Music from the Disc

Evening Post, Volume CX, Issue 47, 23 August 1930, Page 24

Music from the Disc

Young Conductor. Perhaps the most magnetic; conductor in London to-day is John Barbirolli, whose chamber orchestra has made several noteworthy recordings for H.M.V. These include Haydn's "Lon- ' don Symphony," a Haydn 'cello concerto with Suggia as the soloist, Mozart's "A Little Night of Music," and other outstanding works. Commenting on Barbirolli's rise to world-wide fame, '' Musical Opinion states: —'' There can bo no doubt of the uncanny genius of John Barbirolli as a conductor. Before the ago of thirty he had taken all the 'calls from the purple' that England can offer. We have had occasion to refer to his imaginative insight and interpretation of both ancient and modern music at Queen's Hall: they are new qualities in British music, showing amazing vitality and impulse. Born of an Italian father and a French mother, Barbirolli unites in his personality the cultural characteristics of those two artistic nations by his quickness in solving difficult situations and in arriving at instant decisions." Gems from "lolanthe." The popular Columbia series of double-sided 12-inch "Vocal Gems" from the Gilbert a,nd Sullivan operas Jias been added to by the gems from "lolanthe." The Columbia Light Opera Company have the work in hand. They well maintain their reputation for admirably balanced tone, crispness of diction, and gay-spirited ensemble. Of the melodiousness of the music and the ever-fresh and sparkling wit of the words, little need £be said, for Gilbert and Sullivan is enthroned imperishably in most of our hearts. (Columbia DOX 16.) Dance Music. The following are the outstanding dance records in the H.M.V. August catalogue:—"Jollity Farm" (fox-trot) and "On Her Doorstep Last Night" (fox-trot), played by Jack Hylton and his orchestra (85744); "If I Had a Talking Picture of You" (fox-trot) and "Turn on the Heat" (fox-trot), played by Jack Hylton and his orchestra (B5741); "I'm the Medicine Man for the Blues" (fox-trot) and "Wouldn't it be Wonderful?" (foxtrot), from "Is Everybody Happy," played by Nat Shilkret and his orchestra (B5750); "Eomance" (waltz) and "After a Million Dreams" (foxtrot), from "Cameo Kirby," played by George Olsen and His Music (EA 706); "Navy Blues" (fox-trot), from "Navy Blues," played by Waring's Pennsylvanians, and "South Sea Eose" (fox-trot), from. "South Sea Eose," played by George Olsen and His Music (EA7O7); "Until Love Comes Along" (fo^-trot), from "Love Comes Along,'.' played by Nat Shilkret and his orchestra, and "If I'm Dreaming (Don't Wake Me Too Soon) (waltz); from "Sally," played toy Wayne King's Orchestra (EA711); "Should I" (foxtrot), played by Victor Arden—Phil Ohman and orchestra, and "A Bundle of Old Letters" (waltz), played by the High Hatters, from "Lord Byron of Broadway" (EA7I6). A Chopin Piano Concerto. Chopin has long been the idol- of the recording companies. It is almost as though he had written specially for the gramophone. Nice short etudes and preludes, fitting comfortably on to single discs. No orchestra to arrange for. Just the single instrument, and beautiful, easily understood music, the highest of its type. Ana so perhaps it is by .way of paying off a debt of gratitude that Columbia have now recorded his second (and final) Piano Concerto in P minor, played by Marguerite Long with the Orchestre dcs Concerts dv Conservatoire de Paris, under Philippe Gaubert. In 1 every possible way, this is a triumph. Chopin lovers —and who isn't!—can be assured that this will be the thrill of their lives. The work itself is the outcome of the composer's passionate love affair with a fellow-student in Warsaw University. The sweet innominate creature deserves a statue for having inspired so ecstatic a calflove, and so rhapsodic and emotional a masterpiece. In the second half of the Larghetto we got a glimpse of Chopin's celebrated Nocturne in B ' flat. But the gem of the whole work is the final movement, Allegro vivace, with its gorgeous runs in the treble, the frolic ecstasies between piano and orchestra, and the rock-like figure in the coda. (Columbia LOX 11-14.) Arresting Quartet. There is very little modern music available on' records, and those interested in it should nob' overlook the fine string quartet in D Plat Major, by ErnstDohnanyi, the prominent BTungarian composer and conductor. This beautiful work is played by the famous Flonzaley Quartet now no longer in existence, as it was disbanded about twelve months ago. Fortunately it is understood that several _ recordings by this great organisation are still to be issued.