RECORDED MUSIC

Manawatu Standard, Volume L, Issue 253, 20 September 1930, Page 7

RECORDED MUSIC

At the Harpsichord.—Wanda Landowska holds a unique place in the world of music. She has revived the art of the harpsichord and interprets on it the art of the great masters who wrote for it before tho advent of the piano. She is Polish, and has toured extensively, being a pianist of exceptional powers, a' composer and an authority on the classics. Mmo. "Landowska has designed her own harpsichord with two keyboards and several pedals. In the harpsichord the strings are plucked with quills, instead of being struck with hammers. Her, contribution includos: Tho Harmonious Blacksmith (Handel); Turkish March (Mozart). A Tchaikovsky Piano Concerto. —This month’s symphony programme includes a concerto —Tchaikovsky’s B flat minor, played by Solomon and the Halle Orchestra. This work is not Tchaikovsky’s only piano concerto. It was the first of four — three being in the conventional pattern, and one a Phantasy Concerto in two movements. Tho composer submitted this work to his piano-playing eclectic comrade, Nicholas Rubinstein, who hoartily condemned it fropi start to finish. This wounded Tchaikovsky so nearly that he published it without a single alteration and re-dedicated it to the German, Von Bulow, who, in turn, was fulsome in his praises of tho work that his keyboard rival had so roundly denounced. The work can hardly bo called profound. In the second movement, sentimental, perhaps. On the whole, it is melodramatic rather than epic or heroic. A trifle gai* ish.; possibly even a trifle vulgar. But these qualities are something.of a recommendation in the eyes of the average music-lover. We all lovo a few purple patches and a leaven of blood, and thunder to lighten tho dough of classic profundity. And in this work we get it —a wealth of high-spots enlivening a really interesting work. Nothing really high-brow and nothing entirely commonplace. Solomon plays magnificently. , Greatest “Prologue” Singer. —Lawrence Tibbett was born in Bakersfield, California, and completed his school studies in Los Angeles, where he later studied singing. Beginning his stage career with a Shakespearean Repertory Company as lago in “Othello,” he later appeared as Amonasro in “Aida” at the Hollywood Bowl. Determining to become a concert singer, Tibbett deedied to go to New York in 1922 for further study. He borrowed on his life insurance in order to take his wife and twin sons with him.'The following year he became famous overnight, after creating a sensation in Verdi’s “balstaff,” at the Metropolitan Opera. To-day, Tibbett enjoys enormous popularity as singer and actor. He enunciates every word with absolute clarity, giving its full meaning. Tibbett lias made a wonderful record of the Prologue from “Pagliacci” —the best ever done anywhere. Pagliacci (Leoncavallo), Prologue, Si Puo? Part I; Pagliacci (Leoncavallo), Prologue, Un Nido. Part 2. Believe me if all t*hoso endearing young charms (Moore); Drink to me only with thine eyes (Calcott). Two Modern Salon Songs.—Here is a newcomer to the ranks of recording voices—a baritone called Hon. W. Brownlow. Ho sings “I Pitch My Lonely Caravan at Night,” a song by Eric Coates, and “I Look Into Your Garden,” by another musician of similar calibre, Haydn Wood. These are pleasant songs very pleasantly sung. So well sung, in fact, that another record from Hon. W. Brownlow will be looked for with pleasurable anticipation. There are a lot of lieder yet to be recorded —in English. Vocal gems from “Patience.” —This series of vocal gems from the Savoy Operas must be enjoying huge popularity. Gems fifim “Patience” is the latest disc to be released. The numbers introduced in this pot-pourri are “A Silver Churn,” “Prithee, Pretty Maiden,” “Love is a Plaintive Song,” Chorus of Maidens from Act 1, “When I First Put This Uniform On,” “I Hear tho Soft Note,” “It’s Clear that Medieval Act,” “Silvered as the Raven Hair,” and “The Soldiers of Our Queen.” World’s Latest Boy Prodigy.—Yehudi Menuhin, the youthful genius of the violin, who at tho age of eleven created an unprecedented sensation at his first concert in Nhw York in 1928, is of Russian descent. He was brought up in America, making his debut with the New York Philharmonic Orchestra in the Beethoven Concerto. His surprisingly mature performance was received with such enthusiasm and incredulity that ,his parents consented to give a recital, the tickets for which were sold in 24 hours. If ther’e is anything youthful in Manuhin’s playing of Allegro or “La Capricciosa” it is his vitality, verve, and brightness. Yet there is a’ sombre warmth in the G strong tones, a hint of deeper emotion and always mature confidence, sureness, infallibility. A brilliant record is Allegro (Fiocco); ‘La Capricciosa (Ries). An Irish Diva.—Margaret Sheridan furnishes one of those rare cases of a. British artist who hk3 gained a great European reputation. She was born in Ireland. For some years past her rich soprano voice has roused enthusiasm among Italian audiences, including thoso of Milan —most critical of all—Rome and Naples. She made a big success at Covent Garden, and is well known in most European capitals. Her beautiful voice has remarkable resonance, and this quality is faithfully “caught” in her recordings, among which may be mentioned: Mm*. Butterfly (Puccini), Un Bel Di; Otello (Verdi), Ave Maria. Boheme (Puccini), Mia Chiamano Mimi; Lohengrin (Wagner), Elsa’s Dream. Mme. Butterfly (Puccini), Ancora un passo (Act I); Mmo.■ Butterfly (Puccini), E questo? (Act H)- • , La Scala Star.—Aureliano Pertde is the principal tenor at La Scala, Milan, where every year he seems to strengthen his almost impregnable position. Ho has particularly been acclaimed in roles requiring a more robust voice and also in Wagnerian operas. All his selections have been recorded with the assistance of members of La Scala Orchestra, and the “Swan Song” from “ Lohengrin ” is a superb triumph of which the recording expert might well be proud. His list includes Lohengrin (Wagner), Merce cigno gentil (Swan song); Lohengrin (Wagner), Narrative. Andrea Chenier (Giordano), Un di all’ azzuro.; Pagliacci (Leoncavallo), Vesti la giubba. Memories Revived. —Zonophone Salon Orchestra, “In the Shadows” (Finck) and “Sweet Adeline” (Armstrong). Two of the qld folks’ favourite numbers. “In the Shadows” was heard everywhere before the war. Light and dainty with perfect precision. _ _ ~ , Bound to be Hits. —V. Dalha-rfc and Adelyno Wood (duet), with novelty accompaniment, in. “Sing Hallelujah.” Vernon Dalhart (vocal with novelty acepmpaniment), and “Eleven Cent Cotton.” These are numbers bound to become popular. Both artists are gifted with fine recording voices, and when they 6ing unusual songs supported with novel accompaniments to add to the charm they are bound to give us winners. Marimba Music. —Green Bros., Marimba Orchestra, in “A Bunch of Roses”—a Spanish march (Chapi) and “Wedding of the Winds”—waltz (Hall). Two charming numbers by a fascinating orchestra. .Arcadians Dance Orchestra, in “Melody Divine” —waltz (featured in the film “The Careless Age”), and “Evening Shadows”— fox-trot. Good, tuneful numbers played in “tip-top” style, full of the spirit of tho dance.