RECORDED MUSIC

Northern Advocate, 16 November 1929, Page 2

RECORDED MUSIC

NEWS OF THE WEEK

COLUMBIA.

-BEETHOVEN'S I?.TH QUARTET,

“Quartet in B Flat” (Beethoven). Played by the Eener String Quartet. (Columbia L 1929-33). This is Beethoven's longest quartet, though the. usual omission (which this irepprcling" follows) of the Grosse Fugue at the. end reduces it to digestible lengths, It is also one of his most interesting. It abounds in lovely melodies typical of his third period, of which it is one of the most glorious examples. The Presto on Side 3 is ravishing, and the German Dance would set the staidest toes tapping away. But the greatest movement of all is the Cavatina, one of the most nobly expressive and moving things in all music. It would not be a bad idea for anyone wanting an introduction to his work to start off with this one record —L 1932,

LIONEL TERTIS AND HIS VIOLA

Tertis has so long been recognised as the leading viola player now recording, that many gramophomsxs buy his records as a matter of course. His recent coupling of ''Slavonic Dance Theme No, 1 ” (Dvorak) and “Melodramc” (Guirad) is one of his best. The playing is energeti -1 and dashing, and the phrasing built into the sense of the music. The two fine tunes deserve to be widely known, and we can think of no finer way than through the medium of Tertis's tasteful art. (Columbia 04064).

SPLENDID BARITONE SOLOS.

Fraser Gange has a deep baritone of manly, unaffected style, - and his choice of songs is again a most happy one. The Blind Ploughman is direct arid simple with a powerful sentiment and is exceptionally paired with the more robust and dramatic Impetus. (Columbia No. 01626).

“BALLET EGYPTIEN.”

“Ballet Egyptien” (Luigini). Played by the Orchestre Symphoriique de Paris under Pierre Chagnon. Columbia 02785-86.

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” will revel in, full of colour and sparkling with Eastern gaiety and pomp. - The recording is surprisingly rich and deep.

“TURANDOTTERZETTO DELLE MASCHERE. (Trio of Masks).

Song by Ncssi, Bavae.chi arid Ven

turini.

A tecord of immense interest, in that Baracchi and Nessi were two of the artists who helped to make “Turandot” a success at Covent Garden recently. They are ably supported by Venturing another exceptionally fine singer. A wonderful trio. (Columbia NNo. 03651).

Ifis master’s Voice.

LOVELY MELODY

The,, andante cantabile, from Tschaikowsky’s Quartet in D, is one of tho accepted favourites of string quartets, and for those about to delve into the beautiful realms of chamber music, here is an ideal start. The tune will captivate., all. who hear it. While Tschaikownky sat near an open window he heard ‘a/ Russian workman singing beneath. The lovely folk-song haunted him all night, and next morning he called the singer in and set the tune on paper, later giving it to the ( World to become “one of the loveliest slow movements In all string quartet literature.” This movement is recorded by the Elman String Quartet, and the playing is marked by smoothness of tone. The balance is perfect. (H.M.V., DB 1055.)

M’CORMACK AND SCHUBERT,

There seems to be little doubt, that as a song-writer Schubert Fas no peer, and John.M'Cormack makes a notable contribution to the gramophone catalogue of two of the composer’s early numbers. ‘ ‘ Who is Sylvia ?’ ’ composed to-words by Shakespeare, is one of the best-known Schubert songs in Englishspeaking countries. “Die Liebe hat Gelogen”- (“Love has Lied”) is full of sorrow and yearning, and the great tenor’s interpretation is pervaded by -tenderness and feeling. The accompaniments are played by Edwin Schneider, who has been M'Cormack’s accompanist, for many years. (H.M.V. DA 933.)

A STONISHING ACHIEVEMENT.

One of the best orchestra records is 'a. fine performance, of the “Midsummer Night’s Dream” overture by the San Francisco Symphony Orchestra under Alfred Hertz. It is taken at a tremendous pace, but the strings (“those confounded midges,” as Wagner is said to have ealled them) never lose their rhythmic precision, and tbs sustained chords at the beginning and end, which have sent so many conductcos early to their graves, with the unity of an organ. What an astonishing achievement this work is for a youth of seventeen! And it was written over a hundred years ago. (H.M.V., D 1626-27.)