sea. (H.M.V., 82940.)

Stcrndalc Bennett's son wanders

long way from his father's footsteps, but there is plenty of room for light, humorous music, and his setting of Wright's-"If Ever I Moot tho Scr-

geant" is extraordinarily apt and catchy. This is an ideal song for smoke concerts and reunions. And Easton's voice ia capable of just that. oiliness, depth, and bcefiiness which are perfect "for it. : * ' . ', ■

The following is a selection from the latest H.M.V. dance records: —"Where the Shy Little Violets Grow," fox-trot, played by Georgo Olson and his Music, and "A Night of Memories," fox-trot, with vocal refrain, by Nat Shilkret and his orchestra; ".My Suppressed Desire," fox-trot (from tlie motion picture "Gang "War"), vocal refrain by Carle-

ton Coon, and "Who Wouldn't Be Jealous of You," fox-trot, vocal refrain by J. L. Saunders, by Coon-Sanders' Orchestra; "When Summer Is Gone," fox-trot, vocal refrain by Frank Munn, by Nat Shilkret and his orchestra, and "A Precious Little Thing Called Love," fos-tfot (from the motion picture "Shopworn Angel"), with vocal refrain by George Olsen and his Music; "All by Yourself in the Moonlight," fox-trot, and "If I Had You," fox-trot, by Irving Aaronson and his orchestra; "Deep Night," fox-trot, vocal refrain by Eudy Valee, and "Weary Eiver," fox-trot, vocal refrain by Budy Valee and Connecticut Yankees.

Weatherby's and Sanderson's Shanty ballad, "Time to Go," is quite as attractive as some of the originals upon which it is based—and that is saying a lpt. (Columbia 01502.)

Thougji: there are several available records of the famous" Pagliacci Prologue, this new version by Armando Borgioli compares more than f avourabiy with most. Those who prefer the last ounce of drama to be extracted from an essentially dramatic aria,should certainly hear this. The record scores again on orchestration —a distinct improvement on the usual run. Here it is pointed and brilliant, blending with telling effect with the singer. Borgioli gets a good swing and is always in perfect taste. (Columbia 01500.)

Paul Bobeson singing "01' Man Biver," coupled with the vocal genis featuring "Why Do I Xiovo roui" "Can't Help Lovin' Dat Man," "Make Believe,'?- and. "You Are Love," by Paul Whiteman's Orchestra and mixed, chorus, is a splendid H.M.V. record. C 1503.) "Can't Help Lovin' Dat Man," by Helen Morgan (who .appears and sings in the picture) and "01' Man Biver," by tSie Beve-llors, is

another good disc. (B 2735.) Other discs include Peter Dawson, singing

"01' Man Biver" and "B.injo Song" (.'-( 2SSS), a real good fox-trot by the Shilkrets Orchestra), "Why Do I'Love "Sou?" and "Can't Help Lovin' Dat Man" (B 5472), and a Wurlitzer organ record of "Why Do I Love You?" and "Ifake Believe" (B 2862). a

Purity of style and absence of that annoying • tremolo are tho chief qualities that compel admiration in Squire's playing. Ho gives a finely thoughtful version of Bubenstein's "Melody in F," 'paired with "Silver Threads Among tho Gold." He- draws a wonderful variety of tone, and the recording, ono of the most lifelike we have had for some time, catches these well. Squire seems to have mellowed considerably of late, and this adds a riehnessfto his playing. Tho sentimentsilising is not so blatant as»it used to be. (Columbia 04178.)

The colossal bass voice of Ivar Ardresen is heard in two airs from Mozart's "Magic Flute" —"0 Isis and Osiris" and "Within These Sacred Halls" —two of the greatest legato melodies in existence. This Scandinavian bass made a great impression at Covent Garden this season, and ho- is ,not less striking on the gramophone. The beauty of his voice and the subtlety of j his phrasing are faithfully reproduced. It may reasonably be doubted whether the two songs of the High Priest have e\'er been delivered with such a gorgeous abundance of phenomenal tone. There is grandeur and dignity about tho voice and the singing. The* orchestral time is good and tho choral refrains in "O Isis and Osiris" come off extremely well. (H.M.V., C 1625.)