RECORDED MUSIC

Manawatu Standard, Volume L, Issue 110, 5 April 1930, Page 7

RECORDED MUSIC

A Gom from H Coeron.”—Florence Austral (soprano) and The Royal Opera Orchestra, in “Ocean, Thou Mighty Monster” (Weber’s “Oberon”). Here we have Florence Austral in one of the greatest “scenas” ever written for a dramatic soprano. This great scene, it is considerably more than just an “air,” contains an impressive dramatic recitative which is foli lowed by an aria built round one of the i most famous “big” tunes in all musical ’ literature. The recording was done at the i Royal Opera House, Covent Garden. . ■ Typical Peter Dawson Songs.—Peter Daw- ! son (bass-baritone) in “Drake Goes West” i (Sanderson) and “The Yeomen of EngI land” (E. German’s “Merri,e England”), i Two manly songs, each of them ranking [ among the 'finest accomplishments of their i respective composers, here provide Peter , Dawson with the material for. his latest . record. They are songs of which every i Englishman may be justly proud, and are : fittingly sung. i Bobo Daniels Sings.—Bebe Daniels (soprano) in “You’re Always in my Arms" and “If You’re in Love You’ll Waltz” (“Rio Rita”). Bebe Daniols’s first record. A > very pleasing voice, captivating manner, 1 and the personality which charms from ■the etage, predominates . this recording. A Mozart Symphony.—Vienna Philharmonio Orchestra, in Mozart’s “Symphony in D Major” The “Prague” Sym.). Mozart composed this “Symphony in D Major” (generally known as the “Symphony without a minuet”) at Vienna in December, 1786, that is, at the age of thirty; It was first performed at Prague (henco its name) within a month of its completion, under Mozart’s own direction, and was received with every manifestation of delight. “The Prague Symphony” is undoubtedly one of Mozart’s finost works in that form,, and is indeed quite the equal of the “great three’ (the "Symphonies in E. Flat. Major”; “G Minor”; and “G Major”). Hambourg at the Piano. —Mark Hambourg (piano), in “Romance in F Sharp Major” (Schumann), and “Shepherd’s Hey”-. (P. Grainger). Few composers have made more beautiful or more valuable contributions to the literature of the piano than Robert Schumann, and this “Romance in F Sharp,” of which Mark Hambourg has made this lovely record is an exquisite example of his art. Admirably contrasted is Percy Grainger’s “Shepherd’s Hey” with which it is paired. A Latter-day Caruso.—Alessandro Valente ■ (tenor) and members of La Scala Orchestra, ' Milan, in “Madame Butterfly,” Addio - fiorito asil ((Farewell, oh Happy Home) 1 (Act 2),-Puccini; “L’Africanna,” 0 Para- ■ disol (Oh Paradise!) (Act 4), Meyerbeer. ' Valente and Caruso resemble each, other strikingly. Valente’s singing of these two ■ well-known operatic excerpts is superb and ; his really glorious voice, so warm and ; richly coloured throughout its entire range, is reproduced with realism. , ’ Gorgeous Easter Music. —Philadelphia 1 Symphony Orchestra (conductor, Leopold 1 Stokowski) in Russian Caster Festival; — : Overture (Rimsky-Koreakov). Rimsky-Kor-sakov’s “Russian Easter Festival,” better known, perhaps, as Overture —La Grande Papue Russe, is one of the most magnificent and gorgeously coloured pieces of programme music ever penned. Its main theme is founded on a Russian hymn, and the composer has woven it with consummate artistry into a wonderfully rich musical texture. Elgar At His i Best.—John Barbirolli’s Chamber Orchestra in Elgar’s “Introduction and Allegro for Strings” (op. 47). “This is without doubt the finest modern work i written for string orchestra, and a superb example of Elgar’s genius. One cannot conceive any musical person failing to be thrilled by the spaciousness and loftiness of these lovely tupes, and as to the mastery of the writing, that almost leaves one breathless.” Gems From • Cyril Scott.—Cyril Scott (pianoforte) in his “Lotus Land” and “Souvenir de Vienne.” This is the second of the records which Cyril Scott, the famous composer, has made of his own works. Both are very typical and delightful. "Lotus Land,” as its name suggests, boats dreamily above an iridescent haze of harmony; “Souvenir de Vienne” echoes fragments of a Vienna waltz across a misty harmonic background. A Tchaikovsky Concerto. —One of the products, of Tchaikovsky’s new popularity is a first-class recording of his Concerto for violin and orchestra. The famous Polish violinist, Bronislaw Hubcrman, plays the solo instrument, while Steinberg conducts the Berlin State Orchestra in the accompaniment. No better choice could have been mode. Huberman exercises fully the resources of his marvellous technique, and yet reads into the music something more than a ‘ mere exhibition of dazzling virtuosity. Contradictory as it may sound, the fireworks have a serenity, and unforced ease, that allows the expression, of deeper feelings to shine through. The only emotional part of the Concerto is the Canzonetta, which attains the highest flights of serene ecstasy. In absolute contrast are the humorous efforts in cadenza form on side 3, and the amazing double-stopping employed unceasingly in the conclusion of side 4, illustrating what a master of archetype the Russian composer was. The reproduction is particularly kind to the string tone. , The Franck Symphony.—A short while ago the New \ork Symphony Orchestra, seeking guidance as to their ensuing year’s programme, instituted a “straw-vote” on the most popular symphony. To the surprise of the critics, the-first place fell to Cesar Franck’s one and - only symphony. Beethoven’s “Fifth” came seqond. ‘ The critios surprise may be imagined, for the work is full of almost glaring faults; but its virtues—its originality of thought, its sincerity, and its clever massing ot tone — easily out-balance them in puolic favour. Phillipe Gaubert, conducting the Or’chestre de la Societe des Concerts du Conservatoire, of Paris, gives a clean, vigorous performance of it. Under his baton it becomes an honest, logical triumph of the intellect, free from the sensuousness that some conductors try and read into it. The tone is thoughtfully balanced, and the dynamic varies with finely-conceived subtlety. Gaubert’s partiality for brass is well in evidence, especially in the first movement, while there is a cor anglais solo in the slow movement of unusual beauty. The recording is a long one —eleven sides—but amply repays any effort to become familiar with its inner beauties.

