MUSICAL RECORDS.

New Zealand Herald, Volume LXI, Issue 18771, 26 July 1924, Page 8 (Supplement)

MUSICAL RECORDS.

At a meeting in connection with the British Musical Industries Conference at Folkestone, Sir Henry J. Wood spoke on the influence of the gramophone on musical culture. Is the' gramophone a musical instrument ? was one of the ' first questions they would ask. He thought it was, and accordingly would exert great influence on the advancement of musical culture. The reproduction of tones of instruments and voices was a musical triumph and an artistic god-send. To-day it had the power to spread the gospel of music throughout the world, to provide music in the home, and by repeating it again and again it was, in his opinion, a most powerful influence for the spread of musical knowledge and for creating a real lovo of music. For each individual branch of music the gramophone was a great help by reason,of its ability to reproduce.-. One got to know the various instruments and the parts they played, and one.could almost study the composer's methods, and that in a manner in which it was impossible for a concert hall to supply. Joseph Hislop, whose fine records are much appreciated in New Zealand, has just finished a triumphal four-months' season at the Roj'al » Opera House, Stockholm. So great is the famous tenor's popularity in the country where he learned his art that, his name en any programme is sufficient to sell the house out long before the night of the performance. His chief appearances this season have been, in "Manon," "Mephistofele," "Butterfly," and "Romeo and Juliet." A friend who has just returned from Stockholm-tells a London critic that Hislop has been in better voice than ever, and that many ovations have been his. Scottish and English admirers have holidayed in Sweden during the past few weeks mainly with the object of putting in a few evenings at the opera and listening to Hislop's superb singing and enjoying his perfect acting. Apropos of the above personal note, I notice in the latest budget of records to arrive" in Wellington two very fine Hislop recordings on grand opera arias— the famous "Prize Song" from "The Mastersingers" (Wagner), and the narrative song "In Distant Lands," from the same composer's "Lohengrin," in which the words are remarkably clear. Another good double disc among- the new , arrivals is an old English bracket from Robert Radford, who gives, in his fine resonant bass, an admirable recording of Purcell's "Ye Twice Ten Hundred Deities," and Dr. Arne's celebrated recitative "The Star," and its accompanying air, "How Phoebus Sinketh in the West." Stravinsky's Petrouchka Ballet music to which reference was made in these notes a little while ago, has now arrived, in four double disc recordings by the Royal Albert Hall Orchestra—eight parts in all. The achievement is quite good, and should make a notable addition to orchestral collections. The London Morning Post, referring in a critical note to the recently-published records of Beethoven's Ninth Symphony (the "Choral") says: "The performance and reproduction are in the main excellent. Power is, necessarily, somewhat lacking, and in certain places more refinement of balance and nuance in both orchestral and vocal parts could be desired. The thing being so. good, one wonders sometimes why it could not be better, but nevertheless, it represents high achievement, and will undoubtedly be welcomed by thousands whose opportunities of hearing a 'live' performance are rare or nonexistent; if they note defects they may be reminded that we who enjoy comparatively frequent hearings of the work in the concert room, however delighted, can usually put our fingers on details that have left us not entirely satisfied." I note with some interest that Elgar's recent Bach and Handel transcriptions are now available for gramophonists (whether they will come'to this part of the world remains to be seen). Following this issue of the Bach Fugue in C minor its preceding Fantasia has been recorded, with, on the other side, the Handel Overture in D minor, both recorded with effective reproduction of orchestral mass and detail by the Royal Albert Hall Orchestra under Elgar's own conductorship. This (says a critic) is one of the most enjoyable gramophone records in existence. Of all the series of Rhapsodies that Liszt wrote out of his love for the Hungarian tunes and dances the twelfth is perhaps the most popular. Mr. Arthur de Greef has given us a recorded rendering that is at the same time brilliant and musical. Of pianoforte records in the new arrivals two of the most acceptable are those of Debussey's "Children's Corner" and his "Submerged Cathedral," made by Cortot. They seem a little hard in tone, but it is about as good as piano tone usually is in gramophonic representation. When Chopin wrote his well-known "E Flat Nocturne" he little thought that his pianoforte conception would ultimately "be given to the gramophone world as a vocal item. It was a risky experiment, but some risky experiments are worth while, for Selma Kurz has given us quite a good record of.the vocal transcription. It is a long, long, time since I had the pleasure of hearing a Kirkby Lunn record. More than welcome, therefore, is a'i 'bracket from that famous contralto-—' "Love is a Dream" (Pitt), and "The Heart Worships" (Hoist). Madame's accompaniments are capably played by Harold Craxton. A good double disc. Madame Suggia's ('cello) debut in the gramophone world has been mentioned previously in these notes, and there is no doubt some interest in the first results of her visit to the recording room. These are a dance movement "Allemande" (Senaille), and Popper's "Spanish. Dance" (Op. 54, No. 5). Both are light rhythmic pieces which set the feet moving, but none the less admirable for their artistic quality. ,An ' acceptable violin bracket—a Kreislor arrangement of Dvorak's "Songs my Mother Taught Me," and "A Dream Song" (Octernley)—comes from Mademoiselle Renee Chemet. Alfred Cortot's pianoforte contribution to the latest budget of recoids is Debussy's "Coin des enfants," which will require some patient study for an intelligent understanding of its themes and treatment. Debussy prefaces the Suite with a dedication "To my dear little 'Chouchou,' with the tender excuses of his father for what is to follow." The first piece, "Doctor Gradus" introduces us to "Chouchou" during his practising hour. "Jimbo's Lullaby" speaks for itself. In the " Dolls' Serenade" we get, all through, just that element of stiffness that suggests the doll. The picture of the snow daricing in the wind is extraordinarily vivid and with the next piece, "The Little Shepherd," strikes perhaps a more truly lyrical note than the others, The "Gollywog's Cake-walk" is a ragtime —with a spice of wit about it that makes it unique of its kind. On the back of the last record Contort has given us "La Cathedrale Engloutie," probably the composer's best known work. The Breton fishermen in' their boats, floating on a calm sea, T perceive dimly through the waters the outline of the legendary, longsubmerged cathedral, and catch for a moment the souiid of the bells; till the surface ?f the water is ruffled by the breeze and the vision vanishes