RECORDED MUSIC

Hawke's Bay Tribune, Volume XVII, Issue 211, 20 August 1927, Page 10

RECORDED MUSIC

THE WEEK'S NEW RECORDS. A BRILLIANT NEW SOPRANO. “Tu Che di gel sei ginta”—“Signare As coital” (from Puccini’s last opera. “Turandot’). sung by Rosina Torri. soprano. H.M.V, 82409 This is undoubtedly one of the finest operatic soprano rendering H.M.V. have issued for a long time—and at a moderate price, too (plum label) Puccini’s style is inescapable, Even in this. »in a sense, posthumous work, one catches the old familiar atmosphere of “La Boheme,’’ although. must be conlessed “Turandot’’ ,ig 'more opulent if less haunting. These two fine numbers are brilliantly sung bv Rosina Torri, whose voice is of wonderful clarity and expressiveness. GEMS FROM “ELIJAH.” “For He Shall Give His Angels Charge Over Thee”—“Yet Doth The Lord See It Not” (from Mendelssohn’s “Elijah’’), as performed and recorded at the time by the Roval Choral Society under Albert Coates at the Royal Albert Hall. H.M.V. DU44. I lies© are unusually fine numbers, brilliantly recorded. The famous double quartet is sung by Florence Austral, Edna Thornton, 1 Walters, G. Ripley, F. Webster, E. Hargreaves, E. Halland, and H. Erv. with wonderful clearness and expression. The great chorus on -he re verse side is magnificently sling Eminently a disc to possess and cherish. A NEW EVELYN SCOTNEY. “O Whistle and i'll Come .o You xliy Lau ' (iraaitiunal) —“Caller Herrin”’ (traditional), sung bi Madame Evelyn Scotney, opruuo. HM.V,, H 450. Here we have a distinguished and favourite soprano in two verv wellknown and wiCiely-popular old s ngs These she sings with great charm and appeal. ' AN UPLIFTING DISC. “O Divine Redeemer” —“There is a Green Hill” (Gounod), bv Florence Austral, soprano, H.M.V, 1212. One ot the finest renditions of Gounod s famous supplication ‘O Divine Redeemer,” and his “There is a Green Hill,” that has ever been recorded for the gramophone. Florence Austral has that opulent Quality of voice which lends itself most admirably to this class of music. To say that one is uplifted by her singing is not to exaggerate one whit They are. in the fullest sense of rhe word, verv sacred moments. BADFORD IN ORATORIO GEMS. “Whv do the Nations?” rfrom Handel’s “Messiah”)—-“Rolling in Foaming Billows” (from Havdn’s “Creation”), by Robert Radford.bass. H.M.V. 1213. Radford is one of the best-known and deservedly popular of contemporary basses in-England to-dav. He is particularly effective in oratorio, as well may be judged from his Quality as recorded on this exceptionally fine disc. MARGARET SHERIDAN IN BALLAD. “Danny Boy’’ (the “Londonderry Air”—“l Know Where I’m Going” (old air), sung bv Margaret Sheridan. soprano. H.M V. DAB 32. Margaret Sheridan, great in opera, will be found here equally appealing

