Recorded Music

Hawke's Bay Tribune, Volume XVIII, Issue 297, 1 December 1928, Page 15

Recorded Music

COLUMBIA. Tempest of the Heart. (1) 11 Trovatore (Verdi) ‘‘ll Balen”; (2) La Gioconda ’(Ponchielli) “Barcarolle”—With Chorus (Riccardo Stracciari). Columbia 03602.

This warm favourite is sung with a fine intensity of feeling—and again the artist does not develop any excited heroics. It is sung—as Verdi meant it to be sung—with splendid restrain. The “Gioconda” boat song is a lovely excerpt.

Prologue—PagUaccl. “Pagliacci”—Prologue, in Two Parts (Leoncavallo) (Riccardo Stracciari). Columbia 03603. This number now occupies two sides of a ten-inch disc instead of the previous single twelve. It is another thrilling recording, and Stracciari manages to work in another chuckle this time.

Myra Hess—Pianoforte. ‘ ‘ Sonata in A Major Op. 120. ’ ’ In Five Parts. Rosamunde Ballet Music. Played by Myra Hess. Col. 04170-2.

This particular sonata, like scores of other Schubert works of all kinds, was not published until after his death though it was written three years before that date A placid and contented atmosphere pervades the whole of the first movement, w'ieh has a delightful “song withou. words” principal melody, “worked out” with the constant repetitions that are such a feature of Schubert’s instrumental music. The slow movement is very simple, both in harmony and melody, and continues the same feeling of undisturbed happiness. There is an engaging unsophisticated merriment about the whole of the last movement, continuing unabated from the rapid scale passages with which i: oi>ens, to the concluding outburst. Marla Kurenko.

(1) “Cradle Song” (Tchaikovsky) (2) “None but the Weary Heart” (Tchaikovsky.). Col. 43576. Maria Kurenko, one of the younger Russian sopranos, is ideally equipped to sing songs by Tchaikovsky. She imbues those numbers with great feeling.

Albert W. Ketelbey Album. Three Fanciful Etchings (Albert W. Kctelcbcy). Played by Ketelebey’s Concert Orchestra under his own direction. Columbia 02691-2. Romance and colour are introduced into music by the composer of “In A Monastery Garden.” Albert W. Ketel bey’s music is the music of those who look for pictures to bo conjured to tho mind through the ear. He is the most popular of all British composers. W. H. Squire. (1) “Le Cygne” (The Swan) (Saint-Saens); (2) “Berceuse de Jocelyn” (Godard.” Played by W. H. Squire, “Cello. Columbia 04179. W. 11. Squire has lost none of his erstwhile brilliance, and the new process makes a wonderful improvement to his glorious 'cello tone. “The Swan” especially is a glowing demonstration of Squire’s well loved style—faultlessly recorded. Sophie Braslau. (1) “Der Erl Konig” (Schubert); (2) “Tod und das Madchen” (Schubert). Sung in German by Sophie Braslau, Contralto. Col. 04162. Sophie Braslau's voice is one of tho most remarkable contraltos now before the public, in its deep richness, its range, its extraordinary power, its expressive potency and colour. Charles Hackett. (1) “I Hear a Thrush at Eve” (Wakefield and Eberhart); (2) “Tho World is Waiting for the Sunrise” (Seitz and Lockhart). Sung by Charles Hackett, Tenor. Col. 03596. Charles Hackett studied music as a boy, and wheu barely 20 years of age he went abroad, making his first sensatoin in Florence. He has been acclaimed by musicians and music lov era, artists, impresarios, singers and critics—“A tenor in a class by himself.” We cannot too highly praise his recent recordings. Percy Grainger. (1) (a) “Sheep and Goat Walkin’ to the’ Pasture” (Guion), (b) “Giguo from First Partita” (Bach); (2; “Lieberstraum” ((Dream of Love (Liszt). Played on the pianoforte by Percy Grainger. Columbia 04097. Percy Graingers’s recent tour of Australia still lingers in the memory, as a stirring musical event, and these records are an excellent example of his fine playing. Liszt’s “Liebestraum” is superbly interpreted, the extreme lightness of touch, the marvellous phrasing, and splendid piano tone combine to make these new offerings one of the finest piano records in existence. Milton Hayes Again.— Tho Meanderings of Monty No. 21 —“My Boy’s Career” (In 2 parts) by Milton Hayes. Columbia 01212. Tho inimitable Monty goes from success to success, and it must bo admitted in this record he turns out a very entertaining monologue. Everyone will be thoroughly engrossed in the suggestions offered in “My Boy’s Career”—from the highly humorous, if not, perhaps, the practical standpoint. Monty’s logical reasoning is irresistible. Malcolm McEarchern. (1) “Only An Old Rough Diamond” (Trevor and Stroud); (2) “Time to Go” (Weathely and Sanderson). Sung by Malcolm McEachern, Bass. Columbia 01214. Sanderson’s rollicing “Time to Go“ is quite one of the best things Malcolm McEachern has ever done. It is cxtremel.V effective and well suited to his phenomeul voice, as is also “Only an Old Rough Diamond.” A very welcome feature of McEachern’s singing is the clearness of his words, which is more striking when the extraordinary depth of his voice is considered.

