GRAMOPHONES

Sun (Auckland), Volume III, Issue 676, 30 May 1929, Page 14

GRAMOPHONES

NEW RECORDS PHILADELPHIA PLAYS DEBUSSY A NEW PALOMA The versatility of the Philadelphia Symphony Orchestra, conducted by Leopold Stokowski, is exemplified this month in their recording of Debussy’s Nocturne No. 2—Fetes (parts 1 and 2). TT is night in a little village and there are sounds of revelry as a torchlight procession passes through the streets. Mirth and jollity die away in the distance as the procession moves on and breaks up into little groups and finally repairs one by one to distant spots. It is a distinct contrast to the usual bold style of the Philadelphia Orchestra—a delicate little etching which serves to further emphasise the artistry of this remarkably efficient combination. (E 507.) This is perhaps one of the most interesting of the latest batch of H.M.V. records sent for review. The Kreisler touch and interpretation stumps the “Gypsy Caprice” of Kreisler. The world-famous violinist

has a touch and whimsical fancy all his own, particularly in these little studies of his own composition. The Caprice is at times a rather yearning caprice, hut always a thing of beauty. The "Shepherd’s Mad rigal,” also by

Kreisler, is necessarily of a somewhat simple pastorale character. It Is quaintly played with very effective use of harmonics. (D.B.1110.) Bright vivacious band music by the Royal Band of the Belgian Guides includes “Legere Artillerie,” “Brabanconne” and “Vers l’avenir.” This combination, reputed to be one of the finest military bands in the world, plays with great verve and felicity. The work of the band is particularly clean and fresh, although one somewhat misses the brass work such a feature of the English bands. For once we perhaps appreciate the fact that the English brasses are the best in the world. (82865.) POPULAR NUMBERS The “Musical Switch” of K. J. Alford’s as played for H.M.V. will remind New Zealanders very forcibly of the Dunedin Exhibition. How often did we hear this entertaining little musical arrangement played by the Argyle and Sutherland Highlanders Band under Bandmaster F. J. Ricketts, who is perhaps just as well known under his composing name of K. J. Alford. This contains music old and new and classical and popular. (CI580.) "La Paloma” (The Dove’ is fairly familiar, but not when sung by GalliCurci. The famous coloratura soprano sings this in her own inimitable style and it certainly sounds new. She sings it with a delightful piquancy that one finds rather charming, despite the fact that as a song the piece is now rather hackneyed. On the reverse side “Da Capinera” (The Wren), by Benedict, gives her ample scope to demonstrate her beautiful florid and bird-like tones. She sings it with the dexterity of the most exquisite reed. (D.A.1002.)

• “The Presentation of Prizes” (Burlesque Recital). William McCulloch. Columbia 02793. No need to be Scottish to relish the humour, the delicious characterisation of this gay bit of foolery. McCulloch is a newcomer to the gramophone, but should soon become an old favourite. The speech by the Member for the District is a gorgeous bit of burlesque, and the caustic comments by the President are typical slices of pawky Scots humour. * * * Two of the most famous of Johann Strauss’s waltzes are exquisitely played by the Chicago Symphony Orchestra, under Frederick Stock. The pieces are “Wine, Women, and Song,” which has also formed the subject of a pianoforte solo by Rachmaninoff, and “Roses of the South,” Strauss, like all the other famous Viennese composers, is a master at combining rhythm with lyric music. With him, the waltz is never maudlin, but vivid and fascinating. The playing of the orchestra is beautifully clear. (H.M.V. D 1452.)

“Till’s Merry Pranks" (Richard Strauss). In four parts, is played by that great Belgian orchestra, the Brussels Royal Conservatoire. Conducted by Desire Defauw. Columbia 02660-61. On the musical side this is one of the most attractive of Strauss’s

symphonic poems. It is full of wit and sparkles with ingenious and tune-’ t’ul passages. Till is introduced in a short preludial passage, and then he starts on his mad career by riding through the crowded market, upsetting stalls and creating havoc generally. 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 follows, 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 clearness of the ensemble parts and the beautiful quality of the many important and difficult solo passages. The string tone throughout is particularly fine.

I “Lament for Donald Ban MacCrim- ; mon,” pibroch solo by Pipe-Major | John MacDonald. Columbia 01392. It j is no good recommending this record j to people who can’t abide pipe music [at any price. But to those to whom j skirl and drone brings sweet content —well, this disc could not be bettered. This is recording with full realism. ! “On the Beach at Bangaloo” (Herj bert and Mcßain) and “Sing Ho! for j the Days of Drinking” (Rose and I Sterndale Bennett) are sung by Nori man Long. Columbia 01431. This is another piece of light fare that deserves consideration. Good items for moments of relaxation are few and far between. The two on this disc are quite clever in their way, and although Norman Long’s articulation is not as clear as it could be, two or three hearings will serve to unfold all the humour of these items.

