MUSICAL RECORDS.

New Zealand Herald, Volume LXIV, Issue 19762, 8 October 1927, Page 8 (Supplement)

MUSICAL RECORDS.

Eenee Chemet's brilliant violin playing and fine tone are always delightful. Her new record is i very pleasing, combining the melodious " Souvenir," by Drdla, with the admirable suggestion of mechanical dancing in Poldini's wellknown " Poupeo Yalsante." Gramophone lovers who hear Alfredo Rode, in Paganini's " La Clochette," and " The Dance of the Goblins," by Bazzini, will watch his career with intense interest. Both are display pieces, in which Rode is shown 'to have a wonderful pizzicato technique. Perhaps his next contributions will be more strongly contrasted. The near approach of Mr. Joseph Hislop's visit to New Zealand makes these two fine numbers of unusual interest. Hislop is the possessor of a delightfully rich voice. He sings "An Eriskay Love Lilt " and " The Herding Song " with outstanding effect, with an case and skill that is refreshing, and displays good tone, whether singing forte or mczzo-voce. Casals' playing has that peculiar magnetism born of perfection. He holds attention completely by his marvellously smooth tone and immaculate phrasing. For his most recent record he has chosen two arrangements of Wagner's most famous melodies, " Star of Love," from " Tannhauser." and " The Prize Song," from " The Meistersingers/' which lend themselves to exquisito treatment by the 'cello. Once again we have a record which demonstrates how high above his contemporaries Pablo Casals stands as a 'cellist. There is no feature in Max Bruch's " Kol Nidrei " that merits anything short of the highest possible praise. Phrasing, richness of tone, timing—everything is as near perfect as one can hope. The haunting and plaintive music is admirably suited to the 'cello, particularly when in the hands of such a master of the instrument. The overture to Rossini's " William Tell," which has been re-recorded, is played by the Royal Opera Orchestra, Covent Garden, under the conductorship of Dr. Malcolm Sergent, a young conductor of promising brilliance. This iiew gramophone version of the overture is a most brilliant one. In the pastoral parts the woodwind is rich in' tone, and the glowing orchestral colouring of the storm is adequately realised, while the climax, with its martial theme, is sonorously developed. Miriam Licette has been a well-known figure at Covent Garden for some seasons now, and it is good to notice the growing recognition that is being accorded to her. She has been trained in a severe school that does not believe in heaven-sent voices; consequently there is a sparkling finish and " professionalism" about everything she touches, and she is particularly strong on the virtues that appeal to the man-in-the-street—clarity, sweetness, and no mean dramatic expression. The Waltz Song from Gounod's " Romeo and Juliet," is captivatingly beautiful, and on the other side " They Call Me Mimi " is in Puccini's best vein, and will, therefore, be assured of a host of admirers. There is much interesting reading in a book just published by a New Zealander, Mr. T. Lindsay Buick. Mr. Buick is a well-known author of works on New Zealand history, but in " The Romance of the Gramophone" he has branched out into a. more ambitious line. He traces the development of one of the most wonderful modern inventions, right from the earliest times. The book is written with manifest appreciation of the great work that has been done by the gramophone in spreading musical culture, and should help any reader toward a better understanding of ! such a machine, which to-day is looked ; upon too much merely as a piece of furni- | ture. An introduction, " The Spirit of the Gramophone," has been written by Mr. E. Douglas, supervisor of musical education for the Government. t Tschaikovsky's delightful and piquant " Gasse-Noisette" Suite was originally intended to surround a little ballet based on Hans Anderson's fairy tale, " The Nut-cracker and the Mouse King." The orchestra required is comparatively small, and Tschaikovsky is represented in his best vein. As recorded by the Philadelphia Symphony Orchestra, under Stokowski, the suite consists of nine short numbers (of which all except the overture are dances). Mention must be made of the really beautiful playing of the celesta in the " Dance of the Sugar Plum Fairy "; it is one which depicts exactly the floating dance of the fairy. " The Trepak," a wild Cossack dance, goes with a tremendous verve, and forms a wonderful contraA to the weird " Arab Dance " on next record or to the humorous " Chinese Dance." The final record is occupied on both sides by the famous "Waltz of the Flowers." The elaborate introduction for the harp :is reproduced marvellously. The Philidelphia Symphony Orchestra is reputed to be both the largest and most perfectly trained orchestra in the world. As might be expected, the performance in these records is superb; the unlimited rehearsals possible to the orchestra under the permanent conductor, Stokowski, have resulted in a remarkable perfection of detail and a general polish. Indeed, so " finished " is the performance that it adds what amounts to an additional " thrill " to the lovely music.