Gramophones

Sun (Auckland), Volume 1, Issue 20, 14 April 1927, Page 14

Gramophones

Although he has sung in various concerted numbers previously for ‘‘His Master’s Voice” records, “Pale Moon and “Now Sleeps the Crimson Petal,” by Knight-Logan and Quilter respectively, are Browning Mummery’s first solo numbers. His remarkably fine tenor voice reproduces very well indeed in the two fine ballads he has chosen.

“The Storm,” in two parts, played by Arthur Meale on the Central organ, Westminster, introduces another wellknown organist to the H.M.V. list. In his first record, Arthur Meale has descriptive fantasia, in which innumerable “effects” cleverly suggest the gradual approach of a storm over a peaceful countryside: the fury of the storm and its passing.

A Beethoven disc that amateur music-lovers will thoroughly enjoy is a Columbia issue giving tii e sweetly melodic minuetto and andante movements from his trio in C minor. Written in his prime, it well shows. Beethoven’s strong artistic individuality, and something of the power and beauty with which he invested his work before his deafness had caused that "deep bitterness and despair” that are reflected in some of his later creations. These two sections are light and tuneful, and are beautifully expressed by that most capable trio, Caterall, Squire and Murdoch, whose associate playing has given some of the best recorded things in chamber music.

“Finlandia,’ ’a symphonic poem by Sibelius, has recently been recorded for H.M.V. by the Royal Albert Hall Orchestra under Sir Landon Ronald. Sibelius is a native of Finland, and in “Finlandia” it would appear that he has attempted to illustrate in terms of music something of the grim and gloomy history of his country. The record gives a marvellous reproduction of this wild, turbid music, and the orchestral recording is particularly clear.

Great virtuosi are rare, yet the opportunity of hearing three great artists play together is a privilege rarer still. This, however, is afforded in a

record of Cortot, Thibaud and Casals made by H.M.V. Casals is unquestionably the greatest living 'cellist of his day, and in this trio he has the co-operation of Cortot and Thibaud, a pianist and violinist respectively, each of whom occupy very similar positions in their own spheres. The trio has, therefore, a wealth of talent quite unequalled by any other group to-day. The “Trio in B Flat” of Schubert (in- j cidentally the first piano trio to be recorded in complete form) is particularly suited to such artists as these, for it is a continuous flow of lovely melody, by turns vigorous and poetic. A comprehensive description and analytical guide to the of the music is given in the handsome album supplied with each complete set of records. The success achieved during the last Covent Garden season by the Swedish tenor Arnoldo Lindi was one of the features of a notable era, and the two magnificently rendered arias from Verdi’s “Otel 1o ” that Columbia have lately produced are eas far as gramopliiles are concerned, very welcome souvenirs. Lindi is at his best in dramatic music and the intensity and poignance he mluses into the famous death scene is thi'illing in the extreme. This number, it will be remembered, comes at the end of the opera. Otello in his jealous rage has killed his wife and then learns, too late, of her innocence and lago’s lies. Overcome with remorse he stabs himself and dies by her side. The companion number, “Ora e per sempre addio,” shows the first fruits of lago’s treachery, that culminates in the double tragedy. It is Otello’s first outburst at lago's subtle suggestions. The peace of mind is gone and he bids farew*ell to all that has hitherto made life worth living. The brass is particularly fine in the orchestra, and the vitality has been retained by the recording in a wonderful manner. This is Arnoldo Lindi’s first new-style record and fine as were his previous contributions, is even more striking in its dramatic power. * * * Walter Widdop’s recent successes as a Handelian singer make his latest recording of two Handel numbers “Deeper and Deeper Still” and “Waft Her Angels” (Jeplitha) most appropriate. He has chosen one of the finest and most intensely dramatic recitatives and arias to be found ir Handel’s voluminous list of operas anc oratorios. Records by Sir Harry Lauder stil command a ready sale. “The Waggle of the Kilt” and “The Wedding oi Sandy McNab" are the two latest released by H.M.V. He sings these twc as only he can sing them —they are songs indeed with which he is identified all over the world. His cheerj chuckling is reproduced with remarkable clearness.

Great risks were taken when His Master’s Voice Company, with their characteristic initiative for breaking new ground, decided to reproduce for the gramophone a generous selection of portions of Richard Strauss’s opera, “Her Rosenkavilier” (“The Rose Cavalier”), observes a London reviewer. They have emerged from the ordeal however with great credit, as is manifested in four 12-inch records, which are accompanied with an album fronted with an excellent picture of the hero and the princess. The excerpts are from the orchestral version of the opera, which was specially arranged for the film, and it was on the day following its first production in London, under the baton of Dr. Strauss, that he himself conducted the augmented Tivoli orchestra for the gramophone reproduction. This contains some of the effervescing waltz music and several of the more tuneful, cheery melodies. * * * Undoubtedly the best “1812” ever ture to date is a recent recording by H.M.V. of the Royal Covent Garden House orchestra under Eugene Goossens. Tschaikowsky’s Well-known flambuyant overture has had a long innings lsi various recording studios,

but it must b'e confessed that in this latest reproduction by a full orchestra we have something: of the real atmosphere of the platform. It was recorded in the Kingsway Hall in London under ideal conditions. A really good “buy” for a wide variety of tastes. The De Reszke Singers (male quartette) have given two excellent spirituals in “Travellin* to de Grave” and “ ’Tis Me O Lord.” These are excellent records of their kind, and contrary to what might be expected, are enhanced by their arrangement in four part harmony. “ ’Tis Me O Lord” is

especially delightful. Among the solo instrumentalists in recent H.M.V. issues is Heifetz, who plays very beautifully Debussy’s waltz “La Plus q u e Lente,” “Minuets Nos. 1 and 2” (Bach’s “Sonata No 6”), and “The Little Windmill (Couperini). There is rich, sensuous quality in the Debussy item, and somewhat extremely musicianiy and “unvirtuoso like” in the unaccompanied Bach. Heifetz is coming to New Zealand

some time this year. To few it is given, while still on the threshold of life, to achieve the success which comes ordinarily—if it comes at all only after maturity and experience. Yet that is what Jascha Heifetz has accomplished. He began playing the violin at three, completed the course at the Royal Music School in Vilna, at the age of seven, and, after study with Professor Leopold Auer in Petrograd, was a mature artiste at the age of ten. His tour through Russia was a triumph: the keenest critics of Europe had nothing but praise for him. After terrible experiences in escaping from Russia to the United States, by way of Siberia, during the war, he conquered America. He ranks with the greatest violinists of the day. His technique is flawless; the intonation is perfect, the quality of tone superb and entirely individual, phenomenal mastery over bow and violin having been vouchsafed him in childhood by a beneficent Nature for once bent upon creating a perfect model.