MUSIC

Otago Daily Times, Issue 20833, 27 September 1929, Page 5

MUSIC

NOTES AND RECORDS.

By Allegro.

• tys. vocal recording for the monthis the love- duet from the third act of ' "°h? n gr\n. ’ ; Aureliano Fertile ami Altam-Telleni sing “The, Song has Died Away, and the former jobs with Ersitla -banelli, soprano, in “Dost Thou Not iireatrie. Both singers combine well with Fertile—Fanelli, perhaps, a little the better of the two. The disc,takes the voices easily,- and there is no smudge in the loud singing portions. , “ -Since, First I Saw Your Face ” ia a dear. little song, which lends itself easily to recording, as it has no technical difficulties. Such another - song .is “ La, MaisOn Grise,” and John M'Connn ck makes the most of them in hie latest disc, .Another disc by Mischa Levitzki has the same clean playing and recording that are shown in his “ Hungarian Rhapsody ” one. Bach’s “ Organ-Prelude and Fugue in A minor,” arranged for pianoforte by Liszt, forms suitable playing matter for the virtuoso. Deep feeling is required tor this composition. The entry of the fugue is beautifully done, and the final coda given in a thoughtful manner. This aitist has a special knack of recording, and the disc is to be recommended. The haunting Hungarian folk melody used in Liszt's fourteenth “Rhapsody” is well brought out in Mark Harabourg’s record. Such dramatic chorda fill |the listener with a feeling of unrest, but the spell is broken on an interrupted cadence followed by rushing passages such as give V>e virtuoso q. chance to display his skill. A trill leads into other Hungarian figures and - the Rhapsody ends fiercely in chords. Ihe recording is extremely clear, and the disc should be popular. -. A ballad of “Hinton, Dinton, and Jaei-ci, with a catchy tunc, is suited to Fetor Dawson, who records in his usual • ?, r ,£ 01c !$ In different vein ja The Curtain Falls,’-’ which holds no humour. The first is the more appealing number.

Such an excitable opening as is displayed in the “ Semiramide Overture” (Rossini), followed by such soft chords, requires controlled playing. Creatore's Band 35 equal,to the task. - The accented notes are given in- correct proportion to the pizzicar to mclody_ notes. The second sl de bolds some pleasing recording. De Groot is a popular donor ot lightmusic discs in the gramophone world. He may be hoard with H. Calve (’cello) and David Bor at the piano in “ Londonderry Air, arranged by Coleman. The 'cello at the end is rather too solid for the harmonies above it. “The Swan,” wellkuowu. makes an attractive second number.

.A waltz recorded by ilavek Weber and ™ orchestra is “My Darling Waltz.” The rhythm is well kept. “Rustle of Spring is the companion number. . i-A revival of the “ Policeman’s Holiday, popular some years ago,- is given in an attractive manner by the Band of the Coldstream Guards. The humorous entry of the police whistle. will not toil to cause a smile. • “ Wee Macgregor’s Patrol, that charming Highland march played by_ the_ Argyll ‘ and Sutherland Band at Exhibition time, is a model of controlled rhythm. This disc should appeal to children, and will , teach them the value of “keeping time.” The other record of this band in a “Selection of Leslie Stuart s Songs,” which does not show such fine points of playing, being just_ out-and-out brass playing in a stray itforward manner. A notable issue is ■ the, .third act . of Wagner’s "Parsifal.” Collectors will remember the previous issue of “Parsifal records, which embraced the leading features of Act I. and the "Good Friday, Music. Ope of the most beautiful of that series was “ Klingsor’s Magic Garden.”, and «The Flower Maidens'. Scene,” while the. Good Friday Music ,ie_ wfell worth a placo in the Wagper section of one's library. Act 111 complete. The soloists are Gotthelf Pietor (Parsifal—tenor), Ludwig Hofmann (Gurnemanz—bass), Cornells Bronsgust (Amfortis—baritone), Si fh® work is recorded by the Berlin State Opera House Chorus and Orchestra under. Dr. Karl 'Muck. -

