NEATH THE NEEDLE

Nelson Evening Mail, Volume LXVI, 21 April 1934, Page 3

NEATH THE NEEDLE

Beautiful Interpretation The San Francisco Symphony Orchestra, conducted l>y Alfred Hertz, is heard in the overture and scherzo from Mendelssohn’s music to “A Midsummer Night’s Dream.” Both are splendidly played and the reproduction is realistic. The strings are notably good, but so are tlie wood-winds, even on those troublesome chords that begin the overture and appear two or three times later on. Wo generally listen to these with anxiety, but there is no need for that here. Mendelssohn’s gossamer-like scoring is beautifully interpreted, but the playing never loses character or becomes insipid. Dance Records The following dance records taken from the latest lists should have a wide appeal:—“lf You’ll Say ‘Yes’ liberie” (waltz) and “Roll Up the Carpet” (fox-trot), played by Roy ,Noble’s Orchestra; “On the Other Side of Lovers’ Lane” (fox-trot), played by. Boy Noble’s Orchestra, and “Reflections in the Water” (waltz), played by Jack Jackson’s Orchestra; “Oid Man Blues” (fox-trot) and “Japanese Dream” (fox-trot), played by Duke Ellington’s Orchestra; “The Dicty Glide” (fox-trot), anil “That Lindy Hop” (fox-trot), played by Duke Ellington’s Orchestra; “I’m Gonna Flay Down by the Ohio” (fox-trot), and “Fire” (fox-trot), played by the Washboard Rhythm Boys. From Handel’s “Messiah” ‘The English tenor, Walter Widdop, who has played a big part in the successes of the Wagnerian issues of the last few months, is also one of the foremost of England’s oratorio singers, and has made notable appearances at several of tlie big English musical festivals in “Messiah.” Ilis voice is east in an heroic mould, powerful and

GRANDPA’S ONION SUITER When Grandpa was a boy his mother had very definite ideas about treating colds. Instead of enjoying his usual supper, Grandpa was put to bed and given a big bowl, of onions well dosed with pepper. But as Gnuidpa has grown up lie has seen another remedy come into national favour. That is, of course, your old friends Baxter’s Lung Preserver. The big thing about “Baxter’s”—especially where children are concerned—is that, while “Baxter’s” is the safest arid surest remedy, it is also the most pleasant. Children actually learn to ask for “Baxter’s” and seldom regard it as a medicine. “Baxter’s” is so soothing, so warning and pleasant. It relieves and eases in a Wonderful way—while its unique tonic properties quickly restore strength and build up the system against future colds. This is the season when children in particular catch colds easily. Every mother should be sure she has “Baxter’s” in the home. Got “Baxter’s” with your next groceries or next time you pass a chemist's, d/6, 2/6 and 1/6 sizes.

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resonant in the fortissimo, and capable of the softest pianissimo without loss of character. This month he gives perhaps the most famous tenor passage in oratorio, the recitative “Comfort Ye My People,” and the following air, “Every Valley Shall Be Exalted,” from Handel's “Messiah.” In the recitative there is a philosophic calm in even the most emotional moments, and the aria is characterised by an exaltation that carries with it the listener. Widdop receives splendid support from the orchestra under John Barbirolli. The strings which play an important part are particularly beautiful

The Youth of Elgar The recording of the late Sir Edward Elgar’s two “Wan ( l of Youth” suites should give abundant pleasure. These are. played by the London Symphony Orchestra., and conducted by the composer himself. These two suites were written when Elgar was 14 years of ago and laid aside until lflOfi, when they were reorehestrated, The touch of his practised hand in maturity has enhanced and given point to his childish fancies without in the least staling their ingenuousness. 'They were .written originally for a children’s play dealing with fairyland, and each of these short but charming sketches illustrates sonic point of the play. 'Thus the old popple, arc lured across the bridge into fairyland by the strains of “Moths and Butterflies” and “The Little Bells.” “The Fairy Pipers” charms the old popple to sleep, which is accompanied by “The Slumber Scene,” and they are awakened by flashing glittering lights in their eyes with the help of mirrors and io the accompaniment of “The Sun Dance.” Ollier episodes in the play arc delightfully illustrated by music as fairylike, in character. '.This is music of real charm, and all its delicate and shimmering colours arc caught in these records almost to perfection. A par-' ticularly fine feature of the recording is the marvellous lifelike (.one of the muted strings. 'The. odd side of these fi\e records contains a. minuet from Elgar's composition “Beau Brummel.”

“Obcron” Ovc'rture Dr. Leo Blech and the London Symphony Orchestra, give a sympathetic reading of Weber’s famous “Obcron” Overture in this month’s lists. 'The playing carries us from the first note into fairy realms. Exquisite tonal colourings and instrumental effects of the utmost ingenuity make this recording one of the most delicate and fanciful yet released. Particularly rich in suggestion arc the light movements of the fairies on the clarinets and Oberon’s theme on the horn. Dr. Blei'h lias enriched the gramophone’s repertoire with a work that for ethereal beauty will remain long unsurpassed.

Chaliapin Theodor Chaliapin, the Kussian basso, who lias been responsible for many recording triumphs, has contributed to gramophone music one of the most stirring and dramatic excerpts in existence!—the death scene from -Massenet's “Don Quixote,” an opera first produced in Monte Carlo in ]!!](), The chief success of this opera, both in Monte Carlo and Now York, has been due solely to Chaliapin's realistic impersonation of the hero. The great Hessian is ideally suited to portray the part. The music of the death scene is most impressive. Don Quixote realises the failure ot his dreams, and Chaliapin’s singing is a masterpiece of pathos and dramatic force. Tfis exclamation, “do incurs - ’ (1 am dying) is truly terrifying, and one cannot help visualising ttie dying hero sharing bis lasi few moments with his faithful I’anxa. At the very end a. vision of Dulcinea appears, singing to a. harp accompaniment. The last gasp and Ihe sobbing of Sancho. whom Chaliapin suhsc<|ucnt ly impersonates, are thrilling in their grim realism.