GRAMOPHONES

Sun (Auckland), Volume IV, Issue 1038, 31 July 1930, Page 16

GRAMOPHONES

“Valse Parisienne” (Roberts) and “Arabian Nights”—Valse (Roberts) are played by the Gil Dech Ensemble. (Col. 01.923.) Gil Dech, who was over here organising the musical side of tho Maori song recordings, has his own happy band of musicians. Their latest offering is full of charm —two delightful waltzes played with inimitable grace and plenty of “body." The strings are most skilfully managed, and the tone has a polish and suavity that a good many Continental orchestras would be proud of.

Miss Beatrice Harrison should give deep pleasure to tho many who refuse to pretend that they are tired of the sublime “Largo” by Handel, and even those who are inclined to yawn will find in Miss Harrison's playing the fine artist's suggestion of a rediscovery. The tone is always smoothly flowing, warm, and round. Into Krelsler’s “Viennese Melody” she imparts some delightful lyrical touches, and the piece is made happily descriptive. The accompaniments are very clear. (H.M.V., C 1647.)

“Will the Angels Play Their Harps for Me?”, and “Old Pal,” are sung by the Maestros Vocal Quintet. (Columbia D 07.) In many ways the Maestros Quintet is so outstandingly good that it seems a pity that they cannot find better songs to sing. However, experience shows that there is a big market for sentiment laid on with a trowel, and* it could hardly be done more agreeably than here. The five voices blend to perfection. In the one about the angels, a harp obbligato gives a touch of what, for all we know, is realism.

“La Tosca” complete is given by Scacciati, Granda, Molinari, etc., with the Milan Symphony Orchestra. (Columbia 9930-43.) To their wonderful list of complete opera recordings Columbia have now added Puccini’s first great opera, “Tosca.” For tho job. they have chosen a magnificent cast. Bianca Scacciati, the Tosca, is a superb actress in the intense moments —and the gramophone far more than the stage presentation requires good actors—and makes one understand the madness that must descend on Tosca after she has killed Scarpia. Her eagerness, her womanly thoughtfulness, the ecstasy of her love in the passages before the final catastrophe, build up a mood that is almost too much to bear. Granda, as Cavaradossi, Is a tenor of manly type. He makes the part simple and strong and brave, without abating a jot of humour where necessary. Enrico Molinari takes one of the most difficult parts in the opera, Scarpia, head of the Police, and yet he makes his interpretation as illuminating as if he were speaking in English. All the smaller parts are well cast, and the Milan Symphony Orchestra, under Cav Lorenzo Molajoli, provided the perfect background to the vocalists.

“Danny Boy” (Londonderry Air) and “Ay, Ay, Ay” (Spanish Serenade) are sung by Trevor Watkin, tenor. (Columbia DOG). Trevor Watkin, by now well-known to the gramophonist, sings with a pleasant feeling of being well within his powers, phrases nicely, and has an engagingly open tone. His voice has just a touch of that peculiar spiritual quality which seems inseparable from Welsh voices. It suits “Danny Boy” to perfection, and gives to the so-called Spanish Serenade—it is really Brazilian—a caressing softness (hat is so often lacking from lovespngs.

It is a -far call In these days of big monthly catalogues to the beautifu l >iece of harmony, “Dinah,” which first made the name of the Revellers’ Male Quartet. Since then they have enjoyed an unbroken success, which will surely he continued with their latest record, which gives “Kentucky Babe” and “Little Cotton Dolly,” a plantation lullaby. These are perhaps their finest efforts since “Dinah.” Tho caressing softness of the voices in pianissimo is beautiful indeed, and the blend and rhythm is something to marvel at. There is no quartet quite like the Revellers—they have won a high and distinctive place as vocal artists. (H.M.V., EAG9I.)

A genial entertainer, Norman Long, sings “Rule Britannia” (a travesty) and “Our Dog.” (Columbia D 017.) “Rule Britannia” is the inspiration of one of Norman Long’s laughter-raisers on the new Columbia list —a lightly sarcastic travesty on the statement that “Britons never will be slaves!” The reverse is an equally witty history in homely style of the family “Fido.” Part of Norman Long’s secret in ribtickling is the fact that he always seems to be enjoying himself.

