GRAMOPHONES

Sun (Auckland), Volume IV, Issue 966, 8 May 1930, Page 14

GRAMOPHONES

There are many recorded versions of Agatha’s aria from Weber's “Freischutz,” but \ ery few of the prayer from the second act, which has been chosen by Maria Jeritza, the famous dramatic soprano, as a companion number to Agatha's aria. Agatha, anxiously awaiting the return of her beloved Max, sings the recitative “Wie Nahte Mir der Schlummer,” followed by the prayer, “Leise, leise.” The beautiful melody is very tenderly sung by Jeritza, whose lovely voice always reproduces most successfully. (H.M.V. D. 8.952.)

Columbia 01900. “They All Fall in Love” and “Sitting on a Doorstep,” foxtrots. Will Osborne and his or chestra are splendid in the tuneful first number, while everyone will enjoy the clever harmonising of Ted Wallace’s Campus Trio in the Vocal Chorus of the reverse.

Two Clara Butt co-recordiugs are “Eileen Alannah” and “My Ain Folk.” No record collection can be truly representative of modern singing without a disc by Dame Clara Butt, who has ruled the English concert platform for so long and so ably. Not only is she as popular as ever, but also—wliat is not always the same thing—she proves in her new recordings of her old acoustic records that she has lost none of her power, none of her old artistry, none of her flawless diction. In both “Eileen Alannah” and “My Ain Folk” she shows that warm sympathy that carries her straight to the public’s heart.

The companion number to “In a Clock Store,” Romberg’s “Toy Symphony,” is played by the New Symphony Orchestra under Dr. Malcolm Sargent. It is great fun. The clever imitations of toy trumpets and drums and bird noises are woven into one of the jolliest pieces of music imaginable. The novelties are never obtruded; they are just part of the merry

theme. It is obvious that the players have enjoyed every minute of it, and the conductor, who is well known for his lightness of touch, plays a big part in the success of the recording. The reproduction is very clear. (H.M.V. C 1776.)

“Haste to the Wedding” and “Bonnets so Blue.” Walton O’Donnell conducting the 8.8. C. Wireless Military Band. Columbia 01309. A pair of very jolly folk-dances, full of the “Merrie England” spirit. Cecil Sharp, the famous authority on English traditional folk-music, arranges them; and he sees to it that in rhythm and tune they are the real thing. The well-known 8.8. C. Band makes the tunes fairly hum with life. * * * In this month’s catalogue there is a recording of Beethoven’s “Kreutzer” Sonata; Thibauud is the violinist and Cortot the pianist. The most popular

of the Beethoven sonatas has been recorded before, but there was room for a more i m a g i n a tively handled version, and it is forthcoming here. Not only is it a performance of consummate skill, but

has the added

virtues of perfect intimacy of one player with the other and magnificent recording. Cortot's adjustment of his tone to his partner's is masterly. Their interpretation is exhilarating, especially the joyous last movement, which is taken at a tremendous pace. Each bar of the finale is infected with irrepressible happiness, though perhaps the exquisitely sad variations, which form the second movement, are the loveliest notes of all. (H.M.V. DB 1328-29-30-31.) ____ I

Bach is represented this month by the “Brandenburg Concerto No. 2 in F Major,” on five sides of three records, and on the sixth side there is an orchestral transcription of the chorale prelude, “We Believe in One God Alone.” The orchestra is the Philadelphia Symphony under Leopold Stokowsky. In this work the concerto is given to four instruments — trumpet, flute', oboe, and violin —ail having their fare share of prominence. The background of strings is always at the right strength, and their tonal quality is very real. Those who know Bach only for his sombre and reverent mood will be surprised at the gaiety of the composition. The whole work is an extremely intricate study in counterpart, and both the performance and the recording are splendid examples of the marvellous height to which gramophone reproduction, has risen. The violin, flute, oboe, and trumpet quartet of the lovely andante is very impressive, and a word might be added in praise of the manner in which the difficulties of the trumpet passages in the last movement are surmounted by the soloist. If the performance is open to criticism on the ground that the efficiency of the orchestra would have surprised Bach, it might be retorted that it is at least equallv probable that it would have delighted him. (H.M.V. DI7OS-09-10.)

Those who like Tare harmonising and ingeniously unexpected accompaniments will swoop heartily on a new record by Vernon Dalhart and Charlie Wells. Their titles are “My Blue Ridge Mountain Home” and “I Know There is Somebody Waiting.” The jew’s harp, the violin, and the guitar creep in with some very catchy effects. (Columbia 01893.)

The news that Fraser Gange, the Scottish baritone, who met with such success all over New Zealand a year or so back, may be repeating his triumphal tour in the near future, stirs up fresh interest in his recent recordings. The most popular has proved to be a finely dramatic pairing of “On the Road to Mandalay,” Kipling’s stirring song, and Schumann’s “The Two Grenadiers” (Columbia

02573). His Scottish public are catered for with “Annie Laurie” and “Lassie o’ Mine” on a 10-inch disc (Columbia 01056). Grippiugly dramatic is his version of Henley's “Invictus.” set by Huhn. while no less moving is its pairing “The Blind Ploughman,” on Columbia 01626. Wagner's noblest air, “O Star of Eve,” from “Tannhauser,” makes another record of wide appeal, with its reverse “Slumber On, My Little Gipsy Sweetheart” (Columbia 02571),

The performances of Ravel’s "Septet”—“lntroduction and Allegro for Harp, with Strings and Woodwind Accompaniment,” by the Virtuoso String Quartet and J. Cockerill, R. Murchy and C. Draper, indicate a praiseworthy departure from the beaten track of conventional recordings and an excellent interpretation is given of this subtle and suggestive music. Ravel is the most famous of modern French composers and it is interesting to note that he was recently honoured by the English universities. His music reminds one of Debussy. It has the same soft glow and delicateness. The work covers three sides of two records, and on the remaining side the quartet alone plays Frank Bridge’s “Novelette —No. 3.” Bridge’s, like Ravel, is full of dainty pictures, and it is interesting to compare the char acteristics of the two composers (H.M.V., C 1662-63.) The Final Scene and Waltz from “Der Rosenkavalier” (Richard Strauss) is given as a duet by Rich ard Mayr and Ahni Andrassy. (Col umbia, 04364.) This is undoubtedly a “top of the basket” pick from the vocal plums of the year. While both singers are brilliant and combine to perfection, the honours must go to Richard Mayr, with his rich voice and fruity humour. His intimate touch lifts him right off the disc and puts him into the room with his liseners. And what a magnificent bass! How subtly and tenderly he makes himself one with the music. The music itself is a succession of genuine delights. Bruno Walter, conducting, makes the lovely Rosenkavalier waltz and its variations shimmer and sparkle with rich colours. Those who are new to the most famous of all Strauss’ wittv and tuneful operas could wish for no better introduction than this first- ; class record.