'NEATH THE NEEDLE

Nelson Evening Mail, Volume LXIV, 31 May 1930, Page 3

'NEATH THE NEEDLE

"Les Preludes," by Liszt William Mengclyberg and the Amsterdam Coneertgebouw Orchestra revive the glories of Liszt's "Les Preludes" for us on two 12-inch, discs. The one weak spot is the theme- of the second subject. Apart from this, the work is surprisingly "big" for Liszt, and is typical of his gorgqous colouring. The tone-poem even carries this melody well; and with the candid, clear-sighted performance that Mengelberg gives it, makes us recognise its essential greatness. It is indeed, one of the works on which the orchestral music of the ensuing fifty years was founded. The quiet passages reproduce with a variety of colour that thrills the listener, and the loud passages animate and stir him like a storm. Strauss Tone Poem , " A tone poem by Richard Strauss "The Merry Pranks of Till Eulenspiogel," has been recorded. There is no doubting that Albert Cootcs, under whose direction the performance is given, has, the requisite temperament for an interpreter of Strauss. The performance by the London Symphony Orchestra reveals the mockery, adroitness, wit, and lightning variations of mood which made the poem such a marvellous example of humorous writing- . . ' \ ],:■ ' Musical Cameos One of the.most genuinely interesting and delightful of musical works' reproduced for the gramophone is Sir Edward Elgar's "Wand of Youth," a series of orchestral pieces, that the greatest of living British composers is said to have sketched when only fourteen years of age. They have about them the buoyancy qf youth and a healthy picturesque imagination that bespoke of genius in embryo. The scene of th*

'Wand of Youth," which was originally written .for a children's play that was given under the parental roof, is a woodland glade, intersected by a brook, with fairyland at the opposite side. The work is performed by the London Symphony Orchestra, which, fittingly jnough, is directed by Sir Edward Elgar himself. There are two suites, comprising what one might call, because of their charming, miniature character, ileven musical cameos. Art of Galli-Curci

It was with her record of "Lo, Here the-Gentle Lark" (Bishop) that GalliCurci first came, into prominence as a recording artist, and now we have a new electrical recording of the number, and with this advantage, together with the new cadenza duct with the flute, the singing of the famous soprano should have an even wider appeal. On the other side, Greig's "Solweig's Song" is sung with great expression, and in perfect tune. The delicate points of rhythm arc timely revealed. A word must be said also for the clarity of the orchestral accompaniment, Dramatic Tenor

The golden-voiced tenor, Alessandro Yalentt), is heard in another 10-inch record which is a worthy companion to his 'Tnrandot" and "The Girl of the Golden West" records. He has happily chosen 'One of the most melodious tenor excerptii by Puccini, "Addio Fiorito Asil," sung by Pinkerton in the last act of "Madame Butterfly." This short aria was added by Puccini after the first pel formancc, and the rich orchestral accompaniment;is fully recorded, yalento sings it with great expression; and hi? ringing notes are Very fine. He is supported by a baritone with a good voice. On <the reverse side the young tenor singsi v Vasco di Gama's aria ' ? 0 Parfidiso," from Meyerbeer's now almost forgotten aria "L'Africana."

Beecham Playing Handel So provocative and so original was

Sir Thomas. Beceham's playing of the complete "Messiah" that it was only natural /that public clamour should insist upoi'ii liisi enlarging our insight into Handel. On a new record he gives tlio Pastoral, Symphony from the Messiah, and .the Lnrgetto and .Polonaise from the' 14th Concerto Grosso. The Pastoral has a noble breadth,, and serves to illustrate Sir Thomas's firm grip oil tone-balance. Better still is the stirring Polonaise, beautifully clean f in texture and healthily' maiily iui.vjmrpose. Sir Thomas's nervous energy is line tonic to those who are apt to take the classics, and especially Handel, as soporifics. True 'Cello Tone Cedric Sharpe's 'cello playing is always worth hearing, and the JOiu disc containing Friinl's "Twilight" and an old air of Pergolesi will surely add to his growing reputation. He plays each of these pieces with all the ardour of the born interpretative artist. His tone is always rich and warm, and here it has been beautifully reproduced with line pianoforte accompaniment.

A Fine Choral Record In these days of wider appreciation, the sacred music that once bored or frightened most of us has become a popular "buy," provided it is musically worth the lnoney. A new record by the Wcstbourne Choir certainly fulfils this condition. The titles are "0 Thou that Hearest Prayer," by Sir Walford Davics, and "Kyrie Eleison," by Sir George Henschcl. They aro sung by unaccompanied voices, conducted by* A. M. Henderson, and recorded in the Westbourho Church, Glasgow. The difference in type will interest—the devout, sturdy Davics' piece being a plain man's praise of his Maker; the Henschcl an equally devout but-more intellectual pattern in voice parts. Both have a fine singleness of purpose, and impress with their strength.

Remarkable Boy Yehudi Menuhin, the remarkable violinist, has made his first twelve-inch record. In his playing of Handel's "Te Deum" (arranged by Flesc), this boy reveals such an impressive' and majestic conception of the work that it Is almost impossible to believe that at his age one could possess an equally deep insight into art. The breadth of his interpretation, the perfection of his legato, and the superb tone are things to marvel at, He is a phenomenon and the record clearly reveals his singular talent. On the reverse side is a pleasing "Scottish. Pastorale," by Saenger, played with, the finish of a mature artist. In both pieces he is accompanied on the piano by Louis Persinger, his teacher, and himself a notable violinist. . ~

Two Stirring Quick Marches The latest .contribution..by the Band of the H.M. Grenadier Guards is a coupling of two quick marches, "Radio" and "Fighting 1 Strength." There is something peculiarly, exhilarating about a good march well played, and here aro two fine specimens. In strict time, with well-balanced tone, they "go" with a splendid swing," and the reproduction is •faithful in every detail.

Flotsam and Jetsam Again "Schubert's Toyshop" and "Polonaise in the Mall." In their vocal arrangements of Schybert's famous "March Militaire" and Chopin's popular "Polon* aiso in A," flotsam and Jetsam have produced am intriguing record that will "catch on" everywhere. There is great pathos in the first-named, a story of an old man and his toyshop, full of mingled memories, while the "Polonaise" provides the basis for a wonderful description of Royal pageantry in the Mall. The marvellous recording has caiigfht and recreated "to the life" the performance' of these famous entertainers. : ■ --.-' ' ■ • -. •• •