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New Zealand Times, Volume LIII, Issue 12643, 31 December 1926, Page 14

HIS MASTER’S VOICE THE BEST ORCHESTRAL TO DATE Beyond all question the best H.M.V. orchestral recordings- published to date are "Siegfried's Journey to the Rhine," the "‘.Fire Music/' the “Magic Garden tfeanu” from “Parslful," and Elgar's two . “Pomp and Ciroumstances Marches/' To this excellent group have now been Added the two Wagner records, ‘'Siegfried's Funeral March" and the “Ehelngpld' prelude with the "Ride of the valfarrfes" on the reverse. These records illustrate-better than anything re- . cently the brxlUance of the brass re-. ( cording Under the lnew electrical process. Both records ire truly magnificent. * Then the "Funeral March” is there any more Impressive' moment in the whole history of Optra, or any music of like nature so completely and overwhelmingly tragic. A GOOD McCORMACK BRACKET John McCormack has sung two delightful ballads for an H.M.V. ten-inch record which should be very popular. 5 "Just a Cottage Small’’ is at present enjoying tremendous popularity in Engs land, and the great tenor’s voice is reproduced with' complete fidelity. "Mother" is an equally appealing popular song which McCormack invests with his characteristic art. This was written by Mr Bryceson Treharne, some thirty years ago a musician well-known locally. The accompaniment lent by the Salon Orchestra calls for special praise. • « • • RUSSIAN OPERA ON THE DISC A composite reproduction of the Revolutionary ..Soane from the Russian opera, "BetterQbdounov” (Moussorgsky), is of mucKinterest to students of grand opera. ’The performance of this important section of the great historical musical drama te given under the conductorship of Mr Albert Coatee, who, it may be recalled, was for many years the prindp4l; conductor at the Marinsky Opera HousOk Petrograd. Thoroughly conversant .with the Russian temperament in musie, he gives the Revolution Scone substantial character. The set is in four parte, conducted by Coatee and with MeSsns . Halland, Gwynne, Mills, Kelsey and Wlddop singing the incidental solo parte. . The results are very fine. The chorus, who have the lion's share of ihe voca] work, sing splendidly throughout. The orchestral work is also well recorded. *' .e • • A CASALS TRIO Granidphpbfstk will he delighted to i know that thd three famous "His Master’s Voice artists. Cortot, Casals, and Thibaud, have cabined to form a trio this to be- known as "The Casals Trio." This is the kind of news that really does set. one tingling with anticipatioii at the splendid possibilities such a combination offers for the recording of chamber music. The first records of this trio will be issued by "His Master's Voice" shortly. They aro excellent. but—there is always a but— these first records only serve to accentuate our - desire fpr more of what we believe will be : regarded Uv this year's finest examples " of recdrdod chamber musto. • » s • A DELIGHTFUL VIOLIN RECORD Isolde Men&ts invariably may bo relied upon for a beautiful performance on the violin. Her latest contribution is a Spanish dance, or, “Malaguena," of Baraaate, and the Berceuse Op 16 of Faure. The pianoforte accompaniment ie by Eileen Beattie, and the two artists play dii eoiriptete sympathy In the production of a notable record. ••» , •

A BOUQUET F£)R CHALIAPIN The tragedy of opera (says a London reviewer) is that. os an art, it is the most indifferently served of alt the aesthetic sisteruoins ilt asks too much, and gets, as n rule, so little. The operatic artist is expected to possess a golden voice, a gift for acting at least equal to David Garrick's, and a personafity powerful enough to carry these excellencies and to leave enough over to provide copy for the Press-agent. As it is, out of a hundred gifted actors we may not find a singlo singer j out of a hundred singers of quality we may not find one whose actin', has advanced beydnd/ the, wooden stage. But not in the case of Chapliapin. Here is an exception, the like of which is ineq only hero and there in a generation. Superb actor, glorious singer, powerful personality—what more could be desired by the pub. lie, the impresario, and the Press. Or by the gramophone companies? Chaliapin never foils them. He has the extraordinary gift of acting even in the sound-box, and the records made by him throb with a life which is not alone a musical one. Take, for example, the latest discsof his issued by His Master’s Voice- "The Midnight Review," of Glinka, and Schumann's "The Two Grenadiers" (H.M.V.), Chaliapin sings these. Of cotftse, in Russian, but the language is no handicap to the listener. The words of Glinka’s song may or may not be known by one hearing the record, but it does, not seem to matter. What they aye listening to is an abstract dramatic rendering, of which, while the sense muv be absent, tho drama is akivo. 'Added to this, is Chaliapin's glorious voice, so that even Schumann's song, which Ims suffered so in tho repertoire of every Imritnnc alive, is once moro a hnllml to which wc can listen with a thrill of pleasure.

