GRAMOPHONES

Sun (Auckland), Volume I, Issue 274, 9 February 1928, Page 18

GRAMOPHONES

Those who remember the first effort of Creatore’s Band for H.M.V. will welcome another disc from this fine band. Here we have them in H.M.V. EBIS, “Pagliacci,” selection, parts 1 and 2 (Leoncavallo). The operalover will find in this fine selection the most popular melodies of this favourite opera magnificently played and recorded. A record that should not be missed. • * * “Peer Gynt Suite” (Grieg), played by the New Queen’s Hall Light Orchestra (two records —Col. L. 1516-7) is an excellent record. Will it ever be charged to the Peer Gynt music that it becomes hackneyed? I doubt it. Grieg’s gift of melodic invention is so genuine that the suite has the air of perpetual freshness. Perhaps it is the Norwegian colouring that still holds a novelty for Anglo-Saxon ears. The Queen’s Hall Orchestra have taken it in their stride, so to speak. The pieces seem to present no difficulties for them, and the result is a carefree rendering that will please every lover of good orchestration. Perhaps “Morning” is a trifle sugary, but the two dances—“Amtra’s Dance” and the quaint “Dance of the Impe”—are full of vigour and tunefulness. * * * Elsie Carlisle has an established repeat*oll for airy trifles, delivered irresistibly. She gives us “Baby” ('Castles in the Air”)—“Since 1 Found 82459. This is the first His Master’s Voice” record of quite an exceptional young artiste, who possesses personality and sings with spirit and energy. • • « Amazing part singing is presented by Columbia (Col. D. 1552) in (a) “Valse” (vocal waltz), (b) “Two Russian Folk Dance Songs,” sung by the Kedroff Male Quartette (accompanied). It is hard to know which to admire most—the discipline with which the Kedroff Quartette achieve their perfect unison of purpose, or the beauty of the voices, both individually and in harmony. The Kedroff Quartette is composed of four very fine singers, two of them Professors at the old Imperial Conservatory at St. Petersburg, and the others concert singers of great eminence Together, they give a finely-balanced performance that is an aesthetic treat in richness and purity of tone, and display the greatest understanding in their tempo. One of the debts that we owe to the gramophone Is that it has made it possible for us to enjoy the folk-music of other countries. These three Russian songs are delightful in every way—typically Slavonic in colouring and rich in humour. The recording is fine. * * . A fascinating disc is that by the Victor Light Opera Company in gems from “Robin Hood” (De Koven). H.M.V., EBI4. The feature of these melodious gems from Reginald De Koven’s “Robin Hood,” the most popular American opera ever produced, is the magnificent singing of the soloists, whose splendid voices are superbly reproduced. At least, one song from De Koven’s opera, which is sung on side one (“O Promise Me”), is known in every Australian or New Zealand home. The soloists are artists of the very first rank, although their names are not revealed. • • • The D Major quartette in actual chronological order is the first of the six quartettes. Perhaps it is most happily described by the late Mr. Joseph Bennett in the following sentence: “It is a highly finished cabinet picture, the more to be prized as one of the very rare exemplifications of absolute repose and unclouded serenity to be found scattered here and there throughout the rich catalogue of Beethoven’s productions.” The opening melody of this quartette is one of the longest in Beethoven's works, and the similarity between the Minuet and the Minuet in the Quartette in D, Op. 44, of Mendelssohn may be commented upon. Sir Henry Hadow has compared a theme in the Finale to the escape of Tam o’ Shanter. *• * * Rachel Morton (soprano), in “I Know That My Redeemer Liveth” and “Come Unto Him” (“Messiah”). H.M.V., D 1247. It is something of a paradox that Rachel Morton’s voice should be ideally suited to these two famous airs from oratorio, for she is first and foremost an operatic soprano. The voice is of lovely quality—cool and soft in texture and produced effortlessly. Of the airs themselves we need say little; both are too well known. But the record should prove extremely popular. • • * At last we have a record by the Garde Republicaine Band, which really does justice to that fine body of instrumentalists. In Beethoven’s “Fidelio Overture.” a fairly large band has been employed, and is directed by M. Gabriel Pares, an old conductor of the band The tone of this band approaches that of an orchestra very nearly, its richness being quite remarkable. The arrangement is an excellent one and makes discreet use of tympani, and the playing is very fine indeed. “Fidelio” is, of course, Beethoven’s only opera, and this was the last of the five overtures the composer wrote for it. (Columbia 02519). • * * * Apollo Granforte (baritone), in “Faust,” Dio Possente (Even Bravest Heart) and “Carmen,” Song of the Toreador, is heard at his best. Granforte made a great success in Australia three years ago, and his reputation is already a glowing one. When you hear such a record as this you will understand why. His voice is of great range and volume, and is produced with a liquid ease found very rarely nowadays. Both the airs are popular ones. The broad flowing melody of “Even Bravest Heart” and the vigorous swing of the famous “Toreador Song” are pleasantly contrasted in character. (H.M.V., D 8938.) • * * Sir Henry Wood conducting the New Queen’s Hall Orchestra. A “Death Dance” quotation from Henri Cazali’s poem is appended by Saint-Saens as a motto to the setfre of his well-known Symphonic poem, “Dance of Death.” This bizarre work begins with the striking of midnight, when the wild orgy of skeletons commences. The solo violin impersonates Death, playing a very sorrowful and beautiful melody. Eventually the cock crows, everything quietens down, and vanishes. The work, by the way, has additional interest because it first used a xylophone in a concert orchestra (to represent the rattling of the skeleton’s bones as they dance). The Danse Macabre reveals the best of perfect command of the technical process of expression, and his extreme readiness in thematic development and superb orchestration. This recording (in the great Scala Theatre, London) by Sir Henry Wood and his famous orchestra, secures all the appropriate eeriness in this rendering of the fantastic music, and the record ranks high as a triumph of recording. It is played by Sir Henry Wood and the Queen’s Hall Orchestra (Columbia). • • • Will Kings (humorous) “Bertram at the Rotary Dinner” (Memy) and “Bertram Addresses the Tenants” (Rutherford). H.M.V. C. 1340. Most of us have met the silly ass type of fellow, but never, we think, one quite so inane as Will King’s amusing creation. Two of the most humorous records ever issued. The two speeches are most amusing, because they are so near the truth. You will roar with laughter and want all your friends to hear them.

