’Neath the Needle

Manawatu Times, Volume LIV, Issue 6901, 6 May 1929, Page 2

’Neath the Needle

THE GRAMOPHONE AND ITS

MUSIC

Military Precision. Enter once more, also the mighty Philadelphia Orchestral, trained to the last man as perfectly as a military unit. The vast host gave us a dazzling performance of the voluptuous music of the “March of the Caucassian Chief/’ pairing it with the contrasting “Dance Orientale, ’’ by Glazounov, played with the same brilliance and precision in attack. The Philadelphia Symphony Orchestra is easily the finest recording team in the world. (H.M.V.) Rachmaninoff. Rich, tone, a clear melodic line, and transparently executed embroidery phrases make “Bee-s Wedding’’ (Alendelssokn), played by Rachmaninoff, a joy to hear. On the same record is no other than the eternally popular “Prelude in 0 Sharp Afinor.” Here is a gripping sense of rhythmic compulsion. (H.M.V.) Magnificent. Peter Dawson is truly magnificent in “The Song of the Flea,” by Aioussorsky. This is surely the first time justice has been done to this song in English. No more biting satire has ever been, given a more satirical setting, and Dawson displays tho half glee, half scorn in tho manner of Chaliapin. On the reverse side he sings “Oh! Aly Warriors,” from “Elgas Caracatacus,” a stirring air that suits the voice admirably. Tho orchestral accompaniments are under Barberolli. One writer said rocently that Dawson was tho cheapest bargain on the gramophone, and here he has plenty of ground for his opinion.. (H.M.V.) “La Boheme” Complete With “La Boheme” Pussini placed himself definitely at tho head of the younger generation of Italian composers. The librettists wisely made no attempt to construct a dramatic whole from Muger’s novel, but chose four scenes, each complete in itself, but all contrasted with one another, which together givo a capital performance of life in Paris about 1830. Puccini's music reflects tho alternative gaiety and pathos of Muger’s book with a truth and sincerity to which no name but that of genius can be applied. What opera lover does not love tho beautiful duet “O soavo funiculla,” the poet’s song “Che gelida manina”' (“Your Tiny Hands aro Frozen”, the gay “Musctta’s Waltz,” and the pathetic ‘ ‘ Mime's Farewell ’’ ? Tho complete opera has been recorded by a company of well-known artists from La Scala, Alilan, under Carlo Sabajno, assisted by the La Scala Orchestra. Georgini, the tenor, reaches a great climax in “Che gelida manina,” and the soprano arias aro exquisitely sung. The various ensembles are finely resonant. (H.M.V.)

Mozart Symphony. Commenting on the Mozart Symphony in E Flat, which was recently recorded by the Berlin State Orchestra,, Sir Henry Coward, the famous music writer in tho “Yorkshire Evening News,” writes:—“This is a fine series. The long introduction is presented with well-ordered contrasts and very pleasing tone-quality, and the allegro, -which is joined on, displays virility and mastery of details as the wonderful constructive skill is unfolded. In the andante, the convincing phrasing puts the. seal of artistry upon tho interpretation. The short interludes of the oboe and basoon, and the firm assertive strings are conspicuous features of the movement. The inenuett asserts the captivating quality which has made it famous. The heavenly trio comes like an enchantment between the bold rhythmic swing of the menuett and the reprise. Hilarity is the mood of tho allegretto, and this jocund atmosphere is never absent, even in the subdued passages. The opening limb of tko principal subject—tho presto rush downward from the dominant to the tonic—is incessantly tossed from one instrument to another, and suggests a Afcrry-go-round of flashing colours. This is carried on to the last bar, and

the impression made fully accounts for Hans Richter’s humorous remark, ■There is a future for this young composer.’ ” (H.M.V.) Sweetness and Light.” Clarity and refinement are the two features of the performance of Schubert’s “Trout” Quintet by Back!- •= (piano), Mangeot (violin), Howard (viola), Withers (’cello), and Hobday (double-bass). The pianoforte tono is excellent —as is usual with Backhaus—the balance is good, and altogether this is a charming set ot records. Schubert, as Liszt finely said, is the most poetical musician that ever was. The performance gives Schubert’s melodious music in a happy and peaceful way. Ba ;- haus, perhaps the most correct of all pianists, suits his style to the Quintet. To no sot of records could the description “sweetness and light” be more admirably applied. There is no piece of lyric music more beautiful. (H.M.V.) Master Violinist. Heifetz charm all with his performance of ■' Estrellita ” (Littlo Star) which affords him something more than mere opportunity for spectacular technique. This time he wins us by the caress of his magical bow, threading his way through the poignant melody with devotional fervour of rarest intensity. On reverse Drigo’s “Valso Bluette” is played by Heifetz with that grip and masterly poise so essential to the dominant qualities of his genius. (H.M.V.) Temple Church Choir. There is an excellent ensemble of voices in the record made by the Masters Lough, Mallet, and others of Sir Walford Davies’s pleasant nursery rhymes, and on the reverse side is a beautiful harmonised version of “Drink to Me Only With Thine Eyes.’’ The record is worthy of the traditions of the Temple Church, which has now become world-famous because of its soloists and choir. (H.M.V.) English Baritone. The English critic, Compton Mackenzie, considers Stuart Robertson to be the best English-singing 'baritone. His latest records includes “Myself When Young,” from Liza Lehmann’s “Persian Garden Suite,” and the new life he puts into what had become a mere peg on which the singer hung his fruitiest notes is remarkable. Every word is clear, and, what is more, every word is given its just value. On the other side ho sings that exquisite sonnet of Rossetti’s called “Silent Noon,” which Vaughan Williams set to equally lovely music. (H.M.V.) Gramophone Literature. A welcome addition to gramophone literature is “The Golden Treasury of Recorded Music,” of which tho first number has just been issued. Of this intended series Mr. Alec. Robertson, A.R.A.M., is the editor and compiler. Mr Robertson aims in these booklets a, providing “an intelligible guide to a wide range of recorded music.” He has set to work, therefore, to select a number of records and to discuss the inherent features of each side of tho records. His comments are more suggestive than exhaustively technical — like tho very best of concert programmenotes —and that the aim of the books — the scries will be constantly added to, I am told —is plainly sincere the editor and author makes clear by the fact that he invites kindly criticism of suggestion from those who seek to get most out of their records as to how to improve the handbooks. Tho present book deals with Bach and Beethoven. The glorious concerto in D Minor, six movements from tho B Minor Mass, and the Motet, “Jcsu, Joy and Treasure,” are among the Bach records discussed (with musical examples), and of Beethoven arc the violin concerto, the C minor symphony, the Quartet in C, from op. 59, and the overture to “Coriolanus.” There should be a wide audience for these delightful little lectures which are as unassuming in style as they are informative in matter.