GRAMOPHONE NOTES

Manawatu Times, Volume LIII, Issue 6536, 18 February 1928, Page 6

GRAMOPHONE NOTES

Two Beethoven Quartets. (1> “Quartet in G Major” (Bee--thoven) —In Six Parts. Col. 8190911. (2) “Quartet In D Major” (Beethoven) —In Six Parts. Col. .1912-14. Played by the Leher String Quartet. oSix records in Art Album. Beethoven was thirty when he wrote the G Major quartet, and it's lighthearted buoyancy shows him, at his brightest. It is, the second' one of tho six quartets, opus 18. and marks a definite period- in the composer’s career. He had thrown away the old-time conventions, and was on the threshold of tho dominating strength of his maturer manner. 'lt starts right away with a happy subject, and the naivete of the rhythm and its grace of style cannot fail to appeal to the hearer. The slow movement is in more serious strain, but there is an allegro phrase in tripping semiquavers, and then a return to tho charm of gentle quietude. The Scherzo is a merry movement with its phrases tossed here and there in the real spirit of playfulness, and the last is as simple as the first and as charmingly childlike. But the' workmanship is by a master handi and the finish is brilliant in the extreme. This quartet, by reason of its elegance is- gen-, erally called the “Compliment,” the word being usedin tho sense of a bow or obeisance. ~ The D Majoor quartet In actual chrnological order is the first Of the six quartets. Perhaps it is most hap. plly described by the late Mr Joseph Bennett in the following sentence. "It is a highly, finished cabinet picture, the- more to be prized as one .of the very rare exemplifications of absolute repose -and unclouded serenity to be found ; scattered -; here and there throughout the .rich catalogue of Beethoven’s ■ productions.” The opening melody, of this quartet is one of the longest in Beethoven’s works, and the. similarity between ;the Minuet and the Minuet in the Quartet in D, Op. 44, of Mendelssohn may be commented upon!-■ Sir Henry Hadow has compared a theme In the Finale to the escape of Tam o’ Shanter, Britain’s Finest ’Cellist. (a). “The, Broken Melody,” (b) “Drink to me Only.” 'Cello Solos by : W, H. Squire, acc. at the piano by Sir Hamilton Harty. Coi. LlOl7. Though this Is a fairly old recording, I have secured It from Columbia for reviewing because I have been asked frequently of date for a good ’cello record. I feel that there-are few ’cellists who can approach Squire and Squire is at his best in simple tunes of this nature. Wo have learnt to expect more from' the recorders, but this is a fine example,- none the less, of the mellow singing tone of Squire’s ’cello. His phrasing, too In graceful and sustained, charging these, famiiar tunes with more than usual interest. This is a record that will never fail to. please, A Brilliant Tenor. (a) “Serenade” (Schubert). (b) “Who is Sylvia?” (Schubert). Sung by Charles Hackett, Tenor. Col. 7367. ' . ' " I"'' Why is it we hear' so little of Charles Hackett these days? Time was when he was hailed as the greatest of tenors, and his records show that this praise was not altogether undeserved. ~Ke sings here two glorious melodics.of Schubert's —that supreme song-maker—with no less charm than art. I cannot remember anyone who sounds so comfortable around the upper register; it la this ease Which makes Hackett so delightful, and certainly any attempt at forcing his notes would have completely ruined the spontaneity of these two lyrical masterpieces. Hackett's tone is robust hnd ; full, never lacking in warmth and just stopping short of a tendency to become too highly coloured. A singularly pleasing record.

A Now Soprano. “La Forza Rel Destine” —(a) Madre pietose Vergine: (b) La Vergine degli Angeli (Verdi).. Sung by Ar-angi-Lombardi, Soprano, and La Scala Chorus. Col. 04023. One of the most effective moments in the middle period of Italian opera is the great soprano air “Madre pietoso Yergine,” from Verdi’s “La Forza del destine.’’ It is the ill-fated Leonora’s cry to the Virgin for help when, fleeing from her revengeful brother, she seeks sanctuary in the mountain convent. As she sings she hears the monks in the monastery nearby chanting the “Venite.” This dramatically placed air is succeeded by the second, part of the, record, and the effect, as recorded, is one of the most successful reproductions the electric process has given us. Madame Arangl-Lombardl is a soprano who ranks among the leaders of Italian opera, and her singing here is an amazing piece of realism, the chorus magnificent to the point of thrilling. Amazing Part Singing. (a) ‘‘Valse’’ (Vocal Waltz), (b) Two Russian Folk Dance Songs.” Sung by the ICedroff Male Quartet. (Unaccompanied), Col. D 1552. It is hard to know which to admire most —the discipline with ■ which the Kedroff Quartet achieve their perfect unison of purpose, or the beauty of the voices, both individually and in harmony. The Kedof quartet is composed of four very fine singers,

two of them Professors at the old Imperial Conservatory at St. Petersburg, and the others concert singers of great eminence. Together, they give a finely balanced performance that is an aesthetic treat in richness and purity of tone, and display the greatest understanding In their tempo. One of the debts that w e owe the . gramophone is that it has made it possible for us to enjoy the folic music of other countries These three Hussinn songs ar e delightful'in every way —typically Slavonic in colouring'and rich In humour. The recording is fine , i