Electric Recording I by Stracciari. (1) Ernani (Verdi), “O sommo Carlo”; (2) Tos'a (Puccini) “Te Deuni”—With Chorus. Co. 04177. One of tho world’s greatest voices, the electric process enables us to hear Stracciari at. last in all the afilazing sonority and richness of

the performances that place him indisputably among the heroic figures of the world's operatic stage. His singing of "Ernani” and “Tosca” airs is melodious as well as dramatic. The chorus assists hit- to perfection. H.M.V.) A Wonderful Quintet. Alfred Cortot and the International String Quartet (Magneot-Pecker-How ard-Withers), in Cesar Franck’s “Quintet in F Minor.” H.M.V. D. 8.-1099-1102, four discs, in album. The “Quintet” recorded here was written in 1879 and is one of the ear) iest of the composer’s “big” works It is a beautiful work, and like much of Franck’s music contains many pas sages that are of great spiritual appeal. ChaUapin at His Best.

Theodore Chaliapin (bass), is “Boris Godounov,” In the Town of Hasan (Moussorgsky), and “Prince Igor,” Song of Prince Galitsky (Boro din). As Boris, th/ Ts/r, who fough' his way regardless of those who stood in his path. Chaliapin has a marvelous opportunity to display his powere —(H.M.V. D.A.891.) Two Delightful Songs. Mavis Bennett (soprano) in “Pretty Mocking Bird” (Bishop and "Down Vauxhall Way” (Oliver).

Mavis Bennett sings two very diffei ent, but equally delightful, songs. “Pretty Mocking Bird” is a concert, air with some exceedingly brilliant passages for voice and flute. ::Down Vauxhall Way” forms an attractive contrast of simplicity and gaiety. (H.M.V. C 1377).

McCormack Sings for Christmas. John McCormack (tenor), in “Adeste Fideies” (“O Come All Ye Faithful”), and “The Palms” (Faure). John McCormack has made a very appropriate record for Christmas in “Adeste Fideies” (“O Como All Ye Faithful”). It is an exceptionally fine record in every sense; tho mixed choir makes a magnificent background for McCormack’s voice. (H.M.V. D. 8.984). Fine Instrumental Sextet.

The Victor Olof Sextet (instrumental), in three Macdowell numbers: “To a Wild Rose,” “In Autumn,” “To a Water Lily.” The grace and charm with which this famous instrumental combination plays are too well known to be emphasised here. The record it has made of “To a Wild Rose,” and of “To a Water Lily” is of 'such quality that, once you have heard it, you will agree that it is scarcely in need of any recommendation. H.M.V. 8.2690. Coloratura Excellence. Evelyn Scotney (soprano), in “Rigoletto, Caro Nome” (Verdi), and “Romeo et Juliette,” waltz song” Gounod). The “Waltz Song” from “Romeo and Juilet” makes fine opportunity for a vocal display of a most brilliant character. (H.M.V. D. 1435). Scotney, by the way, is booked for ee New Zealand tour under the J. C. Williamson Tait auspices. Brilliant Violinist in Two Serenades. Renee Chemet (violin), in “Serenades” by Pirene and Toselli. Two melodious and captivating serenades played with equisite refinement and charm by Renne Chemet, the talented and brilliant French violinist, who at the present time is fulfilling numerous important engagements in Europe. (H.M.V. D.A.955). An Attractive Metro. Two attractive songs by Armstrong Gibbs—“ When I was one-and-twenty’’ and “Song of Shadows”— are sung by Anne Thursfield, a mezzo-soprano who is a good model in song-interpretation. (E. 462). This record also gave better results when fibre was substituted for steel iu the needle-holder. With the loud ii“edle there was too much suggestion of a mouthing of the worm.

Two Fine Songs. Percy Kahn is the accompanist in tht two son^s— “Passing By” (Purcell) and “King Oharles”( Whitesung by John Brownlee, baritone (E. 483