RECORDED MUSIC

Manawatu Standard, Volume L, Issue 74, 22 February 1930, Page 7

RECORDED MUSIC

A Heifetz Re-recording.—“On Wings of Song (Mendelssohn) : (a) “Jota” (by de Falla), (b) “Puck” (Grieg). To many the name of “Heifetz” brings Mendelssohn's. “On Wings of Song” to mind. It was one of the artist’s first records. Now comes an electrical recording of this beautiful piece. The wonderfully rich tone and incredibly flawless technique of thisr great violinist is excellently reproduced. Fritz Kreisler. “Thais" —Meditation (Massenet), “Tambourin Chinois,” Op. 3 (Kreisler). Kreisler is exhibited here as a great violinist in the aspjring and beautiful Meditation, and as a composer in the gay little “Tambourin.” In each pieco the superb artistry and technique of Kreisler is shown. Trevor Schofield Again.—A month or two back we were all delighted with the first record of Trevor Schofield, a lad who gave us, something different in the boy soprano line. His second record is every bit as good. “Pierrot at the Dance” is a lightly swaying ditty that is especially pleasing. “A Song of Long Ago,” one that is a charming reminder of “There’s No Place Like Home,” and both are sung with the ease and clarity, the expressive sympathy which havo placed Master Schofield among ' our foremost boy sopranos. Layton and Johnstone.—ln the new Layton-Johnstone record they are singing "The World is Yours and Mine,” tho theme song from “Mother’s Boy” and “Dream Mother.” The vocalism and harmonising aro very attractive and sympathetic. Two Romberg Songs.—Lillian Davies (soprano), in Romberg’s “Lover, Come Back to Me” and “One Kiss.” The beautiful voice and winning personality of Lilian Davies both “come over” magnificently, and the finely played accompaniment provides a most satisfying background. A Lovely Idyll.—Virtuoso String Quartet in Idyll No. 1, “Three Idylls” Parts 1 and 2 (F. Bridge). The Virtuoso String Quartet has made a very pleasant record of the first of tho “Three Idylls,” of Frank Bridge. Tho musio has a peculiarly attractive quality—it is a work in miniature —a perfect water colour, not, however. incapable of reaching certain heights of expression. Albert Sandler and W. Kotelvey.—One of the month’s most attractive rocords is a pairing of violin solos by Albert Sandler. The melodies are from the fertile pen of A. W. Ketelbey, who accompanies the violinist on the piano and shows us sound musicianship in his playing as in his writing. “Algerian Scene” is an artistio impression with the simple and charming theme given chiefly to tho fiddle. It is only once interrupted by a vague “tom-tom” in tho piano bass. Tho sweetly solemn “Phantom Melody” makes a very worthy coupling, for which all lovers of straightforward music will find admiration. Albert Sandler plays with a steadiness and feeling that appeal to the senses —his top notes arc effortlessly obtained. The composer himself, in providing the accompanimont interprets it with an enchantment that is really distinctive. World-famed ’Cellist.—Pablo Casals (’cello), in “Spanish Dance” (Rondalla Aragonesa) and “Vito” (Spanish Danco). Grandos was one of the most talented composers Spain has produced. Born in 1867, he had won for himself a groat reputation as a pianist before taking seriously to composition. One of the first outstanding successes of his pianistio career was scored in Paris when he appeared with Casals. “Daughter of tho Regiment.”—La Scala Orchestra, in “Daughter of tho Regiment” —Overture (Donizetti). Donizetti enriched the operatic stage with a great number of works that consist of strings of tho most exquisite tunes that enchant the hearer, and whose fount of melody was inexhaustible. “The Daughter of the Regiment” has always been one of themost popular of his works with tho British publio, and it is still a great favourite. Two Extracts from “Faust.”—Who does not know the warm and voluptuous music of Gounod’s “Faust”? Most of us are accustomed to hear “The Soldiers’ Chorus” and “When all was Young,” and it is a treat to hear Ityolajoli, who conducts the Milan -Symphony Orchestra, give us two other melodious excerpts. The first' is tho “Valse,” a dainty, rippling tune from the Fair Scene (“Kermesse”) in Act 2. On the other side is the "Prelude,” a" spiritual and contemplative introduction to the opera, which introduces the melodious song, "Even Bravest Hearts May Swell.” Cav. Molajoli conducts with finesse and vigour, lending the music that homely, conimonsense touch which is one of the special attractions of Gounod. Marek Weber’s Orchestra. —“Pagliacci” —selection (Leoncavallo). This record was made in one of Berlin’s finest concert halls. The Beethoven-Saul sets a new standard among operatic selections. It has an amazing fullness and body of tone, and the playing by Marek Weber and his orchestra is of the strength, polish and perfection of detail that wo now expeot

from this, the greatest of Continental light orchestras. And the musics—what new can be said about “Pagliacci ?” Here there are not only the “Prologue*’ and “On With the Motley,” but the first act choruses, “Harlequin’s Serenade,” and the exquisite music from “the play within the play.”