MUSIC IN THE HOME

Taranaki Daily News, 13 October 1928, Page 10

MUSIC IN THE HOME

GRAMOPHONE NOTES. THE ART OF THE VIOLA. (1) “Nacht und Traume” (Schubert); (2) “Aprea un Reve” (Faure). Viola solos by Lionel Tertis. Columbia D 1562. Lionel Tertis is always worth hearing, and this month he offers two lovely songs re-written for the instrument of which he is such a past master. In the lyrical field no one could approach Schubert; “Nacht und Traume” is one of his finest songs, and enveloped in the rich warm tone of Tertis’s viola it becomes something especially . fine. His phrasing, as usual, is almost impeccable. The dreamy Faure piece, though not so good in composition, has some passages that offer fine scope for Tertis’s technique to show itself. TWO STIRRING MARCHES. (1) “Aida”—Grand Marell (Verdi); (2) “Prophet©” —Coronation March (Meyerberr). Played by the Columbia Symphony Orchestra. Columbia 02057. Great stuff this. No one could listen to these two fine march tunes without wanting to stand up and march round the room. Both of them have a triumphant “you-be-damned” air about them, but, since Verdi could always make rings round Meyerbeer as a musician, the Aida “Grand March” has an added quality of grandeur and majesty. If the Columbia Symphony Orchestra’s . playing is not over subtle at least it is whole-hearted and spirited, and that is what we want here. THE GREAT “KREUTZER” SONATA. "Kreutzer Sonata in A Major” (Beethoven, Op. 47). Blayed by Albert Sammons (violin) and William Murdoch (pianoforte). Columbia LlBB4-88. (Five records in album with descriptive notes). This, one of the most widely known of all Beethoven’s works, was originally composed for Bridgetower, a brilliant negro violinist, for a concert in 1803. Beethoven was very much behind time with the music, there was no time for rehearsal, and Bridgetower, with Beethoven at the piano, had to play at sight from the blotted and erased manuscript. Nevertheless, the whole performance was a great success, and the Andante had to be repeated. If hurriedly prepared, it shows no signs of haste in its construction. Indeed, it marks the beginning of Beethoven’s second and most virile and creative period. At last, one feels, the great composer is sure of himself. ALFRED O’SHEA. (1) “The Little Irish Girl”; (2) “A Little Bit of Heaven.” Sung by Alfred O’Shea, tenor. Columbia 03585. This is the O’Shea that captivated us here in New Zealand—the moving singer of simple Irish ballads. O’Shea’s appeal is entirely to the heart, and he gets there by sheer sincerity. If you study the way he sings these popular Irish songs you will notice that he uses none of the mannerisms of the professional singer. Every note is sweet, direct and unforced. A FINE ORCHESTRA. (1) "Idilio” (Lack); (2) “Spring Song” (Mendelssohn). Played by the Columbia Symphony Orchestra. Columbia 01076. Those with taste for straight unsophisticated melody will find _ much to please them in this latest 10-inch by the Columbia Symphony Orchestra. It would be hard to wish for a more attractive version of the familiar “Spring Song.” The tone is a little inclined to be over-sweet, but this a fault on the right side. If this record introduces Lack’s delicious “Idilio” to a wider public it will have served a purpose. POLISHED PLAYING. Moiseivitchls clear-cut and polished playing gives “Hunting Song” and “Songs Without Words in F Major,” two gems by Mendelssohn, a finish resembling that of a carefully-facetted jewel. Mendelssohn is one of the central figures of the great romantic school which held the melody paramount, and here are two of the most popular of his smaller works. (H.M.V., A 478). LOFTY MUSIC. The lofty solemnity of Cesar Franck has found expression in John McCormack’s latest bracket- by this composer, “Paris Angelicus” (sung in Latin) with pianoforte, organ, and ’cello accompaniment, and “La Procession” (sung in French) with pianoforte accompaniment. Here is a different McCormack from the one we know so well. Here is a man exalted by the high ideals of Franck and approaching the subjects of the composition with reverence, and with true artistry. The voice seems to be firmer than usual, but the miraculous light and shade is always there. (H.M.V., D 8.1095.)