MUSICAL RECORDS.

New Zealand Herald, Volume LXV, Issue 19838, 7 January 1928, Page 8 (Supplement)

MUSICAL RECORDS.

Among recent records aro two of tho songs from London's latest musical success, " The Desert Song" and "One Alone," recorded by a young tenor, John Coleman, and i two Indian Love Lyrics—- " Temple Bells " and' " Less Than The Dust " —which receive adequate and poetic expression on a grand organ played by Mr. Arnold Grfeir. Eisteddfod minstrelsy is also introduced, on' a disc giving two traditional Welsh songs by the soprano, • Madame Megan Tetini; whose Italian operatic training has not spoiled her zest for her native airs. One of the first records to bring Tito Schipa, the Spanish tenor, into prominence was "II Sogno" (tho dream) from Massenet's "Manon." One can recall also his delightful round and smooth rendering of "O Columbina;" from "Pagliacci," and V the lusty " Granadinas" from "Emmigrantes," With the airy melodic "Frincesita" on tho other side. Schipa is now approaching his fortieth year of life and, judging by his recent records, is singing better than ever. Recently there was issued his splendidly-dramatic recording with Madame Bori in the death scene from "La Boheme." He enriches a recent list with "Pourquoi mo reveiller," from Massenet' 3 "Werther," and "Fantaisie aux divins mensonges," from "Lakme". {Delibes). , It' seems generally' to be assumed that grand opera in English is an admission that the singing is not of the usual standard. Perhaps the general assumption is right, but of the singing of William Heseltine and Mary Ogden in the two famous duets from "11 TraVal'ore" one can say at least that it is adequate, and there will be many who will prefer to sacrifice a little of tho vocal beauty in order to get something of the sense of the song. That is • why these recordings have an important "place in any collection. The " Miserere " duet, the most popular in all grand opera, is especially welcome, and it is very sung. Heseltine's voice is ;good ; not many of the tenors who consider themselves too good to sing opera in English could beat his expressiveness and sincerity. , > ». "v? '

Not long turned 50, Martin Shaw (native of London and a pupil of Stanford at the Royal College) has been exceedingly tnroughout his career ol organist and composer of church music, light ope«a, incidental music and vocal pieces of every description: As a matter of course, he is inadequately recorded; but what there is is gooitaud worth having. In "Cargoes" Peter Dawson infuses abundant spirit and swing. He is again excellent in his colouring of "Wood Magic," a more elaborate song, containing quick contrasts of feeling and rhythm, now mysterious, now 'fall of fear that \& dispelled by and loving prayer, a broad ffielody succeeded by a colloquial 'toficlii.^"This is its well recorded as it is well enunciated aud sung: S3& •Tho 'ordinary gypsy band is composed of from two to ton players. Iho instrument used are strings and the cimbalom. Tfijs instrument, kreuig practically unknown outside Hungary, needs description. In appcaranco it is . lit' $ a baby grand piano, without either keyboard or nd. The performer plays'' directly upon the wires, using two :tiny drumsticks for the purpose. The accuracy and speed with winch the average player can manipulate these clumsy are extraordinary. The notes fipple out in wonderlul trills and (ifidenzas that woula bafflo an ordinary pianist, and the absence of, pedal resonance gives the music a peculiar ethereal quality'similar to the tone of the harpsichord. To hear the cimbalom played exquisitely by Nitia L'odolban, btfb ,"Should get ' Rumanian Gipsy Aiiti" with a "Russian Gipsy Air" on the "reverse. These demonstrate admii'ably the purictuating use of the instrument. -•

On Juno, 2 §ir Edward Elgar, O.iVL, celebrates- his 70th birthday and as a tribute o| homage there will bo a special issue ol some oi his principal compositions, in particular the "Second Symphony in E" Flat." This recording by the London Symphony Orchestra, conducted by the composer, occupies six large records and* is issued complete in a well-arranged "album. This symphony is perhaps, easier to.. understand and, therefore, to enjoy, than the composer's first symphony, as there is less mystery in it and by placing the quotation from Shelley's poem at the head of the score, "Rarely, Rarely Comcst Thou, Spirit of Delight," he has given a clue to his own personal aspect, upon the music. One [eels that Elgar -has in his music gone in search of that' elusive spirit of delight, and that in his .last movement he •has been successful in capturing it. The work opens with a fine svfirl of music, rhaflsodic in character/ which .s sp endidly recorded, particularly on the second side of the first, record. Ihen there comes a >udden 'change to pensive larghetto, the second movement. Ihe rondo, the third movement, is very fine perhaps que of the brightest examples ol rhythmic variety, with . the composer quite obviously letting his feelings 1 full nlav. So on to the magnificent last movement, in which Elgar seems to'have enshrined the spirit of dehgt - . cording is beyond reproach and altogether the . work is a fitting tribute to a gieat British composer. '