. Another contribution to .the gramophone re a recording of two great “Faust” ,|n the Paris Opera House. Faust' is ..well known, and particularly popular are the " Soldiers’ Chorus ’’ and ‘La Kermesse.” The'artists are the chorus and orchestra of the Theatre National, de I’Opesra, Paris. The great hrench Chorus sings with all the vigour required of these, numbers. Their, : finelytrained voices blend,well with the equally disciplined orchestra. / In a masterly fashion J. H. Squire has mingled together Suppe’s “ Poet and Pjasant ” Overture, Liszt’s “Liebestraum,' the sparkling “ Moment Musical ” of Schubert. "Melody in F” of Rubin®t®in, and Liszt’s “First Rhapsody,” This concludes the first part of a record which is played by the Octet. .On the reverse “La Paloma ” merges into .Boscherinie old-world “ Minuet,” which, in its turn, passes to “O Sole Moi,” 'finishing with the popular “ Blue Danube ’ waltz. A mixture of : so many, styles cannot suit all tastes, but the poetical treatment will give delight.. Johann Strauss' wrote nearly, 500 waltzes, polkas, and quadrilles,-of which ‘Wiener Blut” is assuredly one of the beet. It has that lilting, melodious rhythm so characteristic of the close , of the Viennese nineteenth century. Bruao Walter is the ideal conductor of this waltz. His broad handling cl the Berlin State.Orchostra yesulte i'» a record of infectious vitality. Francis Russell has already secured o following by his previous records, and he further employs his popular voice in the interpretation of two excerpts from " The Flying Dutchman,” sung in English. On the first side is “Erik’s Song.” In/happier strain is . the “ Steersman’s Song.’’ It occurs in act 2, and is poignantly melodious in character, reminding . one of “ Santa’s Ballad ’■ elsewhere in the opera. The Goodrich Silvertown Quartette *s a happy combination and the delightful way j. n _jyhich it handles “Weary River” anil Wedding Bells ” will ensure it many new admirers. Their “OF Man Riv er ’’ number lB among the best from “ Show Boat.” Emerald Quartet (instrumental quartet), in Lonford Lassies—Swallow’ Tails ■~l r i 6 h /Reels, and Sweeney’s Favourite —-Limerick Boys-—lrish Jigs, 'give four fascinating Irish dance tunes that.are escellent entertainment. This record is full of life.

A number of music loyers have discovered that Mercedes Capsir’s “ Travi°te ’ record of “ Sempre libera ” astounds with the marvellous singing of . the. aria. Jt is a remarkable piece of soprano* sinning. 1

The National. Military Band makes a splendid disc of two Wagner numbers. Prelude to Act 111 of " Lohengrin and Grand March from “ Tannhauser.” there is some beautiful legato playing' in the prelude, and the .woodwind-tone is steady. Grand March ” is grand iu every way—it is magnificent. This record is an admirable one for anyone wishing for introduction ,to Wagner. The harmonics are easily understood, and the playing is up to orchestral standard b Sir Henry J. Wood is well to the fore ®? aI ,P „j? 1?, interpretation of. "Fihlanh° th ® Xe W Queen's Hall a col °ur£iil, interpretation of Sibelius’s work, based on national melodies Jean Sibelius was born m Finland in 18Go, and with the exception of V-also Tnste,” “Finlandia” renitiins his most popular work ‘The String Quartet in D ” (Caisar Franck) is perhaps one of the most levelv compositions of its kind in the realm of frlri’f S 1C ’ a ? d Jt . is the composer’s onlj effort for solo strings. Not only is it crowded with characteristic melodic and harmonic effects, hut.it is also filled uith a peculiarly mystical atmosphere that is at once perceived, and grows with everv healing This quality j s a notable feature °f the first Tnovement, and reappears with added depth in the adagio The playing of the,London String Quartet needs no introduction b • Th ®' l JiS, h tenor T l Colin O'More has just issued Danny Boy.” O’Morc has the sympathetic quality of. voice characteristic of Irish singers. His other number ih an old air, Kitty of Coleraine.” The charm of this piece is infinite/ r ,? n Selvin and hia orchestra are effective in My Sin” and "Honey”—a pair of fox-trots. One of the cleverest discs of the month is a jolly fox-trot Giiesi Who?” attractivelv sung and nlayed by Jan Garber and his orchestra It is paired with “He, She, a „d Me.” he talkie Redskin ” provides another tox-trot of the same name, played bv lion Solvin ana his orchestra. On the reverse B ]de is a cleverly orchestrated version of “To Te Amo Means I Love j-OU, by the Columbians,