MUSICAL RECORDS.

New Zealand Herald, Volume LXIII, Issue 19215, 2 January 1926, Page 8 (Supplement)

MUSICAL RECORDS.

Haydn's "Surprise" symphony 13 one of (ho many of his delightful works that is always popular with orchestras. ijrom this and some others of his works, especially the chamber music, it is to bo gathered that Haydn was without the streak of melancholy that was conspicuous in some others of the great masters of his time and since. The "Surprise" was in the nature of a ioko, a mighty crash coining in tho middle of a tranquil andante movement The symphony has been rendereu by tho Queen s Hall Orchestra, conducted by Sir Henry Wood, and tho work is given in full. It covers fivo sides of 12-inch discs. Tho sixth i gsiven to Jaifelt's well-known and dainty "Praeludium." So far as Lho svmphony is concerned it is questionable whethor Sir Henry Wood has ever been so well treated in recording. The success is primarily duo to him, for whether individuality t}ie respectiVo instrumentalists may have it would bo subordinated to that of tho conductor in this instance. One can follow tho various instruments in tho symphony, and familiarity wif.il tho work as recorded only increases tho pleasure of hearing it, and then analysing its performance.

Jean Lensen's Orchestra obtains Eomo delicato effects in "D'un Prison" and "Reverie," both by Hahn. The performance is artistic and refined, characteristic of tho recording of this excellent orchestra.

"Foggy Dow" is tho name of a lovely old Irish melody, one that is in every way as moving as the "Londonderry Air, ' taken by W. H. Squire as a 'cello solo. It is a striking example of that wistfulness and' longing conspicuous in many of the old Irish melodies, Thero is no gayer music than that of old Ireland, and none more sad. There is a sweetness about "Foggy Dew" that ia most alluring. Mr. Squire is the man and his instrument the means by which its beauty is conveyed to the listener. In this case the record delivers tho music iust as though tho performer were playing in person, in fact it does not sound like a record on a machino. It was a happy choice that led Mr. Squire to play "Believe me if all those endearing young charms," a melody that is as popular outside of Ireland as it is within it. Mr. Squire is one of the greatest 'cellists of our timo, and this record explains why.

It is a little difficult at times to reconcUo tko oft-expressed opinion, even by. ourselves, that "the English aro not a musical people." Some of them, perhaps; but where shall better military bands be found than those of the British Army, or in what" country exist brass bands comparable in strength, enthusiasm, and musicianship to those of the industrial districts of the Midland and North of England, and connected with many of the industries of the Dominions ? Perhaps lack of appreciation of music is confused with want of musical taste; but that is not true. The crowds that performances of the British Army bands draw at their open air concerts show it is not true. Where better, for instance, could the performance of Ramean's "Rigadon," from "Dardanus," • bo rendered than that of the Grenadier Guards conducted by Lieutenant George Miller 1 This is one of the latest records to arrive in New Zealand. .It is one of the finest examples of solo and massed wood wind playing that one may hope to hear. In itself it is a most melodious piece, appealing to the musically cultured and those who do not know a note, with equal interest, and affording both delight. The reverse of the disc is a gavotte by that genius for dance music, Hermann Finck.

The eagerly-awaited Cesar Franck quartot, recorded by the Virtuoso Quartet, has at last arrived, and will be available this week. It is the only string quartet that over came from B'ranck. It Was written in 1839. M. Vincent d'lndy, Franck's pupil, whose hook upon his teacher and friend has been translated into English and should be read by all interested in the subject, not only dovotes a whole chapter to an analysis of the work before us, but also tells an anecdote connected with its first performance: "At the performance . . . the Salle Pleyel resounded with such applause as was rarely heard within its walls; the audience all rose to clap, and called for the composer, who, not being able to realise that a quartet could meet with such success, persisted in believing that these acclamations were intended for the performers. When, however, he reappeared upon the platform, smiling, shy, and bewildered—lie was so unaccustomed to the situation—he could no longer doubt the evidence of such an ovation, and the next day, filled with pride at this first success (in his sixty-ninth year!) ho said to. us quite naively, 'There, you see, the public is beginning to understand me.' " The quartet takes the space of six large double discs, in a handsome album which is given free.

An extremely interesting batch of records, both in Hebrew and Yiddish, have been issued. The services have been secured of some of the best known cantors, who illustrate various types of synagogue melody, both that which is characteristically Jewish and those in which Western influences are evident. Mordechay Hershman has a beautiful voice and sings with intense expression, and his record of the "Havdolo" and "Grant Us God Our Prayers," with orchestra, are singularly impressive. The cantor, Sawel Kwertin, from Vienna, sings unaccompanied perhaps with more worldly expression than his colleague's music, which has a mora western tinge. Among the four records specially interesting is "Zadik Katomor," with chorus, which is particularly interesting because one of its phrases is exactly that "of tho Lohengrin "Swan Song." Cantor Bernard Woolff sings two expressivo songs of his own, "Meloch" (The Ruler) and "Ahavas Olom" (With Everlasting Love). The Yiddish records are very amusing and entertaining, but it cannot be said that their musical value is great, the tunes being mostly in the idiom of the popular songs of Berlin and Vienna. Those who like to study the development of dialect will be interested in one from America, in which we have Yiddish and English mixed in tho song beginning "My Veib is busy und bei mir ist slack."