Music from the Disc

Evening Post, Volume CIX, Issue 51, 1 March 1930, Page 24

Music from the Disc

Peter Dawsoii. Peter Dawson found in Popple's sticring song, "The Smugglers," a robust number to suit his powerful style. The sturdy spirit of the song is admirably expressod. There is also fine resonance of tone in ''The Man Who Brings Sunshine.'' Dawson* has a big voice, but it. is always subservient to the theme of iria song, and his interpretative powers have been aptly likened to those of John M'Cormaek. His enunciation gives the listener no difficulty. (H.M.V., B3078.) Gladys Moncrieff. Gladys Moncrieff, Australia's favourite musical comedy , actress of the golden voice,, has revived for us menir ories of the good old "Maid of the -Mountains." It is some fourteen years since this great comedy was first staged in London, where it ran for aver a thousand performances, and was again revived about five years1 back. Miss Moncrieff shows two of the best-known favourites, in "Love Will Find a Way" and "Vilia," and sings them with her usual fervour and skill. (Columbia 101784.) Wagnerian Tenor. A new European tenor, Lauritz Melchior, makes his appearance this month in two arias from Wagner^s "Lohengrin." It was in this opera that Melchior made such a successful appearance at Covcnt Garden last season, and for this record he has chosen two of the finest arias written by Wagner. The first, "Nay, Elsa, All Confidence Thou Ow'st Me," is a plea by Lohengrin to Elsa to have faith in him and not to press him for his name and origin. At the close of the aria is the ominous motif of warning- which continually recurs throughout the opera. In the second aria Lohengrin tells the story of the Knights of the Grail, and in this we have the beautiful grail motif as the principal theme. Melchior's voice is eminently suited to Wagnerian music, The organ is capable of both dramatic and lyric expression, and the high notes are magnificently delivered. Wagner's striking orchestral setting finds more than ordinary performance from the Berlin State Opera Orchestra under Dr. Leo Bleeh. (H.M.V., D 1505.) New Chopin Recordings. Chopin records have not been too plentiful of late, and a particularly warm welcome will be extended, therofore, to a first record by Jose Echaniz. Echaniz is a former pupil of the great Spanish composer, Albeniz, the most brilliant composer of modern Spain. Listeners ■will admire particularly his delicacy of touch and his happy understanding of Ohopin's meanings. Ho plays the Polonaise in E flat with the fury of a nation groaning under a foreign yoke; th* angry coda bursts out with a tempestuous ire in marked contrast to the ajmost submissive phrases of the second subject and its development. Echaniz keeps his tone expressively vaa-ied with great skill. (Columbia 03639.) Anothor Chopin record that will be greatly admired.. for entirely different qualities is the Etude in 0 Sharp Minor, from the Op. 25 group, played on a 10-inch disc by ; Miss Harriet Cohan. Miss Cohen is a poet after Chopin's own type. She dwells in the rosy clouds of sheer incorporeal beauty, remote from, earthly appetites and passions. With calm reflection she unfolds the pastoral loveliness of this Etude; She states it simply, pointing out some of its subtler beauties that we might have missed. Her tone, as befits her mood, is one of untroubled and flawless beauty. It records excellently. (Columbia 03636.) Opera in English. The steady contributions of' operatic arias in English by the Australian tenar, Browning Mummery, will no doubt bic appreciated by a large circle. In hie singing of '' The Dream, '' from "Matron," which has been given in Italian by Tito Sehipa, he makes exquisite use of the mezza voce, and his soft phrasing is flawless.. The tenor sings of a paradise of. babbling brooks, flowers, and song-birds, and the constantly reiterated figure played by the strings suggests perfectly the dreamy atmosphere. By way of contrast is the powerful and dramatic' "No, Punchinello, No More," from "Pagliacci." This passionate and despairing outburst is magnificent. (H.M.V., B3121.) Gem of Violinist's Art. The'''brilliant Polish violinist, Brouislaw- Hubetrman, has chosen for his first recording a magnificent pairing of "Bomanaa Andaluza" by Sarasate, and a "Mazurka" by Zarzycki. A student of the great Joachim and Michalowicz, he reflects much of their flawless technique and clean bowing. His tones glow with a marvellous colour, particularly in the Sarasate "Bomanza," where his double stopping and breasthless chromatic runs leave one astounded. The throbbing, langorous accompaariment pointedly emphasises