RECORDED MUSIC

Evening Star, Issue 21624, 20 January 1934, Page 6

RECORDED MUSIC

[By F-rato.]

‘ The Reve Angelique,’ from Ruhinstein’s ‘ Kamennoi-Ostrow,’ is recorded! by the Victor Symphony Orchestra,' reinforced by the grand organ. This is regarded as one of the most beautiful melodies which Rubinstein ever wrote.- ‘ Kamennoi-Ostrow ’ is the_ general title of twenty-four piano pieces, and take their name from Kamennoi Island in the river Neva, where the composer spent many vacations. ‘ The Reve An* gelique ’ is the best-known piece id the collection. After a brief introduction there is a broad, dignified melody which is in beautiful contrast to the more animated second subject, a dreamy pensive theme sung by the ’cellos with an- accompaniment in the treble by flutes and violins, suggesting rippling water. A third subject based on an old Russian church chorale follows, and- a short development leads to the return of the first subject, a short reminiscence of the second subject, and the chorale brings the composition to a close. It is said that the first subject suggests a moonlit garden,and the second depicts the conversation of two lovers whose words are interrupted by the tolling of a bell in the chapel nearby and the chanting of the _ monks at evensong., On the other side of the record is heard Liszt’s famous ‘ Liehestraum, No. 3’ (‘Love Dream ’), which is one of the mesh beloved of all tone poems. The Victor; Symphony Orchestra excels • itself in! both works, and the reproduction, of tone is up to the highest standard. All the romantic warmth of Schumann is revealed in Mischa Elman’sj exquisite playing of ‘ Traumerei,’ which! is one of the loveliest themes written' for the violin. Elman achieves * singing tone which presents the musio with all its and his delicate tone colouring adds distinction to -his performance, which is technically, and artistically superb. The companion! number is Schubert’s ‘ Valse Sentimentale ’ (arranged l by Franko). Hero again Elman gets to the spirit; of the music. If ever there was a composer with the gift of melody it was Schubert. His themes seem to he as fresh as a spring morning. This waltz is ai “ gem of the purest ray serene,” and Elman brings us fully under its spell.-

Two of the most famous airs in all opera—the ‘ Barcarolle ’ from the ‘Tales of Hoffman,’ by Offenbach, and the ‘lntermezzo,’ from Mascagni’* ‘ Cavalleria Rusticana ’—are charmingly rendered by the New Light'Symphony Orchestra. These two entrancing melodies have won their place in the hearts of all music-lovers, and they, will'continue to do so.as long as musio ' maintains its appeal. Jacques Offenbach is often called “ the father of modern opera bouffe.” Though of German birth, Offenbach, like Meyerbeer, is chiefly identified with r the French! school, for all his works were written' for the Opera Comique of Paris. Hia operas have met with great popularity all over the world, but or , his one hundred ’works for the stage none' is more beloved than ‘ The Tales of Hoff* man.’ The ever-poipular ‘ Barcarolle < occurs at the opening of the ..third! act. The scene discloses a room in a) ; Venetian palace, and through the open windows can be seen the canals bathed in the silvery moonlight. The lovers sing this beautiful duet to'the’rocking measure used by - the Venetian gondoliers and known as' the barcarolle- The ‘lntermezzo’ front ‘ Cavalleria Rusticana ’ has also won universal popularity. The .short oneact opera is divided into two parts, and between the two scenes of -tragedy is introduced this musical message of. peace, breathing an air of simplicity! and love. Dramatically, it ■ does not perhaps fit into the opera, save as. ai contrast of the scenes of tragic turmoil,' but played as a concert number, it has made its composer famous. The recording ,of both aits is excellent in every respect. The orchestra- is splendidly, balanced in tone; and brings out the atmosphere of the music.

The romantic rise'to fame of Danny, Malone, tho young Irish. tenor, whoso first records have created as big a sen* sation as the debut years ago', of John! M‘Cormack, is told in a London paper* which gives the following account oij Malone’s discovery by the recording manager of the famous gramophone! company:—“ The silvery tenor of .a young Irishman was recently carried by radio to far corners of tho British Enn pire—where the singer had shortly be* for© wandered the streets picking up a! precarious living with his songs. India,; Canada, and Australia were thrilled with the performance, during a special Empire programme, or this new musical find, 22-year-old Danny Malone. He gained a valuable gramophone record* mg contract through the engagement.. Behind JVIr Malone’s rise to fame and 1 , fortune lies a romantic story. One cfl a family of eight, Danny Malone was 1 working in an Irish shipyard when two years ago he lost his job. Rather than, be a drag on the already overtaxed income of his parents, he decided -to fend for himself. He managed to find a berth as a. deck hand on an ocean* 1

going steamer, but three months later; he found himself wandering the Aus* tralian bush in search of work ; His voice , earned him a meagre existence between jobs on cattle stations in the north of Australia and working on thei wharves in the ports of the southern! States. Eighteen months of roving brought him no further success, 'and two? months ago, after working his passage* he landed in London disappointed, disillusioned, and hungry. While search* ing for work he called at the office oj Mr Basil Dean, song writer and publisher. It took three minutes for Mr; Dean to give him a try-out at, the piano and another two minutes to get in touch with Martyn G. Webster, the producer for the British Broadcasting Company. An hour later Danny, Malone stood in front of the microphone with audition officials at tho various lis* tening posts. Thereafter he was traps* formed from a workless shipbuilding hand into an artist who thrilled 'an empire. The same evening, while the recording manager of the gramophone company was dressing for a first-night theatre show, he. switched on the radio and heard a tenor voice singing * Molly Brannigan.’ He was struck with the similarity of voice to that of John! M'Cormack. Hearing the singer’s second number, ‘ The Mountains o*‘ Mourne,’ he waited patiently for the station’s announcement, which was not forthcoming. He telephoned the 8.8. C., where to his surprise he was informed that the singer was an .unknown lad named Danny Next morning he started inquiries which resulted in the making of a number 1 <>! test records of Malone’s voice and climaxed in a contract.”