German’s “Henry VHI.” Dances.—A warm welcome awaits a new recording, this time by Sir'Dan Godfrey and the Bournemouth Municipal Orchestra, of Sir Edward German’s evergreen “Henry VIII.” Dances. The recording' includes the Morris .Dance, the Shepherd’s Dance, and the Torch Danoe. The music _ was specially written for, Sir Henry Irving’s production of, Shakespeare’s play of the. same name, at the Lyceum, as far back as 1892, and was perhaps the first work in which the young composer made his name. It has a lively, bustling charm, and is full of fresh and’melodious thought. Flotsam and Jetsam.—Thoso capital duettists, Mr Flotsam and Mr Jetsam are at it again with a brace of humorous songs called “P.C Lamb” and “The Modern Diver.” Tho songs are great fun, and have the merit of originality. They are written by the singers themselves, and while Mr Flotsam plays the accompaniment and contributes a pleasing tenor, Mr Jetsam reaches down into the nether regions for l brass notes as low as one has ever heard. His voice has a truly astonishing depth.' The songs are great fun —“P.C. Lamb” in particular. An Attractive Orchestral Pairing.—The Eastbourne ' Municipal' Orchestra, conducted by H. G. Ainers, play with plenty of sentiment two attractive numbers of universal appeal. The titles are .“Second Serenade” by Toselli, and “Tarantella for Flute and Clarinet”, by’’Saint Saens.- The Tarantella in particular has a most delight-, ful melody, and the wood-wind tone comes out with great effect. . ■ ' Elman. String Quartet. —Elman String Quartet, in “Andante Cantabile,” from- “ Quartet in D? (Tschaikowsky). This beautiful Andante is one of the accepted favourites of string quartets, and for those about to delve into the beautiful realms of charhb-. er “music, hero is an, ideal start.. While Tsqhaikowsky sat near an open window he heard a' Russian workman singing beneath. The lovely folk-song haunted him all night, and next morning he called the singer in and set the tune on paper, later giving it to the world to become "one' of the love-, licet slow movements in all string quartet literature." '