the warn, passionate nature of the piece. The "Mazurka" has the fire of gipsy dances. ■ Its lively rhythm and delicious melodic phrases recall the masterpieces of ■ Liszt. Huberman, perhaps on account of his clear-cut bowing, records extraordinarily welL (Columbia 04358.) A Bach Air. Tho list of recorded vocal music by Bach is very slender, and thus the air, "Though Keviling Tongues Assail Us," from the cantata "Watch Ye, Pray Ye," sung by the English soprano, Elsie Snddaby, is particularly welcome. This is a glorious piace of sacred music, and tilie singer approaches it with appropriate mood, the note of triumph being fine indeed. Miss Suddaby is ono of England's finest singers in this class'of music, and she again reveals her beautiful voice in Gounod's "Aye Maria," in which Marjorie Hay ward plays the violin obbligato. The whole atmoepliero is one of sincerity. (H.M.V., C 1733.) Fingal's Cave Overture. The Fingal's Cave overture reflects the impressions made on Mendelssohn by a journey to the Western Highlands. It ojjens with a theme for violas, 'cellos, and bassoons, suggesting tho loneliness of the spot, followed by a beautiful caiutabile theme picturing tho motion of the sea, accompanied by a peculiar wavelike effect on the violins. This elaborates into an extremely vivid and poatical description of the cries of the seafoirds, the wail of the wind, and the graidual lashing of the ocean into fury. A very brilliant coda brings this highlycolOT""ed tone picture of the solitude of the sea and the cave, as well as the ragje of the ocean, to a close. Sir Heiary Wood, who conducts the New Qußen's-Orchestra, keeps the sentiment sombre, even melancholy, but vividly givtes us the impression which the solitary scene has made upon the emotions of a doeply poetical nature. Tho work of his strings is extraordinarily f subtle and sensitive. The balance of the tone, its striking richness, arc what wo might expect from a conductor of Sir Henry's repexte and experience. (Columbia 05002-3.) Hftydn's "Clock" Symphony. 3!fo thing could be more welcome to lowers of orchestral music than this mojtth's issue of Haydn's "Clock" Symphony, played by the New York Philhar.monic Orchestra, under Arturo Toscantni. It is attractive from every point of view. This is one of tho prolific; "Papa" Haydn's most enchanting

compositions. The slow movement, with that steady rhythmic swing which inspired the popular title even those wbo object to descriptive titles must admit 43 felicitous, cnu be appreciated by every one who likes a good tune, and few have ever listened to the gay scherzo without feeling exhilarated. Tlio charm of the music is irresistible. It would survive even a mediocre performance. But this performance is superb, and- the recording reaches a high standard. A further attraction is that the conductor is the famous Toscanini. He has earned a reputation for being "volcanic," but his interpretation of the "Clock" Symphony is singularly calm and aerene. Fortunate in his instrument, an orchestra with a marvellous ensemble, he plays on it with the assurance that it will respond. Every phrase is perfectly modelled. One has only to hear the slow movement to realise the unanimity of the orchestra, and the significance with which Toseanini infuses the work. Four discs are taken up with the symphony with the scherzo from Mendelssohn's "A Midsummer Night's Dream" on the odd side. The crispness and fairy delicacy of tho Mendelssohn piece are an exhilaration. (H.M.V., D 1668-69-70-71.) Famous Singers In Quartet. When four such soloists of the calibre of Hubert Eisdell and Hcddlo Nash (tenors), Dennis Noble (baritone), and Norman Allin (bass) combine together as a male voico quartet we expect- to hear something exceptionally good. And we get it. "Meet Me by: Moonlight," which they sing unaccompanied, is a magnificent example of flue voico blending and harmonising. Tho parts are admirably allotted, and come out of the cookpot, so to speak, as a very dainty and appetising dish. In "IKnow of Two Bright Eyes," a string quartet, provides a capital and sympathetic accompaniment. It is a real delight to hear such distinguished soloists sink their individuality and combine in such an excellent team. (Columbia 01748.) Dance Music. The March dance records issued by H.M.V. are "well up to standard, and some of' the world-famous orchestras contribute striking and tuneful orchestrations of a number of popular melodies of the day. The following are perhaps outstanding: "Mucking About the Garden" (fox-Jtrot), and "Let Me Dream in Your Arms Again" (waltz), played by Jack Hylton and his orchestra (B0096); "On