Gramophone Notes

Manawatu Times, Volume LIV, Issue 6844, 23 February 1929, Page 14

Gramophone Notes

Brahms second Symphony.

“Symphony in D Major, No. 2” (Brahms). Waite Damrosch conducting the New YerV. Symphony Orehes- . tra. Columbia 04205-09. That Brahms is steadily becoming a composer for the rank and file is evident. It is one of the best signs of advancing musical taste that his Symphonies and (in a lesser degree, of course) his chamber music are being enjoyed by many who hitherto had no ears for anything but a few of the Hungarian Dances and Waltzes. Here is the most attractive of his Symphonies—the fourth—played by the New York Symphony Orchestra under Walter Damrosch. This is good sound playing and recording. There are conductors whose watchword seems to be ‘Brighter Brahms’, Damrosch is content to let the music sav its say without underlining or endeavouring to make purple patches in a work whose appeal lies rather in logical consistency. He may even bo accused of going to tho other extreme, taking a somewhat prosaic view, and missing some of the mellow—even genial—glow of the music. But the clarity of his reading is an asset. From start to finish I found the set very enjoyablo. For the student of development and construction the first movement of this Symphony is one of the best of lessons; with tho minimum of effort he can follow the growth of the tiny germ —tho opening three notes, D, C sharp, D—from which tho bulk of the movement grows. A Schubert Medley.

Tarts 1 and 2. Played by Herman Finck and his Orchestra. Col. 02721-22. A fitting bonno-bouche to the spate of Schubert Centenary records is this medley of Schubert melodies—a sort of precis of all that has gone before. The arrangement, as it should, contents itself chiefly with tho more familiar tunes. The Schubert lover will hear some of his favourite songs—“ Hark, Hark the Lark,” “Tho Erl King” and “Ave Maria,” for example; snatches from the “Unfinished”; some of the “Rosamunde” music and little gems of tunefulness from every corner of Schubert’s plentiful treasury. The arranging has been most skilfully accomplished. Links are easy and natural, and the tone of the whole is expressively varied to suit each mood. One of the most enjoyable recordings, for high brow and low brow alike, that has yet appeared.

Two Viennese Waltzes. (I) “Jolly Fellows” Waltz (Lustige Bruder) (Vollstedt); (2) “Hydropaten” Waltz (Jos. Gungl). Played by the New Concert Orchestra conducted by Anton Weiss. Col. 02672. Now that the Vionnese Waltz is coming back to vogue wo are reminded of some of the attractive tunes that have been buried so long. “Jolly Fellows” is capital—a bright and rhythmic melody that moves along with so much insouciance that we wonder why it was ever allowed to collect the dust of oblivion. Anton Weiss gives a sparkling interpretation of both. The strings have body and bite, and the woodwind, carefully handled, adds a touch of romance to the atmosphere of Viennese gaiety.

Selection from “Faust.” “Faust” (Selection —Parts 1 and 2) (Gounod). Col. 02708. “Faust” is always classed as “everybody’s favourite,” and tho Columbia Symphony Orchestra’s new record, a well-arranged selection of the music, explains why. . The music is bright, bold, and has that memorable quality which makes a good tuno permanent. Not a difficult task for such a considerable orchestra as the Columbia Symphony, and they tackle it witn distinction. Should bo very popular with all opera lovers.

Joseph Szigeti. Sonata in G Major—Parts 1,2 and 3. Played bv Joseph Szigeti. Columbia 03621-22.' A magnificent bit of playing. Tho Tartini gives us an object lesson in

broad phrasing and double-stopping. It is hardly a masterpiece, but so groat are this artist’s powers that it seems possible to listen to it for ever and ever. Great technical demands are overcome as if they didn’t exist, and there remains tho joy over the purely musical eminence of thi3 great violinist. Tho Beethoven is dashed off brilliantly. Ought to be heard by tho million.

Sophie Breslau. i (1) “Just A-Wearyin’ For You’* (Jacobs-Bond and Stanton); (2) “I Love You Truly” (from “Seven Songs (Jacobs-Bond). Sung by Sophie Braslau, Contralto. Columbia 03618. Chicago has hailed Sophie Braslau as the greatest vocal find of the post-war years, and when Chicago gets enthusiastic over a voice, that voice is good. There i 3 no more critical audience in the world. On this record her material in no \my matches her voice, but those who take delight in a magnificent contralto, artistically phrased and handled with delicious shading, will forgive the banal songs she sings.

Magic Garden Scene from Parsifal. “Klingsor’s Magic Garden and Flower Maidens” (Wagner) Pts. 1-4. Bruno Walter conducting the Royal Philharmonic Orchestra. Columbia 1746-7. Bruno Walter’s renowned conductorship of Wagnerian music can bo fully appreciated on these two discs. It is a demonstration of how well even above other nations, an English ensemble can interpret the spirit of Wagner’s music. Parsifal is full of gloriously conceived symphonies and his music calls to mind our English legends of King Arthur’s Knights on their quest for the Holy Grail. The orchestration covering the Magic Garden and Flower Maidens’ scene is of especial beauty, and handled by Bruno Walter it is a gramophone item that most of us will want to own.

The Chanve Souris. (1) “A Russian Barcarolle”; (2) “Round tho Hay Wain.” Sung by the Chauve Souris Company. Columbia 02525. These brilliantly clever Russian entertainers excel themselves in two finely contrasted numbers—a languorous and hauntingly lovely Russian Barcarolle, once a favourite song of the immortal Ratti, and a breathless medley of Russian songs called . “Round the Hay Wain.” The part-singing is dynamic and dramatic, and even the foreign language cannot prevent it from putting over the true bucolic flavour.

Stracciaii. Rigoletto—(l) “Pari Siamo”; (2) “Cortigiani, vil razza dannata (Verdi). Sung by Riccardo Stracciari, Baritone Columbia 04174. For so long has Stracciari been acknowledged as the greatest living operotic baritone, and so successful were his earlier records, that music lovers have awaited with keenest interest hi 3 first electric recordings. Tho result is a revelation. His characterisation haJ enormously improved with the passage of time, and tho amazing sonority and richness of Ms voice are more thrilling than ever. There is a certain opulence in these records not entirely due to the improved recording. This new is' sue of his old triumphs is decidedly a musical event.

Albert Sammons. (1) “Elegie” (Massenet); (2) “Thais” Meditation (Massenet). Played bv Albert Sammons. Columbia 02687. It has always been said of Sammons that ho records better than any other violinist, and now that we are losing our prejudice in favour of foreign names some London critics are even venturing to declare that he plays as well as any foreign mapstro. His phrasing is certainly as subtle as one could wish for, and his tone as gloriously mellow. Listening to these familiar numbers one realises how important it is to have them played by a violinist of first rank. .