GRAMOPHONES

Sun (Auckland), Volume II, Issue 547, 27 December 1928, Page 14

GRAMOPHONES

The enterprise shown by the H.M.Y. Company in recording the organs of the famous English cathedrals will be much appreciated by all musicians, and particularly those interested in organ music. The latest is that of Dr. Prendergast on the organ of Winchester Cathedral. This distinguished organist plays Wesley’s “Larghetto in F Sharp Minor” and Guilmant’s “Offertoire sur deux Noels.” Both are exquisitely played, particularly the offertoire, a bright Christmas number in appropriate form. C. 1447. A popular 'cello re-recording is the “Chanson Hindoue” (Rimsky-Korsa-kov) and “Reigen” (Popper), played by W. PI. Squire, ’cello. (Columbia 03607). Squire’s extensive repertoire is now-, thanks to Columbia’s wideawake policy, almost up-to-date as regards electrical recording. The two numbers on this disk are warm favourites, and Squire’s replaying is, if anything, an improvement on the old record (D 1498). The actual recording is, of course, considerably improved —so much so, in fact, that excellent as the old disk was, enthusiasts who own a copy should certainly replace it with the new version. * * * Galli-Curci is still one of the best sellers in the gramophone w-orld. Part of the success of this great soprano in recording is no doubt due to the great care exercised by her in maintaining the standard of her productions. This high standard is again evidenced in her two latest numbers, “Air and Variations” (Proeli), and “Zemire et Azor” (The Warbler), by Gretry. In the Air and Variations the beauty and extraordinary flexibility of her voice shows out with fine effect. Collectors of Galli-Curci records must add this to the album. (D. 8.1144). • • ■ * The “Washington Post March” (Sousa) and “El Captain” (Sousa), played by the National Military Band (Columbia 01130) are two numbers that will be appreciated by all band enthusiasts. Who does not enjoy the martial rhythm of John Philip Sousa —the thrill of drums and rousing march time? The two numbers submitted here rank among the most

popular of all Sousa’s brilliant marches. The opulence of tone is all that could be desired. Truly, the National Military Band have done these marches full justice.

There is the tang of salt spray and a breath of sea wind in Peter Dawson’s recordings of popular “Songs of the Sea,” by Stanford. On 8.2743 Dawson gives us “Drake’s Drum” and “Outward Bound.” Of the two the former is preferred. In addition to Dawson’s resonant baritone, ideally suited for these numbers, is some excellent part singing by a well-balanced choir. The effects in Drake’s Drum” are particularly well handled. The soloist’s diction is, of course, remarkably clear, and the recording is excellent.

Stanford Robinson conducts the 8.8. C. Choir in “A Few More Years Shall Roll” (Bonner and Hayne) and “Stand Up, Stand Up For Jesus.” Thanks to the perfection of the British Broadcasting Company’s Choir, there is something particularly satisfying about these renderings of “A Few More Years Shall Roll” and “Stand Up, Stand Up for Jesus.” The tone is wonderfully good, the voices are well balanced, and the recording has secured a feeling of vitality. An inspiring record that makes a notable addition to the popular series that has gone before. Apollo Granforte and Hilda Monto. with members of La Scala Orchestra, in “Aida” —“Rivedrai le foreste imbalsamate,” and “Su dunque!” (Verdi), make an interesting record. The great Nile scene from the third act of “Aida” is one of the most remarkable pages in the opera. Aida’s father, Amonasro, has sought out his daughter. He knows of the fascination and love she has for Rhadames and bids her obtain from him certain military secrets. Aida is torn between patriotic love of her native land and her love for Rhadames. She knows that if she does not obtain the infofmation required her countrymen will perish miserably before Rhadames’s Egyptian armies and she will remain a slave. (H.M.V. D.B----11534

