’Neath We Needle

Manawatu Times, Volume LV, Issue 6788, 20 February 1932, Page 10

’Neath We Needle

Beethoven's Overture, Beethoven’s great overture “Coriolanus” was inspired by a tragody writ-ten-by Yon (Jotin, a German poet, to whom Beethoven dedicated his work, 'xhd overture, which has been beautifully rocorded by the London Symphony Orchestra, follows the orthodox outlines of tho sonata form, opening witn a fow fortissimo chords from tho full orchestra, which serve to introduce tho first subject, an agitated angry themo, which is given a snort development beforo the second subject, a tranquil melody, makes its appearance. Tho free fantasia is almost entirely given to a furious development of a restless motive, taken from the first subject, then the recapitulation begins with a return to the first and second subjects, tho movement closing with a coda which is based on the second subject. Just at the close, the opening chords of the overturo are heard again, followed by a passage in short tempo said to represent. tho death of Coriolanus. The overture shows Beethoven in one of his most rugged moods. The conductor is no other than the famous cellist .1 abio Casals, who is a most popular conductor on the Continent, and who has an orchestra of his own in Barcelona. (H.M.V., D 1409). Recorded from tho Stage. Tho Russian basso, Chaiiapinc, has wonderful scopo for his dramatic and vocal powers in tho prologue scene from Boito’s opera ‘ ‘ Mclistof ele, ” which many rogard as tho greatest Italian opera based on the story of Goethe’s “Faust.” Chaliapino is assisted by the orchestra and chorus of Covent Garden, in fact tho recording was actually mado during a performance at tho famous opera house, under the conductorship of Vincenzo Bellczza. Boito wroto his own libretto, and endeavoured to give in one work tho whoio scheme of Goethe’s drama. The prologue to tho opera presents one of tho most impressive scenes on tho stage. The action is supposed to take placo in tho realms of space in which float an invisible chorus of angels and cherubim. After their song iu praise of the Ruler of tho Universe, Meiistofele enters, and, standing erect among the clouds, Bo mockingly addresses tho Creator. Tho whole atmosphere of tho recording is most impressive and in tho solo “Ave Bignor,” Chaliapine sings with power and resonance. (H.M.V., D 8940). Graphic Music.

Arnold Becklin’s famous painting, “Tho Isle of the Bead,’’ in which tho artist depicts ail island set amid dark blue waters of almost uncanny stillness, gave the eminent Russian pianist, composer, and conductor, Rachmaninoff, an inspiration for a symphonic poem which bears the same name. In the opening of Rachmaninoff's remarkable work one hears, above a relentless, dull throbbing, as of muffled drums, tho tranquil undulation of tho waters about the Isle. A brief phrase, akin to a despairing sigh, wafts over the waters —to sink again to an all-pervad-ing silence. At times, as the sympuonic poem progresses, massive harmony and swift-moving passages are heard. Beep, solemn chords thundor majestically, and the melody surges turbulontly upward. Tho composer gives voice to the hopeless outpourings of the human race, tho unanswered longing, the profound helplessness of man before an inscrutable fate. And then, a mysterious, unearthly silence, followed by tho sorrowing melody that dominates tho climax of tho composition—recalled softly, like an echo that dies. Near tho end, brief memories of other themes appear—to vanish into oblivion. A growing dissolution overcomes all harmonies and finally, there is only peace and everlasting rest. A magnificent performance of this tremendously powerful musical work is given by tho .Philadelphia Orchestra under the conductorship of the composer. It is on five sides of tlireo records. Tho sixth record surface is appropriately occupied by another of Rachmaninoff’s compositions, the “Vocalise/’ which is distinguished by its melodic beauty. (H.M.V., LDI9-21). Latest Zonophones. There is something for every taste in the latest Zonophonc list. The London Orchestra play 3 a number of Scottish airs arranged by Middleton, under the title “The Thistle Selection,’’ and the performance is characterised by good balance and tone. (5874). Two spectacular numbers, “Only One Little Girl” and “Falling Leaves of Poplar,” arc cntrancingly played by the Hungarian Gipsy Orchestra. (EE267). The International Novelty Quartet adds two most acceptable records to its list of Merry. Mill.” (5918). Tho Zonophonc

successes. Tho first {Jives “Pown at tho Old Bull and Bush” and “Love's Dream After the Ball” (5726), and the second “Turkish Patrol” and “Tho Minstrols present an appealing selection of Negro melodics entitled “The White Blackbirds,” introducing “Como W'horo My Lovo Lies Breaming,” “I Want to be Home in Dixio,” “Tho Old Black Crow,” and "Plantation Melodies” (5733). A church choir, accompanied by organ, sings Mendelssohn’s famous hymn, “Hark, tho Herald Angels Bing,” and another old favourite, “Onco in Royal Bavid’s City.’’’ Tho blend of voices is particularly fine (5737). There is infinite charm in two numbers by tho Zonophonc Concert Quartet, “Hail! Smiling Mom” and “Sweet and Low” (5738). A pleasing baritone, Maurice Elwin, has plenty of scope for his talents in '•‘Pretty Kitty Kelly” and “A Cowboy Serenade” (5914), and his second record, embracing “Bream of My Indiana Sweetheart” and “I Lost My Heart in the Heart of the City” has also much to recommend it (5897). Two virilo marchos, “On tho Quarter Beck” and “Voice of the Guns” are stirringly played by the Black Biamonds Band, which surely must bo one of the performers best known to the gramophone (5760). Frankie Marvin, accompanied by violin and guitar, sings “Slu-foot Lon” and “The Wild and Woolly West” in his inimitablo style (5598). Clarkson Rose and Olive Fox make merry in a topical song, “I’m Happy When I’m Hiking” and Rose is at his merriost in “Tell England,” which is the companion number. Pjotro’s accordion is heard in a polka, “Vivacity” and a waltz “April Smile,” which are played with artistic effects (EE26B). Brilliant Young Pianist. The young Polish pianist, Vladimir Horowitz, seems to have everything—grasp of the music, poetic feeling, the power of projecting his interpretations to tho listener, astonishing technique. The attitude of the artist towards his choice i 3 ideal, for with Horowitz it is tho music that matters most —first, fast, and all the time. On his latest record he plays “Capricclo in F Minor” (Bohnanyi) and “Vaise Oubiieo” (“Forgotten Waltz”) by Liszt. Ernst von Bohnanyi, tho distinguished Hungarian composer and pianist, has a long list of distinguished works to his credit, and is one of the most interesting of modern composers. The ‘ ‘ Capriccio” has melody, vitality, and coiour, and Horowitz’s playing is not only clean and well balanced, but that of one who has a grasp of musical structure and a true and sensitive feeling for the rhetoric of musical phrasing. Tho Liszt Waltz is a fascinating piece dith graceful rhythms and varying moods, and it is interpreted wuh a charming singing tone, technical facility, and poise. (H.M.V., BA1140). Symphonic yoem. Cesar Franck’s symphonic poem “Le Chasseur Maudit,” played by the Royal Opera Orchestra, Covcnt Garden, conducted by Eugene Goossens, appears in an electrical recording. This poem is based on an old legend concerning a haughty nobleman who, disregarding the sancity of the Sabbath, went out hunting. Tho pealing of. bells and sacred chanting -are heard, but tho nobleman defiantly blows his horn. Suddenly the horn no longer responds, flames appear all around him, and his horse gallops faster and .faster pursued by demons “by day across abysses, by night through tho air.” The recording, complete in three parts, is excellent. Qn the fourth side i»s a “Marche Joyeuse” by Chabrier. (H.M.V., C 2016).