MUSICAL RECORDS.

New Zealand Herald, Volume LXVII, Issue 20520, 22 March 1930, Page 10 (Supplement)

MUSICAL RECORDS.

Of the purely instrumental music in Handel's works, the " Sonata in A," for violin with piano accompaniment, played for His Master's Voice by Isolde Menges, with Eileen Beattie, will bring undoubted pleasure to those who appreciate the violin most when employed on broad singing phrases most suited to its genius. The tone of both instruments is well reproduced.

With each new record he produces for Columbia, more and more music lovers fall under the spell of Kipnis' quiet and thoughtful art. His choice of materia.! is invariably worth while. After Schubert, he gives the Lieder of Brahms, songs that have always been the treasured joy of the connoisseur. Kipnis' perfect legato, his broad phrasing and his easy production were never better exemplified than in these calm, intellectually secure gems of the song writer's art.

Elena Danieti, a new soprano, has been recruited for the gramophone by His Master's Voice. This young singer made her debut at Covent Garden this season. Her voice is clear and she controls it well. She sings Braga's " Angel's Serenade " and the Massenet " Elegic " —now apparently in its first electrical recording in English—and interprets them with sympathy and beauty of tone. Violin obligati are skilfully played by Majorie Hay ward, making this a record well worthy of attention.

"Rolling to Rio" (KiplingGerman) and " Border Ballad " (SeottCowne), sung by Fraser Gange, baritone, for Columbia, make a magnificent example of ballad singing by a baritone whose recent visits to this country have already converted us into his warm admirers. The songs rank almost as national folk music, so familiar are they now in English-speaking countries, and it is interesting to note that Gauge's recent tour of Scandinavia met; with unqualified success on the score of his ballads being so representative of British music. Fraser Gange sings these two in manly style.

Friedman's interpretation of Chopin's A Flat Polonaise for Columbia is brilliant. He makes a lofty and high-souled work of a piece often kno.wn as the " Heroic," bringing before one the tramp of a troop of horsemen. He handles tiio dignified opening theme with a rich sense of colour and shows consumate skill in the curious and fascinating harmonic passages in the working-out section. It is of interest to note how a great part of his effect is obtained by a judicious use of the pedal. This makes one of the most majestic and spirited piano records that one can call to mind. Recording has im-~ proved quite perceptibly during the last year as regards piano tone.

The piquant " Mnsetta's Song," from Puccini's "La Boheme " —" When I Wander Alone Along the Street " —is well sung for His Master's Voice "by Mavis Bennett. Musetta, a,gvisette, is in the company of an elderly • hanker at a cafe, and is trying to attract the attention of Marcel, her former lover. In a lilting waltz-tune she sings of her p.»ctty self, how all passers-by must perforce turn and admire the dainty Musetta. Marcel can stand it no longer. She wins him back and leaves the banker to pay the bill. On -the reverse, side is " The Willow Song " from Coleridge-Taylor's incidental music to " Othello." Here again the voice is of rare sweetness. "The orchestra: is thoroughly competent and recording very good indeed.

In view of the Delins festival in London, tlie recording by His Master's Voice of a characteristic piece by (lie composer, " Brigg Fair," is particularly interesting. It is a rhapsody on the Lincolnshire folk songs collected by Percy Grainger, to whom the work is dedicated, , and is played bv the London Symphony Orchestra, under Geoffrey Tove. TIIO interpretation is superb. The conductor gets every shade of subtlety out of the music. He gives, moreover, true TJelius effect of a gossamer web of sound afloat in almost breathless air. The close weaving of delicate tones in a multi-coloured, indeterminate pattern is beautiful, suggested by Mr. Toye's control over the piano and pianissimo of his instruments. There is also gaiety at this fair and this is careful and spontaneous.

The melodious happiness which was Mozart shines serenely through every note of the Quartet in B Flat Minor, which has been recently re-recorded by the Lener Quartet. Particularly beautiful is the first movement, with its first subject like the happy song of a bird. Nevertheless, the peculiar genius of tho Lener is more apparent in the Adagio. Save for their playing of the glorious First Bamousoffsky of Beethoven's, it is the best example of quartet playing they have given us. The Adagio is Mozart's subtlest creation, and the Lener, with all their attention to detail and all their fine polish, achieve a magnificent breadth. They make the music " live." It glows with meaning. The tone is profound, beautifully shaded; and modulated ns suavely and deftly as anything in music.