GRAMOPHONE NOTES

Manawatu Times, Volume LIII, Issue 6667, 21 July 1928, Page 5

GRAMOPHONE NOTES

The Famous Sheffield Choir. (1) “Hallelujah Chorus’’; (2) “Worthy is the Lamb’’ (Handel’s Messiah). The Sheffield Choir, conducted by Sir Henry Coward. Columbia 9008. Good choral records are far too few; but so are good choirs, and a choir is so. difficult to record that the record buyer naturally goes straight for the choir with a great reputation behind it. It is fortunate, therefore, that the Sheffield Choir, having established unique fame for the highest class of choral singing, resolutely maintains that standard. This record is nearly as perfect as one can hope for. The reproduction is certainly' magnificent, and in every way worthy' of the fine singing. Unfamiliar but Attractive, (1) “Witches’Dance” (La Trcgcnda) (Puccini); (2) “Concert Waltz in A” (Glazounov). Percy Pitt conducting the 8.8.0. Symphony Orchestra. Columbia 9114. Tho Puccini dance comes from his first opera, “Le Villi,” which is still played: frequently in Italy. It is full of the usual macabre effects, and in spite of its transparency docs not fail to be weirdly impressive. Percy Pitt has made the most of it and must have thoroughly revelled in the performance. Tho Concert Waltz has charms of its

own ,aud should give much pleasure at any rate of the first few hearings. Flaying'is spirited and happy. The Coriolan Overture. “Coriolan Overture’' (Beethoven) in two ports. Willem ifengelberg conducting the Amsterdam Couccrtgcbouw Orchestra? Columbia LlB-18. One is thankful to find that in the spate of symphonies and quartets issued for the recent Beethoven Centennial Celebrations, that the composers overtures have not been neglected, for they form an important part of his work, The Coriolan Overture is delightfully simple and yet strong, and covers a wider range of moods than is usual in the single works of the great composer.

The recording is superb. One is accustomed by now to the almost perfect resemblance between the actual work and its record, but nevertheless this record startles one with its sonority and wealth of tone, and with the fidelity with which it preserves the true balance between the instruments. Mcngelbcrg’s interpretation is deeply and finely conceivcdj and makes a worthy companion to Ms recording of the ‘ ‘ Egmont” Overture ,recently published. An English Virtuoso. “The Devil's Trill Sonata” (Tartini)." In four parts. Violin solo by Albert Sammons. Col; D 1559-60. We have learnt to expect good work from Sammons, but hero he has sur- \ . V

passed expectations. The silklifess of his tone records better than any other, the great foreign masters not excepted. Of the origin of this Sonata, the composer Tartini says, "One night;! dreamt that I had made a bargain with the Devil for my soul. Everything wont to my command. . . . The idea suggested itself to hand him! my violin to see what he could do .with it." The Devil played so exquisitely that Tartini awoke, and seizing his violin reeled off what he could remember of 'the lovely solo. Whether or not he succeeded, the result is worth hearing. The Famous "Pathetique" Sonata. "Sonata (Pathetique,in C Minor" (Beethoven). In Pour Parts, Pianoforte solo by William Murdoch. Columbia LISIQ-00. Of this famous Sonata, of the three movements, the first two,, an allegro and an adagio, far surpass the third in constructive brilliance. The allegro immediately introduces a happy theme, and develops it' with immense power. Tho solo movement which follows jis one of the most charming in all eal literature. In its melodious and fluid phrases one can recognise the inspiration for a great number of Anglican chants. Tho third movement treats the opening theme in Eo’ndo : form, but though it is gay and spirited its conventionality is ; ’sadly out of place after the depth and sincerity of what has gone before. ' ‘. Murdoch's playing is exceptionally

: ■ Vrich, both emotionally and intellectual* ly. It' is almost a' compliment to him to point out .hat his technique only falters in the indifferent Hondo;, ho, the first movements he brings a richness and .one and subtlety of play that definitely raises his status among pianists. . ; Alfred O’Shqa. ‘(1) "The Star,” (2) "At-the MidHour -of Night." Song by Alfred O'Shea. Columbia 0350 b. Each of O'Shea's records seems an improvement on tho last, and it is pleasing to note that this improvement (is mainly what might be termed Intel? lectual. His renderings, seem increaeingly convincing, thoughtful and sincere, while he loses no whit of that personality that put him in a class by himself. In these two lovely ballads he shows an usual command of. mezza voice, especially in Sir Frederick Cowan’s lovely setting of Thomas Moore’s ‘‘ At the Mi d-Eour of Night. ” “ Tho Star/” on tho other side is a vocal treat mow' recorded for the first time.