GRAMOPHONE NOTES

Nelson Evening Mail, Volume LXI, 27 October 1928, Page 13

GRAMOPHONE NOTES

The Rakoczy (1) “Rakoczy March”; (2) ‘‘Dance of the S.vlplics” (Berlioz). 'Played by the Halle Orchestra, under Sir Hamilton Harty. Col. 04.1 on. Hector Berlioz composed most of his “Damnation of .Faust” travelling in a mail coach in Europe. He described in his memoirs how the journey to Budapest inllueueed him to include the famous Hungarian national “Rakoczy” march in his “.Damnation of Faust.” The march concludes the first part, and the melodious and attractive Dance of the Sy I plies follows Faust’s dream in the second part. The recordiup is very pood and the record itself is a great success. The Yale Blues The spirit of the Yale Blues is caught up by the Bio Braude Tango Band in “Blue Serenade” and “Zulu Wail.” The tone of this combination is not so harsh as many we have become accustomed to, and the!" orchestration is novel and clover. (H.M.Y., Bolton.) Arditi “The Kiss” (1) “La Boheme” (Puccini); Mi Cliiamano Miini; (2) “11 Bncio” (Arditi). Sung in Italian by Maria Kurcnko, soprano. Col. 0413 d. Maria Kurenko’s rendition of “II Baeio” is a perfect attainment, characterised by brillance, expressiveness, and a compelling reality —perfected art by one of the, greatest singers of the day. Another splendid record to adcl to this artist’s growing repertoire. Realistic Chaliapin In his re-recordings under the electrical process the great Russian basso Chaliapin becomes more realistic than ever. The diabolical chuckles and laughs in “The Song of the Flea” (Maussorgsky) make the song a biting satire. The phrases demanding power are sonorously expressed. Coupled with this is the aria “La Calumnia” from Rossini’s “Barber of Seville,” which is remarkable for its descriptive crescendo depicting how calumny may spread from the first breath to a tempest of scandal. (H.M.V., DB 932.) “The Showman” Re-recorded “The Showman” (Pts. 1 and 2). Humorous recital, by Bransby Wil-

limns. Columbia 02(17."i. This is a record that was due for replacement —its early recording goes so far back that one’s old disc is sure to he almost worn out. The same old spontaneous humour and inimitable characterisation, but now with a new vividness and fresh scope for enjoyment, thanks to the Columbia electrical process. British Choral Singing The notable feature of modern British music is the superb choral writing —unequalled by any other country in tlm world, and the Philharmonic Choir under C. Kennedy Scott gives us two representative pieces from this wonderful school of musicians. These are “Evening Hymn” (Gardiner) and “Psalm 148” (Holst), often called “Easter Hymn.” The conductor’s handling of the big choir is masterly, and the record is important for its fine reproduction of splendid singing. The contrasting passages in the “Evening Hymn” arc finely recorded. (H.M.V., 1)1304.) Alexander Kipnis (1) “Am Meer”; (2) “Dor Lindenhaum” (Schubert). Sung in German by Alexander Kipnis, bass. Columbia 04117). Alexander Kipnis, the Russian basso, possesses one of the greatest voices before the public. In securing him, Columbia acquired an artist of the very first rank, who first figured in tlie Good Friday music from the “Parsifal” Bayreuth records. Recently lie made a successful record of two excerpts from “Faust,” and now he gives a further proof of his versatility in two lovely Schubert songs. “Am Meer,” as the title implies, is a song of the sea. “The Linden Tree” is one of Schubert’s finest songs, and in Kipnis we find an ideal interpreter with a voice of superb quality.