Music from the Disc

Evening Post, Volume CX, Issue 35, 9 August 1930, Page 27

Music from the Disc

Fascinating Music. •Albert Coates and the London Symphony Orchestra aro in their element with two pieces from Binisky-Korsa-kov's fantastic opera, "Le Cog d'Or." It is one1 of the composer's several works that are based o; delightful fairy tales. In the "Introduction," which occupies one side of the record, all thq strong features of "he opera stand out clearly. The woodwind playing is admirable, and there are colour, contrast, and humour Again, in the "Bridal Cortege," the music is wonderfully descriptive, and Coates's authority as an interpretation of the composer is always apparent. Even in the most bizarre passages, ho takes the utmost care in keeping up the melodic lines. Tho orchestral tone is always well-bal-anced and warm. (H.M.V. D 1745.) An Exquisite Debussy Opera. * Towards tho end of the last century Debussy wrote an opera, "Pelleas and Melisande," which, though received at the time with - the usual hostile questioning of tho public, delighted the greatest musicians of the day. One and all expected that as he had found an art-foi-m so obviously suited to him, he would continue to create fresh masterpieces. But no, "Pelleas" remained his sole opera. From that day to this it has pleasured a growing public. Columbia now offers it in abbreviated form on six 12-inch discs. A group of famous French singers form the cast, and it may safely be predicted that the quality of their singing, so completely foreign and unfamiliar to ears accustomed only to the English, Italian, and occasionally Gorman methods, will come as a complete and delightful surprise. The sense of poetry is not absent from a single note. The flesh and blood singers uphold the fugitive dream-like atmosphere with great credit. Even the pedestrian passages abound in charm. Particular, praise must be given to the unfailing purity d£ the voices l and to the delicately exact enunciation. The opera is given on-six; 12-inch re--cords in an album. (Columbia 02865-66). Colourful Pianist. ....... Miseha Leyitzki's pianoforte, record-. ings are rapidly growing, and what is more he seems to go from strength to strength. •He has the gift of convincing his audiences of the absolute -Tightness of whatever he does. He is able to stress divergent moods to the uttermost without their ever getting out of focus with each other. ,In his recording of Schubert's beloved "Marehe Militaire" (arranged by Taussig) Levitzki gives a reading,entirely his own, employing.a wide variety of nuance and colour, and yot one cannot venture to disagree with him, but his sensitiveness is at its best in Rachmaninoff's "Prelude in G Minor." Thisprelude has been unfortunately overshadowed by the "C Sharp . Minor,.''. but, in musical valuo there is no comparison. It is perhaps the finest: of :all: the .composer's short compositions, and it is here played with' artistic sincerity and beautiful clarity. There is' no gainsaying the panist's flair for'colour, and this has been faithfully reproduced on the gramophone. (H.M.V., D 1809). Grieg's Norwegian Dances. One of the most popular recordings of the year will be a new re-issue of Grieg's Norwegian Dances on two records, played by the famous Norwegian conductor, Gcorg Schecvoight, and the London Symphony j Orchestra. Grieg has taken some traditional dance tunes of his native countryside and from them built up four masterpieces of enduring charm. The simple melodies, treated with naive innocence, are entrancing. No. 2, especially, a captivating little melody given out solo by the wood-wind between energetic counter-phrases by the whole orchestra, is particularly haunting. The London Symphony Orchestra play with admirable taste. Listeners will revel in the purity of their tone and the cunning fashion in which they build up the work into organic wholes. (Columbia 02943-44). Brahms Double Concerto. Few people are familiar with Brahms's Double Concerto for violin and 'cello, and indeed it has the reputation of being dry and academic. No one s who gets the records of it which have been published with Thibaud and Casals in the solo parts will think that way after a second or third hearing. The structure and articulation of the music are so clearly displayed both by soloists and band (Cortot is conducting tho Casals Orchestra of Barcelona) that one places it immediately with the greatest of tho symphonies. The concerto form is rather more complicated than the symphonic when the decorations themselves are largely structural. It lias not ah idle bar. Everything is beauty, and all the beauty is contri-buf-ive. There is as much weight of meaning in the solo comment^ as in tho orchestral foundation, the dialogue is on equal terms, and only three great artists in full consent can conduct it successfully. But that is what we have here. The record ranks with the finest that have yet been made. (H.M.V., DBI3II-14.) Dance Music. There are several outstanding dance records in the latest H.M.V. catalogue. Favourite orchestras are well to tho fore, and included in the pieces presented are some of the best theme songs from current talking pictures. Tho following have been selected as particularly suitable for dance-lovers: —"Mona" (fox-trot) and "I'm on a Diet of Love" (fox-trot), played by George Olsen and his music; (EA 710); "Until Love Comes Along" (foxtrot), played by Shilkret's Orchestra, and "If I'm Dreaming" (waltz), played by Wayne's Orchestra (EA 711); "Puttin' on the Eitz" (foxtrot), played by Leo Eeisman's Orchestra, and "Singing a Vagabond Song" (fox-trot), played by Shilkret's Orchestra (EA7I9); "The Kerb Step" (fox-trot) and "Punch and Judy Show" (fox-trot), played by Jack Hylton's Orchestra (EA72I); "Sweeping the Clouds Away" (fox-trot), played by Coon-Sander's Orchestra, and "Any Time's the Time to Fall iv Lovo" (foxtrot), played by Spitaluy's Orchestra (EA724); "Singiu' in the Bathtub" (fox-trot) and "Lady 'Luck" (foxtrot), played, by Hamp's Kentucky Serenaders (EA725). Lionel Tertis. It is strange that so "few fiddlers should specialise in that beautiful instrument, the viola, which comes midway between 'cello and violin, and has most of tho qualities of both, with a warmth all of its own. So few violists aro there, that one instantly thinks of Lionel Tertis alone, while 'cello and violin have a dozen or more exponents of equal stature. In a recent record Tertis gives us what might be called his sole "popular" disc—a pairing of Bubinstein's Melody in F and a.melodious "Chant Sans Paroles" by Tekaikovsy. Columbia have, put the disc in their popular-priced ' section. (Columbia 01571). "Songs of the Past.'f Memories of the music hall and pantomime days of another generation will bo pleasantly stirred by a collection of "Songs of the Past" contributed this month by the Light Opera Company. To those who have not heard of "Goodbye, Dolly Gray," "After the Ball," "Two Little Girls iv Blue," "Little Annie Kooncy," and "Johnny, Got Your Gun" tlic melodies will give n

