THE GRAMOPHONE

Southland Times, Issue 20786, 29 May 1929, Page 15

THE GRAMOPHONE

RECORDS OF THE RECORDINGS,

(By

Vox Populi.)

The June H.M.V. records received from Begg’s include four discs giving us the whole of “Trial by Jury” recorded under the direction of Rupert d’Oyly Carte with the following cast: The Learned Judge .. .. Leo Sheffield. {Jsher George Baker. The Plaintiff Winifred Lawson. The Defendant .. .. .. .. Derek Oldham. Counsel for the Plaintiff . Arthur Hosking. The fours discs, all twelve-inch give the following numbers: D.1469—(a) “Hark, the Hour of Ten is Sounding,” (b) “Is this the Court of the Exchequer?”; (a) "When First My Old, Old Love” and (b) “All Hail, Great Judge!” D.1470—(a) “For These Kind Words” and (b) “When I Good Friends” (The Judge’s Song); (a) “Swear Thou the Jury!” and (b) “Where is the Plaintiff?” D. 1471— (a) “Oh, Never, Never” and (b) ‘May it Please You”; (a) “That She is Reeling,” and (b) “Oh, Gentlemen, Listen” and (c) “That Seems a Reasonable Proposition.” D.1472—(a) “A Nice Dilemma” and (b) “I Love Him”; (a) "The Question, Gentlemen” and (b) “Oh, Joy Unbounded.” This is all first-class stuff and the recording is beyond reproach. All lovers of Gilbert and Sullivan will want to have these records in their collections. The text is complete and the cast is of very even excellence, though I think George Baker and Derek Oldham stand out a little from their colleagues.

A few days ago we were told by the cables that Florence Austral had missed the chance through illness to sing Brunnhilde in “Gotterdamerung.” Her powers in Wagnerian opera are well known to us from the records and one welcomes this month the appearance of another Wagnerian number by her. This time she sings Senta’s Ballad, which tells the legend of the Hying Dutchman. Mme. Austral is a magnificent Senta, and I think this recording will be numbered among the finest she has done for the gramophone. On the reverse is the “Spinning Chorus” sung by the Chorus of the Royal Opera Covent Garden, with Nellie Walker, as a pleasing soloist. (D 1517

Beethoven’s Eighth Symphony has been recorded by the Vienna Philharmonic Orchestra under the batton of Franz Schalk. This is the F major symphony, which owing to its comparative shortness is sometimes called the “little symphony” though that title can relate only to its length. The Eighth contains more touches of humour than any of its companions, and this shows up particularly in the second movement, the allegretto scherzando. The minuet is remembered for horn call, and the brisk finale is fiery and brilliant. The Viennese orchestra is a magnificent organization, characterized by a full tone, but never ponderous. The performance is splendid and the recording on a very high level. (Dl4Bl-83).

The Philadelphia Symphony Orchestra under Leopold Stokowski has a delightful recording of Debussy Nocturne No. 2, which depicts a fete in a village at night. The programme of this charming number gives its character. “We must imagine ourselves on a hillock overlooking a village. It is night, but the village below is visible by bonfires that throw the roof-tops into a dancing silhouette with their blaze and which send up a continuous shower of sparks. The streets glow in the light of a hundred torches and lanterns, and a haze of smoke and of dust, raised by many feet hangs over the ruddily tinted scene. The confused murmur of a laughing, jostling crowd mingles with the distant sound of an approaching procession of grotesques. The

procession winds its tortuous, bladder-bang-ing way through the crowds and dissolves in laughter and horseplay.. Occasionally a pair of lovers grow tired of the merriment and wander off . . . As the hour gets later the revellers one by one repair to some distant spot whence the sound of their jovial pranks comes only faintly.” This is a delicate piece of painting, and the Philadelphia Orchestra,, in spite of its tremendous power, handles it with rare beauty. A really charming record. (E 507 The Chicago Symphony Orchestra gives us a Volkman Serenade, and Rimssky-Korsakov’s “Flight of the Bumble Bee,” while on the reverse is the San Francisco Symphony Orchestra in a vigorous version of Schubert s Marche Militaire.” (E.D.9).

Modern Spanish music is growing in popularity, thanks to the agency of the gramophone and one therefore welcomes the New Light Symphony Orchestra under Eugene Goossens in three Spanish Dances by Granados. They are strongly rhythmic numbers, disclosing the Oriental influence which gives to the Spanish music a charm peculiar to the soil. These dances are treated in the modern style, and they are played with plenty of colour. With them is “Triana by Albeniz, which is orchestrated by Arbos. This work is a musical impression of a gay festa in a Spanish town. (C 1553-54 Of an entirely different character is the record by De Groot’s Piccadilly Orchestra “None but the weary heart” and “Friend o Mine,” two songs orchestrated. (82857).

