GRAMOPHONE NOTES

Manawatu Times, Volume LIV, Issue 6972, 27 July 1929, Page 5

GRAMOPHONE NOTES

A Great Italian Contralto. Ebe Stagnant, contralto. Columbia 03633. Stignani is a gloriously rich-voiced and temperamental artist who lias made her name in the last season's operas at Milan, which may be regarded as the headquarters of Italian opera. Make a name at Milan, they say, and vou are fit to be sent out into the world. And, sure enough, Stignani is booked for next year’s season in New York, the goal of all opera singers. Her technique has all the polisher virtues of the Italian School, but her native o-;fts are quite unique. In the lower register she is magnificently true and Her sense of drama carries along this impressive and tuneful aria with’thrilling conviction. A Trench Soprano. (1) “Thou cold proud statue”; (2) “So great and secret a love”—from “Turandot,” (Puccini). Sung by Mile. Denya, soprano. Columbia 03634.

Another newcomer who illustrates Columbia’s new policy of recording the greatest artists of every country is Mile. Denya, who has long enjoyed a *ecurc reputation in Paris. She sings

in French two of the most moving arias of Turandot's Eastern love, Liu, to the Princess, and she sings with a natural Gallic fervour and passin. Her pioduetion is easy and spontaneous, and has a winning personal quality that makes us feel with her the whole poetry and sentiment of her arias. From “Show Boat.”

“Show Boat,” one of the greatest musical plays that the last few years have produced, has trailed in its wake a brilliant series of records that will be eagerly sought for by those who have been enchanted with the originals. Naturally, a “coloured gentleman’s” version will have most realism, and our thought fly to Layton and Johnston, the most popular duottists on the gramophone. They give a rich ami vivid interpretation of the two great favourites, “01’ Man Biver,” and “Can’t Help Lovin’ Dat Man.” (Columbia 01407). This last song is also capitally sung by their co-racial “Aunt Jemina’ with the real warm Southern “burr”—a highly sympathetic effort that is paired with “01 Man Biver” harmonised with great beauty by the Goodrich Silver ton Quartet (Columbia 01404). These two songs are also paired as fox-trots by Don Yoorhies and his orchestra with telling vocal choruses (Columbia 01406). A notable “scoop” has been the securing of the famous Missippi Chorus and

the Drury Lane Orclic.-tra conducted by ihe fnmuus Herman Finch. On Ruhimbiu 02771 they give us a i-apißil selection of vocal gems, paired, uiih “Of Man Biver” in which Nurri, .Smith, the original Drury Lane artist, takes the solo part. Their other record is Columbia 02765, in which the lovelyvoiced Marie Burke sings the solo of “Bill.” and “Can’t Help Lovin’ Dat Man.” The chorus is strikingly impressive and harmonious. Elsa Alsen. 11) “Seit ieh ihn Gesehou” (Schumann); (2) “In Deni Weiten”; O’.' “Beiiigcstimmt die Saiten” (Dvorak). Sung by Elsa Alsen, soprano. Columbia 02595.

The gramophone lias rarely produced a lovelier example of German liedcr singing than the latest, record of Elsa Alsen, the German Soprano, who has now settled in America. Those who remember her “Stille Naeht, Heilegc Xacht,” will recall the silver purity of her soprano and her superb ease of pro’auction. In her latest effort, besides a poetry of tone she achieves a poetry of interpretation. On one side she sings one of Schumann's songs with deep thought and restraint, while on the reverse side two melodious little gems of Dvorak’s art are given with a richness of tonality and breadth of phrasing that are all too rare. A clo-

lightful little record from every point of view.

The First Hungarian Rhapsody.

(1) “Hungarian llhapsody No. 1” ( Liszt) in 3 parts; (2) “Eakoczy 'March” (Berloiz). Ernest Dohnanyi conducting the. Budapest Philharmonic Orchestra. Columbia 02728-29.

