’NEATH THE NEEDLE

Nelson Evening Mail, Volume LXIV, 14 June 1930, Page 9

’NEATH THE NEEDLE

Two Hungarian Pieces Binicii, purveyor of high class hotel and variety theatre music, shows that he is capable of higher (lights. Mis new disc pairs, an" “Hungarian Potpourri,” with one of Binicu’s own compositions, “Horn Staccato.” The latter gives him a. chance for a brilliant display of fiddling fireworks, and lie fairly bedazzles us with his pyro-techni<|ue. The Potpourri is a medley of Hungarian folk-songs and Dinicu has rather cleverly strung them together in the Liszt Rhapsody form, with its slow opening and wilder second half. Strauss Tone Poem A tone poem by Richard Strauss, “The Merry Pranks of Till Euleuspiegel,” has been recorded. There is no doubting that Albert C'ootes, under j whose direction the performance is j -given, has the requisite temperament j for an interpreter of Strauss. The per- j formanco by the London Symphony I Orchestra reveals the mockery, adroit- j ness, wit and lightning variations of mood which made the poem such a marvellous example of humorous writing. The Twelfth Rhapsody Irene Scharrar, the clever English pianist who is rapidly building up an international reputation for herself, makes a thrilling tour-de-force of Liszt’s Hungarian Rhapsody No. 12. It is all in impeccable good taste, and that in itscjlf is a feat, for it is so easy to pile on the vulgar touch in Liszt’s swoonful grandiosities. Her style is determined but never hard, and she tackles the piece with singular directness and purpose. In this work, as in most of the Rhapsodies, the extremities, of the keyboard are called into play, but a gramophone company lias surmounted the technical difficulties of

recording in this altogether brilliant performance. j Captivating Effect | Josef Lhevinne’s name is familiar ti> 1 owners of player pianos, for lie lias made many roils, but only now lie is making his debut as ..a, gramophone artist. In America, where most of his successes were made, the Russian pianist is noted for his remarkable technical equipment ami amazing lightness of touch. He lias chosen one of the most difficult works of the piano repertoire, Schulz-Evler’s paraphrase on Strauss’s “lilue Danube” waltz. This paraphrase, Mist performefl in New Zealand by Levitzki in 15)12 1 , consists o/ a network of intricate arabesques woven around tile i waltz. It is only natural that Lhcvinuc ! plays it most brilliantly, but lie. does I niore than that, for he invests the charming melody with an invigorating ' rhythm,, which creates a captivating I effect. The piano recording is superb, j and as clear as a bell. ' Two Pieces by the Grenadier Guards j Of all Schubert’s compositions none I perhaps is more universally popular | than the inspiriting “Marche Militairc” —especially well known to the general public through its association witii the play “Lilac Time”—so that this interpretation’ of it cannot fail •to give great pleasure to many. The beauti fully -poised “Villaiielle”.with its delicate "clarinet and oboe-duct, is also played in .the Guards’ most effective style, the reproduction. of both titles being marvellously clear. ' Authority of de Pachmann A new record of de Pachmann will be welcomed by all lovers..of Chopin ns played by this veteran exponent. It gives the E Minor ' Nocturne and two Mazurkas—Op. 03 No. 3 arid Op. (57 No. 4—and they are treated Vitli'the delicate grace that characterises de Pachmaim’s playing. ' Yet with all the delicacy of touch, there is never a suggestion of insipidness’and the reproduction

of the pianoforte, tone is realistic. Records such ;ts this are valuable, not only for the beauty of the playing, but ns musical documents of the future, affording authentic evidence of what was really done in the days when there were giants oil the earth. Clarinet Concerto—Weber The composer of “Oberon” wrote four works for the clarinet, of which the Clarinet Concerto, produced in 1811, is undoubtedly the most interesting, for it was tint outcome of Weber’s association with Barinann, the finest clarinet player of bis time, and is therefore not altogthor a mere showpiece for the clarinet alone, but rather a splendidly woven texture, in which both band and solo play an equally important part. This Concerto is bound to procure for the famous French band many warm admirers; there is a vividly line colouring by .the great ensemble', whjle the solo passages are dexterously handled and have a limpid piquancy of their own. Dance Records The following selections from the latest parcel of dance records should find favour with all who love tuneful melody and good rhythm: “Charming” (fox-trot), and “Shepherd’s Serenade” (waltz), played by Ecisinan’s Orchestra; "Bigger and . Better Than, Ever” (fox-trot), played 'by Shiikret’s Orchestra, and “You’re Just .Another Memory” (fox-trot)., played by Rudy Vallee’s Orchestra; “The Moon From the South” .(fox-trot) and “Harmonica Harry” (fox-trot), played by Weein’s Orchestra; “How Am I to Know?” Oilman Orchestra, and “I Came to You” (fox-trot), played .by Basse’s Orchestra; “Romance” (waltz) and “After a Million Dreams” (waltz), played b.v Olsen’s ‘ Orchestra; “Swoet Nothings of Love” (fox-trot), played by Olsen’s Orchestra, and “Duke of Ka-lii-nk” (foxtrot), played by the High Hatters; “I’ll Be Getting Along” (fox-trot) and “There’s Room in My Heart” (foxtrot), played by the New Mayfair Dance Orchestra.

Two Xylophone Solos There are nearly as many names for the xylophone as there arc nations, and nearly as many kinds of this instrument. But they are all made of tuned wooden bars, and they all have the capacity to brighten up, if only the, music, is exactly suitable and the sounds not continued to excess. The marimba, om- of the Mexican family, is delightfully present in a record of Sir Da a Godfrey .and the Bournemouth Municipal Orchestra, in “Zip Zip,” a swinging, rattling “galop irresistible.” The coupling is “Whispering Pines,” a xylophone solo by W. Byrne, tliei composer. It is the very spirit of the march intermezzo, though there are neither pines or whispers. Both arc bright and jolly pieces, and most desirable examples of light attractive music. Stracciari Sings Verdi’s Famous ‘Credo’ and ‘Otello’ 1 This , “Otello” aria is a splendid piece of work—perhaps the finest recording of tho “Credo” yet made. Botli from orchestral and vocal point of view’—or rather, hearing—it is a vastly improved presentation, and when you consider the excellence of the prc-elcctric disc, this is indeed saying a good deal. The reverse side gives us Tosti’s melodious “Ireale”—a rather unusual pairing, nowadays, but as Verdi and Tosti were close. friends when living, they will perhaps now in another sphere other! ,