RECORDED MUSIC

Evening Star, Issue 20980, 19 December 1931, Page 6

RECORDED MUSIC

[By Ekato.]

Au orchestral arrangement of Liszt’s ‘ Hungarian Rhapsody No. 1 in F Major ’ is brilliantly played by the London Symphony Orchestra, and the recording is a fitting companion to the now famous record of the composer’s ‘ Second Rhapsody,’ made by the Philadelphia Symphony Orchestra. In these rhapsodies, by use of characteristic folk themes and the peculiar rhythm of the musical gypsies, Liszt gives a glimpse of the Hungarian nationality in a remarkable manner. In the early history of music the word “rhapsody” was rarely used, and it was not until the time of the great Hungarian composer that the name was applied definitely to a form of musical expression. Liszt being a master of the romantic school, like the other composers of this period, also strove to express in music, nationality, virtuosity, and dramatic expression. Therefore in bringing to the attention of the musical world the beauty of the folk music of his native land, Liszt chose the old rhapsodic, dramatic ballad type of expression. He called his works ‘ Hungarian Rhapsodies,’ and used for his thematic material the folk songs and dances of his native land. The composition under review consists of a slow introductory movement patterned after the ‘ Lassen ’ or slow dance, followed by a rapid ‘ Friska ’ from the Czardas, the national dance of Hungary, The London Symphony Orchestra, under Albert (bates, brings out all the colour of this vivid music, and the striking rhythms are given irresistible emphasis. The orchestral tone is rich with a silken bloom on the strings. (H.M.V.) « * « « The ‘ Symphony No. 1 in A Flat Major, Op. 55,’ of Sir Edward Elgar, is a masterly example of contrapuntal writing. In this fine work, the eminent British composer uses to the full the magnificent resources of the great modern orchestra. The recording by “His Master’s Voice” on six discs is, of course, authoritative, as Elgar himself conducts. The performance by the London Symphony Orchestra is brilliant, and the work itself is most melodic, even at a first hearing. Succeeding repetitions naturally reveal fresh beauties, and, altogether, the symphony takes its place as one of the finest recordings of the year. The last surface of the concluding record is occupied by a sympathetic rendition of Elgar’s melodious ‘May Song,’ played by the New Symphony Orchestra under the baton of the composer. * * * * The Boston Symphony _ Orchestra, conducted by Serge Koussevitzky, gives a most enjoyable performance of Haydn’s ‘ Surprise ’■ Symphony in six parts. After the short introduction (andante uantabile), the famous Russian composer imparts tremendous