Aileen Stanley and Johnny Marvin are recorded by H.M.V. in “Red Lips Kiss My Blues Away” and “Under the Moon (Yoo-00-00-oo).” With violin, guitar and piano. H.M.V. E.A. 212. The first duet is all excitement; there is a lot of kissing and whispering, the general impression being that someone has just turned off the switch and the couple is in darkness. The second title is worked into a charming popular song melody. * * * Two Beethoven Quartettes: (1) “Quartette in G Major” in six parts (Col. L. 1909-11), (2) “Quartette in D Major,” in six parts (Col. L. 1912-14). Played by the Lener String Quartette, are recorded by Columbia (L. 1909-11). Beethoven was 30 when he wrote the G Major quarette, and its light-hearted buoyancy shows him at his brightest. It is the second of the six quartettes, opus 18, and marks a definite period in the composer’s career. He had thrown away the last of the old-time conventions, and was on the threshold of the dominating strength of his maturer manner. It starts right away with a happy subject, and the naivete of the rhythm and its grace of style cannot fail to appeal to the hearer. The slow movement is in more serious strain, but there is an allegro phrase in tripping semi-quavers, and then a return to the charm of gentle quietude. The Scherzo is a merry movement with its phrases tossed here and there in the real spirit of playfulness, and the last is as simple as the first, and as charmingly childlike. But the workmanship is by a * master hand ,and the finish is brilliant in the extreme. This quartette by reason of its elegance is generally called the “Compliment,” the word being used in the sense of a bow or obeisance. The “Quartet in C Major” (Serenata) Mozart, played by the Lener String Quartet —2 records (Col. L 1729-30), is a record well worth having. Always the most cheerful of the great masters, Mozart is here at his liveliest and most refreshing. Personally, I can think of no classic music more suited to .the home than good string music, no master more enjoyable and understandable than Mozart, and no exponents of Mozart anywhere approaching the Lener String Quartet. This record has a charm equalled by few others. Clear as crystal, sweet in tone and sprightly in theme, it should do a great deal to popularise chamber music among gramophone lovers. A Bratza recording (a) “Guitarre” (Moskowski) and (b) “Bretislav” (Bohemian Dance) (Seveik) has been released by Columbia (D 1449). In his youthful recordings the fine Serbian violinist, Bratza, still confines himself to airy trifles of little depth but great charm. These jolly little snippets serve to reveal the masterly sureness of his touch and the silkiness —howrare a quality, even among great virtuosi!—of his £one, two qualities that, are all in favour of the maker of records. But may we hope to hear this remarkable violinist in something more serious before long. Moskowski’s sparkling “Guitarre” is most exhilarating. More interesting, however, is the wild Bohemian Dance, by Bratza’s old master, Professor Seveik, in honour of his 70th birthday the Czech Government recently held a musical festival. A new soprano records for Columbbia in “La Forza Del Destino”—(a) Madre pietose Vergine; (b) La Vergine degli Angeli (Verdi). It is sung by Arangi-Lombardi, soprano, and the La Scala Chorus (Col. 04023). One of the most effective moments in the middle period of Italian opera is the great soprano air, “Madre pietose Vergine” from Verdi’s “La Forza del Destino.” It is the ill-fated Leonora’s cry to the Virgin for help when, fleeing from her revengeful brother, she seeks sanctuary in the mountain convent. As she sings, she hears the monks in the monastery nearby chanting the “Venite.” This dramatically placed air is succeeded by the second part of the record, and the effect, as recorded, is one of the most successful reproductions the electric process has given us. Madame . Arangi-Lombardi is a soprano who ranks among the leaders of Italian opera, and her singing here is an amazing piece of realism, the chorus magnificent to the point of thrilling. Reginald Foort has already given us the first two parts of Luigini’s everpopular “Ballet Egyptien,” so that a great number of people will be pleased by the issue of the complementary record which completes the “Ballet.” All the brilliant and fascinating effects imaginable are obtained from the Wurlitzer Organ. H.M.V. B 2479. That brilliant tenor, Charles Hackett, has recorded: (a) “Serenade” (Schubert); (b) “Who is Silvia?” (Schubert); Columbia (7367). Why is it we hear so little of Charles Hackett these days? Time was when he was hailed

