RECORDED MUSIC

Evening Star, Issue 20672, 20 December 1930, Page 23

RECORDED MUSIC

[By t Ekato.]

Of special interest among the January H.M.Y. releases arc the ScluL maun Etudes Symphoniqiios,’ played most brilliantly by Allred Cortot. One of Schumann’s greatest pianoforte works, the etudes aro remarkable tor their loveliness and charm. They are realty exquisite little poems, pervaded by 'bis happiest melodic inspiration. Cortot has the temperament and the ability to exemplify their beauty in striking fashion. Ho has an impeccable touch and a most agreeable fluency, and invests each variation with lino colourings. All aro distinctly played and yet all arc indivisibly linked. The etudes are recorded on three twelve-inch discs. They aro gems that should bo added to the _ collection of every discriminating musician. Two Sousa marches by the Philadelphia Symphony Orchestra come as a rather delightful surprise. They are ‘The Stars and Stripes Forever’ and ‘ El Capital!,’’two virile compositions in the brightest Sousa style. Both are exhilirating affairs, played with great spirit. Leopold Stokowski lias brought tins orchestra up to a fine pitch, and its performances are always very enjoyable indeed. This is the first occasion ho has presented music of tho really ‘‘popular ’ type. » * * * Amelita Galli-Ciuvl has forsaken the great operas in her latest contribution to f ive gramophone. Tho brilliant voice that has dazzled millions with its purity and agility is now heard in simpler material—Monk’s ‘ Abide With _Mo ’ and tho Dykes sotting of ‘ Lead, Kindly Light.’ It must no said that the famous soprano adapts herself admirably to tho tone and requirements of these familiar sacred airs. Sho sings very simply and does not strike_ for effect in any way. The result is a very charming performance, one that has dignity and appeal. Tho interpretations aro very sympathetic indeed. * « • » Richard Crooks is one of tho really notahlo tenors that America lias produced. and his records will always be warmly welcomed. His most recent performance for tho gramophone is the prize song from ‘ The Masters!ngers' 1 and ‘ln Distant Lands’ from ‘Lohengrin.’ Crooks demonstrated conclusively that Ik> is a highly artistic interpreter of Wagner. Both these famous arias aro exquisitely sung. Tho singer has a great power in his quality hut his delicacy and sympathy hero are singularly charming. It is a compelling performance.

Essie Aekland is a very accomplished contralto, ami undoubtedly one of the most popular of all English concert artists. Through tho medium of tho gramophone that popularity has been sustained in tho dominion. _ Her singing is always notable for its dignity and breadth, two qualities admirably illustrated in her records. Elgar’s stirring ‘ Land of Hope and Glory’ and tho Sullivan ‘Onward, Christian Soldiers ’ will bo warmly received by her numberless admirers. Both are given with an organ accompaniment (without which Miss Ackland apparently never sings) and tho Band of tho Coldstream Guards—a rather impressive combination. It can bo readily imagined thao these records are genuinely moving in their power and appeal. They will bo very popular with everyone.

No H.M.V. supplement would bo complete without a record from Peter Dawson. Tho celebrated Australian baritone lias a staggering ami apparently inexhaustible repertoire, and bis vocal powers appear to havo diminished not one whit. His songs arc good, bad, and indifferent, but there is no denying tho artistry and virility with which they are all given. His latest efforts aro tho ‘ Vulcan's Song,’ from Gounod's rarely-heard opera, ‘ Philemon ot Baucis,’ and ‘ A Bachelor Gay,’ from tho melodious ‘ -Maid of tho Mountains ’ (a strange contrast). Both airs aro sung delightfully, with the spirit and zest that invariably distinguish all Dawson’s performances.

A stimulating performance of tho Dohnanyi string quartet in D flat is given by tlio Flonzaley ! combination. Not tho least part of tho fascination inherent in contemporary chamber music is attributable to its experimental quality. Whereas tho classic writers depended largely on the development of formal and rbymtbic in-terest,-tho present-day composers focus their attention chiefly on emotional

tone painting on as specious a scalo as they can evolve. The Dohnauyi quartet is an outstanding example of this reaction in favour of _ rhapsodic colour, and raises in a most interesting manner the questions of the ultimate outcome of allowing orchestral methods to invade chamber music.

The Romanticism of Brahms's * Symphony No. I!,’ in F major, must astonish any listener who is hearing it for tho first time and who has been led to believe tho ancient chatter about tho drabness and, inhumano complexity of the composer, and tho interpretation of the work by tho Philadelphia Symphony Orchestra, under Leopold Stokowski, certainly puts to quiet the tales of Brahms’s chilly classicism. The symphonies of Brahms aro as_ lyrical and as songful as any in existence, and tho performance as recorded by the Philadelphians is not only admirable in tho technical sense, but in tho nicety of judgment whereby tho conductor lias balanced tho four movements. No little instinct for" musical diversion and poise is needed to secure this balance,

for tho reason that tho speed of lb® third movement, poco allegretto, is not unlike tho last, allegro. The conductor’s job is to achieve a differentiation by the closest attention to workmausiiip, which, beneath the surface of a pace and expression pretty common to both movements, marks tho essential life beating within them. Tho scoring i has a delicacy of figuration ayd a warm intricacy, and tho capacity of Stokowski for producing glowing instrumental colour lias congenial opportunities m this symphony, which under his direc- . tiou resembles a veritable Aladdin’s cave of sound. The exultant mastery of their material displayed by tho performers is in the highest degree exhilarating, and in the course of building so magnificent a structure tho vital • spark is not extinguished. There is a rhythmical vitality in tho second movement, andante, and in tho final allegro there is good instrumental detail in spite of the pace. Throughout the woodwind is charming, and Brahms’s purely melodic use of the brass in tho fmalo tops off a performance that is marked throughout by sweetness and strength.