MUSICAL RECORDS.

New Zealand Herald, Volume LXIII, Issue 19412, 21 August 1926, Page 8 (Supplement)

MUSICAL RECORDS.

1 If you are looking round for some good violin records, try these; "Chaconne in Four Parts" (Bach), Isolde Menges; "Introduction and Rondo C'apriccioso," Op. 3, in two parts (Saint-Saens), William Primrose; "La Rondo des Lutins" (Bazzini) and Scherzo "Tarantelle," Op 16 (Wieniawski), Jascha Heifetz; "Sonata in A, No. 2, in Four Parts" (Bach), William Primrose; "Golden Sonata for r lwoViolins," in two parts (Purcell), Menges and Primrose; "Concerto in D, No. 4" (Mozart), in eight parts, Fritz Kreisler and the, Royal Albert Hall Orchestra.

" Martial Moments " is a fine record from the band of the Grenadier Guards, one of tho finest regimental bauds in the world. It is a blending into an unbroken musical narrative of some twenty military marches by Aubrey Winter, One pleasure of this record is that' it conjures up memories of such marches as Post," "Under the Double Eagle," and " Entry of the Gladiators " \yhen such popular tunes wero new. The performance is , one giving full play to the individual player as to the bund as a whole, so that to bandsmen it is a record that will possess special interest. From "Patrie!" an opera by PaUdilhe, founded upon Sardou's moving spectacular play, have been recorded two records ©f some interest, chiefly for the personality of the singers—one Emil de Gorgorza's " Air du Sonneur," the other Titta Rufto's " Pauvre martyr obscur! " Each exemplifies good singing and good recording. Side by side with these may be coupled two more records of a favourite excerpt from a more than half forgotten ope*a, to wit, the " Bourbonnaise," otherwise " L'Eclat de Rire," alias " C'est l'histoire amoureuse," from Auber's " Manon Lescault," made by Galli-Curci and Evelyn Scotney. From a point of view of extraordinary tonal purity and unblemished recording, the record of William Murdoch's playing of Beethoven's " Sonata in G. Major is surely one of the greatest of recent 'recording-room triumphs. This piece calls for finish and delicacy rather than for any power of conception, and it is admirably suited to this brilliant pianist's touch. Its two parts—allegro ma non troppo and tempo di menuetto—«re of exquisite purity of tone, even to the most delicate pianissimo notes. This record was awarded first place in its section in a system of piano-record testing carried out a little while ago by three famous musical experts. Another piano record, and one bearing the world celebrated name of Pachmann, is one of the few recorded examples of this great man's genius. . This gives us a couple of pieces by Chopin—" Mazurka in G. Major " and " Etude in F. Major," both on one side. These particularly reveal some of that wonderful beauty of tone for which Pachmann is so famous. The reverse side bears a composition by a lesser composer—"La Fileuse " (RaffHenselt), and while not so full of interest, is yet made a thing of grace and beauty by Pachnmnn's magic touch. This was another of the records successfully passing the tests referred to above,,

Griegs "Concerto in A minor," for pianoforte and orchestra, has been recorded in condenesd form by Arthur de Greef and orchestra ponducted by Sir Landon Ronald. M. de Greef was a friend of the composer and has always bisen associated with the concerto, and he plays it as an intimate friend. Sir lltandon Ronald provides a sympathetic orchestral part. Another worth-while recording is Cesar Franck's "Variation Symphoniques," for pianoforte and orchestra. There is nothing wrong with the rendering of Arthur de Greef, a compatriot of the composer, and orchestra finely conducted by Sir Landon Ronald. Apollo Granforte, the distinguished South American, who delighted New Zealand audiences when he visited us with the Melba Grand Opera {lingers, has an excellent bracket in the " Credo " from Verdi's " Otello," and " 0 Monumento! " ("La Gioconda"). Here Granforte has made a splendid record of two very dramatic arias. He excels in declamation, of which the arias are composed, and his voice records exceptionally well. The ballet music from " Gioconda " is a light concert pidce. It comes from Act 3 of the opera, where it is introduced not only for the entertainment of the operatic guests, but to form a contrast to the dramatic events which follow. The music, well recorded, provides a pleasant diversion from more serious things. Beethoven's "drama" is always internal, or spiritual; it is the conflict of ideas too immaterial to be stated in <'words. The first movement of the "C Minor Symphony" illustrates it to perfection—the conflicting protagonists are embodied in the first subject, a short, stern figure, and in the second subject, a lovely, flexible melody; and the dramatic field is the middle section of the movement. The entire drama, however, is worked out over the whole work, the last movement being the resolution of the first. Tschai-. kowsky's "drama" is more external; it is very nearly as programmic as the tonepoems of Berlioz and Richard Strauss. Midway between the extremes of Beethoven and Tschaikowsky is the "drama" of Cesar Franck. Readers who want to understand should study the Beethoven "C Minor Symphony," the Tschaikowsky "Pathetique" and the Franck "D Minor," by tho help of detailed literary expositions. The Beethoven might be preceded by the Mozart "Symphony in G Minor." The Franck might be followed by the "Elgar in E Flat." If these works are too large, then the following might be substituted; Mozart, "Fantasia in C Minor" (pianoforte); Beethoven, "Sonata Pathetique," Op. 13. and the great "Trio in B Flat," Op. 97; Liszt, "Sonata in B Minor" (pianoforte); Franck, tho "Violin Sonata."