MUSICAL RECORDS.

New Zealand Herald, Volume LXII, Issue 19133, 26 September 1925, Page 8 (Supplement)

MUSICAL RECORDS.

Bach's unaccompanied "Suite for •Cello in C Major" is the Mount Aspiring of most 'cellists who climb to the rarer atmospheres of musicianship. Ginlhermina Suggia's recording of the suite is among the new arrivals. One may say quite frankly that this is a piece of music which can only have a real appeal to violin enthusiasts, teachers and students. The opening is a most difficult exercise in rapid triple phrasing, and there is a tendency for the accented note of each triplet—which happens to be the lowest note—to overshadow tho other two.

The Savoy Orpheans' much-discussed fantasio on the popular jazz tune, "It Ain't Gonna Rain No Mo'," has arrived, and is a peach. One of the best things in jazz novelties heard for a long time. The fantasie is enlivened by some quite good patter, and tho work of the band is really marvellous. You hear it played first as the Boy Scouts would play it—for every Orphean was a Boy Scout once. Then you hear it played in the Salvation Army Band style—the Orpheans, the listener is informed, were all in the Army years ago—then in the British military band style, as Scotch pipers, and lastly in the Orpheans' own style.

Just as one is beginning to ask what has become of John McCormack, tho door opens and ho appears among tho new arrivals from London. Also, ho brings something well worth while—two delightful songs by Rachmaninoff —"To the Children," Op. 26, No. 7, and "How Fair this Spot," Op. 21, No. 7—with violin obligato by Kreisler. You will be charmed with this record.

Toti dal Monte's recording of Jules Benedict's "Camerade di Venezia" (air with variations), has now arrived. This is brilliant singing, though it strikes the ear, especially in the upper register, as a triflo hard and metallic. With the fibre needle a good deal of the hardness of tone disappears. Making due allowance for the exuberance of the catalogue annotater, it is not quite such a good record as the singer's really wonderful "Mad Scene" from "Lucia." The music, .of course, is of a different character. An excellent record, all the same, and miles better than some of the recorded efforts of greater stars.

Among the new records to be released in New Zealand next week is the eagerlyexpected Schubert "Impromptu in B Flat Major," Op. 142, No. 2, recorded by the famous Paderewski on one largo double disc (in two parts). It is a splendid record and should be in everyone's collection. The impromptu is one of the bestknown of Schubert's celebrated series. It is ,to be hoped that further recordings from the series will follow. There is a truly majestic one in A "minor, but I forget the opus number for the moment

There is no doubt in the minds of listeners to the records of performances by the Grenadier Guards Band of the high standards to which the crack regimental bands of the British Army attain. A§ja brilliant example of this the recently-ar-rived reproduction of a performance of 'Tho British Army Fantasia" (Jullien) bv the Grenadiers, conducted by Lieut. Miller, may be quoted. Follow the performance as recorded as closely as one will, there is not a musical flaw to be detected in it anywhere. Much solo work is allotted to the different instruments, the cornet and clarionet predominating, but the trumpet also plays its part. The materials used in the Fantasia are descriptive of artillery, infantry and cavalry, with bugle calls and fanfares of trumpets, and England, Scotland, Ireland and Wales are represented by national airs as played Iby famous regiments named after the j countries. There is nothing casual about ! the selection of the performers in this | splendid band of the British Army. Not only is absolute discipline obtained, but it is naturally observed because every instrumentalist is highly trained before admission, and, moreover, is an accomplished artist in everything he is called upon to do.

Further reproductions are to hand of Norman Allin's singing of " The Ballad of Semmerwater," and Moussorgsky s pathetic " Song of the Harp-player." Mr. Aliin is accepted as one of the most impressive bassos singing in Great Britain to-day, and is admitted to be an artist in dramatic interpretation of Wagner's intentions, as for example in the monologue, " Mad! Mad!" from " The Meistersingers."

Two numbers that usually appear on the recital programmes of eminent violinists are • Kreisler's arrangement of Tartini's " Variations of a theme of Corelli,' and a lovely melody of Gluck (tho magican of melody). Both are recorded from a performance by Yovanovitch Bratza (pleasantly remembered in New Zealand). The young Serbian artist is heard at his best in these items, which for all tho executive ability that their perfect rendering demands, are such as will at once appeal to all genuine lovers of music, especially the melody of Gluck, which is from " Orfeo ed Euridice."

Lionel Tertis, who has done so much to bring the solo possibilities of the viola before the musical public, has just had recorded his transcription of Bach's " Chaconne." This monumental work is usually heard only through the violin, for which it was originally written, but- Mr. Tertis is too much of a musician to take liberties with it in arranging it for the viola. The greatest of violinists play tho " Chaconne," but it is something uncommon to hear it through another instrument. It abounds in appalling executive difficulties, of which Mr. Tertis seemingly makes light, but it is also in the nature of a splendid hymn of praise to music, considered as a divine art.