the Alomo" (foxtrot), and "Me Queres" (Do You Love Me) (fox-trot), played by Rudy Valleo and his orchestra (EA62O); "The Album of My Dreams" (fox-i trot), and "Perhaps" (fox-trot), play-'1 ed by Rudy Vallee and his orchestra (BA 629); 'J'Hittin' the Coiling" (fox-: trot), and "Sing a Little Love Song".] (fox-trot), from "Broadway," played by Nat Shilkrct and his orchestra (85662). In each case there is a Vocal rofrain. ■ ' Landscape Musician. . Prank Bridge is a musical landscape painter, and he dearly loves to use soft, warm colours on peaceful scones. His! music is characteristically English, and! full of tender themes of quiet country lanes and meadows. Pictures and fancies like these pass through the mind on listening to tho composer's "Idylle No. 1," which is played by the Virtuoso String Quartet. In spite of the softness of some of the 'themes, the tbne is never insipid, but it has been recorded with definition and fidelity. Here is music anyone may understand j and appreciate, a gem of the brightest ray serene. (H.M.V., C 1893.) "Nut Crackers" Suite. Nothing could be more delightful than the three records of Tchaikowsky's Casse Noisette (Nut Crackers) Suite, played by the Philadelphia Symphony Orchestra, under Leopold Stokowski. The suite includes an "overture miniature," a little gem of tunefulness which can be best described by the name which the composer gives it; a march of wonderful rhythm and vigour, the "danse de la fee dragee"—dance of tho sugar plum fairy—iv which Tschaikowsky experimented with the celeste which had only just been invented—a delicious composition in hearing which one- can almost fancy that one sees the little fairy dancing upon the top of an icod cake; ,the Dausos Busse-Trepak, Arabe, dcs Mirlitons and Chinoise, the last, although musical being, excruciatingly fuimy, reminding one of the squealing of a Celostial who is pulled by his pigtail; and finally the exquisite Velse dcs Fleurs, with a melody as haunting as tine famous Valso Trieste of Sibelius. (H.M.V., D 121- -- ,v. ~-.■ :..■■■ ••„ Kreisler Re-records. The hauntingly beautiful "Meditation," from Massenet's opera "Thais," which has been adapted for the violin and perhaps enhanced, has been rerecorded by Kreisler. The melodic lino flows unfalteringly like a thread of gold. In the opera the meditation follows AthanaelV long vigil in Thais's courtyard, waiting until her last re very should be over and she should join him on the pilgrimage into the life of spiritual peace. This is the atmosphere Kreisler creates. The companion number is a re-recording of the picturesque "Tambourin Chinois," a vivid and quaint expression of Chinese life, (H.M.V., D 81207.) Wedding Music. A novelty likely to be made much use of is a record made at St. Margaret's, Westminster, of the wedding music. It opens with a peal o£ bells, and then comes the Bridal Music from "Lohengrin," the choir singing "Praise My Soul" aiid "O Perfect Love." Tho proceedings are rounded off with the organ strains of Mendelssohn's Wedding March and the crash of bells. (H.M.V., B3120.) The freshness of William Heseltine's fine tenor, and the perfect clarity of hia diction, are features that will win approval iv his reading of Tosti's fine ballad "Parted," which he pairs with "The Irish Immigrant;" This last is a spirited song of farewell rendered with great boldness and sincerity. In apt contrast are the passionate phrases of "Parted," and in both Heseltine's voice is shaded with nice discretion, while his legato is beyond reproach. Tho singer is an old hand at recording, and has the intimate touch that effectively kills any suggestions of the mechanical. His voice comes right into this room and brings his personality with it. (Columbia 01746.) A new record by the Band or H.M, Grenadier Guards gives a selection from "Ivanhoo." Sullivan's one grand opera is splendidly represented in this arrangement by Sir Dan Godfrey. The Guards play with their usual life and polished skill—-the fine ' cornet, deep euphonium, and tender oboe parts are especially effective—and never has the advantage of .the electrical recording been more clearly shown. The music surpasses in depth and sincere feeling, as well as in melody, much of the "Gilbert and Sullivan" music, and there is no reason why it should not be just as popular. (Columbia 02980). Gladys Moncrieff% latest record pairs two numbers of typical charm. "Just for a Whilo" has a pleasant wistfulness, while "Just to be Near You" mellows into a caressing softness. Both are admirable material for Gladys's wonderful voice, and the record is sure to please her wide public. (Columbia 01685.)