The Budapest players very satisfactorily preserve the dignity and poise in the Liszt and Berloiz (which latter piece is given without the diminuendo of the last, chord —that striking effect which the first hearers spoiled by breaking into cheers before the finish). The tone is in good balance, and the Liszt, which might easily have become blatant, is benignant, without losing its

dash ami grandiosity. There is something about Liszt that fills the senses — rich harmonies and stirring rhythms are the chief ingredients —and anyone who will just lie back and let himself go, is sure to bo carried away by these vital performances. Mendelssohn’s “Midsummer Night’s Dream.” (J) “Overture” —fir Henry Wood and the New Queen's Hail Orchestra; (2)*' 1 Scherzo ’ ’ —William Meugelberg and Coneertgebouw Orchestra. From “Midsummer Night's Dream” (Mendtdssohn). Columbia 02780-81.

It was a happy touch of Columbia’s to provide us, on two discs, two different orchestras of such calibre giving extracts from the same work. In the

Overture Sir Henry gives us, at the start, a busy sprites to the life, with just a trace of the clouds of faerie they trail behind them. The music of pomp is well controlled, and the balance of the various elements in the overture is excellent. The recording gives ar effect of distance and haziness that entirely suits the work. The “Scherzo” is not quite light enough—.Meugelberg somehow congeals the .insubstantial fabric of the dream, but his working out: is otherwise musicianly and cultured. Schumann's Fourth Symphony. “Symphony No. -I in D Minor” (Schumann). Played by the .Mozart Festival Orchestra under Bruno Walter. Columbia 04244-47. This delightful work has all sorts of attractions and well repays a hearing. Everyone will like the nobility in the music, and its ehivalric chai.-odor, which Bruno Walter brings out capitally. The orchestration is rich and resourceful, and the work abounds in lovely melodies. The gracious trim:went of such happy movements as the "Romance'’ everyone will find appealing and restful, while the hearty, engaging Scherzo and the essence of Schumann in the Finale’s tunes will win a host of now lovers for this great composer. Bruno Walter plays with a good sens,* of Schumann’s needs, and applies his power well. “Ballet Egyptien.” “Ballet Egyptien” (Luigiui). Played by the Orchestra Symphonique de Paris under Pierre Chagnon. Columbia 02783-86.

Pierre Chagnon’s interpretation, as befits the lusty music, is hearty in the extreme. He achieves just the bright, almost- gaudy, tone that the music demands, and it is sound and capably manipulated. This is fine brave music that the “man in the street” wili revel in, full of colour and sparkling with Eastern gaiety and pomp. The recording is surprisingly rich and deep.

Latest Dance Hits. This month’s Columbia dance records are a notable batch. One of the pick of the bunch is “I Faw D-owu ancl Go Boom,” played by Will Prior and his Stage Band, with some jolly orchestral effects and snappy singing. (Columbia 0.1578). The Broadway Nitelites give us two theme songs from “The Broadway Melody”—one of the same name, and “You were meant for Me,” with some exhilarating “sax” playing. (Columbia 01491). Debroy Somers Baud, famous for their novelties, record a 6/8 one step called “Casablanca,” which promises to be a rage in the dance halls, as it has already captivated London and New York. (Columbia 01470). Another theme song is “Lady Divine,” bv the Cavaliers, who are famous for waltz tunes. This is paired with one of the jollicst novelties of the year — “I’m Wild About Horns on Automobiles that go Ta-ta-ta-.ta-ta,” by Harry Reiser’s Syncopators. (Columbia 01543). “I’ll Always be in Love with You.” theme song of “Syncopation,” is brilliantly handled bv Gil Decli, and paired with a foxtrot “My Mammy.” (Columbia 01520).

The Air Force Band. (1) “Our Director”; (2) “Bepasz Bond.” Marches by the Eoyal Air Force Band. Columbia 01354). A great little Viand record to hand is a recording of two fine marches by the B-oyal Air Force Band. Both tunes have fine steady swings, and the tone of the band lias a true military timbre. The Ideal. What are the qualities that make the ideal record? The question is so important and attractive as to deserve more than passing consideration. It has been suggested that, the ideal record must possess four qualifications: Good music, good medium, good interpretation, good reproduction. Many tc-e-or-ds possess one, two ,or even three of these attributes; but all four together are decidedly uncommon. AVe all know, for instance, the capable singer gifted with a fine voice wh.icn he or she uses to sang the merest trash. Then there are countless records on which some popular trifle, excellent in itself, receives a perfunctory performance that is well recorded. Or we may have a Schubert song, artistically suug, but by a singer whose inadequate voice is only too well recorded. And so the tale of imperfections goes on, though we imperfect beings nevertheless manage to derive a great deal of pleasure from these records of ours. Perhaps one ought to add, too, that an ideal record presupposes something of an ideal listener, or at least one capable of appreciating the slighter excellencies. For that reason one hesitates to acclaim

