MUSICAL RECORDS.

New Zealand Herald, Volume LXIII, Issue 19406, 14 August 1926, Page 8 (Supplement)

MUSICAL RECORDS.

Mr. Arthur Jordan, who has made such a deep and favourable impression on New Zealand audiences in tenor arias, solos, and parts in oratorio and grand opera, can now be heafd in his latest record to reach New Zealand. It is the "Who is Sylvia?" and the complementary solo is Joseph Holbrooke's,beautiful song, " Come not When I am Dead."

In Ilalevy's religious opera, "La Juive," the bass air for the cardinal, "Si la rigueur," is very familiar. Ezio Pinza has made a record of this which of all the recorded versions is richest in colour and sentiment. The big tenor air, which Edward Lloyd often used to sing, is reproduced in French by Caruso, " Rachel, quand du Seigneur," with that manful, robust tone, and animated accent so characteristic of him. Quite 011 a musical level with the above is the soprano air, " II va venir " (" He will be here "), a first-rate record of which is made by Florence with exemplary clearness of tone and diction.

Ansseau, a Belgian, is in French opera the supreme tenor of to-day. He can give sheer delight as a singer, especially to the many ears that are fast tiring of the desperate energy of Italian tenors. It is a tribute to M. Ansseau that one can discuss his art as that of a fine and sensitive musician. He has recorded in France and England. One would especially recommend Ansseau's record of " The Dream," from Massenet's " Manon." In this one may find the singing of an artist of the most refined order, and the aria is given a wistful charm that is very appealing, On the reverse side is the contrasting "Ah! leve-toi, soleil," from Gounod's " Romeo et Juliette," also finely sung. The airs from Massenet's " Werther " and " Herodiade " are interesting. The " Lohengrin " (Wagner) records are worth studying.

In homes and little communities far removed from places of worship the gramophone can well be used on a Sunday evening to give an appropriate note of service to the day. Gipsy Smith, the singing evangelist, now in Australia, and coming to New Zealand, recognised this when he recorded his songs. These are now obtainable in New Zealand fi'om any dealer, and where they are not at present in stock, can be procured through the retailer from the warehouse. The latest additions to the list of sacred music are the beautifully sung hymns which everyone knows, "All People that on fearth do Dwell," and " How Sweet the Name of Jesus Sounds," recorded from a rendering by the Olympic Singers. Thsre is nothing artificial about their singing, no straining after effects, but lovely harmony, perfect time, and a tfuly devotional feeling. It is quite possible now to have a gramophone musical service and to include in it the very best of vocal and instrumental, sacred selections. Presently the Sheffield Choir records of the " Hallelujah Chorus," and " Worthy is the Lamb" will be available.

Dvorak produced undoubtedly livelier work than his " Slav Dance, No. 2," but even if it is inclined to dullness, Mayer Gordon's playing of it is as good as anything this wonderfully good violinist has done. With this is bracketed Wieniawski's tremendously difficult " Taranfcelle." This simply bristles with technical pitfalls, but Gordon isartist enough to retain his tone throughout the most intricate passages; indeed, one might be led think this piece is moderately easy, with such fluency and skill does he handle it. The recording of this fine recent discis unusually rich and full, the piano accompaniment a little masterpiece on its own. For sheer brilliance of technique, his playing of Bazzini's amazingly difficult "La Ronde des Lutins " would be hard to counterpart, xo is a mass of pizzicato and arco movements, only possible of trua interpretation to a master musician Gordon's superb work here, at times, strongly suggests the playing of two vio' linists instead of ono. Bracketed with this is Vieutemp's easier, but very beautiful " Polonaise," which Gordon invests with all its tunefulness and colour. Nearly all the very high notes come out with ineffable sweetness and purity.

One of the latest records of notable classical works to be released is the Beethoven concerto for pianoforte and orchestra in C minor. The soloist is William Murdoch, an Australian whose name is as familiar to discerning gramophonists as it is to concert audiences in London and the large centres of England. The record does not state the name of the orchestra sharing the work with him, but, as Sir Hamilton Harty conducted, it is likely to bo the Halle of Manchester. Whatever orchestra it is there is no doubt about- its capacity. This concerto was composed in 1800, and is in the usual three movements—allegro con brio, largo and rondo. It covers four discs. The work, iii recorded in full. Conveniently enough, the first movement occupies two of the discs, the second covers one, and the rondo one. This enables those who do not wish or do not find it convenient to procure the full work at once, to buy and enjoy it movement by movement. Of course, it is preferable ♦to have the whole concerto, especially as it is opened by the orchestra stating the first theme of the initial movement, the strings taking up the first movement, subject answered by the wood, and then the full orchestra. With elaboration the pianoforte takes up the first? theme, and proceeds to the second subject, which it concludes in a rapidly descending passage, played, as is the pianoforte all through, with that brilliancy that listeners are accustomed to hear from Mr. Murdoch, It is not easy to record drums satisfactorily, but they have been most satisfactorily dealt with when they bring this movement to a close. A lovely melody, gracefully conceived and delivered, is a feature of the largo, which contains a delightful duet for flute and bassoon. To the pianoforte is given the imposing opening of the rondo, oboes and bassoons following. The concerto is remarkable, too, fof the sound interpretation by the orchestra, and the delightful manner in which Mr. Murdoch handles the pianoforte part.