GRAMOPHONES

Sun (Auckland), Volume III, Issue 688, 13 June 1929, Page 14

GRAMOPHONES

Percy Grainger, the Australian pianist, now abroad, is always artistic. This month he gives (1) “Country Gardens” (Grainger) and (2) “Shepherds Hey” (Grainger). (Columbia 03620.) “Country Gardens,” which was the most discussed item played by Percy Grainger during his last tour of Australia, has been specially recorded in America for the Australian music-loving public. The coupling is his own fascinating “Shepherds Hey.” As usual, the rendition of both items is impeccable.

The playing of William Batkhaus is a combination of musicianship and sensibility. To him music is as much a culture as it is an art. Thus his attitude toward Schubert as shown in a record embracing “Moment Musicale in F Minor” and “Impromptu in B Flat” is particularly interesting. He gives them a suggestion of idyllic poetry, a refined fancifulness. The tone is always sweet and clear, but there is more loftiness than is generally associated xvith these pieces. Among the musicians are the great melody makers, and as a Schubert interpreter Backhaus never hinders music’s onward cause. (H.M.V., D 81126.)

Friedman is brilliant in (1) “Romance in E Flat” (Rubenstein), and (2) “Hark, Hark, the Lark” (Schubert). (Columbia 03630.) Friedman, one of the really great pianists of the day, Is heard at his best in these well-loved pieces. There is beautiful sustained tone in the Romance, before it rises to the dramatic climax. Rubenstein’s work might easily have been styled a nocturne, but “Hark, Hark, the Lark” is a morning song of fadeless purity and freshness. In this performance the decorative passages are played with most exquisite skill.

A recording by the Flonzaley Quartet of Mozart’s “Quartet in D” leaves little to be said. It would be like gilding the refined gold. These four players are virtuosi. They have been together for 25 years now, and they have made chamber music greater than it would have been without them. Their latest recording is a distinction and a delight. Here is a sure sense of style, a ripe musicianship. Mozart’s Quartet is one long dancing chain of sparkling melody. The second movement. the andante, is played with breadth and lyric sweetness, and in parts of the third movement, menuettoallegretto, the two violins live in gorgeous music. Throughout there is admirable balance between the rich tone of cello and those of the viola and violins. (H.M.V., DA947-945-949.)

"Jigdal” and “W Hogen Baadenu” (Lewandowsky), sung in Hebrew, by Oberkantor Herman Fleischmann, with Synagogue Choir and orchestra. From the days of their captivity when they were bidden bv the Babylonians, “Sing Us the Songs of Zion,” the Jexvs have been steadily making musical history down to the present day. The illustrious members of the race who now adorn the musical profession. possess the fullest qualifications to rank with the greatest composers and performers of our generation. It is fitting, therefore, that a modern Hebrew sacred composition should be recorded, in that it demonstrates what a contemporary composer can do, and how beautifully soloist and choir can sing an able composition. Though a modern anthem, the “Jigdal” bears certain unmistakable sings of traditional influences and a melodic grace all its own. (5013, Parlophone.) * « * “All By Yourself in the Moonlight,” and "Sweethearts on Parade,” sung by Dick Robertson, rhythmic vocalist, with orchestra. Both these songs have a strong comedy atmosphere, which Dick Robertson's strong personality succeeds in putting over. Accompaniments and recording are both excellent. (Brunswick 4147, 10in.).

A record of "gems” from Gilbert and Sullivan’s “Mikado,” by the Zono Light Opera Company, has just come to hand. An astonishing amount of music has been packed on to the two sides of the disc. There is just enough of each outstanding number, solos and choruses, to get the real “G. and S.” atmosphere. The singers know their business. (Zonophone A 323.)

“A Speech by H.M. the King on the opening of the new Tyne Bridge at Gateshead” and “A Speech of Welcome by the Mayor of Gateshead,” is an historic record indeed. In view of the seriousness of His Majesty’s recent illness, .It remains a tribute to the goodness of Providence that it was not a record of his last public appearance. In faultless diction the King speaks his message to Gateshead, and the cough of a by-stander serves only to accentuate the realism of this record. Columbia are to be congratulated on this achievement, and also on their decision to place all profits on the sales of this record to hospital funds. Throughout in its recording of Brahms’s First Symphony, the London Symphony Orchestra and Hermann Aberdroth gives us the right feeling of size and grandeur. It is a long work, but never does the interest lag. Brahms had some of the profoundness of Beethoven, but he had also the lyric touch of the Romanticists, and he held both in wonderful balance. There are times when we bow to his greatness and loftiness of conception, and there are times when he raises us to heights of ecstasy with beautiful melody. Brahms must be studied and followed carefully, but once you have become acquainted with him he is a close friend for all time, H.M.V.,

A great Russian composer is given us in “On the Steppes of Central Asia” (Borodine), by Philippe Gaubert conducting the Orchestra de la Societe des Concerts du Conservatoire, Paris. (Columbia 04254.) The Conservatoire Orchestra maintains its great reputation In this finished reading of Borodine’s tone-picture. It is one of the simplest of the major Russian works, yet very fascinating in its suggestion of space and remoteness, with the approach and passing of a caravan. The tone is most musical throughout, with some notably fine wood-wind playing, faithfully reproduced.

William Backhaus gives us a clean, limpid rendering of two of Schubert’s best-known piano pieces, “Impromptu in B Flat, op. 142, No. 3,” and “Moment Musicals in F Minor.” He accepts the music as it was written—and no one was clearer in his intentions than the direct and unintrospective Schubert—and takes no liberties with it. This is a satisfying record which is bound to be popular. (H.M.V D.B. 1126).

