RECORDED MUSIC

Hawke's Bay Tribune, Volume XVII, 1 October 1927, Page 12

RECORDED MUSIC

THE WEEK'S NEW RECORDS. FAMOUS NUTCRACKER SUITE “Casse - Noisette” (Nutcracker) Suite (Tschaikovsky. Philadelphia Symphony Orchestra under Stokowski. H.M.V. D 1214—16. Tschaikovsky’s delightful and piquant music was originally intended to surround a little ballet based on Hans Anderson's fairy tale, ''The Nut-cracker and the Mouse King.” The orchestra required is comparatively small, and Tschaikovsky u represented in his best vein. As recorded here, the suite consist, of nine short numbers (of which all except the. overture are dances). Ment.on must be made of the really beautiful playing of the celesta in the ‘‘Dance of the Sugar Plum Diary”; it is one which we feel depicts exactly the floating dance of the fairy. ‘‘The Trepak,” a wild Cossack dance, goes with a tremendous verve, and forms a wonderful contrast to the weird “Arab Dance” on the next record or to the humorous “Chinese Dance.” The final record is occupied on both sides b the famous “Waltz of the Flowers.” The elaborate introduction for the harp is reproduced marvellously. The Philadelphia Symphony Orchestra is reputed to be both the largest and most perfectly trained orchestra in the world. As might he expected, the performance in these records is superb: the unlimited rehearsals possible to the orchestra under the permanent conductor. Stokowski, have resulted in a remarkable perfection of detail and a general polish. Indeed so "finished” is the performance that it adds what amounts to an additional ‘‘thrill” to the lovelv music. CHOIRBOY AS BEST SELLER A choirboy’s voice is selling a gramophone record sp-’ successfully that ten presses are engaged “x--clusively on the production of the record at the His Master’s Voice factory. The bpv is Master Ernest Lough, and he is the soloist m the rendition by the choir of the Temple Church, London, of Mendelssohn’s ‘‘Hear My Prayer.” The demand f<»' the record has equalled that for the popular dance bands, and has created a boom in church music. This disc should be here soon CHOPIN’S “FUNERAL” SONATA The "Funeral March” Sonata (Cliopin), played by Arthur de Greeff (pianoforte). H.M.V. 01220—22. Chopm wrote three Sonatas, of which the second (popularly known as the "Funeral March Sonata”) is perhaps the most popular. The "Sonata” was published in May, tail), exactly 87 years ago, and most of it was probably written in 1839. Schumann, when he reviewed the “Sonata,” suggested that it was merely four of Chopin’ most capri-. cious short pieces bound together and called a Sonata Probably he was right, for we know that the great "Funeral March” was written con siderably before the remaining movements. The yoke of the "form” of the "Sonata”' laid easily, though strangely, upon Chopin's shoulders, and the first movement has, in spite of everything, the air of an improvisation. The Scherzo, which follows the First Movement, is very beautiful. The odd side of the last disc is occupied by the same composer’s “Grand V-iise Brilliant* in E Flat” (Op. 151. SEA SHANTIES. “Haul Away, Joe,” “What Shall We Do with the Drunken Sailor?” “Fire Down Below,” “Hullabaloo Balay.” Sung by John Goss, ban tone, and the Cathedral Malq Voice Quartet. H.M.V 82420. What do we find so very attractive about the sea shanties? Perhaps it’s the suggestion of the salt sea about them, and of the "windjammers sailing before a spanking breeze." Their strong, incisive rhythms (which are an essential feature, as the shanty, was primarily for the purpose of keeping the men together in their concerted work by its rhythm), makes one deplore the fact that steam has practically eliminated the shanty anywhere outside the stokehold

FLONZALEYS IN BEETHOVEN QUARTET,

"Quartet m G Major” (Op. 18, No. 2, Beethoven), played by the Flonzaley Quartet. H.M.V. DA 851 —54 (four 10-inch discs). The Flonzaley Quartet gave four recitals in England at the end of March last, but, although worldfamous for the perfection of their musical achievements, they have made comparatively few public appearances—and this seclusion is due to the somewhat romantic nature of their constitution and history. A quarter of a century ago an American millionaire living at the Villa Flouzaley, on Lake Geneva, conceived the idea of forming a string quartet which should be artistically perfect. With this obiect h e searched the whole world for suitable musicians, and, having found the ideal four, bound them together bv rigid laws. In order to preserve the unity of effect they are forbidden to play in orchestra or even solo; and as » result the quartet has reached a standard of artistry never previously attained. The above quartet ranks among Beethoven’s most important works. It is an early composition in his more youthful style, and the light-hearted character of the music has been brilliantly expressed bv the musicians A NEW PADEEWSKI DISC. "Impromptu in A Pint Minor” (Op. 142, No. 2 Schubert)—“Study in E Major” (On. 10, No. 3. Chopin i Plaved bv Padsrewski (niano). 11 M.V. D 81037 Paderewski’s greatness Is due to the intensity of the thought that lies behind each interpretation, ns was rnven.ed during his recent tour. The hstener feels that the place of each note in the scheme has been carefully considered In its proper proportion to the whole; ns a result, each piece however familiar, takes on a new aspect—ns if it had been sublimated or recast in more spacious mould The player's broad vision is made evidence nt every turn, and his strong personality pervades the performance. Yet it is always the music which is made to come first. Listening to the fine nnd sensitive performance ■ of the Noc-turne-like "Ftndv in E Motor" of Clionin. the bears'- ma* well say: "There is Paderewski, indeed' Tips record wit be o! great, interest to all who have recently heard I’nderewski during his tour of Australia and New Zealand.