RECORDED MUSIC

Evening Star, Issue 21718, 12 May 1934, Page 6

RECORDED MUSIC

[By Eeaio.'] The recording of Brahms’s ‘ First Symphony ’ by the Philadelphia State Orchestra under Stokowski, is a briliant achievement both for orchestra and conductor. Stokowski’s conception of Brahms reveals a romantic and youthful personality, and throughout the symphony special emphasis is laid upon melodic qualities—an emphasis which may seem strange to people accustomed to regard the Brahms idiom as more admirable than enjoyable. The performance shows subtlety and the direct simplicity characteristic of folk music, particularly in the wistful aspiration of the Andante and the artless happiness of the opening allegro is skilfully (brought out. The recording is admirably clear; the last movement especially contains some exceptionally steady horn playing. ♦ * * * One cannot imagine any more beauti-fully-toned or classic performance than that of the 8.8. C. Symphony _ Orchestra’s playing of the ‘ Der Preischutz ’ Overture. If course, is is conducted by Adrian Boult, and that alone warrants the high standard of the production. The music itself is too well known and popular to need any commendation. It is one of the loveliest overtures written to opera, and as played here is a charm from beginning to end. The string tone in the opening passages has a wonderful depth and vibrancy. Later on the tone of the four horns in the lovely tune given to them is something of sheer joy. The entire performance is a fine example of excellent, colourful, and robust orchestral recorded music. ♦ * * * An. astonishing recording of ‘ Sicilienno et Rigaudon,’ by Francoeur, arranged by Kreisler, and ‘ Guitarre,’ by Moszkowski, arranged by Sarasate, has been made by Yehudi Menuhin, the boy violinist, whose achievements continue to amaze _ the musical world. Both these pieces have beautiful, melody themes, which have been artistically embellished by the arrangements made by two of the greatest violinists of all times. Technical difficulties mean nothing to Menuhin. His equipment is complete, and it enables him to present the music with its beauties, uppermost. He achieves a rich, warm tohe, and imparts to the music wonderful colour. * * ♦ • A notable batch of records —indeed, a real recording achievement—is a group of extracts from ‘ The Twilight of the Gods,’ the concluding part of -Wagner’s ‘Ring’; some recorded'in Berlin, some in London. In the last of the great ‘ Ring ’ operas the drama moves swiftly towards its appointed end. The music of ‘ The Twilight of the Gods,’ magnificent as it is, has an atmosphere of sombre foreboding, of impending tragedy. As a piece of musical architecture it is the supreme work of the ‘ Ring,’ for Wagner has gathered up the familiar motifs of the earlier operas and has presented them in a new and more significantly dramatic force. Nothing short of glorious is ‘ Hagen Bids the Vassals Prepare for Feasting,’ by the Berlin State Opera Orchestra and chorus, under Leo Blech. The soloist is Ivar Andressen, a splendid bass. The chorus is a big factor in a fine and stirring record. No less good in its quieter way is the disc bearing ‘Rhinemaidens Foretell Siegfried’s Death ’ and ‘ Rhinemaidens Beg Siegfried to Give Up the Ring.’ The Siegfried is Laubenthal, and the Rhinemaidens are de Garnos, Kindeamann, and Marker. The results are strikingly vivid. The other record made at Berlin is a fine one of the Siegfried Funeral March, Karl Muck being the conductor. The four English recordings are every hit equal to the German,

and that is saying a great deal. In the Norns Scene the three singers have colour and conviction. There are a, couple_ of scenes with Brunnhilde and Siegfried, wherein Austral is at the top of her form and Widdop sings splendidly. His voice has the required size and heroio character. In the record ‘ Siegfried Takes the Oath On Hagen’s Spear,’ Austral and Widdop are heard again, with specially good marks for the former. Finally, Austral has the field to herself in the scene where Brunnhilde lights the pyre and rides into it. The orchestra in the English performances is the London Symphony and the conductor Albert Coates. ♦ * # * The final aria of Donizetti’s * Lucia di Lammermoor ’ —* Tombe degl ’avi miei ’ (Tomb of My Sainted Fathers)' is a passage of mournful beauty which lias few equals in Italian opera. .. Edgar believes that Lucy has betrayed his love and he welcomes a refuge in the tomb of his ancestors. "He bids Lucy respect his ashes and never approach his grave. The poignant theme is gloriously sung by Beniamino Gigli,whose mezza voce is sweet without losing its dramatic character. On the other side the eminent tenor gives us ‘Dei miei ballenti spiriti’- (Wild' my dream of youth), from Act 11. of Verdi’s ‘La Traviata.’ Here Alfredo sings of his past wild life and compares it with the peaceful country where he and Violetta are living. Verdi here gives us a serene and happy melody, and Gigli faithfully depicts the scene in' rich tones. Peter Dawson’s masterly interpreter tions of Sir Charles Stanford’s ‘Songs of the Sea ’ have gained him widespread praise. Dawson is said to hold the record for recording—he has made over 3,000 different records. He first made them in the days when the process by which dozens of records could be printed off a ‘‘master’’ was; unknown, and each disc had to he made separately. He would work six hours a day at the studio, singing into rows of little machines, often repeating the same song over fifty times. _His voice is unimpaired by years, and his methods have broadened and mellowed through long experience in reproducing. Hear his robust, stalwart reading of ‘ The Old Superb,’ * Drake’s Drum,’ ‘ Outward Bound,’ and ‘Devon, O Devon.’* They will give you a real salty breath of the sea. * * * ♦ There is endless hilarity in Grade Fields’s latest record, ‘ Grade at Home,’ in. which the celebrated comedienne is joined by her family in a jolly sing-song. The party comprise 'Grade, her father and mother, her sister Betty, and her brother Tommy, and there is not a dull moment in cheerful melange of songs and repartee. Gracia is a host in herself, hut when she is sup-* ported by her family things go with an irresistible swing. She is apparently not the only talented member of the Fields household, and on listening to this record one can easily imagine them gathered round the fireside on a winter’s evening giving vent to their joyous spirits. In this instance, however, they are providing entertainment and amuses ment for other firesides as well. The record is certain to provide endless delight for countless families. It is an ideal cure for any depression. * * * * There is no denying the fascination of the Spanish idiom in music. It is picturesque and strongly rhythmical. This month a de Falla symphonic poem, ‘ Nights in the Garden of Spain,’ is played on five sides of three re< ds by the Symphony Orchestra, unde* VI. Coppola, assisted by the eminent pi , sfc Madame van Barentzen, and on ha sixth side Madame Barentzen pla a solo, ‘ Andaluza,’ by the same com* poser. The “ gardens ” is. one of Man. uel de Falla’s most characteristic compositions. It is not a piano solo wit®

orchestral accompaniment, but a suit# of three symphonic movements in which instrument is of importance. The composition is strongly national. Da Falla is so immersed in his country’# folk-song that his work is not only, Spanish music, which may be—and, indeed, has been—all sorts of things, but' suggests particular aspects of Spain with extraordinary vividness. _ The almost Orientally decorative lavishness of the present work leaves no doubt that it is concerned with Andaluza, the part of the Iberian Peninsula where the Moors left their mark, not only on the architecture of the Alhambra and the Alcazars, but on the folk lore and, if the gardens, of Spain be called true country, on the very landscape. Art excellent pianist takes part in the performance and the tone of her instrument is very cleanly reproduced, but the orchestra also comes. over well.