m these two simple numbers. Wentherleys famous “Dannv Bov” is world famous, while “I Know Where I’m Going” has a plaintive anneal which goes straight to the heart of the listener. A HEIFETZ RE-RENDING. “Rondo’’ (Schubert)—“Ave Maria’’ (Schubert) Heifetz, violinist. H.M.V. D 81047. The Heifetz season in New Zealand adds interest to his records, of which he has a list on the H.M.V catalogue as long as vour arm. fiizurativelv speaking. The disc under review is a re-recording of two of his most popular numbers. The Heifetz touch is unmistakable here—sure, brilliant, and wonderfully expressive. A GREAT RECORDING. “Symphony No. 5 in C Minor’ (Beethoven), recorded by the Koval Albert Orchestra, under Sir Landon Ronald. H.M.V Dlll5O-53. One feels impelled to revert to this wonderful recording achievement. There have been several notable recordings of this, the most popular ot all the Beethoven symphonies—the “Fifth” —but in none heretofore, it may be fairly claimed, have all the essential aspects of what constitutes a perfect recording been so adequately treated. Interpretations excellent playing brilliant, recording thoroughly successful. The resuit is a commanding and almost aweinspiring revelation of the miehtv genius of the composer. ONE OF THE BEST. “Fire Music’’ (“Valkyrie,” Wagner), Symphony Orchestra, under Albert Coates. H.MV. D 1079 It is some time since H.M.V. s celebrated recording of the “Fire Music,” and one is able at this dav to regard it in the perspective of later achievements. Despite the latter, the “Fire Music” must stand for long as a classic milestone in the progress of modern recording under the new electrical process. It is thrilling in majesty, beautiful in theme . stupendous in its general action and altogether satisfying in the fullest sense of the word. After one gets to know it well one feels impelled to lift up one’s voice and “sing in” with the beautiful melody of “Wotan’s Farewell.” A CHARMING SUITE. “Petite Suite de Concert’ , (four numbers, Coleridge-Taylor), bv De Groot’s Piccadilly Orchestra H.M.V C 1219-9. One of the early successes of the new H.M.V. electrical process of recording was Coleridge-Tavlor’s delightful “Petite Suite de Concert.” of which the “Question and Answer” is the best-known and most popular of the four movements. A feature of this set (it is in the plum-label moderate-priced class) is the charm and delivery of the orchestration, which is faithfully reproduced bv De Groot and his capable band. This set is well worth while. A BRILLIANT ZONOPHONE DISC. “Dolores” (Woldtenfel) —“Mor airna,” orchestral pieces bv Creatoxxe’s Band. Zonophone. EFS. Very often one receives from the Zonophone studios an exception#! disc Such is the “Dolores”—“Mor aima” bracket tecorded bv Greatox's Band, a musicianly company of the status and capacity, one would sav. of the H.M.V. Light Symphony Orchestra. Further contributions from this orchestra, to judge from the quality of this particular disc, will be more than welcome. JOSEPH HISLOP’S VISIT. “Pourquoi me Reveller?” (“Ossini’s Song.” from Massenet’s opera “Werther")—“Salut. demeure chaste at pure’ (Gounod’s “Faust”). Sung by Joseph Hislop tenor. H.M.V D 8944

As Joseph Hislop, the famous British tenor (he is bv birth a Scot), will be here some time next month, interest in his records is now more or less topical Hislop has a "Teat voice, and he is held in remarkable esteem on the Continent of Europe, where he has spent manv seasons. The Continent, in fact, is said to know him better than does his native country. This disc presents him in two favourite operatic numbers of his. As a patform singer he is said to be equally effective. A DRAWING-ROOM GEM. “Wohin?” (Schubert) —“The Night Wind” (Farley.) Sung bv Frieda Hempel, soprano (HM.V. D.A. 634). There are certain songs—apart from the general run of ballads and popular songs—which convey an irresistible suggestion of the refinement of the drawing-room. “Wohn?” Schubert’s delightfully tuneful air. is one. Farley's descriptive depiction of “The Night Wind” is another Neither has the robust quality which one associates with platform music, yet each in its own particular wav is entitled to a place in our esteem. As sung by that delightful soprano. Frieda Hempel, their chairm is wonderful]- enhanced Hempel is an accomplished exponent of the art of lieder singing, and has a well-estab-lished European and English reputation. WEIRD MUSIC “Danse Macabre” (“Dance of Death”) Saint-Saens. Played bv the Philadelphia Symphony Orchestra, under Stokowski (H.M.V. D 1121). This disc has been previously mentioned for its high quality. Frequent hearings, however continue to reveal remarkable features of composition. performance, and recording. It is undoubtedly one of the best of recent H.M V. orchestral achievements. The Philadelphia Orchestra appears only too rarely in the monthly lists, and its “visit”’ on this occasion is therefore the more acceptable. There is a fire and brilliance about the performance of this “Dance of Death” that conjures visions of demoniacal furies whirling about in a wild frenzy. A unique record, well worth while. LIGHT. BUT GOOD. Light musical fare is always acceptable. if well done, as is the case with the duo number by Jim Miller and Charles Farrell “Hullo. Bluebird” and “No Wonder She’s a Blushing Bride.” Typical vaudeville stuff, of course, but served up in the best vaudeville manner. (H.M.V. E.A.122). In the same category are I the duo turns by Billy Murray and Aileen Stanley. “Any Ice To-dav Lady?” (E.A 85), “Bridget O’Flvnn” —“Who Could Be More Wonderful” (E.A.112), and “Who Wouldn’t?” (E.A.128). A good laugh in each.