THREE ATTRACTIVE SONG DISCS Three very attractive song discs have lately been issued. Tito Schipa, a polished 'sTuger, possessed of a voice of the true Italian type, sings a song version, of Liszt’s familiar "Lebestraume" (much preferable in its original form) and an . "Ave ““aria" of his own composition—operatic rather than eoclasiastical music. Leonard Gowing's "Songs My Mother Taught Me" (Dvorak) and "So Fair a Flower” (Lohr) are completely successful for this young artist's first record for K.M.V. Mr Norman Long, of the Savoy Orpheans, comes along with two of his jolly: spruces—" Toasts,” a number which lie submits with his usual gay and sparkling observations, and 'TDown in Our Village in Zuihmerzet," in which nis catalogue of the reckless diversions of the village is rich indeed. SPLENDID CHORAL ENSEMBLES Progress continues to be reported in the recording of big masses of tone through the instrumentality of the microphone. No doubt we shall see still further improvement before very long, but in the meantime experiment is well vindicated in recent issues by ."H.M.V " of actual performances' in public buildings. One of the latest is a record of the "HaTTelujah Chorus," and "Behold the Lamp of God," made in the Albert Hall during a performance of "Messiah" by .the Royal Choral Society, under Dr. Malcolm Sargent. The voices blend so well, and have so much resilience, that one does_ not realise the fulness of'tone implied in a choir of six hundred; but the sections are .finely balanced, and not overborne '.by the orchestra, while the organ gives' an-effective surge to the ensemble. A NEW VOCAL STAR

A soprano singer, Miss Marion Talley, a. newly-risen starof the American opera,!'. firmament, is ■ introduced * by H. v. in "baa Voce Poco-Fa," and taro nome.” Miss, Talley is of the coloratura .school, with a remarkably brilliant voice, rather hard as it ap-pears-on these records, but just the type to take on audfer.te by storm. *-• * . • A HAYDN QUARTET Haydn's Quartette in X 3— Opus 70, No. I, aS'played by the' Budapest Quartette, and magnificently played at, that, was ‘recorded some time ago, and' should be here. The writer has not heard it, but tho following note by. a London reviewer excites one’s interest. He says: ''There is a glorious evenness and liquidity of tone and a clarity of ‘diction’ and phrasing that are beyond praise. But is it not just'a little cruel to fill the back of the final disc with the ‘Allegro’ from one of old Ditters von Dittersdort’s- once very popular quartettes, works much more appreciated abroad than here, where to all intents and purposes they are entirely unknown? Would it be possible, I wonder, for these Hungarians to perform in its entirety one of DiSJersdoff’s quartettes, if only to Bhow now excellent the workmanship of a master work was even if*—as in the above caße—it did come into a sort of contest with actual genius? Dlttersdorf was no ninny, and if he lacked absolute genius, he had an abundant and a very dainty talent.’l • • • • FINE CHOIR-MUSIC An item of interest which may have escaped notice before is the recording work for H.M.V. by the Westminster Abbey “Special Choir,” consisting of two hundred men and boys. These records were made in Westminster Abbey, and the volume, mellowness, and slight echo produced by the voices in the spaces of the building convey an effect that makes the listener feel be is in the Abbey. The Westminster Abbey “Special Choir" ie composed of 120 trebles, 30 altos, 30 tenors, and 40 basses. It is noted for its performance of “unaccompanied motets," specialising in the works of British composers, and is conducted by Sidney N. Nicholson, the founder and master of the choristers. In “Dulci Jribilo," arranged by Pearsall (H 419), is really exquisitely rendered, as is also “Gloria in Excelsia" (Weelkes) (D. 1083), whilst on the other side of the latter is one of Parry's fine motets, “Never, Weather Beaten Soil." England is tho stronghold of choral music, and these two records provide some of the finest examples of it. D.lOBl contains “We Bow Our Heads," from Hach’s “St. Matthew" Passion. The "St. Matthew” Passion was the culmination of Bach’s genius, and this selection from it provides one of the greatest examples of choral work evor written. ••' * • Elena Gerbardt’s latest disc should be here now, or .very near. She records beautifully in, one hears, two of Schubert’s loveliest songs, "Auf Bern Wftsser Zu Bingen” (to be sung on the waters), and “Gretchen at the Spinning Wheel” perfectly, and one cannot say more. A SINGER’S FORTUNE Zeratello, the famous tenor who impressed Covent Garden audiences with lirs "Otollo,” is among the most wealthy singers in the world. He owns a cnstle outside Verona, in which ho lias erected h concert hall, u private chapel, and a shooting gallery. He has also endowed a school of music in his native city.