“Simon the Bootlegger” and “Song of the Air,” are sung by Mr. Flotsam and Mr. Jetsam. (Columbia D 015.) This lively and original pair, who invariably write the words and music for the wholesome and entertaining songs they sing, parade a pair of winners this month. “Simon the Bootlegger” is capital fun—a gentleman from U.S.A. who" claims to be the son of Simon the Cellarer. “The Song of the Air” is a novel stunt that will amuse you hugely.

The eternal favourite, “The Intermezzo” from Mascagni’s “Cavalleria Rusticana,” has been recorded by the New Light Symphony Orchestra. The beautiful strains of the Intermezzo are supposed to depict- the fervent piety of the Easter service. The violins be gin a soft phrase of devotional character, and presently the principal melody is heard played with emotional Intensity by the violins, and accompanied by harp and the strains of a distant organ. The beautiful climax Is poignant qnd dramatic in effect. On the other side an equally popular number, “Tho Barcarolle,” from “Tales From Hoffman” (Offenbach), is played with enchanting effect. (H.M.V.. 82377.)

Albert Coates once again excels himself as an interpreter of RimskyKorsakov. Under his baton the London Symphony Orchestra plays the

“May Night” overture, and his magic beat brings out all the brilliance of the orchestration. Even in his quietest moment Rim-sky-Korsakov is full of colour, and Coates is alive to every shade of tone. Since the London Symphony Orchestra was sub-

sidised by the H.M.V. Company it has moulded into one of the finest combinations in the world. In this latest recording the attack and release are magnificent, and the blend of tone Ideal. The strings are clear with admirable depth of tone, and there are no flaws in the wood-winds, which are as fine as anything heard on the gramophone. (H.M.V., D 1744.)

An enjoyable Schubert concerto in “A Minor, for ’cello and orchestra,” is played by Gasper Cassado, ’cello and the Halle Orchestra. Columbia LOX 3-6. Schubert originally wrote this work as a sonata for an instrument called the arpeggione-—a cross between a guitar and a ’cello, which was invented in 1823, and died a natural death soon after, leaving this one child to posterity. Now Cassado, the brilliant pupil of Pablo Casals, has converted the work into a concerto for ’cello and orchestra. His adaptation is most cleverly and sensitively carried out. Indeed, these are moments when

the orchestra seems truly Schubert’s own, so exquisitely do they absorb the music and render it forth. The first movement, though natural and healthy, has a phantom touch which sheds a soft

light over it. The second, the slow movement, is an exquisite song to which the ’cello gives voice. The finale is in rondo form, and shows the influence of Hungarian native music. It is more than a little touched by the composer’s ingenuousness—indeed, the happy innocence, even in its most serious passages, is never far from his concerto Cassado’s playing throughout is delicate and refined, and the orchestral parts, played by a small symphony orchestra under Sir Hamilton Harty, are given in as essentially delicate and refined manner. Popular Hits Columbia 05073—Florric Forde's Old Time Medley. Good old Florrie, one of London’s old-time favourites, stil! puts engaging vim into the old tunes (hat she was the first to popularise. The lads "enjoy such evergreens as “Down by the Old Bull and Bush,” "Antonio,” “Has Anybody Here Seen Kelly?” and a dozen others. Columbia Do93—“Sergeant Jock McPhee” and “Katie McKay.” Sandy MacFarlane, most genial of Scots humorists, chuckles his way through these tuney little items. Regal G2o73s—Art Leonard makes a real hit with the latest drinking success, “The Stefn Song,” and is tenderly pathetic in “Just Can’t Be Bothered With Me.” Columbia Do94—This is another Sandy MacFarlane disc. This tune he takes up both sides with “Granny's Hielan’ Home,” and shows that his pawky Scots humour can be leavened with real pathos. Columbia DOso—Miss Amy Johnston supplies a Souvenir record that everyone will be wanting in memory of her daring flight. The air heroine tells “The Story of My Flight,” and on the reverse the epic achievement is crystallised in song, “The Lone Girl Flier.” <