GRAMOPHONES

Sun (Auckland), Volume IV, Issue 996, 12 June 1930, Page 16

GRAMOPHONES

The composer of “Oberon” wrote four works for the clarinet, of which the “Clarinet Concerto,” produced in 1811, is undoubtedly the most interesting, for it was the outcome of Weber’s association with Barmann, the finest clarinet player of his time, and is therefore not altogether a mere show piece for the clarinet alone, but rather a splendidly woven texture, in which both band and solo play an equally important part. This concerto is bound to procure for the famous French band many warm admirers. There is a vividly fine colouring by the great ensemble, while the solo passages are dexterously handled, and have a limpid piquancy of their own. Technical difficulties in the recording of public open-air events have been well conquered, and four sides of last year’s “Aldershot Searchlight Tattoo” speak well for the skill and care bestowed. Thq two 12in discs make a rapid survey of the whole entertainment, even to the announcer requesting silence. The massed bands can be heard in their volume, though the best atmosphere comes with the shouts and dance on the return of the Crusaders. As if the music were not enough, we are given the noise of the crowd passing through turnstiles, rifle fire, Big Ben chimes, and the roar of airplanes. (H.M.V., C 1793-94.)

Pattman plays the Bach Grand Toccata and Fugue with astonishing dexterity, and shows surprising understanding of this rather “intellectual” type of music. Yet, lest that word “intellectual” frighten off a possible listener, let it be hastily added that it abounds in cheerfulness and melody. Pattman achieves a fine tone, and some of his pedal passages are superbly played. (Columbia 9136.) The pure tone of John Amadio’s flute and his amazing facility as a technician make his playing of the well-known coloratura soprano aria, “The Carnival of Venice” by Benedict, a splendid show piece for his instrument. The showers of bird-like staccato notes are strikingly beautiful. In the companion piece, “Hungarian Pastoral Fantasy,” by Doppler, the sustained notes are flawless and clear and leave little doubt that the flute in the hands of a virtuoso is as beautiful as any instrument there is. Amadio, who, by the way, is the husband of Florence Austral, the Australian dramatic soprano, is supported by a fine orchestra under George Byng, and his solos are thus given a fitting setting. (H.M.V., E 849.)

These two extremely charming Massenet solos make an unusually delightful record. The “Meditation” from the opera “Thais” is played with glorious tone, bringing out all its seductive beauties. An excellent contrast is made with the “Elegie,” in its more sombre but passionate phrases. The electric recording does full justice to Sammon’s very impressive playing. (Columbia 02687.) ** * * Hungarian Medley, One Step. Debroy Somers Band. (Columbia 01862.) Debroy Somers must have gone to a lot of trouble to dig up the fascinating tunes on his latest record, Hungarian Medley, One Step, played by the Debroy Somers Band. He has unearthed quite a few Hungarian folksongs and dances that have a strangely appealing quality. As a sort of cement he has used a few familiar classics from Liszt, Brahms and Berlioz, and of thq whole has made a medley that will rank high, not only as a dance record, but as an orchestral titbit. (Columbia 01862). Jack Payne and his 8.8. C. Orchestra go right out for the laughs with “Maggie’s Cold,” a comedy one-step very cleverly put over. On the reverse is “Dream Star of Araby.” (Columbia DO-21.) Layton and Johnston are alw-ays welcome in their pleasant duets. Their latest gives us “Congratulations” and “Sunnyside Up,” two good tunes with some great piano work. (Columbia DO-28.) * * * Gramophone lovers will remember Guglie'metti’s wonderful record of the “Proch Variations,” and now we are enchanted with her rendering of “Variations on a Theme by Mozart,” by Adam, in similar style. - This artist is of course among the most brilliant of coloratura sopranos. Her exquisite voice is employed with faultless technique, as may be heard in the dazzling splendour of the “Mozart Variations.” The amazing high notes have been captured faithfully by the Columbia modern recording process.

The “Otello” aria is a splendid piece of work—perhaps the finest recording of the “Credo” yet made. Both from orchestral and vocal points of view —or, rather, hearing—it is a vastly improved presentation, and when you consider the excellence of the preelectric disc, this is indeed saying a good deal. The reverse side gives us Tosti’s melodious “Ideale”—a rather unusual pairing nowadays, but as Verdi and Tosti were close friends when living, they will perhaps nowin another sphere appreciate the compliment to each other! (Columbia 04176.) Backhaus is one of the few pianists whose technique is so complete that his whole attention is free to consider the purely musical aspect of the music, and this he does in the dazzling Liszt transcription of Schumann’s “Dedication” (Love Song), This is considered by many to be the most charming of all Schumann’s songs, and the fine phrasing and delicate nuances with which Backhaus plays the beautiful melody underlying the dazzling “display” passages makes the work a sheer joy. In his own arrangement of the "Don Juan Serenade” by Mozart, Backhaus is again a poetic master of his instrument. His tone is always true and here are two numbers which alone would account for the enthusiasm at his present series of concerts in Australia. (H.M.V., DA944.)

