RECORDED MUSIC

Evening Star, Issue 20310, 19 October 1929, Page 21

RECORDED MUSIC

t.By Ekato.]

A COMING OF AGE. In July, 1908, the Gramophone Company, or, to give it its colloquial name, the H.M.V. _ Company, made its first, records for issue to the public. The output ,vas iJO ecords i week, am some idea of the growth of this remarkable company, whose trade mark must surely be the best known in the world, can be gained from the fact that the ordinary weekly output of records is now nearly half a million, and that this figure is doubled at busy times. The company has just celebrated its twenty-first birthday, and all music lovers will join in the congratulations and good wishes that have always been showered on it from all over the world. Building operations for the Gramophone Company’s factory at Hayes, Middlesex, began in February, 1907, and on May 13. 1907, Madame Melba laid the corner-stone of the record factory. The factories now cover sixty acres, and land lias been acquired for important factory extensions which, when finished, will mean seventy-five acres of buildings. In 1908 the output was some 700 records a week, and now nearly half a million records a week are produced under normal conditions, with nearly twice this number at busy times. Shellac, costing £2OO a ton, is the principal of six ingredients which go to make the material for records; 15,000 tons of this material are used annually. For labour-saving purposes automatic conveyers travel over 200 miles a day carrying records from one department to another. The intricacies of the internal mechanism of His Master’s Voice gramophone may be estimated from the fact that in the automatic machine, which plays and changes twenty records without any attention, there are nearly 600 parts, every one manufactured from raw metals at Hayes. Four hundred tons of raw material are used every week to meet the demands made on the company by the public. TLM.V. AND TALKIES. Behind the announcement that “His Master’s Voice” plan to cooperate with British and Dominions Film Corporation in the production of talking and sound films for a period of years, it .is possible to detect a highly significant move on the part of this great firm. The first subject to ho handled by the now combination will he an English rovne, to he produced by Mr Albert Do Courville, the theatrical impresario. Preparations on the part of the Gramophone Company to extend its activities in connection with mechanised entertainment have been going on quietly for some time. Recently the firm purchased an interest in the Mareoniphone Company. British and Dominions Film Corporation is the first British firm to make a full-length all-talking film, ‘ Black Waters,’ shown to the trade last week. Mr Herbert ’Wilcox and Air Nelson Keys are associated with the firm which, in its newly arranged collaboration on talking pictures with the Gramophone Company, will have a call upon all artists and orchestras who record exclusively for “ His Master’s Voice.” Thus, world-famous singers, the London Symphony Orchestra, the Royal Opera House Orchestra, the Berlin Opera and Berlin Philharmonic Orchestras, the La Scala Orchastra of Milan, and popular entertainers already familiar to everyone through the gramophone, come immediately within the British talking film field. Mr Herbert Wilcox, production chief of British and Dominions Film Corporation, said in an interview: “ This is a fundamental move to take advantage of the splendid opportunity the talking picture situation offers England. With the benefit of thirty years’ recording experience behind the Gramophone Company, wo should bo enabled from the outset to produce the world’s best talking pictures.” “GLORIOUS AIDA.” Particularly welcome is the release by 11.M.V. of now complete recording of Verdi’s great opera, 1 Aida,’ with none other than Dusolina Giannini in the title role, the famous Covenb Garden tenor, Aureliano Fertile, in the

part of Rhadnines, and Irene Ming-hini-Cattaneo equally effective as Amneris. Hero is an opera- that can truly he called “ grand.” Verdi clothed the colourful libretto with music, magnificent in its power, ravishing in its beauty. Orchestra and vocalists are knit into a harmonious score, transcending by far tho workmanship of his previous operas. The strength, tho nobility, and the passion of ‘Aida’ go hand in hand with the melody, and this is perhaps the reason for its universal appeal. Tho recording has been made with tho co-operation of tho chorus and orchestra of La Scala, where it was produced by Verdi himself in 1872, The choruses are exceptionally fine, and tho orchestra brilliant. The conductor, Maestro Sabajno, besides building up great climaxes with each unit in the ensemble, pries into every little work of beauty in the score with obvious affection. Tho vivacious ‘ Dance of the Slave Girls ’ affords a typical example of the conductor’s gift of rhythm and the ceremonial trumpets, which play a conspicuous part in the orchestral colour scheme, are recorded with astonishing realism. Giannini’s singing stamps liei as an artist of the highest rank. Even in such passages as the familiar ‘ Bitorna Vincitor,’ and the succeeding ‘ T Sacre Nomi.’ where the dramatic exigencies of the libretto invite unrestrained emotion, musical expressiveness of each phrase remains unimpaired. 'File exquisite mezza-voce of her high notes in ‘ 0 Patria Mia ’ has been perfectly caught up. The performance <>l Fertile is a wonderful example of heroic singing. His * Celeste Aida * is full ot warmth, and his declamation throughout the opera is thrilling in its intensity. _ The passionate tomb duct with Gianniui at the close of the opera, mingling with the chant of the priests, is glorious singing. Minghini-Cattaneo captures the attention from her first appearance. Vanity, pride, jealousy, and anger are convincingly’ portrayed in turn. Inghillori, as Amonasro, the Ethonian King, has been described as “a second Ruffo.” His dark-hued voice is superb in the fiery passages allocated to him in the Nile scene. Luigi Manfrjni as the High Priest, and Gugliolmo Masin, as Pharaoh, are singers of distinction, and add richness to some of the ensembles. Altogether the recording has been most successful, and illuminating are the annotations and translation which accompany these nineteen records.