“The Gondoliers.” Vocal Gems by the Columbia Light Opera Company. (Columbia 02521.) There is hardly an air that the average person remembers from this Venetian burlesque that is not included on this twelveinch Columbia disc. Particularly fine ensemble singing is again a feature of this vocal fantasia. Both of these Gilbert and Sullivan special releases are certain best-sellers.

"The Blue Danube” (Strauss), sung by the Sieber Choir, with the Grand Symphony Orchestra, is probably one of the most popular of all waltzes, and sung and played as the composer wrote it, becomes a most effective record. This authentic version produces an electrical effect when heard on a decent gramophone, and the combined forces of the magnificent choir and symphony orchestra are very thrilling. The recording is excellent. (Parlophone, 50X9, 12in.).

“How Do You Do?” is a miniature revue in two acts. Mark Daly, Billy Leonard, Emmie Joyce and Company. (Columbia 02795.) A jolly experiment that passes at once out of the experimental stage, this condensation of an evening’s entertainment on to a 12inch disc strikes a cheeky note from beginning to end. One or two little playlets, songlets, an apology in the best revue manner for the absence of the performing elephants, and a fine swinging chorus every now and again are the ingredients, and one cannot help wondering at the end how they managed to pack so much good material into the record. Tile “book” is by Harold Simpson, perhaps the most famous of all the London revue authors and some capital music has been provided by another London celebrity, Stanley Holt. Altogether one of the brightest efforts the gramophone has given us. Discussing a recital by the great soprano, Elizabeth Schumann, at the Queen’s Hall, London, the critic of the “Daily Telegraph” says: “Few are the singers we would sooner hear. It is doubtful, indeed, if any of those we know has a more charming appeal—of voice and vocal skill, and vocal style. The Schumann voice is a beautiful instrument, its tone all freshness and sweetness, and the violin-like timbre of its middle register supplemented by high notes that fall upon the ear with caressing charm. It never obtrudes on the hearer a forced note. It is round and clear, and completely beautiful. She turns her phrases to perfection.” From two lyrical masterpieces by Richard Strauss, “Freundliche Vision” and “Wiegenlied,” one can easily account for this critic’s ecstasy. Here is sensitiveness to every mood, charm, serenity, and sometimes a note of gaiety itself. (H.M.V., D 81065.)

“Prologue” (in three parts), and “La Polonaise,” from “Boris Godounov” (Moussorgsky), are sung by artists, chorus and orchestra of the National Opera Theatre, Paris. (Columbia 02798-9.) These are the first records from the historic Opera of Paris. This is plainly an event of the utmost importance. And “Boris Godounov” is, by general consent, the greatest Russian opera, a music drama of incomparable power and originality. This performance leaves nothing to be desired. The solo parts are sung by artists of high repute in France, there is genuine thrill in the impassioned choruses, and the orchestral playing is such as one expects to hear in a world-famous opera house. The exultant pealing of bells in the Coronation Scene has been reproduced with entire success, and the whole recording is on the same high level. Six twelve-inch records embracing a Scottish Church service are to hand this month. They have been recorded at the St. Columba’s Church, London. The choir of this church is famous for its sweet voices, and they are admirably reproduced here. The minister, Dr. Fleming, is heard in three prayers, and all enunciation is a model for all. The first round records give excerpts from the service in the following order: Prayer, Dr. Fleming; Psalm No. xxiii., Psalm No. xlvi. (prove version); Chant 255; Hymn No. 176, “O Love That Wilt Not Let Me Go”; paraphrase, No. liv.; prayer, Dr. Fleming; blessing, Dr. Fleming; Hymn No. 1, “Holy, Holy, Holy”; Hymn No. 291, “Sun of My Soul”; paraphrase. No. xxx.; Psalm No. xxiv., verses 7-10. Then follow two rounds of Scottish Communion melodies: Communion Paraphrase No. xxxv.; Communion Psalm No. ciii.; Communion hymn, No. 320, “Here, O My Lord”; Communion hymn. No. 315, “O, Jesus, I Have Promised.” (H.M.V., C. 1555-56-57-58-59-60.)

Columbia gives the following gems from Gilbert and Sullivan.— “The Mikado.” Vocal gems by the Columbia Light Opera Company. (Columbia 02824.) A potpourri tastefully arranged from some of the finest songs in the ever-popular “Mikado.” The chorus has a rousing way with it, coming out particularly effectively in the “Yum-Yum” chorus. Perhaps “Tit-willow” could have been included with advantage, but of course, that is just a personal preference.

A very fine soprano is Margaret Sheridan whose tuneful voice is raised this month in two beautiful Irish airs, “The Meeting of the Waters” and “The Lover’s Curse” (arr. Hughes). H.M.V. D.A. 985. Herbert Hughe’s splendid settings of these melodies

achieve what very few others ever do; they give the tune itself in all its natural beauty yet enhanced by the ingenuity and artistry of the arrangement: never for one moment is the spontaneity of the tune itself affected. Margaret Sheridan sings them with a commendable simplicity. The recording of the Beethoven Sonata in F Major (“Spring Sonata”) by the Viennese violinist Erica Morini compels admiration. Here is one of the world’s greatest violinists giving us one of Beethoven’s happiest inspirations. The sonata has aptly been named the “Spring” for it suggests the brightness and tenderness of Nature’s reawakening after its long and dreary winter sleep. The allegro opens with one of the most beautiful melodious themes Beethoven ever composed. The violin gives the theme, which is repeated by the piano, at once introducing the delightful atmosphere of the work. The adagio molto expressivo begins with a fragmentary repetition of the allegro theme. The movement is beautiful and melodious. The scherzo is short and brilliant. The allegro ma non troppo is in rondo form and proves a delightful and fitting conclusion to the sonata. (H.M.V.., ECI-2-3.)