Though all musicians have their favourites among the Beethoven quartets, yet probably most of them would unite In considering the “First Rasoumowsky in F Major” as, on the whole, the greatest of the second period works in quality, as it certainly is in quantity. In one homogeneous whole it runs the gamut of emotions. “Here is “God’s plenty,” as Dryden would say —breadth and dignity, humour, pathos, and tenderness, and moments of unspeakably touching through the whole quartet. The famous Lener players achieve one of their masterpieces. Their playing is massive and powerful, intimate and energetic by turn. This glorious unity of tone speaks of ther years of experience of playing together, and we have gone beyond the stage of thinking of them as individuals. (Columbia LI3S7-41.) « • * The following is a list of H.M.V. best sellers, compiled from the latest returns from retailers: —- "March of the Grenadiers,” sung by Jeannette Macdonald, assisted by the Revellers Male Quartet. (EA682.) “Road to Mandalay,” sung by Peter Dawson. (C 1770.) “Stephen Foster Melodies,” played and sung by the Salon Group under Nat Shilkret. (E 847.) "My Love Parade” (fox trot), played by the High Hatters. (EA667.) “Dream Love” (waltz), played by Nat Shilkret and his orchestra. (EA 665.) “After a Million Dreams,” sung by John Boles. (EA705.) Schubert’s “Serenade,” sung by John McCormack, assisted by the Salon Group. (D8M1297.) “Russian Festival Music” (RimskyKorsakov), played by the Philadelphia Symphony Orchestra. (D 1676-77.) “Double Concert,” by Brahms, played by the Casals Orchestra under Cortot, with Casals (’cellist) and Thibaud (violinist), as soloists. (DBI3II- - “Blue Danube Waltz” (pianoforte), played by Josef Lhevinne. (DB1201.) “Souvenir” (Drdla), played by Fritz Kreisler. (DA975.)

“Melissande In the Wood,” sung byEssie Ackland (contralto). (B 3128.) “Prize Song” from “The Mastersingers,” sung by Joseph Hislop. (DB 1315.) Vocal gems from “The Gondoliers,” sung by the Light Opera Company. (C 1728.) * * * Among the shorter works of Brahms few have attained the popularity of the Hungarian Dances, of which numbers 5 and 6 are perhaps the be3t known. Now we ha've a splendid pairing of these two by Sir Hamilton Harty and the Halle Orchestra. An essential feature of all the Hungarian Dances is the abrupt change from grave melancholy (lassen) to wild merriment (friska), involving many changes of time and tonality and a peculiar richness of harmony. In number 5 Harty handles with the understanding of an artist the change from the slow, sensuous opening to the gayer theme. Number 6 is characterised by astonishing variety of melody, rhythm and harmony, and every shifting mood is handled with the certainty of a master. (Columbia 01677.) * * * One of the best records of the series of “Gems” is that containing selections from “Maritana,” the popular ballad opera by Wallace. The selection includes “Angels that Around Us Hover,” “Let Me Like a Soldier Fall,” “Scenes That Are Brightest,” and “In the Name of the King,” which are charmingly sung by the Light Opera Company. (H.M.V., C 1693.) Eva Turner (Columbia), returning to the United States for her second sea. son with the Chicago Opera Company, was recently feted for her performance of the title role of “Isabeau” (Mascagni) at the old Roman arena of Verona, Italy. With Miss Turner in the cast was the tenor Lazaro, as Folco. Eva Turner is one of the very few English sopranos who carried Italy by storm before reaping the harvest of her fame in London. She has made a wonderful record of two numbers from “Turandot” (Columbia 03610), in which she took the part of Piu in the Italian premiere.

Maria Kurenko sings two beautiful Tchaikovsky songs, the “Cradle Song” (Wiegenlied), being an early work of the composer, and- whose soothing melody is enhanced by a beautiful accompaniment. “Nur wir die Sehnsucht Kennt” (“Ye who have yearned alone”), usually translated into English as “None but the weary heart,” is one of Tchaikovsky’s best-known songs, pervaded by a deep sorrow and yearning typical of most of his works. The Russian soprano sings both songs with feeling, and is assisted in “None But the Weary Heart” by a ’cello obbligato. (Columbia 03676.) Another Jack Payne hit that will win a big follow-ing is a comedy 6-8 one-step entitled “Give Yourself a Pat on the Back.” Its companian piece is “It’s An Old Spanish Custom.” Jack has decided to put a bit of life and humour into dance records—find he does it. (Columbia DO-20.)