- Dohnanyi's Quartet is in three movements, the last one being a Molto Adagio. Harmonically and melodically, it is a very interesting work, and must appeal to thn discriminating listener. The first two movements are bright and technically difficult. The Adagio is very impressive, and the arresting feature of the quartet is that it begins and ends with the same passage, played by the first violin. The recording, as per usual, brings out the full richness of the four instruments. (H.M.V., D 81135-7.) Ketcibey and His Orchestra. Those who have fallen under the spell of Albert W. Ketelbcy need _no urging to buy his latest disc, a pairing of "The Block and the Dresden Figures" and "Wedgwood Blue," in which the composer conducts his own orchestra. Ketelbey has a distinct flair for descriptive music. In "The Clock," a preliminary horn chord leads to the tick-tock of the clock, and the Dresden figures come to life and prance joyfully in their new sense of freedom until a cymbal crash announces that ' the clock spring is broken, and the figures creep back to silence once more. A pretty story and prettily carried through. (Columbia DOX 21.) Charm of Debussy. The Philadelphia Orchestra, whose records arc always praised by all phonograph lovers, figures in a ro-reeording ■of Claude Debussy's impressionistic tone poem "L'Apres-midi dun Faune." The original recording of the work by the same orchestra some fivo years ago made quite a sensation, but the new electrical recording is truly magnificent. Under the direction of Leopold Stokowski, the orchestra gives an admirable performance in every way up to the high standard maintained by this organisation since the first electrical record "Danse Macabre" (SaintSaens) was issued four years ago. (H.M.V., D 1768.) Fascinating Lecture Records. Those who have not come across them yet should certainly mako a strong point of exploring the "International Lecture Series" of records issued by Columbia. Primarily intended for educational purposes, the titles suggest -a field of endeavour so wide in scope and sq interesting ■in subject matter that he must be a barren man indeed who could not find something here to enrich his mind. The lectures are delivered by the foremost authorities on the subject concerned. Sir Oliver Lodge speaks on different subjects

related to Physics—one disc on "Time and Space" is a fascinating disquisition on the nature of existence. Authorities like John Drinkwater, Sir Edmund Gosse, and Professor Ifor Evans speak on aspects of Literature; Lord Lugard speaks on the League of Nations; the Right Hon. L. C. S. Amery on Empire Politics. Astronomy, Greek and Latin literature, history, anatomy, music—these and a dozen others are among the . subjects issued with learning and authority, and the highest educational experts in Britain form the committee which has superintended the production of this series. Brilliant Young Tenor. Another young artist, Richard Crooks, is steadily forging ahead to the front rank of American tenors, and his successes on the concert platform have been repeated in operatic performances in Germany and other countries. He records exclusively for His Master's Voice, and in two well-known songs, Del Riego's "Oh, Dry Those Tears," and Cowlo's "Forgotten," ho displays a voice of very pleasant quality and fine range, and sings with a clear enunciation and phrases very artistically, his style of singing at times reminding one of John MacCormack's. Equally pkasing is his sinnging of "Ah! Moon of My Delight" (from Lehmanh's "In a Persian Garden") and "Beloved, It is Morn." On a teninch record Richard Crooks expressively sings Metcalf's "Absent" and Bartlett's "A Dream." (H.M.V., EDI2, EDI3, and ECB.) Two Airs by Wagner. The popular J. 11. Squire Octet turn from their souffles this month and start on the meat. In other words, they tackle Wagner. The titles are "Traume" (Dreams) and "Album:Watt" (Album Leaf), and both aro delightfully melodious1 fragments of the composer's younger days, beforo the vision, of Valhalla was granted to him. There is more than a touch of poetry in the playing of the celebrated Octet. They impress us with their skill and understanding, and, as ever, their tone is masterly. (Columbia DOX 19.) Backhaus the Master. The Brahms variations on themes by Handel and Paganini arc,amongst the most difficult pieces of pianoforte music, but their difficulties aTe of a kind that belong to the piano and do not spring from a disregard for it. Thus to a pianist whose technique is, complete these variations are very attractive, since they offer unlimited opportunities for unfolding and expanding the hidden possibilities of a beautiful theme. A great pianist like Backhaus can work wonders with them, alld this is what he does in his recording of .the "Variations on a theme by Paganini." This