RECORDED MUSIC

Evening Star, Issue 21992, 30 March 1935, Page 8

RECORDED MUSIC

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Outstanding among the orchestral releases for .April is the Havel ‘ ttapsodio Espagnolc,’ played by the Philadelphia Symphony Orchestra under Leopold Stokowski. The studies of this arresting work —Prelude a la Nuit, Malaguena, Habanera, and Feria (Festival) —constitute one of the really peculiarly interesting contributions to modern musical literature, and will provoke a great deal of comment in the dominion, where very little, if any, of Ravel has been played by orchestras. Stokowski is, of course, an absolute authority in treatment of Havel, and his reading of these dynamic .sketches is so clear and vital as to vividly exemplify that most distinctive Ravel individuality. It is indeed a challenging work and a genuinely moving one. In the lighter orchestral section we have another highly competent performance by Marok Weber and his splendid band, this time of Amy Woodforde-Finden’s four Indian love lyrics. Weber and Ids orchestra, easily the best combination of its type in the world, plays those much-sung airs with the crispness and fire that invariably characterise all their recorded works. It is i a sheer delight to hear such smooth and certain instrumental playing. The London Palladium Orchestra, conducted by Richard Ci’ean, offers a comprehensive selection of the more important airs from ‘ Faust ’ and, in a smaller record, two airy trifles in 1 Echoes from the Puszta ’ (Ferraris) and Victor Herbert’s 1 Kiss Me Again.! The vocal list is dominated by Lawrence Tibbctt, who, with his amazing versatility, gives ns a most delightful performance of the Wagnerian ‘ Star of Eve ’ and Gounod's 1 Even Bravest Heart.’ Tibbott is clearly the finest baritone America' has produced, and each succeeding record is alive with his most vibrant personality. Technically, lie has great skill, but it is the remarkable colour and conviction of ,his interpretations that grip attention. This is a splendid record that would enrich any collection. Another pronounced favourite is Richard Crooks, who contributes a refreshing performance of ‘ Kathleen Mavourheeu,’ and the lovely waltz song from Lehar’a ‘ Merry Widow I Love You So.’ Crooks has exceptional power, and invests all his songs with warmth and sincerity. He is always well worth hearing. Miliza Korjus, a meteoric success in the last few months, makes a second bow to the gramophone world with a brilliant performance of the ‘ Una Voce Poco Fa ’ area from ‘ Tho Barber of Seville ’ and the Adam variations on Mozart’s ‘ Ah! Vons dirai-je Maman.’ ‘This young Austrian has an electrifying voice, a gift that will fake her a long way. Its great flexibility is a most engaging characteristic, and it is inch and tine throughout its wide register. -Korjus disposes of tho bewildering complexities of these famous coloratura airs with rather ridiculous ease. Two most charming pianoforte records grace the instrumental section. The first of those holds a delicate and sensitive interpretation of Schumann’s ‘ Arabeske,’ by Vladimir Horowitz, who is, according to an enthusiastic critic in London. “ tho world’s greatest pianist, alive or dead.” We are not in a position to appraise properly the artistic qualifications of the subject of this flattering reference, but we can pay instant homage to tho poetical and imaginative charm of this very lovely performance. Tho other pianist represented is Simon Barer, an unfamiliar name, but unquestionably a pianist of great eminence. He plays the littleknown 1 Sonetto Ko. 104 del Petr arc,a ’

(from ( Annees de Pelerinage ’) and ‘ Gnomenreign ’ of Liszt. The * Sonnet ’ is one of the three originally composed as song settings of Petrarch’s ‘ Sonnets to Laura,’ and subsequently transcribed for pianoforte, and it is in

sharp contrast to the particularly brilliant * Gnhmenreigen.’ Both hav® found an ideal interpreter in Barer* whose playing will command wide respect. These are vitally interesting studies.