RECORDED MUSIC

Evening Star, Issue 21784, 28 July 1934, Page 6

RECORDED MUSIC

[By Ekato.] m Oije of the most important of the August releases is the prelude to ‘ Tie Kingdom,’ by the late Sir Edward 11gar, and played by that great Englilh composer And the British Broadeastiiig Corporation Symphony Orchestra. Elgar was without, peer among his contemporaries as a composer of .oratorio and this particular work, which is the sequel to ‘AThe .Apostles,’ is one that clearly reveals his nobility of thought and exceeding skill' in orchestration.Tho 8.8. C. Orchestra is : probably th» finest in England at the present time, and its performance of this' prCludi holds particular interest.- more so iri view of the fact that Elgar himself is conducting. It has delicate pictures of great reflective beauty in it, : and is 1 played with* simplicity and ' charm.--Notable among the other orchestral re-; leases, is a Schubert bracket by .John.' Barbirolli . and his orchestra—the ‘ Rosamunde ” ballet music and the ' ‘Marche Militaire.’ -Barbirolli— ia among -the younger leaders of music in':.! England, and his orchestral readings' have remarkable individuality.ln ai

lighter vein there is a fasdnating performance by Alfredo and Hs orchestra of a medley of; Strauss wdtzes and a Spanish gipsy, dance, by Marquina. Those who saw the picture ‘ The Blue Danube ’ will remember the ‘ascinating music of this orchestra, and'in record form it is even more competing. ' In rhythm and distinctive colon, it, will arrest . immediate attention:, Marek Weber and his orchestra an represented by an . attractive • p<k pound under title ofHail Viepia/ an ingenious arrangement- of ■. ifietihese airs, unquestionably the ;flnest ight orchestra recording of this 'particular type of music, arid, the actual r(Production of his music seems to'surpass all others in its clarity and polish. ■. ; *. . * . * ■ *•. v' ■ Heading the vocal list for, August is a record with two characteristic lallads by Beniamino Gigli—the Neajolitau ‘ Mamma mia, ,-che vo sape/ ’ f My, Mother Only Knew ’), by . Futile, and ‘ Musica. Proibita ’ ( ‘ Forfidden. Music ’), by Gastaldou. ‘ Gigli s the most popular- tenor in the worli of opera, and his recorded performances are invariably excellent. He his a voice of immense power, superbly controlled, and always invests it wth a peculiar, lyric charm. These balads are sung with his customary briUiinco of . voice and . eriiotional sincerity. Next on the list is Richard Crooks, one of the very few; American tenors--vho have .achieved;:; world-wide celebity through the gramophone. Crooks xiigs that favourite ballad; ‘Nirvana’,’ by Adams, arid Liddle’s. lovely setting of words taken front Psalm LXXXI7., ‘ How Lovely Art Thy Dwellings/ , lis voice is quite dissimilar to Gigli’s, it is also one that has charmed the whde world. It actually , has more strength than the Italian’s, and is more even in line —a quality that is a natural consequence of a totally different school of production. It is always a pleasure to hear Crooks’s invigorating perforniances. A Paul Robeson record is certain of an enthusiastic reception:' j The latest disc from-the famous -coloured singer contains ‘ Blue Prelude ‘I and ‘ Swing Along/ The former song is a curiously interesting product of modern musical thought, and wall probably be quite familiar to listeners/unpleasantly so more than likely,, as it is one oi the efforts which Bing Crosby so frequently inflicts upon long-suffering radio owners. No other bass in. the world has the peculiar tonal beauty of Robeson. His singing is a sheer delight, and must charm every ear. Thert is. of course, a Peter Dawson recorddno monthly issue would be complete Without one), On this occasion his sqiiga are ‘ Chorus. Gentlemen 5 (Lohr)/jnd Bantock’s 1 Captain Harry Morgan/ two virile ballads that suit Dawson Admirably. As ever, his diction and clarity are distinguishing characteristics of a striking performance. , i

* * * * i The pianoforte and violin recitals by Miss Una Bourne and Miss Marjoiio Hayward have been for some time pie of the outstanding features of the London concert seasons; These two artistai are poetic interpreters, both_ equally skilled in the technique of their respective instruments. Above all, they maintain a perfect balance, Their approach to the lyricism of Grieg is ideal, and the three records they have jufet issued of the Scandinavian composer-s ‘ Sonata in C Minor ’ is full of musicil quality. The beauty of the work is extraordinarily impressive, and the t touch and tone of,the instrument's ghjp it an added charm. The first movement, allegro molto ed apassionato, is a sheer joy, but it is only the beginning of a performance that holds one enraptured. The second movement, allegro expressive alia rolnnnzn, is full of* delicate passages, but it never loses character or becomes insipid, and in the play, ing there is a sensitive and accurate sensibility to rhythm. Again in the allegro animator the third and final movement, there is the same grace mid discrimination in tone colour. The whole is a gorgeous picture of the awakening of spring.