GRAMOPHONES

Sun (Auckland), Volume IV, Issue 972, 15 May 1930, Page 7

GRAMOPHONES

The playing of John Barbirolli’s Chamber Orchestra of Elgar’s “Introduction and Allegro for Strings” is a very fine piece of work. To many, Elgar is more pleasing in this composition than in his symphonies. It is conceived on spacious lines and the themes are lofty and impelling. Although scored for strings alone, the work is so rich that at times it seems impossible that the composer should be writing under such limitations. Even in the more vigorous passages, Barbirolli’s obvious enthusiasm and admiration for the composition is shared by the players. The recording reaches a high level. (H.M.V C 1694-95.)

“Ave Maria’’ (Schubert) and “Hebrew Melody” (Achron) are the latest violin solos by Toscha Seidel (Columbia 05045.) Toscha Seidel, the brilliant violinist who was touring New Zealand about four years ago, continues to win fresh laurels wherever he appears. Latest reports from America say that he is now playing in a specially extended season at the Chicago Opera House. He is, like Bratza, Zimbalist, and Szigeti, a pupil of Leopold Auer, the greatest teacher of his day, and one can notice his master’s methods in the broad, lofty phrasing, the clear tone production, and the touch of fire that breathes life into all his work. His treatment of the familiar “Ave Maria” is intensely individual. while the sad Hebrew melody becomes something manly, strong, and finely resonant. * * * Florence Austral, the Australian dramatic soprano, whose forthcoming visit to New Zealand promises to be one of the big musical events of this year, has recorded Weber’s aria “Ocean, Thou Mighty Monster.” It is one of the most taxing as well as one of the finest things in the dramatic soprano’s repertoire, # and it is magni-

FLORENCE AUSTRAL ficently sung. There is not a flaw in I this great voice, which is supported, j by tho Royal Opera Orchestra under I John Barbirolli. The long apostrophic ■ opening is sung with superb breadth ! and style, and throughout the beautiful ; air-—one of the most famous “big” ! tunes in all opera—the tone of the i voice is always clear and smooth. The j dramatic power is impressive, but it i is never on show', being always sub- ! servient to the music. (H.M.V.. ; D 1504.) * * * ] A fine trio and very enjoyable duet are "II Trovatore,” finale, Act 1 i (Verdi), trio by Arangi Lombardi, Merli. and Galefli, and “Rigoietto,” j Quel Vecchio Maledivami (Verdi), duet by Galeffi and Dominici (Columbia 04373.) From two of the incomparable Verdi’s greatest operas have been chosen tw-o “high spots” for a j new operatic record which is out- ! standing for its fer- | vent vocalism. Arangi Lombardi dominates the “11 j Trovatore” finale. ! She has one of the | finest voices in all j opera today—a sol prano of eistonish- | ing purity —and she ! has the support of ! two famous recorders in Francesco Merli, tenor, ana Carlo Galefli, a powerful baritone. On the reverse w*e hear Galefli again in the famous duet. “He Laid a Father s Curse on Me,” with Frnesto Dominici. Dominici possesses a rich powerful bass which has been very faithfully irecorded.

The Scottish tenor, Joseph Hislop, has recorded Rachmaninoffs beautiful little song, “To the Children.” The tenderness of the opening and the despair of the close are wonderfully well sung. This is perhaps the best of Hislop’s song records, and strangely enough, it is issued at a lower price. The other number on the record is “The Grey House,” by the French composer, Messager. The use of the light and shade of the voice gives artistic expression to the plaintive theme of the song. (H.M.V., 83154.) Sir Henry Wood's recording of the famous Second Rhapsody is of world-wide repute. The New Queen’s Hall Orchestra excels itself in the majestic swell of tone. (Columbia 02947-8) William Murdock, the famous Australian pianist, makes a thrilling pianororte soio oi me Twelfth Rhapsody. The tone is finely balanced. (Columbia 02582.) Aureliano Fertile is often said to be one of the best of the Italian tenors now singing in opera. In "Dost Thou Not Breathe,” from the third act of “Lohengrin,” he controls his big voice splendidly and is quite at home in the long phrases Wagner -wrote for this opera. There is plenty of variety of tone and the softer singing is always true to pitch. He is well partnered by Mesdames Fanelli and Tellini. Both have beautiful voices and the blend in the concerted passages is admirable. The orchestral background provided by the big La Scala Orchestra, Milan, enhanfces the scene. (H.M.V., DB1218.) Two light orchestral works, “Sleep}’ Valley” and “Through,” are played by Albert Sandler and his orchestra. (Columbia 01S0S.) Albert Sandler, a violinist of note, conducts his compact little orchestra in the huge Park Lane hotel in Piccadilly. He regales us with an attractive pairing, the first halfhumorous, half-whimsical, and the second a lilting and engaging affair of comfortable rhythm. The recording is outstanding, beautifully expressive, and stereoscopic. Keith Fallcner is one of the finest of England’s young basses and he has done a real service to lovers of vocal music by adding to the gramophone catalogue two Hungarian folk songs arranged by Korboy, whose researches have enriched the store of song. It, will be remembered that Liszt made use of Hungarian folk music for many of his finest works. Falkner’s two numbers require greater vocal treatment than is usual for folk songs, but he is equal to the task and gives us vivid pictures. Both "Shepherd, See Thy Horse's Foaming Mane” and “Had a Horse” are sung with due dramatic intensity, for there is a note of tragedy in each, and the pianoforte accompaniments by Gerald Moore add to the effect. (H.M.V. B 3105.) * * * Two Chopin records are given us by Columbia. The first is “Polonaise in E Flat,” pianoforte solo by Jose Echaniz (Columbia 03639). Jose Echaniz, a brilliant Spanish pianist, and pupil of the great Albeniz, makes his first Columbia record a stirring version of the E Flat Polonaise, lesser known than the A fiat or the “Military,” but no less charged with high patriotism. Echaniz has an exquisite touch, giving a hint in such quieter passages as the introduction of the second theme of a fine poetic sense. He clarifies the rebellious and spirited coda, and no one will object here to his very personal rubato, for he justifies it by results. “Etude in C Sharp Minor” (Chopin), pianoforte solo by Harriet Cohen (Columbia 03636). Miss Cohen has already interpreted for us the grave, almost private, beauty of the Bach fugues and preludes. Something of the same detached spirit she brings to this etude, recognised as the finest of the Op. 25 series. The air of pensive serenity suits her gracious mood to perfection. While she has no fiery outbursts with which to smother our critical success with sheer brilliance of technique, she holds us absorbed from first note to last with her appreciation of rich poetic meanings. She is an artist and intellectual.