Music from the Disc

Evening Post, Volume CIX, Issue 33, 8 February 1930, Page 24

Music from the Disc

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Walker, Dorothy Gill, Messrs. Derek Oldham, George Baker, Peter Dawson, Leo SUeffieUl, and Stuart Robertson, and each member of the full symjjhony'"orcliea'tra ia an artist player iuiliviilually chosen. The singing oil the eliorus is particularly beautint!. (H.M.V.). ' '■■:.' Peter Dawson. The steady output of records by Peter Duwson is enhanced by his latest disc, embracing two songs with an. Eastern flavour, the famous "Star of the Kast" by liohr, and "The Garden of Allah" by Marshall. The singer's recordings of the "Indian Love Lyrics" some time back ware most' favourably received. : Dawson has the rare gift of being able to impart character and atmosphere_into practically every kind of song within the range of his voice whether it bo grand opera, ballad, or lyric. ■ Hia robust bass-baritone voico is extremely flexible, and because of this ho is able to give the required tone colour to c^ery note. (H.M.V. C 1689.) Dance Records. Among this month's H.M.V. daueo issue the following are recommended for their tuiiofulncss and clevor orchestration:— "Beaching for Someono" (and Not Finding Anyone There), fox-trot with vocal refrain, played by George Olsen and His Music, and "Junior," fox-trot with vocal-wfrain, played by Nat Shilkrct (EA 599); "Miss You," fox-trot, vocal rufrain by Hmly Valleu. and "Heigh Ho! Kv'n-body..llcigU-Ilo!" fox-trot, nlaved Ijy Biftly' Malice and his Connecticut Yankees (KA 014); "Aw I.a Passing Fancy's" .(Or Am 1 the Ono m Your Dreams?), fox-trot with vocal refrain, and "What a Day!" fox-tro with vocal refrain, P^ by 'led Wpcuis and his orchestra (LA 006). Sincere Artist. Mark Hnmbourg uses the piano, to interpret a sincere and artistic expression. Yet one never gets the oftaot ot a merely studied interpretation. His strong touch is also capable of gnomic capaciousness, and there is always a flow of tone. This is exemplified.™ the poetic gem by Debussy, "*»*?» sous la pluie" (Gardens under the rain), in. which tho melody is lusciously ornamented by beautiful shading*.of tone. Hambourg realises thb delicacy of Debussy's theme, but maintains sulfieiont firmness to''give the work character There is a tendency in playing Debussy to make tho music sound insipid, but there is no suggestion of this with Hambourg. In another charmingly lyrical composition, ' Liszt's arrangement of Schubert's song, "Hark! Hark the Lark," tho pianist brings out both the brilliance of the accompaniment and th'o sweetness of the melody. Ihe balance is skilful and artistic. (H.M.V., B2090.) Tchaikowsky "Patfcetiaue." We have an almost perfect example of tho romantic and subjective in Tchaikowsky's Symphony in B Minor (the "Pathetiquo"), which is superbly played by tho Symphony Orchestra, linder Albert Coatcs. The conductor puts the accent on tho melodic and tho dramatic rather than on tho passionate. Coates by singling out tho melodies emphasises the amazing richness of Tchaikowsky's creativo power. There are enough harmonies carelessly squandered in this one composition as would suffice to eke out the lifo-work of a. dozen average composers. To throw into relief the characteristic qualities of this music, nothing could be better than to try it after any rei cord of Schumann or Mozart. The shift from tho objective to the subjective, from the clarity of tho outer world to the swirling, ominous obscuriity of tlie inner, is tho, best possible demonstration of the 'difference between the "classical" and the "romantic;" Schumann is usually labelled "romantic," but one has only to compare hjm with this most subjective and melancholy of the Russians to see his doeper kinship with the other school. These records of Tchaikowsky's great symphony arc distinctly, outstanding achievements.. (H.M.V. Dll9O-94.) ■ Charm of de Groot. ■. Will the sweetness of de Groot's violin playing ever fade? This artist has achieved another success in a recording by Ms own orchestra of "Waldteufel Memories" • (arranged by Finck), : a happy selection of Viennese dance music. ■■' Waldteufel 'belongs to tho same school of composers as the Strausses, and iv his own country is held in just as high regard. The "Memories" have been artistically!arranged and "tlie delightful rhythm, of the orchestra is irresistible. Tho principal melodies are played by the violin of the leader,' arid , the orchestra give the themes in beautiful harmonic background.. (H.M.V., B3084.) .7 Although not one of the most important of Grieg's works, the "Lyric, Suite" is an exceptional instancoj in which the composer departs entirely of its own. This, and the brilliant Polish Dance of • . Seharwenka (^ho was a renowned German composer; pf waltzes at the close of the last century), form a pair of numbers interpreted for Columbia by Walton o'Donnell and the BBC Wireless 'Military Band. The playing has precision, pluck and sureness,'and the recording is'exceptional for its volume and clarity. (Columbia 05004.) , { ;; In "Kinderscenen" (Scenes. sof Childhood), the gentle Schumann poured out all his love of poetry and /■ his love of love. , These quaintly beautiful and deeplyfolt; studies represent Schumann on the threshold of that period which was to reveal his greatest achievements, The titles are whimsically suggestive —"Almost too Solemn," "Frightening," ''The Knight of the Hobby Horse""are some of the more intriguing. , Fanny Davies, once a pupil: of Clara Schumann, and thereforo in ! direot contact with the-writer's own authority, plays them with a charm and delicacy in keeping with the composer's simple demands, and students-of Schumann will note the almost exclusive use of the middle register throughout. (Columbia 04353-54.) A new vocal record likely to( bo highly popular is a selection of vocal gems from Wallace's "Maritana." The artists are Clara Sorena,- Francis •Russell, Dennis Noble, and Doris Vane, all well-known to gramophone lovers, I with the support of a lino chorus and orchestra. The numbers given include "Scones That Arc Brightest," "In Happy Moments," and "Let Me Like a Soldier Fall." And many other liits from tho opera. (Columbia 06007.) Happily., entitled "Father's Favourites,"- is a novelty of favourite tunes iof the last generation, brilliantly played as an organ solo on the Wurlitzer Organ by Terence Casey,, ' Here . are some of the numbers included: "Daisy Bell," "At Trinity Church," "She was One of the Early Birds," "The Man Who Broke the Bank■! at '; Monte Carlo," "Comrades," "Just ! Like the Ivy," "Where Did You Get ! that Hat." (Columbia 01747.) ; .. '■ Norman Allin's new record is ,-.■■. a [ pairing of "Edward," by Loewe, and ; "The Midnight Review," by Glinka. | In such dramatic ballads, Allin is 'su- , perb. His dramatic insight into the meaning of tho short poems is thrilling in its realism. "Edward" is one; of '. the best known of tho old Scots ballads , —a tragedy set to vigorously appropri- , ate music. Glinka's song deserves' to ' be better known, as it is a really fine [ example of Russian art both -as to | music and poetry. Here are two songs ■. that; are masterpieces.