Schumann’s Quintet in E flat, major (Op. 84) has been recorded by Ossip Gabrilowitch and the Flonzaley Quartet. The four movements of this quintet are all interesting, and it is noteworthy that Schumann was at his best when the pianoforte entered into the scheme of a work. This is a very charmfng work,, lyrical and romantic, especially in the allegro brilliante which opens the quintet. The second movement, in march mood, has touches of sadness. in it which contrast strikingly with the character of the opening. The scherzo is very melodious, but never trivial, and the finale builds to a magnificent climax'. This work of all Schumann’s chamber music suggests most power, and in the hands of brilliant instrumentalists it makes a telling record. (DBII9I-94). Columbia. In the Columbia Company’s Schubert competition there was an extremely interesting work by a young Englishman, Frank Merrick, who attempted to complete Schubert's “Unfinished” Symphony. This effort is entitled “Two Movements in Symphonic Form” and it has been recorded by the Royal Philharmonic Orchestra. Frank Merrick is already known as a composer of exceptional gifts. His chief gift is the same sort of musical instinct that inspired Schubert, and while it would be fatuous to expect as rich a melodic vein, he certainly gives us some fresh and original material put together in workmanlike style and boldly orchestrated. His colours blend admirably with Schubert's own two movements. His fine dramatic feeling will recommend this work to a host of listeners. Merrick, with this work, won the first prize in the British section, and the records, therefore, have a special interest. The work is very attractive and will be valued quite apart from its associations (02782-83). Rosetta Pampanini and Gino Vanelli sing the scene from the first act of “Pagliacci” where Nedda meets Silvio, her peasant lover. “Decidi il mio destin” and “B allor perce.” Pampanini has already made a great name in this part, which is her fivourite, and her singing breathes a humanness and warmth that reveals her as great an actress as she is a vocalist. In one or two of her solo passages we get a chance to study her technique, and her sweetness and power alike are amazing. She is proving to be one of the first singers to conquer the old fault of the Italian school —a certain “whiteness” of voice. Her voice seems to flow with colour.

; (04249) Alexander Kipnis, the great ; Wagnerian baritone, is heard in two num- : bers from Gounod’s “Faust.” Mephisto- : pheles’ Serenade is sung with biting sar- , casm, and the laugh is quite out of the ordinary. Kipnis’ enormous vocal resources i are heard in their full splendour in the “Golden Calf,” in •which he Is supported ■ by an orchestral accompaniment. A splendid record (01398). “Till’s Merry Pranks” (Richard Strauss) i is played by the Orchestra of the Brussels Royal Conservatoire under the baton of Desire Defauw (0266-61). On the musical side this Is one of the most attractive of Strauss’ symphonic poems. It is full of wit and sparkles with ingenious and tuneful passages. Till is introduced in a short preludirtl passage, and then he starts on his mad career by riding through the crowded mar- ; ket, upsetting stalls and creating havoc generally. Then he appears as a monk and delivers a mock sermon. Then he falls in love, but misfortune attends him, and he works off his rage by making fun of an assemblage of learned men. His spirits revived, he goes off merrily whistling down the street. Fresh pranks follow, but at last the law steps in, and, after a short trial, he is condemned and beheaded. A short epilogue rounds off the work. M. Defauw’s interpretation is convincing, a notable feature being the cle'arness of the ensemble parts and the beautiful quality of the many important and difficult solo passages. The string tone throughout is particularly fine. —John Harrison. — The death of John Harrison came as sad news to a great number of those interested in the gramophone and its history, for he was intimately connected with the gramophone from its early days. We went to London when he was about 28, and his first “gramophone” records were made and issued in 1903. Like many other wellknown tenors, including Jean de Reszke, John Harrison was originally a baritone. Correct “placing” and assiduous study resulted in his developing a tenor voice of exceptional beauty. 'lt was sometimes termed a tenore robusto, but it also possessed the suavity of tone characteristic of English tenors at their best. His voice was ideal for recording, and his records were quite sensationally popular. Of one, the song “To Mary,” by Maud Valerie White, a story is told. A dealer having only one copy of the record and three customers clamouring for it, put it up for auction to the highest, bidder, returning the surplus amount to the purchaser later. He studied under the celebrated Madame Amy Sherwin. Although the’ name of John Harrison is associated principally with concert and oratorio (especially Handel’s “Messiah”); he sang with great success in opera with the Quinlan Opera Company on its tour through Australia in 1912. He sustained, among other's, the roles of Siegmund, Faust and Don Jose. His records of “Nirvana” and “Drink to me only” were among the first 12-inch records ever made. Other very popular records were, “Come into the garden, Maud” “To Mary,” “My Pretty Jane,” and “O vision entrancing.” - After his retirement from public .life, Harrison lived at Colne, in Lancashire, and until a short time before his death he was actively engaged in teaching singing in Manchester. '