Neath The Needle

Manawatu Times, Volume LV, Issue 7201, 26 April 1930, Page 15

Neath The Needle

Composer Plays It is not often that one has tho opportunity of hearing a composer play his ■ own music. Rachmaninoff and Kreislcr. aro two that givo authoritative interpretations of their own works, but for tho most part tho composers themselves keep in the background. Thus.of special interest is Cyril Scott’s playing of his two pianoforte pieces, .“Danse Negro” and “Rainbow Trout.” Both these works aro known to students, of modern pianoforte music and have been played by artists in New; Zealand. Cyril- Scott belongf to the modern school of harmony, but ho is not an extremist. His music is full of colour, but his technique is not allowed to becomd subservient to extravagant harmonies. His colouring is introduced with rare artistic insight. Scott is also a fine, pianist —in fact, he is one of England’s foremost solo players—and, this also adds interest to the record. (H.M.V. 82873.) Dance Music From the latest revue and talking picture “hits,” tho following H.M.V. dance numbers aro recommended in view of the approafching winter, when bright and.tuneful music will.be in demand: “Softly as a Morning Sunriso” (foxtrot), played by Nat . Shilkret and his orchestra, and “One Kiss” (waltz), played by the Troubadours (EA632); “Too Wonderful for Words!’ (foxtrot), and “Stoppin’ Along” (foxtrot), played by the AllStar Orchestra (EA62’); “Let Me Have-My Dreams” (waltz), and “Am I Blue?” (foxtrot), played by Nat Shilkret and his orchestra (EA627J; “Gay Love” (foxtrot), played by Leo Reisman and his orchestra, and “My -Song of the Nile” (waltz), played by the Troubadours (EA625). “Lilac Domino” In recalling the most important musical comedy successes since the war, one cannot overlook ono of the most melodious works ever presented in New Zealand, and a revival of which should meet with success—Cuvillier’s “Like Domino.” Evidently London still favours this work, for recently two selections figured on His Master’s Voice records. Winnie Melville and Derek Oldham sing remarkably well the duet, “What Is Done Can Never Be Undone,” one of the big moments of the evening. Oldham, in this duet and also in Chopin's “Nocturne” (in E Flat, Op. 9), sings, artistically and shows a fine vocal style. In the “Nocturne” hb is also supported by Miss Melville, who. sings her part very sweetly. (C.’690.) The other record, by the Light Opera Company, features vocal gems from “The Lilac Domino,” embracing such popular excerpts as “For Your Love I Am Waiting,” “Let the Music Play,” “Lilac Domino” and others, all of which aro very well recorded. On the reverse side the Light Opera Company sings vocal gems, from Oscar Strauss’s “Chocolate Soldier.” (C 1705.)

“Madame Butterfly” Riches upon richesl To the Columbia list of complete opera recordings, already including “Tristan,” “Aida,” “La Traviata,” “Cavalleria Rusticana” and “Pagliacci,” is now added Puccini's ever-popular masterpiece. In many ways this recording is the most successful of the lot. Barring “Tristan,” it shows principals, orchestra and chorus in more complete harmony with each other, and though Pampanini in the title role is not so dominatingly magnificent as Arangi-Lombardi in “Aida,” the supporting cast is stronger. That remark, however, must be taken as no disparagement of Rosetta Pampanini. She has practically re-created the role of Madame Butterfly, modelling it, if we may accept the word of English critics, on her Covent Garden performance, which was hailed as the greatest operatic success of post-war days. Her glorious soprano is wonderfully expressive. Alessandro Granda reveals, as Pinkerton, a thrillingly lyrical tenor. But perhaps the greatest thrill of the whole recording is in the marvellous unison work of tho La Scala chorus of Milan.

Cav. Lorenzo Molajoli, of the Milan Symphony Orchestra, conducts "with sympathy and fire, and the recording is dynamic beyond reproach. (Columbia 04369.) Re-recording by Clara Butt (1) “The Lost Chord”; (2) “The Holy City.” Sung by Damp Clara Butt, contralto. (Columbia 09507.) Dame Clara Butt, the doyen of English singers, begins her programme of electric recordings of her old favourites with perhaps tho two most popular of all. A famous English critic recently said that he knew only four artists who could fill tho Albert hall, and one of them was Clara Butt. Certainly, this life-like reproduction shows all those marvellous powers of expressive interpretation, the wonderful range and the gloriously vibrant chest notes that the public wants and so rarely gets. This' is a record to appeal to the multitude. Chopin—On the Organ “Funeral March” (Chopin). Organ solo by Edouard Commette. (Columbia 05046.) Lyons Cathedral is famous for its wonderful and historic organ, and in this record one hardly knows which to admire most —the music, the soloist or the instrument. Though written as a piano solo—it is a movement from one of Chopin’s sonatas —its broad phrasing, solemn chords and deeply felt significance suit it admirably to the, organ. Edouard Commette gives it a majesty and moving solemnity. If is not a private grief he paints, but whole nations in mourning, and when the light of hope breaks through the music ho seems to reach heaven itself for his inspiration. It will be a long time before a better organ record comes along.