GRAMOPHONES

Sun (Auckland), Volume IV, Issue 978, 22 May 1930, Page 18

GRAMOPHONES

, JUNE RECORDS THE SORCERER’S APPRENTICE “L’Apprenti Sorcier,” by Dukas, and Rosse’s “Merchant of Venice” suite, are the most attractive of a parcel of H.M.V. records just received. The former is played by the PhilharmonicSymphony Orchestra of New York under the direction of Arturo Toscanini, and the suite by John Barbirolli’s Chamber Orchestra. “L’Apprenti Sorcier” (the Sorcerer’s Apprentice) has an original and entertaining theme taken from Goethe’s ballad, “Der Fauberlehring.” The sorcerer’s apprentice, who is in the dangerous possession of a little knowledge of his master’s art, determines in his absence to try out a few spells. He bewitches a broom and sets it fetching water from the river. The spell works well, but, when every receptacle in the house is filled to overflowing with water, the terrified boy finds that he has forgotten the formula. Fortunately, when the house is in imminent danger of collapsing, the sorcerer returns and breaks the spell. It is a subject that lends itself well to the fine interpretative powers of Arturo Toscanini, and an interesting and very enjoyable performance is the result. The grotesque and somewhat freakish music is admirably played. (D. 1659.)

The “Merchant of Venice” suite is more familiar but, although something of an old favourite, particularly with theatrical orchestras, the fine treatment extended by the Barbirolli Orchestra compensates a great deal for the indifferent and hackneyed performances often heard. (C. 1731 and 1732.) * * * Dawson sings this month “The Admiral’s Broom” (Bevan) and “A Jovial Monk am I” (Andran). The baritone gives “The Admiral’s Broom” with fine zest and manages to impart his outstanding individuality to the number. His “Jovial Monk” is a mellow and very philosophical person—indeed a most agreeable fellow. It is richly sung and with excellent diction. (B 3186.) * * * One never tires of hearing Lehmann’s “Ah! Moon of My Delight,” providing it is well sung. Richard Crooks sings it with a robust richness that gets there quickly. On the other side he sings rather nicely Aylward’s “Beloved, it is Morn.” (E.D.12.)

There is a good measure of artistry in Albert Ketelby’s “The Sacred Hour ’ reverie, the composer scoring his music with refinement, and in the singing part of his writing is particularly expressive. Quentin Maclean plays it on the Regal Cinema Organ, London—the finest instrument of its kind there—and has the support of a really fine quartet singing ir. Latin. (Columbia 01855.)

Chopin wrote three polonaises between 1827 and 1829, each of them marking a step forward along the the path of indi-

viduality and power. The sec ond, in B flat, re corded by Ignaz Friedman, is a rather curious mix ture of graceful embellishment and serious harmonies The piece is per fectly proportioned for the gramo phone, and Fried man plays it with

a delicacy that must surely be something like Chopin’s own. The playing is perfect in its understanding and poetry, particularly fine being the vigorous middle section. (Columbia 04374.)

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—all have their fair 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 equally probable that it would have delighted him. (H.M.V., D 1708-09-10.)