RECORDED MUSIC

Manawatu Standard, Volume XLVI, Issue 105, 3 April 1926, Page 7

RECORDED MUSIC

WEEK’S NEW RECORDS. Quite the most interesting of recent recording achievements by the H.M.V. people is “Mater ora filium” of Arnold Bax for unaccompanied double choir, recorded in three parts by the Leeds Eestival Choir, conducted by Albert Coates. If I remember rightly (says a reviewer), this work was given at the Leeds Festival last autumn by the same people who had made the record. The fact that it has been recorded is a sign of growing confidence in the power of the gfamophono, and if the result is not completely successful it is yet sufficiently good to be impressive in several ways, and the experience gained will no doubt be of great value when the next attempt is made to record choral music of an elaborate texture. Such music provides its own problems for solution. In such a work as this of Bax we have a musical texture of from four to eight real parts which give an inner complexity not often exceeded by a modern orchestral score; and in the latter case we have the assistance in recording and reproducing of varieties of tone colour which are much more obvious than those furnished by the human voice in its different classes. Also, because of the more limited range of the voice, crossing of the parts is much more utilised in choral than in instrumental composition, is, indeed, a recognised feature of a composer’s choral technique. These facts made the average madrigal more difficult to follow in actual performance than, say, the average string quartet, and the difficulty is increased when the music is heard on tho gramophone, since the latter cannot yet give us all the tonal subtleties of the original rendering. For these reasons the records made in the past by the English singers, and records of a similar class such as those of the Byrd choral music, have been more successful in rendering the general effect than the detail, and have in this respect taken second place to instrumental records of concerted music.

A gramophone record of 800 voices, an orchestra of 80, and an organ has been made by the H.M.V. Company. This record of “Where is tho Lamb?” and “Lift Up Your Heads,” from the rendering of tho “Messiah” by the Royal Choral Society, was made at the Albeit Hall at the New Year performance of the oratorio. A beautiful flow of melody with an old world flavour ha 3 been recorded by Guilhermina Suggia. This is the Sonata in A major for violoncello by Boccherini, arranged by A. Piatti. with a piano accompaniment played by George Hooves, and occupies two sides of a 12in disc. Tho tone of her magnificent instrument has been well recorded, and she gives an intensely poetic reading of this old Italian composer. , . Bach was a past master in writing for tho choir, and a wonderful example of his work is given in tho performance of “Blessing, Glory, and Wisdom” (Parts 1 and 2), by the choir from tho chorus of the British National Opera Company. Mr Alfred Coates is the conductor and he is to bo congratulated on his handling of a difficult piece of work. The recording, too, has been very adequately and effectively achieved. All lovers of choral music will appreciate this latest record.

Tschaikovsky’s Symphony No. 4 in F minor has been very finely recorded by the Royal Albert Hall Orchestra, conducted by Sir Landon Ronald. This is one of the most charming examples of tho composer’s work, containing a strong flavour of Russian folk-song, with fiery energy effectively blended with lightness, gaiety and cosmopolitan effects. A full analysis of the work is given in the artistic album, which is presented free with each set of these five double-sided H.AI.V. records.

Chaliapine (bass) is unapproachable in Russian opera, and in his latest recording he contributes two solos from “Prince Igor” (Borodineb in which his magnificent voice finds its true environment. The two arias are both taken from Act 11. of the famous opera, and being among the finest of Chaliapine’s repertoire, are well worth hearing. Miss Florence Austral delights m the bold sweep of Handel’s mighty phrases, and her rendering of “Let Ale Wander not Unseen” exhibits an understanding of his style. The Sullivan song on the reverse of this record, “Orpheus with His Lute,” is an old favourite, and shows that composer at his best. Aliss Austral is outstanding in this song. Three discs of “Lionel and Carlissa,” containing thirteen numbers from Dibdin’s comic opera, will be eagerly welcomed by those who have wondered over the nature of the music that has caused the latest excitement down Hammersmith way. Dibdin wrote “Tom Bowling,” The Lass that. Loves a Sailor,” and “The Bells of Aberdovey,” in the course of. his industrious life, which ranged from 1745 to 1814. It should therefore bo no surprise that tho man who could write songs that have ‘lived as long as these have in popular affection wrote a great deal more than breathed the very spirit of English song, but if two of those here recorded, “Come then, Peevish, Pining Lover” (sung by Stellar Seager) .and “Ah, Talk Not to Me,” a delightful record of tho tenor Wilfred Temple; were put up as a test many people would date them back in to tho 17th century, pcssibly tho work of our greatest English music-maker. The opera has been arrarged by Mr Allred Reynolds, who also conducts the Lyric Theatre (Hammersmith) Orchestra, in the accompaniments, and whatever hand he has had in creating this atmosphere the effect is gloriously English. It is impossible to enumerate all of tho very lucky thirteen chosen for these records. Some are short, but nothing is easier than to grant yourself an encore on your own gramophone. Amongst the longer ones is “Como and on Aly Truth Relying,” pleasingly sung by Olivo Groves, whilst a whole side is given to tho splendid fmale to Act 2—“ o, What a Night is Here for Love,” which has tho listener’s ear from the opening phrase. This is one of the two numbers in which Nigel Playfair is heard. ■ Others who take part in different items are Ivan Samson, Rupert Bruce and Nadine Alarch. They can apparently-be played in any order, but 1 am willing to gamble that wherever the quintet in “0, What a Night” appears at the first' hearing, it will go on again at tho end for an encore.” . Elena Gerhardt is unique and alone in her masterful interpretations of the gloriouis treasure house (of Germanlieder. She was the first of all German singers to reappear in England after the war, and her wonderful singing dispelled prejudice and rankling memories. The London Queen’s Hall audience of that evening would not let her go, and she sang encore after encore. The same feeling is

aroused on hearing the truly beautiful disc on which she records Brahms’ lovely “Eternal Love” and his plaintive “Fainter, Fainter, grow my Slumbers.” So entrancing is the effect produced (enthusiastically writes a reviewer) that we are, in the absence of an encore, compelled to turn the disc over and hear tlieso lovely melodies again. Never before have we heard that masterpiece, “Eternal Lovo,” sung with such a perfect appreciation of its spirit.