MUSICAL RECORDS.

New Zealand Herald, Volume LXVII, Issue 20740, 6 December 1930, Page 10 (Supplement)

MUSICAL RECORDS.

Tito Schipa returns to the His Master's Voice lists for December, with two charming songs, " Mnrechiare" and " Ideale," botli of which are by Tosti. The first is a Neapolitan serenade, and the latter an Italian love song. Both nre excellently sung as only Schipa can sing them.

Clapham and Dwyer, tho two Columbia elocutionists, have made another entertaining record, dealing this time with the making of a talking picture. The fun starts and largely revolves around the " noises off " man, who unfortunately, is deaf. Some of the effects which he produces aro particularly comical. The record is useful for brightening up a dull moment.

Pablo Casals is again featured in the His Master's Voice catalogue, this time in two Bach selections. Tho lovely " Andante " is beautifully played, and there is a deep sincerity about it which effectually silences" criticism. On the other side is a violoncello arrangement of the " Air on tho G String." This excerpt needs no further recommendation to music lovers.

The Mandolin Concert Party has grouped a number of traditional Russian songs on to ono record, which is entitled " Echoes of the Volga." These old melodies, some of which havo tho boatman rhythm, have a melancholy feeling which is peculiarly revealed by tho mandolins. While tho record is not of great musical value, it is very interesting, and should be a useful acquisition for tho collector of folk-music. Tho recording is by His Master's Voice.

There is an excellent Paul Robeson record this month —quite ono of the best that has been mado of his wonderful voice and clear diction in negro spirituals. His two songs, " Hail do Crown" and " Exhortation," havo tho old hallmark. His bass is as full and as richly interpretative as ever, and tho record leaves ono wondering at tho significance ho can give tho most trivial phrase and expression. Perhaps the most prominent feature of his art is his sincerity. Tho recording is by His Master's Voice.

Two fine selections from Giordano's opera, " Andrea Chenier," based on tho lifo of the French romantic poet, have been included in tho Tlis Master's Voice list for December. They are sung by Renato Zanelli, a robust tenor, and accompanied by La Scala Orchestra, of Milan. The titles are " Imprivviso—Un di all, azznrro spazio," and "Si foi Soldato." Zanelli is considered to be one of the finest operatic artists before the public to-day, his voice and stylo being reminiscent of tho great Tamagno.

" The Country Girl " is always a popular musical comedy, and gramophone selections from its delightful music will always bo welcome. Quito recently, the production has experienced some successful revivals, and there has been a reawakening of interest in its charming melodies. Tho latest group of tunes recorded by Columbia iijcludes " Tho Rajah of Bhong," "Peace, Peace," " Try Again, Johnnie," " Yo 110, Little Girls, Yo Ho," " Coo," " Under the Deodar," and " Two Little Chicks."

This month's His Master's Voice list includes an ideal example in miniature of Casal's genius. In conjunction with his admirable accompanist, Nikolai Mednikoff, ho gives a deeply moviDg rendering of the Intermezzo from the " Goyescas " of Enrique Granailos. This arresting series of musical impressions, derived by the composer from the work of tho great Spanish painter Goya, was originally written for piano solo, but, like other work by Granados, it transcribes for stringed instruments with particular success. The companion piece is " Toccata in G Major—Adagio," by Bach. There is no mistaking Casals' tone—so round, so rich, and so even in all its registers. Only those people who have played stringed instruments can realise the art that lies behind this.

Tho Brahms Pianoforto Concerto for piano wnich is recorded for His Master's Voice, by Arthur Rubinstein and the London Symphony Orchestra, conducted by Albert Coates, is a great work, full of variety and rich in beauty throughout. Its long initial allegro non troppo opens with flowing sclierzo-liko melodies and with a stimulating vigour. It develops into passages of great gentleness and beauty, and these are followed by hauntingly alluring refrains and joyful, march-like periods. There follows there an intensely feeling allegro appassionato, and then c'omes a soft and entrancing andante. Toward the end of this the violins shine forth with an exquisitely beautiful melody. The final movement is a mellifluous allegretto, blithe and charming and gradually working up to a brilliant finish.