MUSICAL RECORDS.

New Zealand Herald, Volume LXIX, Issue 21118, 27 February 1932, Page 10 (Supplement)

MUSICAL RECORDS.

Godard's famous " Berceuse " is splendidly sung by the boy soprano, John Bonner, on a Columbia record, and the old favourite on the reverse is also a fine piece of vocalisin. The voice is still fresh and the production as easy as the notes of a bird. Even among other records by brilliantly trained choristers, this disc would stand out. And the choice of songs will be as popular as the singing ! It is a great record, ably recorded.

Caspar Cassado, with Mme. G. V. Mendelssohn-Gordigiani accompanying him afc the piano, gives us a splended new recording of Dvorak's " Humoreske" Op. 101, No. 7, and Tchaikovsky's everpopular " Melod'e " Op. 42, No. 3. These two 'cello solos are real gems. Cassado's rendering of the world-famous Humoreske is not only an interpretation " par excellence," but a new and refreshing one. These pieces will give the listener a new appreciation for the art of a great 'cellist —one of the very finest in the world to-day. The recording is by Columbia.

Nothing in the field of chamber music could be more lovable than Haydn's D Minor Quartet, Op. 76, No. 2, admirably played and recorded by His Master's Voice. The performers are the Elman Quartet, the famous violinist being joined by Bachman, Schubert and Britt. The new party could hardly have made a better start. Sonority, balance and variety are alike first rate, and make this Haydn recording one of the very best of recent chamber music efforts. Not the least of its good points is the interest imparted to tne canonic minuet, which is so often made to sound mechanical.

Paul Robeson, singing " Hear De Lam's a Cryin'," and " Ezekel Raw De Wheel," 011 a recent His Master's Voice recording, shows that to shig a " spiritual " something more than a fine voice or a mere passing emotion is needed; for complete realisation, besides these things, is required the passion of tradition. Paul Robeson has all these things. With him the negro spiritual becomes a sincere outpouring of deep if elemental emotions. He is joined here by Laurence Brown, who artistically sings the tenor part of the duets, and who has skilfully arranged both spirituals —so that he has a real share in one of the best of the " spirituals " records.

It is doubtful if any song composer of the last generation can claim such an imposing array ot popular successes as Hermann Lolir. Wherever the English language is spoken, his songs are known; the titles even have become household phrases, and his tunes are sung, whistled and hummed by English folk of all ages. A recent Columbia recording includes seven of Lohr's most famous songs, sung by the Columbia Light Opera Company —and splendidly sung, too. On part one there are " You'd better Ask Me," " Where My Caravan Has Rested," and " Chorus, Gentlemen." On part two is " The Little Irish Girl," " Little Grey Home in the West." " Rose of My fleart," and " To My First Love."

Mozart's famous Serenade for Strings — better known under its German title, " Eine Kleine Nachtmusik " (A Little Night Music), is on a recent Columbia record given by Bruno Walter and the British Symphony Orchestra. Each of the four movements is a jewel of lightness and grace—whether it be the racy " Allegro, the ravishing " Romance," the charming " Minuet," or the jolly " Rondo." All have fresh, enchanting meloclies, and Bruno Walter has achieved a real triumph, for under his sensitive direction the string players have caught the delicacy and sparkle of the music to perfection. It is all pure Mozart, and the gorgeous string tone has been recorded with a limpidity that perfectly preserves its silken grace.

The overture to the " Filing Dutchman," played by the New lork Philharmonic Orchestra, conducted by William Mendelberg, is a fine electrical recording of Wagner's dramatic work. The storm music is impressively played and excellently recorded. Mendelberg infuses the last section with considerable vigour, and the climax at the end is fine. The overture opens with a stormy passage for strings, which is followed by a second theme of woodwind, depicting the love of Senta. This theme is later ..sed as the motive of redemption. The overture develops into a stormy passage depicting not only the storms on the seas in the life of the Dutchman, but also the storms and tempests of his soul. It is a splendid illustration of the great change which came over Wagner at this period. He himself expresses it by saying, " From this moment my career began as a poet, and I made my farewell to the mere concocter of opera plots." The recording is by His Master's Voice.