any one record as approxlnunin lv to tlio ideal. In the la-- re;

shades of interpretation are matters o!' differing opiniou: it'otto p• f-Kr.oi-ler, another may still be entitled to hi* eulogy of Heifetz. However, there is at least one group of records this month that answers satisfactorily the fourfold test. This is a complete recording of Mozart 's Quartet in B. Elat (“ Hunt ” Quartet) played by the Budapest String Quartet. Xo melody can be more delightful than the opening allegro vivoee assai. The menu-ct-to moderate is a series of fairv-like lie! os. There is a contrast ing broadness in the adagio, but the goossamerlikc delicacy of Mozart in happy vein is still paramount. The final allegro ossai bubbles with laughter. -Mozart is so simple in his themes that he is baffling. There is not a superflous •a,to. The Budapest Quartet, whoso recitals were a feature of last year's musical season in London, is a perfeetlv balanced combination and the blended tone is beautiful and rounded. The reproduction is up to the highest standard of recording. (H.M.V., DI3S7-S-9.) Searchlight Tattoo. A very realistic record gives the leading incidents in the Aldershot Coni[mand Searchlight Tattoo. This provides a permanent record of ft pageant which is one of the great events in England. The first side of these “Tattoo Impressions” starts with the audience coming to see the tattoo and passing through the turnstiles. The tattoo proper follows ivit-h a splendid crescendo entrance of the massed bands, exceedingly well recorded in spite of the great space covered and of the open air. “The “Crusaders’ Scene'' comes next, and the pipes and drums that follow form one of the most impressive parts of the whole record. The end of the first part is equalled only by- the beginning of the second, which records the community singing that took place each evening. The antiaircraft sounds that follow form a great and thrilling contrast to what has gone before. The playing of the drum and Me bands comes next, and then, after a short hush, the whole audience joins in “God Save the King” with thtc massed bands accompanying them. There is another short pause, and then can be heard the sharp orders for tho troops to march away and the departure of tho various contingents. This record is a remarkable achievement, and is worth buying and keeping as a permanent record of a historical event. (H.M.V., C’1552.) Cathedral Choir.

The choir of Salisbury Cathedral has made- a record of very real beauty, choosing “He Shall Peed His Flock” from Handel’s “Messiah” and “Yea, though I Walk,” by Sullivan for the opposite sides of the disc. Though the first number is sung by tho, full eboior accompanied by the organ, the second, perhaps, achieves a more delicate loveliness. It is sung by the boys alone, and seems to havo eaught some of the austere beauty of the famous cathedral in which the record was made. (H.M.V., B 2814.) “Lohengrin” Prelude.

The Philadelphia Symphony Orchestra, under Stokowsky, gives a sensitively brilliant rendering of the Prelude to Wagner’s “Lohengrin.” It has been so frequently recorded that it is in danger of becoming hackneyed, but this is the performance with ‘ ‘ something different.” Stokowsky gives a smooth and suave rendering, and his highly trained orchestra, with perfect balance, that precision that comes of regularly playing together, and beautiful purity of tone, especially in the strings and the brass, realises all the emotional values of the Prelude, and the several themes succeed each other like romantic waves of music na the ecstatic vision is unfolded. Wagner is always emotional and often dramatic; as rendered here he is almost exquisite. (11. M.Y., X>1463.) New Commedienne. Ann Penn ,unknown eighteen months ago, leapt into fame in her first London electrical engagement. Since then she has become one of tho, leading music hall artists in the United Kingdom. In her first record, her “Impressions” are delightful and one quite expects to have some people saying that they are not impersonations at all, but the original artists. Another side to Ann Penn’s versatility is shown on the reverse side of the record, which gives a quaint piece, “Out in the New Mown Hay.” (H.M.Y., FA440.)