great deal of pleasure, but tbero are. very many indeed who long for a ro- [ turn of these good oia-timers. The 1 Light Opera Company, which is made. iup of a group of first-class voices, I seemed to enjoy thoroughly this little venture into the past, and the singing, both solo and concerted, is excellent and full of sparkle. In addition to ' the numbers mentioned above., there ' are "Sweet Marie," "Where Did You Get That Hat," "Say Au Kevoir, But. Not Good-bye," "Daisy Bell," "A Hot Time in the' Old Town," "The Sunshine of Paradise Alley," "She was Bred in Old Kentucky," "Com-. ' rades," and "The Picture That is Turned Toward the Wall." (H.M.V., C 1741). A New French Singer. How little wo know of French artists! Yet their more frequent appearance in the Columbia lists hints that this omission is being repaired. Near the head of a band of French artists stands the brilliant soprano, Mile. Foraldy. She contributes two arias from the opera "Lakme" by the great modern Delibes. The first is "Blanche Dourga," and its reverse, "Tv Mas Donne le plus doux Eeve." She sings with a flute-like clarity, as pure as the softest woodwind, and manages the unusual intervals and typically modern phrasing with delightful ease. Barely one finds such fluent agility combined with so much truthfulness of tone. (Columbia 03640). A Great Artist. When listening to Erica Morini's violin one feels that one is in the presence of one of the greatest of living artists. She has the dramatic fire, the insight, the beauty of tone, and the commanding technique which are the qualities of performers of the first rank. Her feeling is shown in the wistful beauty, of ,: Tchaikowsky's , ''Hu'moresque'' (Kreisler 's ' arrange- ' ment). The ..second piece, "The . Zephyr,", is played with elegance, elasticity :o£ spirit,, and variety ■ of tone. Her remarkable command ■of the resources iof the • violin is ■ always skilfully balanced with her.power of expression, and nothing, more 'could be demanded from any • virtuoso.- (H.M.V., DA1104). Tonimy Handley on, the "Mike." Suppose the staff of. your local radio station .was suddenly taken; ill with , measles, and you were called upon to . fill in the whole .evening, what sort of a hand would you make.of,it?;■; Tommy Handley, Britain's'; Clown-in-chief, seems to 'think himself a whole 8.8.C. staff, for .he gives .a whole evening's broadcast on one 12-inch disc —from the kiddies' bedtime story by the wicked Carbuncle, to the news bulletin. The jokes are too good to unveil bo- • fore their time; so Jjuy the', record for yourself, and sit back ,and laugh. Its title is "Tommy, Handley Calling." .(Columbia DO1S). ■ ; •;.'..: ~/ ;i Barnabas Yon Geczy. During a recent, visit to ~ : Britain, the Hrinee of Wales was loud" in ' his praise of the Barnabas Yon Geczy Orchestra. It and the Dajos Bela Orchestra are Jhe two finest light ensembles on the Continent, and Geezy's second record, a pot-pourri of melodies from "The Student > Prince," by its very brilliance, points : the reason of its popularity. . All who hear this record will bo.glad that the waltz song and the lusty "Students' Chorus" are fea.tured. The orehestriition, ;,it' ; will be noted, is particularly JcleVer^: and is given full value by..perfect...;:i:.ecording. (Parlophone. 4208.) ' ■ ■ , :.: The Sieber Choir. Have you the Siebor ■.Choir habits Eecord buyers are now askirig-for "the next" record of Strauss waltzes by the Sieber Choir. Parlophone'has branched Uong an individual line in. producing these choral settings of the infectious melodies, and this month follows up the success achieved in-the records of "Wine, Women, and Song," "The Blue Danube," and "Tales from Vienna Woods," with'delightful vocal rendering of the "Eoses of the South" Waltz. (Parlophone 4209.) ' A Brahms Overture. | Introducing a new conductor, Div| Fritz Stiedry, the record in.this month's issue by the Berlin State Opera House Orchestra provides a noteworthy performance of the Brahms "Academic i Festival" Overture. Actually this piece belies its .title, being a.high-spirit-ed work the very reverse of academic. 1. was written by. Brahms to.indicate his appreciation of the University of Breslau, for conferring upon '.him the degree of Doctor of Philosophy. (Parlophone 4210.) Theme Songs. Here are two delightful theme songs from the picture "Puttin' on the Eitz." "With You," vocal, John Warren, tenor; "There's Danger in Your Eyes, Cherie," vocal, John Warren, tenor (Parlophone 2952). "My Fate is in your Hands," Sidney Burchall, baritone; "Singing a Vagabond Song," Sidney Burchall, baritone (Parlophone 2991). The latter, by the brilliant Australian baritone, Sidney Burehall, is a record tha.t should not bo missed. Burchall has earned for himself enviable popularity as well as a theatrical principal throughout the Commonwealth, and has gained further popularity through his splendid recordings. "With You" introduces a new Parlophone tenor, John Warren. "A real artist" is the remark made by the Australian experts on John Waitch's debut record.