RECORDED MUSIC

Evening Star, Issue 20422, 1 March 1930, Page 21

RECORDED MUSIC

[By Ehato.]

U.M.V.—MARCH. Heifetz has always been famous for his record of Mendelssohn’s • On vVings of Song,’ one ol his first performances for the gramophone. Musicians tin; world over will welcome an electrical recording oi this beautiful comp-MUon. Heifetz ranks with Kreisler as one ol the greatest violinists ol the world, and this record will do much to sustain that reputation. His llawless technique and remarkable beauty ol tone distinguish this •second performance of what was, oven before, a gem among records. On the reverse are two quaint little pieces, ‘Jota,’ by Do Falla, and ’Puck,’ byGrieg. SVhilo die Mendelssohn music serves to demonstrate Heifetz’s wonderful tone, the other airs show off his consummate artistry in technique.

It is interesting to_ compare the styles of Heifetz and Kreisler, both ol whom are represented in the March supplement. Opinions may differ as to their relative positions in tho world ot music, but it is generally admitted that Kreisler is tho greater of the two. Heifetz is still a young man, and has not vet reached the peak of his artistry There is a wonderful depth about Kreisler’s playing, a remarkable breadth of conception. This is especially evident in the 4 Thais ’ Meditation of Massenet, which is distinguished by very artistic treatment. Coupled with thi£ is the violinist’s own 4 Tambourin Chimoisj’ a gay and colourful little air that receives ■ vivid interpretation.

Pablo Casals is admittedly tho master ’cellist of th© day, a consummate artist who stands alone among the players of that instrument. Records of his music are always welcome, and afford much pleasure to every listener. Two Spanish dances — 4 Rondalla Aragonesa (Granados) and 4 Vito,’ by • the groat ’cellist Popper—are two interesting contributions to recent issues. Casals has that rare “ singing ” tone to perfection, and his flexible bow is more than equal to_ the most exacting tests in these spirited dances. It is worthy of note that it was with Granados that Casals shared his early triumphs in Paris.

Schubert’s 4 Erl King ’ is undoubtedly one of the greatest dramatic songs ever written, but in the piano solo setting it loses some of its great force and character. At least, that is the impression one gains from Frederick Lamoiul’s re recording of tins work. It is a iaborioii-

and not very interesting affair; Lamond is shown to better advantage in Liszt's ‘ Etude de Concert.’ He has an agreeable fluency and a fine sense of interpretation. This is a much bettor performance.

H.M.V. is to be commended for its policy of reproducing notable orchestral works by orchestras of standing at a moderate cost. The New Symphony Orchestra’s performance of the ballet music from Massenet’s ‘Le Cid ’ affords a case in point. Issued on plum label, this work occupies two records and reflects considerable credit both upon the orchestra and Eugene Goossens, the oonductor. Goosson’s reading of the various Spanish dances is productive of a vigorous and spirited perfornu ’ee. The tone of the whole orchestra is very full, and the playing expresses the character of the music most strikingly. These records are really worth while adding to any collection. The orchestra has responded to virile direction, and recorded an excellent effort.

There is undoubtedly a quality of essential vitality about the playing of Marek Weber and his orchestra, a quality always evident in their records. They have built up an enviable reputation in musical circles in Europe during tho last few years, and have gained considerable popularity in this part of the wqrld through the gramophone. Weber himself is an exceptional violinist and leader, something after tho style of De Groot, only much more forceful and spirited. He plays with a broad, rich tone, and infuses into all his work a dash that lends charm to his music. Weber pays great attention to detail with the result that his performances are notable for their polish. A selection from Leoncavallo’s ‘ Pagliacci ’ illustrates the effect of these qualities. The various airs are accorded thoroughly individual treatment. Very dramatic in conception and expression, this record is a noteworthy addition to the many fine works already recorded by Marek Weber. A further example of bis musical versatility lies in his performance of Paderewski’s exceedingly graceful ‘ Minuet,’ which is contained on a lOin record. This, with Gillet’s attractive ‘Coeur Brise,’ is in happy contrast to the operatic selection. The two airs are played with much charm and artistry, and reveal Weber and his orchestra at their best. The excellence of tho actual recording is another important feature of all their successes.

The tremendous popularity that Peter Dawson lias enjoyed for so many years shows not tho slightest sign of diminishing. The dominating feature in his success as a singer is hjs extremely pleasant -nglish style. This is always exemplified in his English ballads, music in which he excels. His songs are not always well chosen, but lie invariably sings with much artistry The latest additions to his rather staggering gramophone repertoire are Cooper’s ‘The Man Who Brings tho Sunshine' and ‘The Smugglers,’ by Popple. Both these songs are vividly coloured, and express their meanings admirably. Dawson is still in fine voice. His resonant baritone never loses its appeal. Diction, a very important matter, receives very careful expression, and thus increases the value of the performance.