The issue of a Ketelbey album is a fitting tribute to the many years of faithful service this composer has to his credit as musical adviser to the Columbia Company. It is a tribute, too, that is certain of world-wide appreciation, for Ketelbey’s admirers arc legion. This recording of his best known composition, “In a Monastery Garden,” is easily the best that has yet been heard, and is a real credit to the specially chosen orchestra that plays this delightful series. (Columbia 02658). Delightful tenor songs are given us by the Sydney Coltham (tenor) in “Little Lady of the Moon” and “Bird Songs at Eventide” (E. Coates). Sydney Coltham has such a host of admirers that any new record of his is sure to be welcomed. There is no denying the attractive quality of his voice, and in this record of two delicate little ballads it is given every opportunity for the fullest display. (H.M.V., 8.2742.) “11 Trovatore” (Verdi), “II Balen” and “La Gioconda” (Ponchielli) “Barcarolle”—with chorus, are sung by Riccardo Stracciari (Columbia 03602). This warm favourite is sung with a fine intensity of feeling—and again the artist does not develop any excited heroics. It is sung—as Verdi meant it to be sung—with splendid restraint. The “Gioconda” boat song is a lovely excerpt both in itself and in this, its latest recording. That charming contralto, Essie Ackland, in “Down Here” (May Brahe) and "O That We Two Were Maying” (Nevin), is responsible for a delightful bracket. It is only a little while since Essie Ackland’s first “His Master’s Voice” records were issued, but her reputation as one of the most pleasing contraltos of the day has been firmly established by them. There is a quiet beauty about the rich tone of her voice. (H.M.V., 8.2740.) * * * It is pleasing to note that W. H. Squire continues to bring his gramophone repertoire electrically up-to-date. He has lost none of his erstwhile brilliance, and the new process makes a wonderful improvement to his glorious ’cello tone. “The Swan” especially is a glowing demonstration of Squire's well-loved style—faultlessly recorded. (Columbia 04179). Two violin gems by Erica Morini are Sarasate’s “Romanza Andaluza” and “Introduction and Tarantelle” (Sarasate). Erica Morini’s latest “His Master’s Voice” record is a performance of the utmost brilliance, and the reproduction is of such nature as to suggest the immediate presence of the artist. It would be strange if any person hearing this record did not become enthusiastic both on the playing of Mile. Merini and on the technical quality of the recording itself. (D. 1445.) * * * The “Credo,” from Otello (Verdi) and “Ideale” (Tosti), are sung by Riccardo Stracciari, baritone (Columbia 04176). This electric recording of one of Stracciari’s finest numbers is assuredly a work of fine art. His “Credo" alone would class him as the greatest living baritone. On the reverse is Tosti’s lovely “Ideale,” sung in a manner that is likewise ideal. These Stracciari electric recordings are truly historic, and take their place as standard interpretations on which the baritones of the future may base their own efforts to finest advantage

Margaret Sheridan and liano Fertile, in the "Madame Butterfly” “Love Duet,” is the real thing (says a writer). You get here an up-to-date Italian rendering, at high pressure tlrronghout, of the complete “uncut” version of the duet for Butterfly and , Pinkerton. You feel it winding up the first act of Puccini’s Japanese opera amid a blaze of temperamental glory. Pertile’s voice is magnificent. The effect of the duet is soulstirring, thanks also to the fact that “la Sheridan.” as they call her in Italy, has never used her naturally fine voice with so much care, judgment. and histrionic ardour.

Ketelbey's Gipsy overture, “Chal Romano,” in two parts, played by A. W. Ketelbey’s Concert Orchestra and conducted by the composer (Columbia 02693) is a highly descriptive record. “Chal Romano” is hardly as well-known as some of his earlier works, but the same genius that distinguishes the “Persian Market" and the “Chinese Temple Garden” pervades this alternately languorous and animated work. Caravans at rest in a woody glade; the brushwood fires under the stars; the laughter, the lo\ e and the hate of these wanderers —it is all there in “Chal Romano.” Under the composer’s baton it is marvellously alive.

“Think of Me Thinking of You” and “Golden Gate,” are new ones by Johnny Marvin. H.M.V., E.A.370. Johnny Marvin has frequent triumphant moments. One of these is in the' irresistible appeal of "Think of Me Thinking of You.” * * * The Philadelphia Orchestra’s recording of the Bach “Toccata” and “Fugue” is described by one enthusiast as one of the most exciting achievements of the American orchestra. For this /work the only word is '’magnificent.” The man who can hear this and not realise the marvellous mastery of J.S.B. deserves no further consideration: music is not in him. In breadth, depth, variety of resource, unity in variety, colour, grip and power to stir the pulse, I know few works in all the realm of music to compare with it. The performance is truly grand. Every organist has his ideal conception of how he would like this arranged for the orchestra, but I do not think any will withhold very high praise indeed to the transcriber and the players. Whatever else may come out this month, I strongly urge every reader to get this record. It will exhilarate and delight for ever.

A selection from “The Meistersingers” (Wagner) is played by the Regimental Band of the H.M.. Grenadier Guards (Columbia 02697). This opera will always be a warm favourite with audiences the world over, and difficult though selection is, among so many beautiful melodies, the excerpts played in this fantasia form a very delightful mosaic. Walther is represented by the “Regimental Cornet,” and the Prize Song,” which is, of course, the “piece de resistance” of the opera, is admirably well rendered. The recording secures an exceptionally fine measure of volume as well as the usual Columbia clarity.