as the greatest of tenors, and his records show that this praise was not altogether undeserved. He sings here two glorious melodies of Schubert’s—that supreme song-maker—with no less charm than art. I cannot remember anyone who sounds so comfortable around the upper register; it is this ease which makes Hackett so delightful, and certainly any attempt at forcing his notes would have completely ruined the spontaneity of these two lyrical masterpieces. Hackett’s tone is robust and full, never lacking in warmth, and just stopping short of a tendency to become too highly coloured. A singularly pleasing record. Friedman’s tour of New Zealand is too recent for us to forget his astonishing brilliance of technique, which was never so well exhibited as in the dainty light-handed trifles of this sort. He rattles them off with rare bravura, making their technical difficulties seem the easiest things on earth. In the rollicking Scherzo of Mendelssohn he especially delights us. This was one of the most popular numbers during his tour —one that was frequently encored—and to say that this record reproduces the same clear-cut tone and sparkling phrasing is to say that it will have as warm a welcome among gramophiles as Friedman himself. For it is Friedman; so much the excellence of the recording assures us. No less delightful, however, is the prim “Elle Danse” on the other side. Britain’s finest ’cellist, W. H. Squire, plays for Columbia: (a) “The Broken Melody,” and (b) “Drink to Me Sir Hamilton Harty is the accompanist. There are few ’cellists who can approach Squire, and Squire is at his best in simple tunes of this nature. We have learnt to expect more from the recorders, but this is a fine example none the less of the mellow singing tone of Squire’s ’cello. His phrasing, too, is graceful and sustained, charg- J ing these familiar tunes with more I than usual interest. This is a record | that will never fail to please.

Dino Borgioli is a great tenor. From “Faust” he has sung “Salve Dimora,” “Pescatore di Perle,” and “Mi par d’udir ancora” (Bizet). Col. D 1504). As principal tenor of the Melba Grand Opera Company, Dino Borgioli is well known in Australasia, but he came south of the equator with a glowing reputation from his native Italy. It is not surprising, then, that his records should be so favourably considered by the connoisseur. Robust almost to the point of loudness, round and fulthroated, his voice is still more remarkable for the warmth and colour of his execution. The slight tremolo is an Italian fault that many consider to be a virtue, but which, when exaggerated, finds no favour with British audiences; but it is too slight to be "exceptionable. He gives an impassioned rendering of the familiar “Salve Dimora” from “Faust,” and on the reverse does good service by fishing up a littleknown gem from Bizet’s “Fisher of Pearls.” Recording is old, but adequate. Harry Dearth (Bass), in “Onoway Awake Beloved” (Cowen) and “Leanin.’ ” (Sterndale-Bennett). H.M.V. C 1344. There is one singer whose name we shall always associate with songs like “Stone-Cracker John”; it is Harry Dearth. His bluff, hearty voice is perfectly suited to this kind of song. If is fortunate, therefore, that it is he who should make this record of the popular song, “Leanin’,” the song of a yokel who finds a very simple outlet for his energies. It is superbly sung and wonderfully clearly reproduced. On the other side is “Onoway Awake Beloved” (Cowen), H.M.V. (C 1344). A new recruit to the ranks of “His Masters’ Voice” is the San Francisco Orchestra. The first record will appear shortly in Kreisler’s “Caprice Viennois” and Delibes’s “Coppelia Ballet.” The performance was conducted by Dr. Alfred Hertz.