RECORDED MUSIC

Evening Star, Issue 20020, 10 November 1928, Page 16

RECORDED MUSIC

[By Eeato.l MAGNIFICENT ENSEMBLES. The most magnificent release of recent months is undoubted the H.M.V. re-recording of the sextet,from ‘Lucia di Lammennoor ’ and the quartet from ‘ Bigoletto ’—two of the finest (if not the finest) pieces of concerted music in Italian opera. This record constitutes an extremely fine achievement in ensemble singing, and is infinitely superior to the old recordings. T' a artists associated in the sextet are Galli-Curci, Homer, Gigli, De Luca, Pinza, and Bada; the quartet is sung by the first four. Caruso was the outstanding figure in several of the. old recordings, but he simply drowned tho others. These two pieces provide the traditional opportunities for opera singers to shout themselves hoarse, and never was this fact more strikingly exemplified than in the old discs. However, the new record shows a distinct improvement in this direction, for both pieces are sung with judgment and skill. Naturally, there >s a certain striving for effect on the part of each singer, but, ou the whole, tho balance is excellent. If there is individual obtrusion, it is in accord with the dramatic expression of tho situation. In tho sextet tho voices blond with remarkable effect, and sweep into a. powerful climax. The quartet is no less thrilling. In comparison with the old recordings, tho advantages of the new process are most apparent. This is a white label disc, but one well worth the price. ORCHESTRAL RECORDS. The Berlin Philharmonic Orchestra, conducted by Dr Leo Blech, gives a very polished representation of the ‘ Carnival Remain ’ overture, constructed from the music of tho carnival scene from Berlioz’s ill-fated opera, ‘ Benvenuto Cellini.’ This pieo’ affords a striking illustration of the composer’s skill in instrumentation, and his remarkable knowledge of tho individual tone quality of each instrument in the orchestra. The colouring is well shaded, and the tone vivid in its expression. Tho ' Coriolan ’ overture is one of the most forceful and characteristic utterances of Beethoven. A vivid interpretation of this celebrated composition is given by tho London Symphony Orchestra. The piece is unorthodox in its melodic construction, and opens with a unison in the strings followed by a sharply-sounded chord by the full orchestra. The playing is clear and polished, and the contrasts are obtained most effectively. It is interesting to note that tho conductor is Pablo Casals, who is perhaps tho world’s great ’cellist at the present time.

A charming performance of Dvorak’s Songs My Mother Taught Me ’ is given by Do Groot and the Piccadilly Orchestra. This is tho type of music that De Groot and his fine band of musicians can play to perfection, for they are past masters in the expression of lighter melodies. The playing is clear and full of tone throughout, and is marked with considerable fervency and feeling. On the reverse is 1 Together,’ which is scarcely suited to Do Groot’s particular stylo. This piece appears to be more of a dance number than anything else, and as such finds De Groot out of his element. Ho is a musician who does not tolerate jazz, and does not permit his orchestra to play in dance or rhythms. However, in semi-classical music De Groot invariably excels. GIGLI AND DE LUCA. Beniamo Gigli (tenor) and Guiseppo Do Luca (baritone) are two fine artists who have been associated in several excellent operatic duets. Their’ latest offering is the duet of Zurga and Nadir ‘Del Tempio al Limitar ’ —from Bizet’s opera, ‘The Pearl Fishers.’ Coupled with this is ‘Enzo Griraaldo, principo di Santafior,’ from Ponchielh’s ‘La Gioconda.’ The latter is the duet between Barnaba and Enzo, when tho rascally Barnaba recognises the hero of the opera and addresses him by his real title, “Prince of Santafior." These duets are in effective contrast, and both singers give "ery spirited performances. The dramatic intensity of tho ‘ Gioconda ’ duet is well brought out, and the two voices combine with fine effect. Gigli and De Luca both show a keen appreciation of tho possibilities of these duets. JOHN M'CORMACK. Great beauty of tone is shown in John M'Cormack’s singing of Marshall’s popular ballad, ‘ I Hear Yon Calling lie.’ M'Cormack is essentially a ballad singer, and this is the kind of song which suits the lyric qualities o c his voice admirably. He employs mezzo voce with remarkable effect in this song, and the beauty of his sustained notes is cry striking, The singer’s breath control and ease of expression are alike conspicuous. On the reverse is Ball’s rather pathetic old ballad ‘ Mother Machreo.’ However, this song will delight M'Cormack admirers despite its maudlin sentimentality. It is eung with tho necessary feeling and expression. Tho nasal resonance from which M'Cormack suffers is again evident. ________ PETER DAWSON. Potor Dawson is in excellent fettle and sings with his customary refinement and artistry in his latest offerings, ‘At Santa Barbara’ (Rubens) and ‘The Admiral’s Yarn’ (Russell). The Rubens song is a delightful little ballad with an amusing climax. ‘The Admiral’s Yarn’ is a very popular nautical ballad with a decidedly humorous air. Both aro accorded vivid treatment. Dawson sings with quiet humour, and while both of the songs are tar from pretentious, they are particularly pleasing. A recording of five of James’s six Australian bush songs by Peter Dawson is also listed this month. These are ‘ Land of Who K nows Where,’ * Bush Silence,’ ‘ Comrades ol Mine,’ ‘Bush Night Song,’ and ‘The Stockrider’s Song.’ All of these songs are most acceptable, and are rendered in convincing fashion. BREEZY SINGING. John Goss and the Cathedral Male Voice Quartet, noted for their singing of sea shanties, are heard in four more bright little choruses —‘ Blow the Man Down.’ ‘Tom’s Gone to Hilo,’ ‘Lowlands, and ‘Highland Laddie.’ These are sung in a particularly cheerful manner, and tho interpretations leave nothing to be desired. There is a peculiar fascination about these lilting songs, which are “ put over ” with infectious verve and spirit.