DISC MUSIS

Stratford Evening Post, Issue 15, 5 October 1929, Page 5

DISC MUSIS

GRAMOPHONE NOTES SOMETHING ABOUT RECORDS^ Eisa Alsen in Two Sckubsrt Songs. (1) “Du Hist die Ruh” ; (2) “Gretehen am Spinnrciae” (Schubert/. Sung by Elsa Alsen. Columbia O i 194. Eisa. Alseh, the sweet-voiced Dan, ish singer who lias scored such a distinct triumph in America this yem, gives a lovely rendering of “Thou Art My Peace” and “Margaret at t)ho Spilining /A'hCel,”' two bt bln., best known of Schubert’s many songs. Her voice hag that “pare” yuality of perfection, which allows (her to) express a serene sentiment without over-forcing. The first song, many musicians will tell yon, is the finest Schubert ever wrote. “Gretchen” she sings with ineffable sadness, achieved, as a true artist should, by the simplest means. * * 4 •» An Aifcsrt Sammons Recording, ■ A- . , “Passacnglfe” (NaiCbez). Violin solo by 'Albert Sammons, In two parts. Columbia 02601. Few more brilliant examples ol the fiddler’s art have been recorded than “Passacaglia,” by Nachez after a theme by' Sammartini, played *’. v the great English violinist, Albert Sammons. Sammons impresses the more one fu?ar s him. His feeling is always honest, and he plays like a pcet*as well as an artist. He throws off the loveft airs with a beauty of tone that astonishes by its utter purity, and with a “singing” tone that unfolds fluently and constructively. He charms without effort and without exaggeration. Recording is first rate. •Jr •X’ vf vf Percy Grainger Plays Grieg. (1) “Wedding t>rty at Troldliangen” (Grieg); (2) “T 0 Spring”; (3) “One More Day, My John” (Grainger). Pianoforte isolos by Percy Grainger. Columbia OHIT. A happy example of Percy Grainger’s dazzling art is this record which gives two of the happiest of Grief’s shorter piano wdrks. live “bedding Day” was composed while Grainger,’ who was a personal friend of Grieg’s, was staying with the composer, and thus he Avas the first ever

to play it; while it wag scored foil full orchestra on the occasion cf. Grainger’s own recent marriage in Los Angeles, ft is a- jolly cure-free work with a lilting rhythm. * -» * * GiaftWhS S'lnsj; English Songs. . thisolina Giannini (soprano l ) in " Lovely Celia” (arr. Lane Wilson) and “Love Has Eyes” (Bishop). Hit.V., i>.A. 1025. “Annie Laurie” and “Bonnie Sweet Bessie” (Gilbert). ft. A. 1019. Not since the days of Adelina Patti has any singer captured the public imagination as lias Thisolina Giann'iu, the wonderful young singer (who is now . touring Australia) early m a, career which promises to he one of the most remarkable the world has ever known. Hero we have her in fcigLsh and Scottish songs, sung in) our own language. V t ** * « pVtiia in Famcus Gems, AnfeHa.no Fertile, Alfani Tell ini, fersilfa Fanelii, and members of La &cata Orchestra* in “Lohengrin”— “Cessaro icanti alfm! (Love Duet), (Wagner). H.M.V., D.B 121 S. The “Love Duct,” which comes ff6m. the “Bridal Chamber” scene in Act 3, is one of the loveliest passaged from a score in which beautifully lyrical episodes abound. Pertlle, enjoying the collaboration 6f Signora Tellini in the first part unci Signora Fanelii in the second (both of whom arc attached to the fambils La’. Scala Opera House of Milan)—< rises his glorious tenor voice t * > t h° be'St advantage and' proves bis artistry by exercising due restraint in thi s noble and beautiful scene. ** * * Rtfs© PohsaMe in Vettfi CtJara.-

Rd’Sa Ponselle (soprano), in “Erfiani! Ernani! involaftli” (from “Er. naiii”); and “Pace, pace, mio Bio (“La Fcrza del Bfestiuo ), (\ efcli). Ii.M.Y., 8.8. 1275. Rosa Ponselle staffed lifer imfsical carfeaf as a vaudeville singer and. Laa, although only twenty-one, established' a great reputation as 1 such, when Caruso heard her, and advised hep to study for opera. Within si.Xt months she has foamed several r oles, and made a sensationally successful operatic debut at the Metropolitan Opera House, New York, as Leonora in “LaEcrza det rtestiho' 7 , On one side of thig reodfa is an intensely dramatic aria from that opera, and it is paired! With an_ exquisitely lyrical passage from '“Em an? ’.