’NEATH THE NEEDLE

Nelson Evening Mail, Volume LXVI, 19 August 1933, Page 4

’NEATH THE NEEDLE

Jewish Cantor. Two hymns from Hie Jewish Church, “Kol Nidrei,” which lias been recorded several times as an instrumental solo, and “Eili Eili,” are recorded by the) famous Jewish cantor Josef Rosenblatt, whose voice is one of the most remarkable yet heard, on the gramophone. llis range is extraordinary, and in “Kol Nidrei” especially there are several phrases taken mezzo, voce which would tax the resources of any singer. The voice is resonant and robust, but lias a sympathetic quality which enhances the reverent effect of the singing. The, beauty of these two traditional hymns is undoubted, and it is an experience to have them sung by such a famous exponent.

Essie Ackland. Bizet’s fervent “Angus Dei” is very artistically sung by Essie Ackland, the Australian contralto, who has won a big name for herself in England, and whose list of recordings is now an extremely impressive one. Her eunuciation is excellent, and there, is a note of deep conviction and sincerity in all she sings. The companion number “Still Night, Holy Night,” by Gruber, is an impressive song, very expressively phrased, its sad note of resignation being admirably realised by the singer. The recording brings out the full sonority of her beautiful voice, which is enhanced by the orchestral accompaniment.

Imaginative Playing. Glazounoff’s captivating Melodic Arabc” is played as a. violoncello solo by Cedric Sharpe, whose warm tone and technical skill, combined with a. sense of rhythm, bring out all the glow . of the melody. Glazounoff, like most of the Russian school, is lavish in his musical colouring, and Cecil Sharpe shows an imaginative conception of the l number. On the other side he plays one of his own works, “Pavane,” and hero displays inspirational ability both as a composer and player. The cello tone is vividly reproduced, and the piano accompaniment by Cecil Dixon is very clear.

Harp Solos. , , , Mildred Dilling plays three short solo works on the ' harp, consisting of an “Etude de Concert,” by Godefroi, a “Valse Romantique,” by De Severac, and a.' “Musical Box,” by Poenitz. Few of the great composers of the past have written anything for the harp as a S olo instrument, hence the rather obscure names of the composers of the three short numbers played by Miss lulling. The brilliant Concert Etude gives a "good opportunity for technical display. De Severac’ '“Valse Romantique is 'graceful and attractive. Poenitz s "Musical Box” is neither worse, nor better, than many compositions of the same type. The full sonority of the beautiful instrument is- well recorded.

Gorgeous Orchestral Effects. The Philadelphia Symphony Orchestra’s offering is the “Dance of the Seven Veils,” from Richard Strauss s “Salome.” Herod implores Salome to dance for him. and she at last consents after ho has given her his word that he will give her anything she desires. It is then she begins the famous “dance of the seven veils,” the music depicting Salome’s psychological state of mind, which is solely guided by one desire; to obtain the head of John. The gorgeous orchestral effects produced a. tremendous sensation twentyfive years; ago. but to-day we are quite used to such' orchestration. . The sensuous and languid dance is supoibly plaved by the "Philadelphia Orchestra, conducted by Leopold Stokowski. On the reverse side of the second recoid is a “Japanese Nocturne..’’ by Sichheim.

“Cavalcade.” Noel Coward is featured pn a vocal medley from his own "> “Cavalcade, which*"is now being made into a film and is being shown in New Zealand. The successful composer of Bitter Sweet” and many'other stage successes posseses a fine voice, and he sings artistically. and with refinement. Instead of composing new music for “Cavalcade.” Coward has utilised many popular songs of the past, and accordingly the >record introduces “Soldiers of the Qu’e'en-/’ “Queen Dolly/’ “Lover of my Dream,” “I Do Like to be Beside) the Seaside.” “Alexander’s Ragtime Band, “Everybody's Doing It.” “If You were the Only Girl.” “Take Me Back to Dear Old Blighty,” “There’s a Long, Long Trail/’ “Keep the Home Fires Burniug,” and “Twentieth Century Blues.”

A Bright Show. *' The chorus and orchestra of the Crosses Schauspielhaus in Berlin, conducted by Ernst Hauke), are heard in two excerpts from J. Strauss’ “Casanova,” arranged by Benatzky. Tliis operetta, based on the life of Casanova, the notorious eighteenth century Italian adwventurer and intriguer, had a very successful run in Germany last year. Tlic. “Spanish Romanza” played by tho orchestra is very melodious, and castanets impart a Spanish atmosphere to the Viennese waltz on which it is based. The “Nuns’ Chorus” opens with nn im. pressive organ introduction, whilst the eliqrus itself is again based on a Viennese waltz'. The singing is excellent, like) that of the soloist, Anni Erind. The music of “Casanova” is far superior to that of most of the new musical comedies which have been heard in New Zealand during the last few years.