Music from the Disc

Evening Post, Volume CIX, Issue 75, 29 March 1930, Page 24

Music from the Disc

The brilliant Toti dal Monto makes a welcome reappearance in tlio April catalogue. In "0, luce di quest'anima" from Donizetti's little-known opera "LincH di Chawounix," her remarkable soprano voiie is telly dazzling. In this aria the hcroiua of the opera sings rapturously of her lover, It is a brilliant aria containing many elaborate passages •which display the art of the coloratura to the utmost. II ' is coupled with another radiant numbci the Polonaise, "Io son Titania" iron Thomas's "Mignon." Tho staccatc notes in the upper register are beauti fully clear. These two famous colo ratura numbers are now recor-dod elec trically for the first time. (H.M.V. DB1318). Beethoven Quartet. ..Of all Beethoven's quartets, noiu abounds so freely in entrancing melod ies as tho 13tli, Op. 130, in- B Plat One of his .latest works, it is typica "Third Period" wurk in its great Dst depth and human feeling.. Sides \ and 8 of the Lener recording arc oc cupied by one of the most inspiring am deeply felt movements in all music— a noble; Cavatina of great breadth ant haunting appeal. On the other ent of the 'emotional scale are a dazzling little Presto, filling half the third sidi with an irresistible little tune, whili the'customary Scherzo is replaced bj a Danza • alia Tedesca which is inf ec tiously. melodious. (Columbia L 1929-33. Brahms Bouble Concerto. Any recording by those consummati artists, Thibaud, Casals, nnd Cortot ■ naturally compels the interest of musi< lovers. Already they are represents ■—either " individually or collective ly— by some superb recordings, and hot they are happily associated in an in terpretation of Brahms's Double Con certo in A: Minor (op. 102). The vio lin and 'cello parts arc, of course* play . ea by Thibaud and Casals, respectively tho orchestra is tho Pablo Casals Or chestra of Barcelona, conducted, by Cor tot. The work is conveniently ar Tanged on four 12-inch discs—two fo the first movement and one each fo the second and third —and the playin; is marked by engaging musical though end penetrating beauty. The teehni cal difficulties of its exposition are sue! as only virtuoisi can successfully sui mount. Originally written for Joaehii) and Hausmann, it is tho last orchestra ■work of its composer. While both sol instruments have opportunities for dis play, tho 'cello has the more prominen place, but the most striking featur is the rich veffeet of their eombinei playing, and hardly.loss remarkable i the fine cohesionn with the orchestr; and its expressive rendering of ever detail, whether in the development o the allegro's arresting themes, th poetic arfdante, or the gay-hearted flna movement with its piquant passages fo th© soloists. (H.M.V., DBI3II-14). In the Popular List. "On Her Doorstep Last Night,''.©on: edy fox-trot; "Excuse Me, Lady," fo> trot. Jack Payne and his 8.8.C. Oi chestra. Bright and tuuey, and plaj ed with plenty of vigour. "On He Doorstep" is one of the few reall; funny dance records. "Ketum of th Gay Caballero," "My Sweeter Thai Sweet." Sung by Lon Maurice. 1 jolly good vocal record by a bariton who had deserved his wonderful popu larity. "You're Always iv My Arms,' ■waltz; "Sweetheart, We Need Bad Other," fox trot. Jack Payne.amd hi 8.8.C. orchestra score another hit. Thi waltz has a real lilting melody. "Estrel lita" (Little Star); "La Golondrma. Organ solo by Emil Velanzco. Withou' doubt one of the finest Wurlitzer or gan solos yet recorded. "Estrellita' is a magnificent tune, and Velanzec plays it to perfection. "Sunnysidt Up," medley fox-trot, by Jack Payne and his 8.8.C. Orchestra. A melodious medley of the catchy tunes from this big-hit talkie. Hear "If I Had a Talking Picture of You," "Sunny-side Up," "Piekin' Petals Off the. Daisies," and "I'm a Dreamer." Dawson at His Best. The virile Peter Dawson adds to his long list of records with tho robust "Yeoman of England" from Sir Edward German's opera "Merrio England." Dawson's resonant bass-bari-tone yoice ( makes fine play, and the 'words'are* always distinct. On the "other side is Sanderson's "Drake Goes West." Those who remember Dawson's singing of a group of sea songs some time ago will welcome this number. , The singer is not only a great vocalist, but ho has the real art of ballad, singing. Ho never forgets that lie is telling a story. (H.M.V., B3111). From:"Mer,rie England." "Merrio England" contains some of Sir Edward German's happiest melodies, and tho tuneful fragments, sung by Miriam Lic«tte, Clara Serena, Francis Bussell, Denis Noble, and Eobert Carr, can be heard on a record that is bound to be popular. The selection includes "Love is Meant to Make Us Glad," "God Save Elizabeth," "0 Peaceful England," "Yeomen of England," "English Kose," "In England," and "Merrie England.'' (Columbia 05026). Harp Record. Harp records are so rare that lovers of this instrument, which was so popular with the Westminster Glee Singers, will be delighted with the record made by Mildred Dilling, who plays the well-known "Arabesque," by Debussy, and Zabel's "At the Spring." Tho new process of recording has certainly solved the problem of the harp, for it no longer sounds like a piano out of tune. The vibration of the strings has been successfully caught, and in the graceful appeggios and passages of "At the Spring" the instrument is heard to distinct advantage. Miss Dilling plays brilliantly. (H.M.V.) Lionel Monckton Memories. The Columbia Light Opera Company give a delightful pot-pourri of songs from Lionel Monckton Js musical comedies. Monektou was in tho hey-day,of bis fame when their stage works from which these melodies arc drawn were all the rage, and the blithesome songs he wrote are still possessed of abundant vitality and fascination. Among the operas represented are "The Quaker Girl," "The Toreador," "Tho Country Girl," and "The Cingalee." (Columbia 05038). Likeness to Caruso. Alessandro Valento has a tenor voice that strongly reminds one of the ~reat organ of the late- Enrico Caruso, and this young tenor is to-day a favourite at the La Sea la Opera, Milan, where he sings most of the big dramatic roles. On his latest records lie sings the principal aria from Meyerbeer's L'Africana" —"O Paradisof" This number in which the singer, stuptfied by the exotic scenes of a strange land, apostrophises the new country in ecstatic accents, may well be taken as tho acid test of a tenor's vocal attainments, for it contains many passages which are impossible to any' singer without a thorough training. The big, rich voice is also heard in "Addio iiorito asil," from Puccini's "Madame Butterfly,'' an aria of pathos which is realistically interpreted. (H.M.V., B3141). ■ Clara Serena. Clara Serena's powerful and at the same time emotional voice reveals many fine shades when sho sings "Just for

