Recorded Music: Notes and Reviews

New Zealand Times, Volume LIII, Issue 12507, 24 July 1926, Page 14

Recorded Music: Notes and Reviews

i HIS MASTER’S VOICE i ! , A MUSICAL GUIDE J In their newly-published catalogue for r 1926 the His Master's Voice Company join the tanks of the anthologists with a list of “Records which Should Be in JSvory Collection.” There are actually 102 of them, grouped as follow; Operatic, 22 ; Songs and Ballads, 21 ; Sacred Songs, Oratorios, 10; Military Bands and Orchestral Pieces, 23; Instrumental Solos and Quartets, 13; In Lighter Vein, 13. JPeter Dawson is represented in five, Caruso by four, Melba, Galli-Curci, Chaliafine, John McCormack, Florence Ausral, and the English Singers by two apiece. Paderewski, Kubelik, Kreisler, Heifetz, de Pachmann, Jeritza, and Toti dal Monte are amongst those who contribute to the selection. Amongst other new features of the catalogue are nn explanatory list -of musical terms, a pronunciation guide to the names of artists and the inclusion of records of historic interest, previously published as a separate volume. * * # • STRAVINSKY'S JOKE The world never would listen to its prophets or the purveyors of modern jazz would have seized on Stravinsky after hearing tha first notes of his “Ragtime.” This satire on the old ragtimes —the tunes of which come more surely than the names after this lapse of time —is played by Marcelle Meyer on a 12ipch H.M.V. record. Its prophetic quality has robbed it of its sting for it would be taken quite seriously as a rival to “The Dog on tho Piano,” by the unsuspecting follower of tho lighter side of music. To the highbrow wo can recommend this record as an indication of what modern jazz nearly is, but as a comment on the dear old tuneful ragtimes % On the other side is another modern with a less mordant item, “Navarra,” which is full of charm. It tends to get monotonous to comment on pianoforte tone, but there are moments in this disc when you can feel the hammer strike the strings. * * * * A GREAT "FAUST” SCENA One of tho impressive scenes in Gounod's “Faust” is that in the church, where Marguerite goes to pray and is thwarted by Mepliistophelos and the chorus of Demons as the organ peals out the “Dies Ivae” from the “Mass for the Bead." The new H.M.V. diso of the church scene records Chalianine as “Mephistopheles,” Florence Austral as “Marguerite,” accompanied by the Symphony Orchestra, organ and chorus conducted by Albert Coates. Chalianine, tho Russian bass, ie recognised as the greatest living interpreter of the character, and Florence Austral in a difficult and almost overborne voice is a great Marf'Uerite. It is desirable in a modern muse to use a medium needle and to listcm to this combination of forces at some distance to get the complete illusion of the scene with the two characters against the background of orchestra, organ and chorus. * « * # delightful tango music Amongst the H.M.V. August records to be issued next week are some delightful tangos. The recrudescence of ! the tango has led the gramophone com?>any to add to the danc* records of this Spanish invasion. Veraldi’s Tahgo Band has recorded on double-sided discs “La i Mantillo and “Por Ti”: “Sunny Hnv- i nna” and “Viva el Principe”; while the ] Rio Gr&n-da Tango Band has played to 1 the Hayes recorder “Garconniera” and i

COLUMBIA NOTES WONDERFUL PIANO RECORDS cords field some little while ago bv three very competent judges, Columbia’s Percy Grainger record (Ll-tll) of Liszt’s Poloanise in B was voted one of the finest dured m tIUS CIaSS ° f music OVer Dro ' 06 ' • _ • . * Herein Grainger is amazingly brilliant, and as a player of Liszt be stands well m the front rank of the world’s piano virtuosos. The second half, in particular, ot this superb piece, is a remarkable demonstration of technique conibined with sheer artistry, the high. notes of the cadenza recording with cystnlline clarity. * * * * Perhaps the one drawback to this record is its unusual volume; it really reeds to bo played in a large hall, or the biggest room available, with soft needles. • tt » ft ’ Grainger is nearly as good in the some composer’s “Hungarian Fantasy,” which has, however, an orchestral accompaniment that is rot in line with the manist's wonderful capacity for sympathetic treatment. It—the orchestra—is unhuipicnl and woollv, although deft wbod wind touches help to condone. Despite this association, Grainger is beautifully apparent ns a star "player, and both these records are necessary to nnv sort of ambitious collection of piano records. « • * • CHAMBER MUSIC FOR BEGINNERS

Gramophonists, who are new to this field should, ns a general rule, begin with Sonatas. Here nro a few that can be recommended to novitiates; Beethoven— Sonata in F (the famous Soring Sonata), Catternll and Murdoch play this for Columbia (L 1231). An altogether exquisite work, subtle, melodious, poignant, wistful, happy—a wonderful combination of emoKons. ft # * #

The mo?t i famous of Ibis composer's sonatas is his Sonata in A (the Krrutzer Sonata (Ll2lO-1L played for Columbia by Cntternll and Murdoch. This will probably appeal to 95 per cent, of beginners in ehamber music—more so than the Spring Sonata even, * # * * Those musicians play beautifully in Bra lira's Sonata in D Minor (L 1537-7). This may not be the ideal sonata for beginners, but it is not difficult’ to appreciate. and it will appeal to a big majority. The same players are heard in ColeridgeTaylor's Sonata in D minor. This is vorv pleasant easy music. The sonata by Eccles, one of the earliest English composers (arranged by Sir Hamilton Harty) fo- violoncello and i>iano, is a pleasing contrast to some of the hackneyed, oversentimental 'cello records oourimr out today. AV. H. Squire is brilliant in this. “Tus Ojos,” all of them fine dance tunes. • • * • PETER DAV/SON AGAIN For his August contribution —there is hardly over a month's issue without him —Peter Dawson has chosen the popular “Four Indian Love Lyrics” of Amy Woodford Linden. He ’ indulges in a minimum of finesse, and that perhaps explains his* great popularity. Here is fairly straightforward singing, and the choice of singer and song« will alone recommend them to public favour.