COLUMBIA NOTES COLUMBIA’S BEST ORCHESTRAL RECORDINGS The Conoertgebouw Orchestra of Amsterdam is probably not so familiar to name in New Zealand as a score of other orchestral combinations, and no doubt that of its conductor, William Hengelberg, is also not overfamiliar. This unorthodox Dutch baton-wielder is new to gramophonic spheres although well' known to English musical audiences. Now he becomes evident to gramophnes as a leader of undeniable. parts, for his rendering of -Wagner’s renowned Tantthausef Overture is undoubtedly original and distinct from previous versions. While Sir Henry J. Wood had given us a reading that is all pomp, power and majesty, Mangelberg’s is subtler; artistio at all costs,'seductive, and brilliantly colourful::' He gives the ordinarily flat sounding brass that markh the .opening a superd definition and impressive dignity, and' the fact that side two starts at a faster pact) than side one/ends, is n'o doubt a- calculated idea of this conductor’s, which is but ohe'of a number that helps* to make -this' nfew Columbia oifering (14770-71) refreshingly new. This one waareSoraed. in the actual concert, hall during a public geffbrinance. Of this particular record the following remarks by , Compitpn Mabkedsie may profitably fbe quoted. The editor of "The Gramophone’ 7 is a captious critic as well as capable, and since he'does'not spare refreshingly plain English when he feels that it,is warranted, his eulogy of this Columbia Issue is all the more striking;— ' • "To my mind," says Mr Mackenzie, "it is by far t|ie most convincing interpretation I have ever heard, and quite apart from the. excellence of the recording (in a Concert ‘ hall), I should recommend it for that reason alone. It is a piece of music which has been stereotyped, and for a conductor at, this date to provide a fresh interpretation which at the same tijpe .does not show the least sign of straining after novelty, is an achievement. It had the effect of making me' feel every other conductor had taken it wrongly. I recognised chat it is probably advisable at present not to have too many individual) performances of great musical work's on the gramophone, and thht a good aoademic performance has much to recommend it. Still, we are drawing near ta the time when ho shall be able to pick and choose our versions more carefully, and this TannhaUser gavp me a sense of vitality which was exceedingly welcome. These discs also provide the best orchestral recarding which Columbia has achieved." • •04A WONDERFUL NEW "1812”