vitality into the bright and vigorous allegro vivace. Tlie andante, with its dreamy and melodious theme, is charmingly p]ayccL„and the repetition of the principal thdmo fortissimo is done with splendid effect. Charming and delightful as the minuet is, it certainly does not lack in animation and spontaneity. The allegro di molto bubbles with the joy of life and boundless brightness. The recording of the symphony is complete. (H.M.V.) • » « * Two notable records giving passages from Handel’s ‘ Messiah ’ are included in the H.M.V. December list. ‘ The Messiah ’ towers above all other oratorios in the estimation of the English people, and the reason is not far to seek. In this work they find the highest ideals of the Christain religion set forth and enhanced by music, which in its strength, its sincerity, and its entire fitness to the subject appeals _to the learned and the unlearned, rich and poor, with equal force. A sublime theme is unfolded in language the most simple, the most noble, the most picturesque, and poetic, and Handel rose to its requirements. Tenderness, purity, and almost prophetic elevation are attributes of this wonderful oratorio. The first record contains the choruses ‘ For Unto Us a Child is Born ’ and ‘ Glory_ to _ God,’ preceded by the soprano recitative, ‘ There Were Shepherds Abiding in the Field,’ sung by Elsie Guddaby, who has played a prominent part in the big oratorio _ festivals in England. The magnificent chorus, ‘For Unto Us a Child is Born,’ has always been recognised as the grand feature of the first part of the oratorio. The fervour excited by these words finds its expression in the wellknown florid passages .of the chorus which are sung mezzo-forte, while at the words “Wonderful, Counsellor, the Mighty God,” the full orchestra enters fortissimo. The entry of the soprano voice before the chorus ‘ Glory to God ’ strikes the ear with a clarion note of exaltation, and the excitement grows until the angelic choir bursts in with its jubilant cry. The glitter and sparkle of the chorus is astonishing. Both choruses are sung by the Philharmonic Choir with orchestra, conducted by C. Kennedy Scott, and the performance is a brilliant one in every respect. On the second record the London Symphony Orchestra, under Dr Malcolm Sargeant. plays ‘ The Overture ’ and the ‘ Pastoral Symphony.’ The first part of ‘ Tlie Overture ’ is gloomy and austere in tone, and presents a picture of the world plunged in sin and despair before the promise of a Messiah had kindled the hope of everlasting life. The second part, allegro, comes with a sudden, joyous burst, and creates an atmosphere of pious exaltation. The lovely ‘ Pastoral Symphony ’ is the break between the prophetic portion of the work and the (Tramatic incidents connected with the birth of Christ, and paints a tranquil scene in colours most delicate and subtle. The orchestra achieves a beauflfuT tone, which has been excellently recorded, and the conductor’s reading of the score is magnificent. * .« .« « An example of the best English choral singing is supplied by the Westminster Abbey Choir, which, under its scholarly conductor, Dr E. Bullock, sings Bach’s ‘ Blessing, Glory, and Wisdom.’ Dr Bullock gives a noble reading of this beautiful and inspiring work, and the choir responds to his baton magnificently. The attack and release are admirable, and the blended tone is particularly fine. The harmonisation is simple, straightforward, and strong, as Bach knew so well how to make it. Every note counts, just as every stone counts in a truly architectural conception. The music has a profound beauty that never palls, and on this record it has been given noble utterance. (H.M.V.) • * * • Nobility of utterance marks two readings from the Scriptures by Lewis Oasson, the famous English actor, who was recently associated with his wife, Sybil Thomdyke, in a recording of scenes from ‘ Macbeth.’ His subjects are ‘ Nativity of Our Lord ’ (St. Luke, chapter ii., verses 1 to 20) and ‘ Sermon on the Mount ’ (St. Matthew, chapter vi., verses 19 to 34). Casson has a rich, resonant voice, and his powers of expression reveal to the full the beauty of the language and the inspiration it conveys. The readings, apart from their subject matter, are models of spoken English, and would be a valuable aid to school teachers. Particularly should the record appeal to Sunday school instructors. (H.M.V.) • • • • The following is a selection of dance records from the latest H.M.V. list; — ‘ My Brother Makes the Noises for the Talkies ’ (comedy fox-trot) and ‘ Fourteen Rollicking Sailors ’ (comedy foxtrot), played by Jack Hylton and his orchestra; ‘ We’re All Alone ’ (waltz) and ‘Life* (waltz), played by Jack Hylton’s Orchestra; ‘Come and Have a Cuddle on the Common ’ (fox-trot) and ‘ I’m Happy When I’m Hiking ’ (fox-trot), played by the New Mayfair Orchestra; ■ t Leave the Rest to Nature ’ (fox-trot) and ‘ The Waltz You Saved for Me’ (waltz), played by Ambrose’s Orchestra; ‘ Many Happy Returns of the Day ’ (waltz) and ‘ Pardon Me, Pretty Baby ’ (fox-trot), played by Rudy Vallee and his Connecticut Yankees ; ‘ Without That Gal ’ (fox-trot), played by Leo Reisman’s Orchestra, and 4 The First Girl I Met ’ (slow fox-trot), played by Bert Lown and his Hotel Biltmore Orchestra; ‘ Out of Breath and Scared to Death of You ’ (foxtrot) , and ‘ I Am Only Human After All ’ (fox-trot), played by Victor Arder, Pbil. Oilman, and their orchestra; ‘How the Time Can Fly’ (fox-trot), played bv tlie Troubadours ,and ‘ I’m Through‘With Love ’ (fox-trot), played by Henry Busse’s Orchestra.