RECORDED MUSIC

Evening Star, Issue 21518, 16 September 1933, Page 6

RECORDED MUSIC

[By Erato.] It is almost hard to believe that amongst tbo thousands of records released since the introduction of electrical recordings there has not been an up-to-date orchestral version of such a universally popular work as the waltz from Gounod’s ‘ Faust.’ In the two complete sets of the opera the waltz had been recorded as part of the Kermesse scene and consequently with chorus. Marefc Weber _ and his orchestra have now recorded this famous waltz, playing it with compelling charm and refinement. The _ ‘ Faust ’ waltz possesses a charm of its own, with, a wistfulness and touch of sadness that may be taken as a premonition of Marguerite’s impending tragedy. On the reverse side Marek Weber’s excellent orchestra plays the ‘ Golden Rain’ waltz, by Waldteufel, whose compositions enjoyed a great vogue at the court balls given at the Tuileries duroing the reign of Napoleon 111. and the Empress Eugenie. The flowing melody of the waltz is brought out by the recording, as well ns the richness of the string instruments.

The famous English instrumentalists, Mathildo Harding (piano) and Irene Harding (organ), have recorded the beautiful ‘ Meditation ’ from Massenet’s opera ‘ Thais.’ This melody is the outstanding number in the opera, and has become a popular instrumental item. In the opera the ‘Meditation’ is heard in the last scene in which Thais lies dying. She repents of her sins and has been converted to Christianity, and as she recalls the scenes of her conversion she resigns herself to death. At last the heavens seem to open, and with an ecstatic cry, ‘Ah le ciel! Jo vois Dieu! ’ sho expires. The sisters’ playing with perfect understanding and balance of tone is particularly fine. On the other side of the record they play an equally popular number, 1 The Swan,’ a charming tone poem by Saint-Saens from his suite ‘ The Carnival of Animals.’ This work belongs to that class _ of programme music in which the title suggests to the auditor the mood or poetic thought of the composer. Once again the two instrumentalists combine delightfully.

Beniamino Gigli and Dusolina Giannini, who toured New Zealand a few years ago, sing the duet ‘ Tu qui Santuzza? ’ (‘ You Hero Santuzza? ’) from Mascagni’s ‘ Cavalleria Rustieana,’ in which Santuzza’s jealousy is aroused by Turiddu’s faithlessness. Tho tenor at first sings with a cold, biting sarcasm, but his pleading to convince Santuzza that he still loves her is well done. Mine Giannini’s voice seems to have greatly increased in richness and resonance, and it admirably blends with Gigli’s lovely voice. The duet is continued on the reverse side in ‘ No, No, Turiddu.’ Towards the end the soprano sings .with great feeling, and Gigli refrains from the lachrymose outbursts in which some tenors are prone to indulge at times, and sings very dramatically. The lover’s parting and Santuzza’s final warning, ‘ Cursed be Thine

Easter, Thou Traitor! ’ are sang with powerful intensity. The orchestral accompaniment is played by members of the La Seala Orchestra, conducted by Carlo Sabajno.

This month the groat tenor, Beniamino Gigli, is heard in two sacred numbers. The first is ‘ Cuius Animam,’ from Rossini’s cantata ‘ Stabat Mater.’ This work shows the influence of the French Grand Opera School of tho day on Rossini’s compositions. Tho air is highly embellished, but at tho same time it displays genuine religious feeling, and has been interpreted with deep sincerity by Gigli. The English words of the famous air are ’as follows: Saviour, breathe forgiveness o’er me, In my need guide me, keep me, God of mercy—-God of love. Heavenly Father, help, I pray Thee, While I humbly bend before Thee, Save and help me, blessed Lord. One tho second side of the record Gigli sings ‘ Pieta Signore ’ (‘ Have Mercy, 0 Lord’), by Stradella, who was one of the famous Italian musicians of tho seventeenth century. Thero is an exceedingly mysterious story told that Stradella, having gained the illwill of a certain Italian nobleman, was attacked by assassins, but that his captors refused to put hiin to death because of his beautiful singing. The story is used by Flotow as the basis of the opera ‘ Stradella,’ which was produced in 1837. The church aria, ‘ Pieta Signore,’ is one of the few authentic works of this interesting and unique personality of the early Italian opera school. It is simple in theme, but its sweet, melodic line is deeply devotional, and Gigli’s beautiful voice gives it sublime utterance.

• * * • The London Symphony Orchestra, conducted by Dr Malcolm Sargent, gives an excellent performance of a ‘ Fantasia on Sea Chanties,’ recorded in two parts, and comprising such popular melodies as 4 Billy Boy,’ 4 Fire Down Below,’ ‘Shenandoah,’ ‘What Shall Wo Do With the Drunken Sailor?’ ‘ Sally Brown,’ ‘ Rio Grande,’ 4 A’Rovin,’ 4 Tho Drummer and the Cook,’ and ‘ Whisky Johnny.’ Dr Sargent, who is perhaps the greatest of tho younger conductors, imparts plenty of iifo and brightness into tho playing of tho orchestra, which is recorded with groat sonority.