work is a powerful example of Brahms's ability to express himself with unflinching boldness and freedom.. In spite of the technical difficulties, one remembers the work, when played by Backhaus, chiefly for its charm. Tho man's grasp of the structure is as easeful as it is farreaching. His rhythm is fluid, like tho rhythm of thought and always eloquent. His strength is not tyrannical; never does it abuse proportion or style. Here is a performance so full of beauty and thought that one is grateful that the gramophone lias been able to bring it into one's home. (H.M.V., DBI3BB--89). And Two from Massenet. \ Marise Beaujou, whom we remember for her splendid singing in the Columbia "Pelleas and Melisande'| album, now delights us with two airs from Massenet's most. famous opera, "Thais." These arc ''Dis-moi que je suis belle" (Tell me I am beautiful) and "L'Amour est une vetru rare" (Love ia a Virtue Rare). These excerpts are from the second act, and the scene of the first is in the apartment of the famous courtesan, Thais. She has been left alone for a while to meditate on the strange Monk1 Anthanael pleading with her to forsake her trade. ■ She sings this song to her mirror. "L'amour" occurs during Thais' last hour of earthly pleasure among riotous friends. Marise Beaujois's'firm, clear tones could not have boon bettered in these highly emotional and difficult arias. (Columbia LOX'lo.) Musical Comedy Success. The successful London musical comedy, "Follow Through," has not been neglected by the recorders, and four H.M.V. records of excerpts from this bright and melodious production supply the reason for its long run at Home. The New Mayfair Orchestra has made a happy grouping of the principal tunes on to two sides of a twelve-inch record, and there is plenty of life and sparkle iii their performance (C 1769). The "Vocal Gems" aro contributed with all their gaiety by the Light Opera Company, and on tho other side of the record the Blue Serenaders (mixed voices and orchestra) give the "Vocal Gems" from the American success "Blackbirds," another bright and tuneful show, judging by the selections given here. For those who wish to dance to tho music of "Follow Through," Nat Shilkrot and his orchestra has recorded two foxtrots'of two of the principle songs^—"l Want to be Bad" and "You Wouldn't Fool Me, Would You?" (EA67O). Then comes something of a novelty, a medley from "Follow Through," played as a pianoforte duet by Edgar Fairchild and Robert Lindholm. This is exceptionally well done, and the tone is very true. (B3182). Two Choruses from "Elijah." The famous Sheffield Choir under Sir Henry Coward make one ; of their all-too-rare apeafances in two mighty ehorusas from Mendelssohn's "Elijah." The excerpts are "Baal, Wo Cry to Thee," and "Thanks Be to God." Rumour has it that this disc is but a prelude to a complete recording of "Elijah," which Columbia have already issued in Britain. What first strikes one about each of these sides is the marvellous verve and precision of the singers, the mastery of Sir Henry Coward's control, and the tremendously strong reproduction. (Columbia DOX 15.) Artistic Contralto. • Tho young English " contralto, Marguerita Carlton, gives an individualistic interpretation of the beautiful "Danny Boy" by Wcatherby. One never seems to tiro of this old Irish air, and its exquisitencss has never been more apparent. Miss Carlton sings tho air with commcndablo symplicity that gives it all its natural beauty, but she at tho same time enhances it with her artistry. Her artistic phrasing and sincerity are again apparent in Craske Day's "Arise, O Sup," which is rendered with organ accompaniment. Again tho melody is held paramount and ornamented by the richness of a superb voice. There is something effortless about her singing, and in this attribute she rises above many/contraltos who at present arc bettor known. (■H.M.V., B3311). An Interesting Experiment. "Whitaker's Almanac" for 1930 gives news of a particularly interesting experiment conducted by Columbia by Professor Adrian and Professor Barcroft, distinguished Cambridge University scientists. It is a gramophone record of the human muscle at work, contrasting and expanding in obedience to messages flashed from the brain at