Everyone will Jove the Sonata in A Franck (Cattei'all and Mur,Lll3’ while the same 10 - Qi Grejg s Sonata in C minor UAO<9) Rive us a record that can be reSZS t 0 b T?'! nnel , s 08 the first comu vIY n ’ ln , this sphere, in which to lnrest. it embraces several sweetly rich 1 tunes. Lastly, as far as Sonatas are ccmcerned, get Mozart’s Sonata in A (Catteiall and Sir Hamilton Harty, L1794-G, 8 recore.p) A truly fascinating work, nf lb 1 ~e ad to greater understanding of the Pcethoven Spring Sonata. A POPULAR TRIO The Catterall trio—Catterall. Squire, and Murdoch—have specialised in Schor?n S T? n o / alr pla >', ln ff of Brahm’s Trio in L flat is excellent as a whole, the piano having the chief honours. There is nothing iiortieularly brilliant in Selinmann s I lmntasiestueke” (duett and finale), which is another of Columbia’s Catterall records, although it has some pleasing moments, the piano work, once ’ r „ r> ' c ‘- T' !, -5 niiroctive. Sqllire , has a noticeable tendency tn drown the subtlety and tonality’ of his ’cello’s notes in ■\ lgorous efforts to produce volume, # 4 * « STRACCIARI, THE STAR SINGER Thero are few better baritones singing to-day, anywhere in the world, than Stinccinn, whose exclusive work for Coluinoia, is the means of giving gramophones instances of cultured solo singinnr -worthy of inclusion in a connoisseurs collection as well as records that must appeal to the average lover of perfect vocalisation. * * * * In excerpts from Verdi's “Otello" ho is in fine form. His “Brindisi" song is Wonderfully rich and pure, and in Wrmony with tho dramatic spirit Verdi inci? <t "'ith. His “Sogno" is more subtle and less voluminous, but vet delivered with all the pans ion and intensity that marks Stracciori’s work as out of jj”. ordin «ry. apart from his vocal quali- • * * * RACHMANINOFF’S PRELUDE A rocord strongly to lx? recommended lo loose wlm, for their own amusement, ruthlessly maltreat Rachmaninoffs tamous prelude in C sharp minor, is the Lolumbm version ns placed bv Joseph Hofmann (L 1092). Ho treats it with nt>vious dignity and with some considerable realisation of its meaning. So much so lint, having regard also tn almost faultless recording, one may safely regard this roronl ns one of the vevy few correct renderings, second only to the composer s "Til plaviyjjjr of it. On the reverse of this old-timer is Chopin’s almost as well-known Polonaise m A major, Hofmann again fn good form. A feature of this record is its tone fidelity and absence from vibration end blast, which are. frequently oner mitered (usually in notes in the middle register) in oianofnrto records. THE LENER STRING QUARTET

Prominent among the Columbia “classics" on their way to New Zealand is a fine example of flic high standard of work nsyoieted with the Lcoor String Ounrtet. this being Mozart’s Quartet in G Mnjm\ No. n. HEAR “THE LITTLE MINISTER”

Tn tho field of orchestral productions Columbia's forthcoming record forming the overture to Sir ,T. Ah Barrie’s delightful comedy, “The Little MiniMem promises to be an instant success. S ; t

Alexander C. Mackenzie conducts the now Queen’s Hall Light Orchestra through a musical atmosphere as Scotch as the book and the. play. Yet, with the exception of the old-time “Duncan Grav" all the themes are original, the conductor being the composer. The music is admirably interpreted, and the recording is tvpn*al of tho new electric process at its best. * • * The Loner combination, true specialists f.nd artists in chamber music, give, it is said, a superb rendering of thm Mozart work. Its song-lik© “Romance/’ which occupies nearly two sides of this four-part production. is particularly beaut it uh while tho Rondo allegro forms a finale, having a spontaneity and vivaeitv that will make a general appeal. The 'Wanganui amateurs ar© at propint rehearsing for the performs nee of “Wlmt Happened to n coined' which they hope to present late next month

FEHERA-STEEL GUITAR EXPERT Hawaiian music Ims a jkccuiiar va/j© of its own, and is a real fascination to millions. Trank Torera lias long p;.-wd himself expert both a> a mu-iei..n and a composer, and hi- Columbia ui> s ar© always popular. Fcrera follows hi- rich and pleading melodies “Farmer's .Dream/’ “Waters of Waikiki." and i “Islw of lahu." with two more that rre hound to make a hit. These a;o “Hr.,-,. Ncon." <Tere-*' “My Hawaiian Evening Star.*’ wait a, hv Sheridan. The sparking brilliance of t-.nc iq brought out with, groat \ivutne-- ~nd The following nnW was recd’.rd l y “Dear Sir,—Please send a siring for my piano. Have the string timed to G before you send it, as my hu-hend can nut it in, lmt he can’t tune ii.— Mrs X. “P. 5.... It’s the G string on the right fcido of the piano."