Coloratura Singing.

To-day" and "There is no Death," which aro enhanced by flawless recording. This latter is the ballad that was specially sung to commemorate the Armistice. The beautiful lines will be cherished by all serious-minded people. (Columbia 01776).

Mark Hambourg.

"Shepherd's Hey," one of Percy Grainger !s characteristically English compositions, is played by Mark Hauibourg with a great display of technique, and a merry rhythm. On the reverso sidu is the really beautiful Romance in F Sharp (Schumann), a subtly phrased piece with soft tone colours, which Hambourg presents with rare skill. Tho pianist is capable of obtaining big climaxes from his instrument, but here he never allows his power to over-rule his artistry, and the romantic sentiment of Schumann is oxpressed, but never allowed to become sickly sentimental as somo would have it. (H.M.V., 83172).

(1) "Overture" —Sir Henry Wood and the New Queen's Hall Orchestra; (i!) 'Scerzo" —Willem Mengelberg and Concertgebouw Orchestra. From "Midsummer Night's Dream" (Mendelssohn) (Columbia 42780-81). In the Overture, Sir Henry gives us, at the' start, the busy sprites to the life, with just a trace of the clouds of faerie they trail behind' them. Tho music of pomp is well controlled, and the balance of the various elements in the Overture is excellent. Tho recording gives an effect of distance and haziness that entirely suits the work. The "Scherzo" is not quite light enough—Mengclbcrg somehow congeals the insubstantial fabric of the dream, but his working out is otherwise musicianly and cultured.

Joseph Szigoti, the young Hungarian violinist, gives an exhilarating performance on three sides of Tartini's Sonata in G Major. It is an object lesson in broad phrasing and double stopping. It is hardly a masterpiece, but so great are this artist's powers that it seems posible to listen to it for ever and ever. Great technical demands are overcome as if they don't exist, and there remains the joy over tho purely musical eminence of this great violinist. Tho Beethoven is dashed off'brilliantly.: Ought to be heard by the million. (Columbia 03621-22.)

Popular^ Airs.

A delightful musical offering comes from the New Light Symphony Orchestra, under Dr. Malcolm Sargent, of Bach's "Air on a G String," and Grainger's ararngement of "Londonderry Air." The lordly impressive phrases of the Bach piece are recorded with impressive dignity, and rich sonorous colour. Tho recording has a satisfying fulness and realism. An equally enjoyable performance is the lovely version of the old Irish air, played with a winsome pathos! (H.M.V., 82913).

New Gladys Moncrieff Record.

There is something in human nature

that always prefers tho natural gift to the hard-won, over-trained talent. That is" why we enjoy listening to Gladys Moncrieff so much. The silvery notes flow out with a divine effortless ease, and please us like the natural solo of the nightingale. Her latest record pairs two numbers of typical charm.

"Just for a While" has a pleasant wistfulncss, while "Just to bo Near You" mellows into a caressing softness. Both aro admirable material for. Gladys's wonderful voice, and tho record is sure to please her wide public. (Columbia 01685.) .

Cockney Studies,

Two most amusing Cockney studies are presented with pianoforte accompaniment by Will Kings, the London musical hall comedian. The' first "'E 's a Wonder Wiv' an 'Amnier an' a Nail" is an extremely funny uulogy of a

friend's prowess with these

articles,

"Soused 'Erringa" provides another big laugh. Will King's imitation of a Cockney is perfect. It is never overdone and tho intonations imparted to tho voice are very effective. (H.M.V., B31C1.)

Pelix Weingartner.

Weingartner, the brilliant German conductor, who is possibly the greatest living authority on Beethoven, has just accepted the control of the Basle Symphony Orchestra. The Basle is certainly the leading, as it is also the oldest, of the Swiss Orchestras, and the new combination should prove fruitful. In conjunction, they have provided a gripping version of Weber's fervent and romantic "Der Freischutz" overture — a work in which tho composer has forgotten his polite and polished mannerisms and touches the imagination with almost ghostly significance. The work

has power and intensity, and is playe-d with keen urgency. Tonal beauties reveal Weber's marvellous gift of invention in this direction. (Columbia 028----74.)

Last year was the best year in the his;ory of the National Trust.