It is some time since we hare bad an !'1812." . Now the new process has, through Columbia, given us one that, without any exaggeration, may be termed far ahead of any of its predecessors- . This new set of three discs (14764-66, completed on side six, by Tschaikowsky's "Chant Sans Paroles") is memorable if flmy for . the fact that the powder, beiis and whizz-bangs that come near the end and develop into the famous climax are, here, aa nearly like a battlefield in music as has ever been recorded. In earlier ‘tßl2" productions this Finale has, at the best, been largely a matter of massed noise, a blurred conglomeration of brass and tin pans; but here there is a definition that >ls remarkably well proserved, with the result that there is at last that power and dignity in this section that has hitherto eluded all recorders. '-■ • • SQUIRE’S DELIGHTFUL NEW RECORD W. £l. Squire has played for scores of Cotnmbiij's 'cello records, and with few exceptions his, from a playing and reproducing sense, compare very favourably with productions hearing greater names. , 1 Hib latest (11759) gives us a couple of well-known tuneg—one being his own ChCrihing. "Sluinbor Song,” the other Faure's deliciously tuneful and poetic "SiciiSsnne." Squire's tone improves everir tiine—a matter that is no doubt \ partly due, at least, to the new recording system which-brings out all the subtle qualities' of practically every in- | strument with v a, success that seeine to j becotne inorb and more pronounced. |

A NEW OPERA DUET Just before Verdi wrote his three filial master,works lie gave his world, and ours, "La Forza del Destino”—a lurid, falood-and-thundery opera, in which many of. our greatest singers have made moro or- less .'big- names. Two who are, ,by ,reputed.new. hut hero, but well Jcnbwh ori, European opera stages, are' william Marlin and Marcel Rodrigo, aimTof-a. hew Columbia disc (L 1763) they cnoose ope of the most dramatic moments pf many in the work mentioned. This' is tliei, "Solemno in quest 'ora’* scene, on tho- battlefield In Act 3, Alvaro .and Carlo' swear eternal Irlenuahip. This' is typical Verdi, and these artists succeed in capturing ■ • the frue'spirit. Martin is a tenor, Rodrigo the baritone, and each bos wonderful tonal, quality and control and perfect vocal mastery in the difficult passages that are here called for. On the other 6ide they sing tho famous "O Mimi" aria from “La Bohemo.” This is the duet of the painter and poet, the first bemoaning the ahsence of Mimi, and the other that of his betrothed Musetta. Sung with tremendous power and emotion* and superbly recorded. S • S • THE BRAHMS’ HORN TRIO The Brahms' H6rn Trio (with ■’Cello in ifiace of tho wind instrument) is played with real' sklTl and undoubted vigour by Catterall. squire and Murdoch for Columbia. (Trio in B flat—Scherzo and b inale—Ll6o2.) These three instrumentalists understanll each other exactly, although th# strings could have made a little more of the light apd shade of this pleasing music. Tho Scfierzo is cut several bars after the piano’s opening, and in the Finale, too, thero is a jump here and tifere, judging by the ecore. This trio play so well, however, that the average listener wiU find little or no room for carpfhg. Mr Murdoch shows himself onoe again as a perfect partner for string players: he never attempts to poach on their preserves. The -cellist might, at times, follow this profitable lead. *•. • • TO REDUCE SURFACE NOISE Owners of iafite model instruments which are not altogether free from disturbing noises when in use, might profitably try the following method of reducing shell, recommended by an English gramopliilo:— His table model originally had a small rubber pad on its base, at eacli comer. These pads becoming very hard, he cut in neat -halves with a razor two small Sorbo rubber balls, and affixed these. Claims to have all but eliminated surface noise as a result of better insulation and lessening of vibratory base.

Mise Enid Ross, of Hamilton,: who has just returned from a world tour lasting fifteen months, has been appointed exploiteer for Metro-Goldwyn4Heyer, Ltd., in New Zealand. In America,' Miss Roes gained a great deal of experience in the exploitation of pictures, and while in Los Angeles hod the pleasure of meeting Mr L. B. Mayer, under whose guidance blio visited the Culver City studios and witnessed the filming of scenes from several pictures. After leaving America, Miss Roes visited Etaglnnd. Franco, Belgium, and in each of these countries she made a special study of moving picture exploitation, and gained further experience, which she will now place at the disposal of those exhibitors screening the Metro-Goldwyn-Mayer product. She has a charming personality, and will ho -doubt prove very popular among the New Zealand showmen.