RECORDED MUSIC.

Manawatu Standard, Volume LI, Issue 94, 21 March 1931, Page 7

RECORDED MUSIC.

A Great Recording Pianist.—Few. contemporary pianists _ have rivalled Levitzki in his success in the recording of pianoforte music. His playing ni the Liszt Concerto was magnificent. Another excellent example of his work is show’ll in the Chopin “Scherzo in C Shaip Minor,” Op. 39. His “Marche Militaire” is also a winner.

Sophie Tucker.—The celebrated Sophie Tucker, of London revue comedy and cabaret music fame, gives us a sample of her quality in “I’m Doing What I’m Doing for Love” and 1 m Feathering a Nest”—“Some of These Days.” Breezy numbers these, smacking of the very latest. ■

Are You “On the Level?” —Any instrument which is not dynamically level when playing is likely to cause sidopressure and, consequently, needless record wear. Try this: Place a 12-inch record on the turntable and’ set the turntable in motion. Gently lower the sound-box (with needle) first on to the outer blank rim and then on to the unrecorded portion just outside the label. Choose a record, if possible, which has a lot of unrecorded space (or the smooth back of an old single-sided record, if one is available). Note if the sound-box tends to swing inwards or outwards. If it swings inwards, then you must put a little packing (paper or bits of cardboard) under the feet of the gramophone either at the left or at the front—the former if the tendency for inward swing is greatest at the inside of the record and the latter in the opposite event. If, on the other hand, it swings outwards, then packing on the right or at the back is required. “Floradora” Vocal Gems. —It may. surprise some to know that the musical comedy successes of the beginning of the century were quite as tuneful, catchy and amusing as the latest revue. The gay tunes and swinging melodies popular thirty, years ago could be no better illustrated by these sparkling gems from “Floradora.” This is undoubtedly one of the finest records yet made. The gems included in this- cleverly managed pastiche are those hereunder: —I Want to be a Military Man; The Fellow who Might; Phrenology; Tell Me, Pretty Maiden; The Shade of the Palm; The Silver Star of Love (Leslie Stuart). “The Crown Diamonds.” —Here is another war-horse lifted from the limbo wherewith to delight us. Auber’s forty.-odd operas may be more or less forgotten now, but it is a pleasure,to hear the symphonic preludes that accompanied some of them. Crisp, colourful music that is thoroughly enjoyable —especially when to well played by Dan Godfrey and the Bournemouth Municipal Orchestra. The “Eledermaus” Waltz. —Raie da Costa has set a new fashion in the recording of pianoforte paraphrases of well-known opera selections. Her paraphrase of the “Fledermaus” waltz is a brilliant piece of work, enhanced with all the artistic embellishments of the cabaret school. In his “Paraphrase of Strauss Waltzes,” De Groot employes two of the most famous “Blue Danube” and “Die Fledermaus” waltzes —and with his able collaborators gives a very brilliant display., ■ . Russian Nightingale Song.—Those in search of a brilliant coloratura soprano record out of the beaten track will find much to rave about in GalliCurci’s recent recording of a “Russian Nightingale Song.” Quentin Maclean plays Ballad Memories.—The ballads of the last century and the first decade of this are not yet forgotten. They seem to have a longer musical life than the modern foxtrot and theme songs. Quentin Maclean, with his infallible knack of getting the utmost tonal detail from the registration of his colossal organ at the Regal Cinema, London, has this month funrnished an artistically played selection of some of Herman Lohr’s and other minor song writers’ old successes. The recording is brilliant, and should enjoy a huge sale. Included are the following: Where My Caravan Has Rested; Little Grey Home in the West; 0, Dry Those Teal’s; Floral Dance; Rose in the Bud; She is Far From the Land; Made, My Girl; Because. A Young Sydney Soprano.—Two bright songs, “Love Will Find a "Way” (‘.‘Maid of the Mountains”) and the waltz song from “Alerrie England,” •are admirably sung by Helene Esserman, a young Sydney soprano of exceptional gifts, who has gained prominence in Paris, where she is attached to “The Opera Comique.” She sings these favourite waltz songs with an abundance of vitality and charm. Buffo Songs by Peter Dawson. — Butcher’s rollicking “So I Left” and Squire’s “A Chip of. the Old Block” are gopd buffo numbers recently recorded by Peter Dawson. The great British baritone will delight his innumerable admirers with liis fine renderings of Squire’s popular ballad and a slyly humorous and previously unrecorded song.

De Groot Playa. —De Groot is a favourite violinist of the popular type. His orchestra is one of the finest of the cabaret class in London, and. lie himself an inimitable artist in his own sphere. Tliere are two very good records from, him recently issued —Wagner’s “Traume” and Chaminade’s “Autumn” and “I’ll Sing Thee Songs of Araby,” and “Drink to Ale Only with Thine Eyes.” Real Russian Ballet Alusic.—Glazounoff’s “Scenes de Ballet” (Op. 52) is the most satisfying from all points of view heard for many a long day. Here we have modern orchestration, bizarre colouring, and rhythmic appeal of an unusual kind. There are seven numbers, on three moderately priced discs, beginning with a fascinating “Preamble.” Then comes a damty “Alanonettes,” a lively “Mazurka,” a, sparkling “Seherzino,” a characteristically Eastern “Dance Orientale,” a whirling “Pas d’Action,” a charming waltz, and, finally, a brilliant polonaise. A set to possess, by all means. Ravel’s Now Famous Bobro. —The musical public is a quite unknown quantity. Three or four years ago Ravel wrote this Bolero, and, although played on the Continent, it did not receive a London performance until last season. And the work proved so popular that it was repeated several times within a few weeks. It is certainly calculated to make a good impression on first hearing. It_ commences ' pianissimo with' a 'plaintive little theme, the rhythm being tapped out softly with wooden sticks on the kettledrums. AVith a growing wealth of orchestral colour and tonal volume, this little tune is elaborated until it reaches an enormous then ceases. It’s certainly exciting, and of considerable interest to all students of contemporary music as well. The recording, by Mengelberg and the Concertgebeouw Orchestra, is superb. , Caruso’s Finest Record. —Halevy’s “La Juive,” the last opera in which Caruso ever sang, and his ultimate masterpiece, is a monument alike to his vocal and histrionic development, and to his skid in make-up (says a gramophone critic).' Eleazar’s farewell, “Rachel! Quand du Seigneur” is magnificently, impressive, ■ whether viewed from the vocal, musical, dramatic, or recording point of view. It is considered by many to be Caruso’s finest record.