MUSIC IN THE HOME

Taranaki Daily News, 24 September 1928, Page 14

MUSIC IN THE HOME

GRAMOPHONE NOTES. FOR THE WAGNERITE. (1) “Lohengrin—Finale, Act 1”; (2) •Lohengrin—King's Prayer' 1 (Wagner). Sung by Miriam Licette, Muriel Brunskin, Frank Mullings, Kingsley Lark, Thorpe Bates and Grand Opera chorus. Conducted by Sir Hamilton Harty. Col. 02592. A fine Columbia re-recording which now makes its appearance in their “standard’’ section at a popular price—and full value for the money! The music of the Act One Finale may have tempted the artists to extreme heartiness, but they have resisted the temptation nobly, and have controlled it in excellent fashion. The subtly compounded ensemble is full of marvellously clear detail. The “King's Prayer” is most impressive, and especially notable for the understanding by orchestrated accompaniment from Sir Hamilton Harty’s capable baton. A NEW BARITONE. (It “Gipsy Dan” (Ruesell;; (2) “Leanin” (Sterndale-Bennetl). Sung by Raymond Newell, baritone. Col. 02625. Last month Raymond Newell, along with a chorus, gave us some fine seaahantiee. Now wo hear him alone, in two excellent ballads. He has a fine manly voice, and sings with a nice sense of character. The tunes are good—“Leanin” is particularly infectious, and should remain a popular hit for some time to eome. A very pleasant record. A FINE COMBINATION. “Morning Noon and Night”—Overture (Suppe). Played by the Columbia Symphony orchestra. Col. 02617. Though built largely on themes from the orchestra, the “Morning Noon and Night" overture can well stand by itself M a tone poem, for the composer has cleverly welded the melodious themes into a continuous picture. Though light in tone, it has splendid sonority and •wing, and is richly orchestrated. The playing is crisp and attractive, bold in attack and deft in the handling of quieter passages, where the woodwind is particularly sweet. There is a 'cello passage that commands attention. A BEETHOVEN SONATA. “Sonata in F. Minor” (Appassion•ta) (Beethoven). Pianoforte Solo by William Murdoch. Col. 02613-5. This is probably the best “Appassionato” we have yet had. Such slight cuts as Murdoch has made are made with utmost discretion, and do not affect the continuity. It is apparent that we hear Murdoch at his best when a passage stirs his imagination, or when he is confronted with technical difficulties that give him something to bite on. He has opportunities enough here. The first movement of the Appassionata must be one of the most thrilling pianoforte pieces ever recorded. Beside ite tempestuous gusts of passion the fiercest passages from Liszt sound like wind and fizz. The moving andante reveals Murdoch as an artist of deep power. This is one of the most notable contributions to a Beethoven collection that has yet been made. . ALFRED O'SHEA. (1) “She is Far From the Land” (Moore); (2) “The Snowy Breasted Pearl” (Robinson). Sung by Alfred .O’Shea, tenor. Col. 04004. The famous Irish tenor sings these two ballads with refinement, excellent phrasing and .exceptionally good enunciation. The quality of the voice is above reproach, and the high notes are resonant and clear. The pleasing melody of “She is Far From the Land” is greatly enhanced by the very expressive singing of the tenor. “The Snowy Breasted Pearl,” by Robinson, is also an a :/active song, Well interpreted and very successfully recorded. SIR HENRY WOOD. “Leonore Overture No. 3” (Beetfloven). Sir Henry Wood conducting the New Queen’s Hall orchestra. Col. L 197879. Even without reference to Beethoven's single opera “Fidelio,” for which Leonore No. 3. was written, it is impossible to listen to this music without being aware of an intense atmosphere and a heart BOrely charged. The performance is marked by Sir Henry Wood’s sound motions as to tempo and contrast. There are some remarkable features throughout the recording, notably the smooth texture of the ensemble at the very beginning, the echo phrases on the first side and the clarity of the runs on the third side. This is a truly wonderful recording, both in execution and in reproduction. BACKHAUS AND CHOPIN. A little while ago Cortot regaled us With the complete set of the Twentyfour Preludes. Now comes Backbaus With the twelve studies which comprise Chopin’s Opus 10. In due course, no doubt, will come the Opus 25 Studies, but the present records by Backhaus are so delightful that the gramophonist will have some difficulty in possessing his eoul patience till they arrive. The virtuosity of Backhaus is amazing. But, being the musician he is, he always keeps virtuosity in its proper place—as the handmaiden of art. The real beauty of his Chopin playing is its illuminating imagination and its perfect sense of poetry. He is so quick ft> the | sensuous life of the music. Each study | becomes a thing of perfectly modulated r grace. The pianist’s range of expression and colour is studded with elegances so rich and rare that each separate piece seems to pass before one’s eyes as an ever-changing pattern of alluring beauty. Many aspire to be Chopin interpreters, but playing like this makes one realise that few reach the goal. The twelve studies are not recorded in order, but are grouped as far as possible accord-’ ing to the key in which they are written. They occupy three records, and in order to justify (economically) the provision of an album, they are bracketed with a fourth, which contains Chopin's “Berceuse” and E flat False —which further demonstrates Backhaus' exquisite art.