The light tenor, Gene Austin, gives a very pleasant melody to waltz time “The Sweetheart of Signa Chi,” an American college ditty. Its companion piece, “Are You Happy?” is the' vocal version of a tune that has alreadv P™ved popular as a dance record (H.M.V., EA261.) *

Following the lead of its parent company in London, which recently purchased the whole of the advertising columns of the London “Evening News, Columbia Gramaphone (Austialia), Ltd., on December 3 paid no uncertain tribute to the wonderful Press Clt Co Value .. of the Australian Press. Co-operation with such widely known firms as A. Hordern and Sons Marcus Clark, Ltd.. Gowing Bros., W in Tb ImSr ’ Ltd ” A ' Sauilde rs, etc., etc . ?he C cr l e U a?i^ a l,fi tion a of a “T , precedent - in that one edition of Telegraph Pictorial” carried ,'7 ta announcements e[ t h e * wnolly or partly throughout its allot ted advertising spaces. t_ r £ ea " er SmaT” y h Called the -Funerl? M “r°ch movement eCa H 6 ° f the famous third minded 6 of ~ not; 6 write i’n Si ness, and masterlv and .* >oe * ;lc lovellit Played by Arthur de th^gi? Ms™ The pianist ™ Vemem oTlha n tk S e Slm ° tuie of the music suffer from dullm-sY the M-YeJYoVT ° ne 18 asto unded by me Dimness of tone. (H.M.V.).

From “The Vagabond King’’ ar9 two bright and tuneful numbers They are “Song of the Vagabonds’ and “Only a Rose” (Friml), Picsdill? Revels’ Band (Columbia 01270). Something a little out of the way and » bit more attractive than the ÜBual run. The Piccadilly Revels making a big name for themselve. with this class of work. They hats a fine sense of rhythm and their tons is well built up and attractively varied Aureliano Fertile (tenor), and La La Scala Orchestra, in “Lohengrin” “Da voi lontan in sconosciuta terra!" and “Merce, merce, cigno gentil'" (Wagner), gives an excellent per formance. Fertile is already univers : ally acknowledged one of the finest tenors of his day, and he has proved by this rcord his right to be called a great one. His “Lohengrin” ig a superb piece of singing, and is W€ h. nigh perfect whether its individual attributes of beauty of voice, delicacy of nuance, or careful phrasing are considered.—H.M.V., D. 8.1107. * * * The Light Cavalry (Suppe) is played as an organ solo by Quentin M. Maclean, in two parts (Columbia 01007). One of the most brilliant performances of this celebrated organist of Shepherd’s Pavilion, London. Effective registration is shown in this organ solo, particularly in the opening, while the closing portions are exhilarating in the extreme. This record is one of the most perfect of organ recordings that I have listened to, and its ipgiimi very wide to organ lowest^ * * e Maartje Offers is one <£ ft* mm brilliant dramatic contraltos of the day. Hers is a voice rich, full and warm, and there is a soprano claritv in the upper register. Nothing could be more suitable to her voice that Handel s “Largo,” which is sung with organ, cello and harp accompaniment. The majestic peacefulness of the legato passages are rendered with real feeling. The disk also includes “Caro Mio Ben” (Giardano), a song of caressing melody. (H.M.V., DA81(.) Wagner’s poetic prelure, the “Introduction to Act I.” of “Lohengrin,’’ is given by Willem Mengelberg, conducting the Concertbouw Orchestra. (Columbia 04069). This famous orchestra is ideally suited to the ethereal atmosphere of Wagner’s exquisite prelude. The richness of the sounds of the strings and w-oodwind produce a delightful piece of tone colouring, as good as any yet heard on ant record. The gradual crescendo movements reaching up to the fortissimo are managed marvellously by Mengelberg’s Orchestra. None of the loveliness of the music has been lost in this electric recording, which tool place in a hall famous for its acoustics. A record which will be plaved many times.

A fine orchestral tone picture given by the Symphony Orchestra (conducted by Albert Coates), “The Mastersingers” overture (Waf ner). In the overture to “The Ma*‘ tersingers of Nuremberg" Wagfl®* has given a wonderful tonal pictw* of the splendour and pomp of mastersingers’ procession, wh,le fragments of the love motive ofWai ther and Eva are also heard. recording does full justice to l “ e overture.—H.M.V. D. 1260.

“Three Fanciful Etchings’* (Albeit W. Ketelbey), played by Ketelbey s Concert Orchestra under bis direction (Columbia 02691-2), mafces a delightful album. There can be who have not become familiar W 1 the romance and colour introduc into music by the composer of 10 ' Monastery Garden.” Albert W. Ke bey’s music is the music of those look for pictures to be conjured t® mind through the ear. He is the popular of all British composers, this album of records includes a work now recorded for the first r Three lovely little tone pictures _ are. and are sure of world-wide ap ciation. .Recording is really