KREISLER AND BRAHMS. Friz Krcisler {jives a wonderful performance of Brahms’s only violin concerto in I) Major, o,iv. 77, a performance of artistic breadth, classical, in its clearness and purity, yet exceedingly vigorous and pervaded by irrestistible energy in the first and last movements. Kreisier’s technical perfection is such that it' is absolutely unnecessary to over, comment upon it, while his tone is notably beautiful, especially in the lovely adagio, which he jvlays very poetically and with warmth, .In the first movement there is a brilliant cadenza. The support of the Berlin State Orchestra is excellent and the recording is all that) could be desired in volume and clearness. The concerto lias been recorded on five records (H.M.V.). SCHUMANN’S CONCERTO. The eminent French pianist Alfred Cortot plays Schumann’s beautiful ‘ A Minor Piano Concerto, Op. of,’ with the London Symphony Orchestra. Schumann’s only piano concerto is awork which lias always been very popular with artists and with the, public in England and on the Continent, but : n New Zealand the opportunities of hearing concertos arc rare indeed, and never will such a combination as this he heard in the dominion. Schumann's work has many outstanding qualities. Tho lovely and romantic opening allegro, the charm of the intermezzo witii its dialogue between tho piano and ’cello, and the brilliancy of the final allegro vivoco hold the listcaier’s attention without mental strain, for the themes are characteristic of Schumann’s melodic gift and imagination. Cortot at times shows remarkable delicacy of touch, and his beauty of phrasing is also conspicuous. Above all, he is in complete harmony with the composer’s individuality. (H.M.V.) THE BOY KREISLEU. Tim first record of the phenomenal boy violinist Yehudi Menuhin has been received witii acclamation by ail, and the following review from the musical critic of the 1 Daily News,’ Loudon, is typical of Hie enthusiasm for this brilliant playing :—“ I have received recently from H.M.V. tho first record of Yehudi Menuhin. The two pieces ho plays are ‘ Allegro’ by Fioeco and ‘La Capricciosa ’by Dies. .It is obvious that wo fve here in the presence of an inexplicable phenomenon, for not only are the boy’s technique and tone amazing, but he lias the temperament and

musical taste which in a child of twelve are almost uncanny. One may play a, very amusjug parlour game with this record by putting it on and asking one’s musical friends who is the player. Some will say Heifetz, but tho tone has more warmth than Heifetz’s, and the expression, is much more intimate. Others will guess Kreisler, because of the exquisite finish of the phrasing. Others will suggest Elman, but the tone is not sensuous enough. Others again, will tell you Jelly d’Aranyi, because of the rhythmical vitality, hut it is more effortless. When told that the player is this boy of barely twelve your friends may accuse you of trying to hoax them' Tin’s record whets one’s curiosity as to his appearance in London.” FRENCH FOR THE ENGLISH. A practical course for learning lev speak French with tho aid of tho gramophone has been compiled by M. B. M. Stephan, senior lecturer m French, University College. London, and Professor Daniel Jones, of London University. This course of study consists of fifteen double-sided records, a text book, and key book. It has been tho aim of the compilers to enable English people to learn to speak French and to understand French when spoken. Tho course takes one from the elementary stage to the advanced with a completeness of detail that makes it absolutely self-contained, and is particularly designed for those who have to learn and speak French without ai teacher. Of the course the Right Hon. C. A. M'Cnrdy wrote: “I have no» doubt that a resolute study of these thirty lessons, spread over three or six months, will prove more fruitful than double or treble the time spent m learning French in any other w-v/’’ (H.M.V.)