the rate of 50 per second. (Every muscle is a sort of electric battery, sending out minute electric currents, as it does its work.) Professor Adrian stuck a long needle through his arm, and connected this by a thin wire to the amplifier. From the connected loud speaker came a series of metallic raps, which, as his arm moved, grew to a series of crackling raps like Morse code. English Elocutionist. Tho English elocutionist, Clifford Turner, is an excellent antidote to the nasal twang of some of the American talkies. In a further record this1 month ho gives an experpt from Milton V 's "Samson Agonistes," in which, the tragedy of the blind Samson is dramatically realised. Tho famous Shakespearian soliloquy, "When to the Sessions of Silent Thought," is another delightful piece of elocution, a rare sSct nowadays, but perhaps the most striking piece of all is Blake's mystical poem, "The Tiger." The music of tho words is wonderfully well convoyed, and the fourth piece on the record, Wordsworth's "Westminster Bridge," is another artistic performance. This record would niako a valuable addition to any school library, for not only aro the selections interpreted by a famous elocutionist, but they are among the finest in English poetry. (H.M.V., B3151). Old Songs. Raymond Newell, the star soloist in those fine records, "The Trumpeter" and "The Village Blacksmith," excels himself as a singer of character parts. His latest disc pairs, "Polly-Wolly-Dobdle" with "Widdeeombe Fair." The amusing old chorus songs give him plenty of scope for his rich style of humour, and he makes the most of it, revealing himself as a master of the Devonshire brogue. He has the support of a brilliant chorus and orchestra. (Columbia DO 40.) Glorious Soprano. The Australian soprano Florence Austral has given gramophone lovers nothing finer than her two latest records. Her singing in these convinces tho listener of the glory of her voice, not only in its full rich tone, but also in the intense beauty of the half tone. •The dramatic soprano sings Percy Kahn's "Aye Maria," in which her rich voipe and low notes come out remarkably well. The piano accompauiment is played by the composer, and there is also a violin obbligato played by Isolde Menges. On tho reverse side Florence Austral sings "Porgi Amor," from Mozart's "Lo Nozze di Figaro," with orchestral accompaniment. This- aria reveals her smooth legato singing, which one would hardly think possible of a dramatic soprano whose chief successes were - made in Wagnerian operas. On the 10-inch record the great soprano sings expressively Moore's melodious song, "The Last Rose of Summer," and Balfe's "Killarney," given with vocal charm. Percy Kahn plays the piano accompaniments in both these songs. (H.M.V.) Gladys Moncrieff. This popular Australian singer has thousands of admirers in this country,' and they will be interested to hear that her latest venture is to record four of the best hits from the dear old "Belle of New York." On 01889 she gives "The Purity Brigade" and "They All Follow Mo." On 018S8 she gives "Tell Me How to Love," and as a duet with Colin Crane, "When We are Married." "Our Gladys" is in brilliant voice. ' Parlophone Eecords. 1017—"Paganini" ("I'd Like to Kiss tho-Ladies)", coupled with "I Kiss Your Hand, Madam," sung by Richard Tauber, tenor (with Grand Symphony Orchestra). It is a custom in some big Continental theatres to initiate, the season with a limited number of performances iv which the leading grand opera singers have been engaged for the principal roles. The services of tho famous tenor, Richard Tauber, have been much in demand'in this respect, and one of his most noted undertakings was in the leading role of Lehar's beautiful works, "Paganini." On this record Tauber sings exquisitely the entrancing song from it, "I'd Liko to Kiss the Ladies," while on the reverse he gives a just as beautiful tango song by Ralph Irwin. 1019—"To Music" (Schubert), "Take Thou My Greeting" (Schubert). Another finely contrasted pair of Schubert gems. Schober, tho young university student who took Schubert into his own lodging and released him from having to earn his living as an -elementary schoolmaster, wrote the poem of "To Music."_ In it Madame Lehmann shows her incomparable powers of phrasing and expression. Apart from the soprano's equally exquisite singing in '' Take Thou My Greeting," there is a delightful accompaniment which shows Schubert at his happiest. 4082—"Fledermaus" ("The Bat"), by Johann Strauss, coupled with "Art^ ist's Life" (Johann Strauss). There is a constant clamour for new records by Karol Szreter. His keen sense of nuance, his faultless technique and delicious tone, combine with Parlophone recording to produce records which are distinctive in their fidelity to actual piano performances. These two waltzes make a happy choice for his latest contribution. • 5019 —"The Blue Danube," performed in two parts by the Sieber Choir, with Grand Symphony Orchestra. The most effective record ever issued of this famous Strauss waltz, probably, the most popular of all waltzes. It is not generally known that Strauss scored the waltz for chorus and orchestra, so that this record is the only authentic version.