THE GRAMOPHONE

Southland Times, Issue 19393, 6 November 1924, Page 9

THE GRAMOPHONE

RECORDS OF THE RECORDINGS.

(By

Vox Populi.

In his interesting series of articles in The Gramophone, Herman Klein has reached the prologue to “Pagliacci” by Leoncavallo, and he mentions that the opera, by the way, is “Pagliacci” and not “I Pagliacci,” as one often sees it. The translation of the libretto by F. E. Weatherby he condemns, but in the prologue at any rate the text is apt and helpful to the singer, which is something to be thankful for in these days when translators often ask English vocalists to sing absolute nonsense, in addition to giving them difficult sounds. Klein praises the Peter Dawson Version (H.M.V C 968) for its strong character, and also for its completeness, and he asks George Baker (Vocalion C 06012) to have another try at it, this time in English. He condemns Frederick Collier (Aco F 33041), but says he is better than Thorpe Bates (Columbia 486), who is accused of over-sentimentalising his utterances and putting too much breath into them. Stewart Gardner’s record (HJM.V. D 225) is credited with giving a careful presentation, with an air of solemnity about it. Turning to the Italian records, Klein praises the Stracciari record (Columbia 7355) for its colour, rhythm, good tone and completeness, but he labels Ramon Blanchart dull and uninspiring, with a conspicuous tremolo (Columbia A 5206). Ugo Donarelli (V.F. 552) is charged with being vocal rather than dramatic. This record has a cut, and also Pasquale Amato’s version (Jfonotipia 74142), which Klein praises highly. “It displays,” he writes, “a broad, opulent tone, with ample scope for delicate gradations of colour and feeling and never an approach to exaggeration, simply because Amato is too much of an artist to use undue effort or introduce high notes which he cannot sing easily. It is a pleasure to listen to such a smooth sostenuto, such pure, refined tone, such artistic phrasing.” Zanelli (H.M.V., D.A. 398) is also credited with a fine recording of the complete text with full orchestral introduction, but he is accused of being ponderous and deliberate with an over-abundance of lachrymal effect on the phrase “sighs and tears.” This completes his survey of one portion of the prologues and one must say that they are interesting and instructive, even if one does not always agree with him.

On the slurring of records: Experiments with records packed horizontally in piles have straightened warped discs and prevented known warpers from returning to their old crimes.

The first records of Boito’s “Nero” have been issued in London by Columbia in the September releases—two ten-inch twins. The first (D 1483) gives us two duets by Lina Lanza and E. Badini, and by E. Badini and F. Antori. The second record (D 1484) contains “Vivete in pace,” sung by the baritone E. Badini, and “Come e buona,” sung by Lina Lanza, the mezzo-soprano.

In the September releases in London also was the recording of Mozart’s Symphony in E flat by the London Symphony Orchestra under Felix Wiengartner (L 1563 to L 1565). The Lener Quartet does the adagio motto from Schumann’s Quartet in A major and the scherzo from Mendelssohn’s quartet in E minor (L 1566). Norman Allin has recorded another powerful dramatic work in “The Seminarist” (Moussorgsky), which is accompanied by “The Solitary One” by Richani Strauss (L 1568). Leff Pouishnoff has two pianoforte solos, one a Rachmaninoff humoresque and the other made of the player’s own works. An inviting record is the Holme Valley Male Choir’s singing of “Comrades in Arms” and “Down Among the Dead Men” (3466), which is highly praised.

By the way, if you have any idea of building up an orchestral selection you can boast about, don’t ignore Hoist’s “The Planets,” recorded for Columbia by the London Symphony Orchestra under the composer’s baton. I have not heard the whole suite (seven records), but I have heard enough to be able to say that in my opinion this is one of the most electrifying of the modern school’s challenges to the past. “Saturn—the Bringer of Old Age” simply leaves one gasping. We were assured. after we had heard the record, that this number roused an audience to cheers — that is easily understood, although the climax of the emotional surge comes before the close. There is nothing in music like “Saturn” —it is quite alone and weird, but O so wonderful. Give me the choice of one from all the instrumental records I have heard and “Saturn” would be my choice.

Alfred Cartot’s recording of Schumann’s “Carnaval” (Op. 9) is complete on three double-sided H.M.V. records (D.B. 706 D.B. 708). This was released in London in September. In the same list was the recording of the Brahms Symphony No. 2 in D (Op. 73) by the Royal Albert Hall Orchestra (D 871 to D 874). There are rerecordings by Chaliapin of “The Song of Galitsky” from “Prince Igor” and “In the town of Kazan” from “Boris Godonouv” (D.A. 100) and Caruso is represented by a record bearing “Senza Nisciuno” (De Curtis) and “Scordame” (Fucito), for which his voice is warmly praised (D. A. 608).