Two firm favourites, Intermezzo from “Cavalleria Rusticana” (Mascagni) and “Barcarolle” from “Tales of Hoffman” (Offenbach) are played by the Columbia Symphony Orchestra. Columbia 01355. The musician will say “here are the two most hackneyed operatic airs existent combined on one record.” The man in the street will say “here are two pieces that I really want —both on one record.” And as this version of these two lovely excerpts was evidently made for the average man, the musician need not bother his head. Certain it is, that this coupling of two such "favourites should prove enormously popular. And considering the playing and recording, deservedly so. Alexander Kipnis sings for Columbia “Mephistopheles’ Serenade” and “The Calf of Gold.” 01398. Alexander Kipnis, the great Wagnerian bass, who made his Columbia debut in the Bayreuth Festival records, sings two fine arias from Gounod’s “Faust.” Mephistopheles’ Serenade is sung with biting sarcasm, and the laugh is quite out of the ordinary. Kipnis’s enormous vocal resources are heard in their full splendour in the “Golden Calf,” in which he is supported by an orchestral accompaniment.A splendid record. * * * A lovely work is “Pax Vobiscum” (J. St. A. Johnson), played by the Royal Philharmonic Orchestra. Columbia 02784. This moving and mellow Composition has a particular interest in that it is one of the two works which were awarded the first place in the English Section of the Columbia Schubert Centenary Contest. An elegiac tribute to Schubert’s memory, it pictures his struggles with poverty and neglect, and the final triumph of his spirit. But in spite of its sadness there is a buoyant Optimism shining through it, which makes the music somehow as lovable as Schubert’s own personality. Melodically, it is full of Sehubertian charm and freshness; the orchestration is exceptionally effective. Altogether a most attractive work, and one that will give boundless pleasure to music lovers. Wagner on the cello is given us by Pablo Casals (cello), in Wagner’s “Tannhauser,” “O Star of Eve” and “The Mastersingers of Nuremberg.” The Prize Song. (H.M.V., D.B.1012). Casals, playing has that peculiar magnetism born of perfection. He holds our attention completely by liis marvellously smooth tone and immaculate phrasing. For this record he has chosen two arrangements of Wagner’s most famous melodies. sjs =S« “Decidi il mio destin” and “E allor peree” (Pagliacci-Leoucavallo) are sung by Rosetta Pampanini, soprano, and Gino Vanelli, baritone. Columbia 04249. This lovely duet comes from the first act of “Pagliacci,” where Nedda meets her peasant lover Silvio. Pampanini has already made a great name in this part, which is her favourite, 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 finest singers to conquer the old fault of the Italian school —a certain “whiteness” of voice. Her voice seems to flow with colour.

“Mother Knows Best” is a “talkie” film that opens its Strand Theatre season tomorrow (Friday) night. Its most attractive theme song is “Sally of By Dreams,” which is sung by a tenor, Glen Wick. Appropriately enough the other side of the record contains another theme song, Berlin’s “Marie,” which is a feature of “The Awakening.” Theme songs are all the rage just now and no pleasanter souvenir of a night at the “talkies” or silent pictures can be conceived. (4106 Brunswick.)

“Humoresque” (Dvorak) and “Th&isMeditation” (Massenet), played by Max Rosen, violinist. We are told that Dvorak, while in the United States, made studies in the music of the American negro, and became deeply idpressed by such melodies as “Way Down Upon the Swanee River,” w hich, although composed by a white man, has always expressed the pathetic, mournful spirit of the coloured people. He is said to have written “Humoresque” around the melody of this famous song, and there is at any rate in “Humoresque” something which reproduces the mood of the song. The two “dovetail” perfectly and one may sing “Way Down Upon the Swanee River” playing “Humoresque” meanw-hile as an accompaniment or obbligato, and vice versa. Max Rosen makes a fine record of this item, and also of the second side, a brief description of which is given to enable lovers of the gramophone to better understand the aim of the composer. In the opera “Thais” there is no selection so -widely known as this beautiful Meditation. It is an instrumental number given by the orchestra, with violin solo, as a sort of intermezzo between the First and Second Acts of the opera. The composer has chosen a most lovely melody in which he seeks to express the religious meditation, to which Thais, the forr. courtesan, has given herself. “Thais” was first produced in Paris in 1894, and is based on Anatole France’s brilliant romance of the same name. In addition to a lengthy list of operatic works of sterling value, Massenet bequeathed us a brilliant pupil in the person of Claude Debussy. Two such selections on one and the same record make a musical treat of unique interest. (50110 Brunswick. )