MARK HAMBOURG

Poverty Bay Herald, Volume LV, Issue 17232, 11 April 1930, Page 9

MARK HAMBOURG

"Shepherd's Hey," one of Percy Granger's characteristically English compositions, is played by Mark Hambourgwith a great display of technique, and a. merry rhythm. On the reverse side is the icallv beautiful "Romance in F Sharp" (Schumann), a subtly phrased piece with soft tone colors, which Hambourg presents with rare skill. The pianist is capable of obtaining big climaxes from his instrument, hut here ho never allows his power to over-rule his artistry, and the romantic sentiment of Schumann is expressed, but never allowed to become sickly sentimental as some would have it. DAWSON AT HIS BEST The virile Peter Dawson adds to his lone list of records with the robust "Yeoman of England" from Sir Edward German's opera "Merrie England." Dawson's resonant bass-baritone voice makes fine play, and the words are, always distinct. On the other side is Sanderson's "Drake Goes West. Those who remember Dawson's singing of a group of sea songs some time ago will welcome, (his number. The singer is not onlv a great vocalist, but he has the ~( , ; l! nrt of ballad singing. He never Forgets that he is telling a story. A LATE BEETHOVEN QUARTET Of all Beethoven's quartets, none abounds so freely in entrancing melodies as the 13th. Op. 130, in B Flat. One of his latest works, it is tvpical Ihirrl Period" work in its great death and human feeling. Fides 7 and 8 of the Lener reeordine are occupied bv one ol the most inspiring and deeply felt movements in all music—a nohle eavatma of cn-eat breadth and haunting anpeal. On the other end of the. emotional scale are a dazzling little presto, fillinir half the third side with an irresistible little tune, while the customary scherzo is replaced by a dan/.a alia, tedeseo which is infectiously melodious. COLORATURA SINGING The brilliant Toti dal Monte makes a welcome reappearance in the April catalogue. In "0, luce 'di que.st'anima from Donizetti's little-known opera "Linda di Charnounix," her remarkable soprano voice is truly dazzling. _ In this aria the heroine of the opera sings rapturously of her lover. It is a brilliant, aria containing many elaborate passages which display the art of the coloratura to the utmost, Tt is coupled with another radiant, number the Polonaise "Io son Titania" from Thomas "Mi'gnon." The staccato notes in the upper register are beautifully clear. WOMEN'S ORCHESTRA The British Women's Symphony Orchestra which included only three men (one clarinet and two horns), played well in an exacting programme at 'Queen's Hall, London, last month, under Dr. Malcolm Sargent. . \part from double-basses (the instrument evidently does not attract women) the strings were good; the wind less .rood. 'Hie, orchestra has a fjood kettledrummer in Miss Marion Bidgood. The minority sex did not distinguish itself in the born-playing in Beethoven s Hth symphony. . . ' An unusual and welcome, piece m tne programme was a suite, for strings in E bv Mr. Frank Bridge, music that gave pleasure not bv any great quantities, but by the scholarly grace, of the writing.