MUSIC IN THE HOME

Taranaki Daily News, 19 May 1928, Page 8

MUSIC IN THE HOME

GRAMOPHONE NOTES. HAROLD WILLIAMS. (I) ‘'When the Sergeant Major’s on Parade”; (2) “The Company Sergeant Major.” Sung by Harold Williams baritone. Columbia 4159. Williams has excellent vocal quail H cations for the officers of the sergeant major. His is a fine big voice and hi knows how to give these rousing ballads the infectious touch of joviality. 01 course, the real “Sar-major” is a hard bitten regular of the Heme army, but old diggers will remember the type, am others can easily picture him from hear ing this disc. They say he won the war and Harold Williams sings as thougl he thought so too. THE FAMOUS SHEFFIELD CHOIR. (1) “Strike the Lyre” (Cooke);' (2) “The Sea Hath Its “earls” (Pinsuti) (3) “A Secret” (Coward). The Slief field Choir conducted Uy Sir Henry Cow ard. Columbia 9159. Those who, like myself, confess to t liking for nineteenth-century past song: will be delighted with the Sheffield Choir and also with the pleasant tonal repro duction. Pinsuti’s lovely piece is well known to choral bodies, and “Strike th( Lyre” shows us some remarkably cleai ensemble singing. “A Secret” is a leg pull whose humour is not too subtle oi deep, and is provided with an excellent setting. FOR THE WAGNERITE. “Rienzi Overture” (Wagner). Brum Walter conducting the Royal Philhar monie Orchestra. Columbia LlB2O-1. “Rienzi” is Wagner’s first opera, ant In spite of certain weaknesses is still periodically revived. The weaknesses It may be said, do not extend so mucli to the Overture. A trumpet call opens and is followed by the beautiful and impressive Rienzi’s prayer, played bj the ’cellos. The vigorous second theme is based on the battle hymn of the first act. This recording easily supersedes the old Columbia one which in its time was the best obtainable. Bruno Waltei gives a fine and energetic interpretation of the fine work and the recording is full, rich, clear and realistic. “THE MESSIAH.” Following the. magnificent set of Bayreuth Festival Records, Columbia will be issuing in a week or two eighteen records which, issued in two albums, constitute a complete recording of “The Messiah.” No one can deny the tremendous hold “The Messiah” has on the affections of the public, whatever die critics may say, and from all reports Sir Thomas Beecham’s interpretation should create a vast stir of interest. He has insisted upon giving us what he considers the composer’s true intentions with regard to the oratorio. When Sir Thomas Conducted the great work in London last year, critics were unanimously agreed, that he had succeeded in infusing new dramatic life into it. Columbia recording should guarantee that his records have i ecaptured this vitality and therefore we look forward to the production with keenest interest. TH7 DON COSSACKS. (1) “The Twelve Robbers” (Serge Jaroff); (2) “On the Road to St. Petersburg” (Folk-Song). Sung by the Don Cossack’s Choir. Columbia 9155. All the Don Cossack records are so good that choice between them is purely a matter of taste, but there has been such a demand for their “Volga Boatmen” that it is well to remind oneself that some less hackneyed are equally good, if not better. All the extraordinary vivid effects that delighted us in their actual singing are on this record, for instance. The curious though slight vagueness to tonality may be due to a tendency to tremolo in individual singers, but the general effect is superb and the soloists worthy to "star” in any Celebrity Selection. “EIGHTH SYMPHONY.” “Symphony No. 8 in F” (Beethoven). Felix Weingartner conducting the Royal Philharmonic Orcheetrq. Columbia L--1903-5. Three records in album with deschiptive notes. . This is the Symphony that is so full of Beethoven’s liveliest humours. The tick-tick effect in the A’legretto is one of the composer’s little jokes prompted by the invention of the metronome by his friend Maelzel: the minuet is an amusing contrast with earlier forms: and the last movement bubbles over with boistreous whimsicalities. Weingartner’s reading is clear and jovial, and on account of its simplicity as well as its cheapness, this would be the first appearance of the Beethoven Symphony that I would recommend to the ordinary purchaser. Great music, and finely recorded. SZIGETI. (1) “Zephyr” (Hubay); (2) “Siciliano and Rigaudon” (Francouer). Violin solos by Joseph Szigeti. Columbia Ll7BB. The naively coquettish little Francouer piece is altogether delightful, especially in the first part, and an excellent foil is provided in Hubay’s Zephyr, which may be humblo enough musically but is very interesting from a technical standpoint. The record shows palpably the vast improvement in violin-recording, for “Zephyr” is a severe test for any method. Very little of the usual “edge”- is noticeable, however. Both renderings are discreet and intelligent, and make a very pleasant record. ROSSINI. “Barber of, Seville Overture” (Rossini). Percy Pitt conducting the 8.8. C. Wireless Orchestra. Columbia 9166. The overture to the “Barber of Seville” Is one of the best known operatic overtures in existence. It is very bright and graceful, and is admirably played by the now famous British Broadcasting Wireless Orchestra. Recording is remarkably good, and volume and richness of reproduction being more than satisfactory, Pitt gives us the music as it should be played—spontaneously and with a firm line of melody.