RECORDED MUSIC

Manawatu Standard, Volume L, Issue 180, 28 June 1930, Page 7

RECORDED MUSIC

A Record Worth Having.—The King’s Speech at tho opening of tho Five-Power Naval Conference on January 21, 1930, recorded in tho Royal Gallery of the House of Lords. The King’s Speech at the opening of the Naval . Conference was heard by millions. The record was made in the morning, broadcast the samo evening. Tho profits arising from the sale of this record are to be devoted to charity in accordance with tho wishes of H.M. the King. This record of worid-wide interest is a triumph of recording, and one that should take a place in everyone’s library. Brilliant Ptiiladelphia Orchestra. Philadelphia Symphony Orchestra, Prelude a 1’ apres-midi cl’un Faunc, Parts 1 and 2 (Debussy). In this tone picture, foundod on Mallarme’s poem, Debussy weaves an enchanting orchestral fabric suggesting the half definite thoughts that pass through tho mind of a faun as it rests under a tree on a hot afternoon. This music, so indolent, voluptuous and exquisitely colourful, is superbly played by the Philadelphia Symphony Orchestra. The glowing orchestration is recorded with absolute fidelity. Splendid Double Concerto. —Jacques Thibaud (violin), Pablo Casals (’cello) and Pablo Ca6als Orchestra, Barcelona (Conductor : Alfred Cortot), in “Double Concerto in A Minor,” Op. 102 (Brahms). The collaboration of Thibaud, Casals and Cortot, which has given the world in general and enthusiasts for recorded musio in particular, so much exquisite music and unalloyed joy, is overwhelmingly successful in this record. Not even tho artists for whpm this work was written (Joachim and Hausmann) can have shown a finer or more complete understanding of the music nor more perfect technical mastery of its difficulties than have Thibaud and Casals, while Alfred Cortot (who thus returns to the role in which ho first became famous) conducting Pablo Casals’ magnificent orchestra, gives a superb reading of Brahm’s masterly score. Chinese Syncopators.—Pickard's Chinese Syncopators, in “That Tiny Teashop,” and “Moments.” Pickard’s Chinese Syncopators make a welcome addition debut. Their clean .and clover playing has been most faithfully recorded, and this is a first-class novelty record. Opera Gems from “La Tosca.”— Giovanni Inghilleri, baritone, and Octavo Dua (vocal duct), in “Tosca”—Tro Skirri, una carozza (Quick, Three Agents and a Closed Carriage) (Te Deum Scene) (Act I.) (Puccini). Giovanni Inghilleri (baritone), in La povera mai cena fu interrotta (My Poor Little Supper was Interrupted) (Act II.) (Puccini). The first act of Puccini’s “Tosca” is set in a chapel. Hither has come tho Macchiavellian Scarpia, tho Chief of Police, seeking an escaped prisoner. He suspects Tosca, the beautiful opera singer, of assisting the fugitive, and as she leaves the chapel he orders “Three agents and a closed carriage” to follow her. As he gives her instructions tho crowd files in, followed by the Cardinal. Scarpia kneels as if in prayer, but his mind is devising a scheme by which he may possess Tosca. The great climax with 6oloist, chorus, bells, organ and orchestra “full out” is tremendously thrilling and wonderfully recorded. “La Povera mia cena fu interrotta” is taken from the second act. Scarpia lias arrested Tosca’s lover and is torturing him. Scarpia, calmly commenting on the interruption of his supper, suggests that Tosca shall devise a plan by which her lover may bo saved. Coldly she asks his price. Scarpia is amused. “I do not sell myself to ladies for more money,” he exclaims. “When I saw you clinging to your lover like an infuriated tigress—then I swore you should be mine.” Inghilleri sings these dramatic scenes superbly. “From the Yboman of the Guard.” — Light Opera Company, in “The Yeoman of the Guard” —vocal gems, Sullivan. Intro: during: “When Maiden Loves”; “A Man Who Would Woo a Fair Maid”; “Hereupon We’re Both Agreed”; “Didst Thou Not, Oh, Leonard Meryll”; "When our Gallant Norman Foes”; “When a Wooer Goes A-wooing”; “I Have a Song to Sing.” Tho uppeal of Gilbert and Sullivan is a lasting one, and such records as this, giving in quick review tho greater moments of “The Yeoman of tho Guard,” sung by a collection of stars, cannot fail to please. _ ' Maori records.—There is a real treat in store for the lover of good singing this month. This is no less than a series of twelve records by the Rotorua Maori Choir. Theee records were mado on tho spot, at Ohinomutu, Rotorua, and they are certainly authentic in style and manner. The choir is recruited Irom the Ngati Whaekane, a section of tho famous Arawa Tribe, which for generations past has dovoted itself to singing. The result is obvious to anyone who listens to ono of these records. The Ngati havo an instinctive feeling for music. It may be doubted if anywhore else in the world a group of singers has acquired such complete unity. Even the Don Cossacks at their best, when they thrilled the entiro world with their almost unbelievable control of light and shade, could hardly touch them for sheer choral loveliness. The songs are familiar to most of us. It will bo the manner more than the matter — though that itself is oxhilarating enough —which will excite us most in Now Zealand. “E Pari Ra,” Sir Apirani Ngata’s famous warrior’s farewell, is sung by Rotohiko Haupapa, with tho choir, as also is its pairing, the war song “Haere Toun,” a heart-stirring piece of word. Most of us will look down the list for “Hine E lline,” that incomparable love-song. Here it is sung by an exquisite soprano, Te Mauri Meihana. Its pairing is an other love-song. “Wairangi.” Another popular favourite that will eargerly be sought after is “Pokarekare.” It is done by the wholo choir, with somo charming variations and paired with another Maori love-ditty, “Te Taniwha.” There is also an attractive pairing of two poi songs, “Haere Haere Ra e Hine” and “Hoea Ra To Waka.” Other familiar titles abound. More Hebrides Songs.—A month or two back Miss Patuffa Kennedy-Fraser gave us four “Songs of the Hebrides,” and few vocal records have been more welcome. Now another member of tho family, Margaret Kennedy, gives us another four. Hor choice includes “The Bens of Jura,” “Heart o’ Fire-Love,” “Deirfre’s Farewell to Scotland” and “An Eriskav Lullaby.” The quaint, unique idion of these beautiful ballads is conveyed' with attractive simplicity. There is refreshing charm in the studied and lifelike way in which they are sung. Traditional Scotch Songs.—News that Elder Cunningham, the famous Scotch bassbaritone, will be touring , New Zoaland within a year or two lends additional interest to his new scries of Scotch songs. His latest is a pairing of two old, but by Airta,” and “Jessie, the Flower of Dunno means hackneyed songs—“O’ a’ the blane,” Both of them have the true Scotch sentiment, which has tho happy knack of going to the heart and not the head. Cunningham phrases with natural instinctive refinement, indeed, naturalness seems to bo his outstanding quality. His (voice is round and open and records with lifelike fidelity. Edgar Coyle.—“For Ever and For Ever ’ and “Beauty’s Eyes” (words by Weatherly). The first has an orchestral accompaniment. The second has piano and ’cello. It is doubtful if songs like these will ever bo written again at least not until the Great Cycle brings round again such a combination of emotion and stylo. And as Toeti’s songs are likely to be stone dead in another fifty or sixty years, it is well worth while hearing them once again. In most of us they recall tender memories —if nothing else.