MUSIC IN THE HOME

Taranaki Daily News, 5 October 1929, Page 27 (Supplement)

MUSIC IN THE HOME

LATEST ON THE GRAMOPHONE. I . I t . , DANCE RECORDS. ■ The following dance records , culled from the October list should satis y even the most fastidious: Cant Help Lovin’ Dat Man” (“Show Boat), foxtrot, with vocal refrain, and Why Do I Love You” (“Show Boat’), foxtrot, with vocal refrain, played by Nat blnlkret and his orchestra; “Sweet Suzanne,” waltz, vocal refrain by Rudy Valeo, played by Rudy Valec and Ins Connecticut Yankees, and “My Castle in Spain is a Shack in the Lane, fox-trot vocal refrain by Clare Hanlon, pjajed by Waring’s Pennsylvanians; ‘Come West, Little Girl, Come West” l ox- trot .(from the Ziegfeld’s production, hoopoe”), with vocal refrain, and Lin bringing a Red, Red. Rose, iox-tio., chorus by Bob Borger, played by George Olsen and his music; "Broadway Melody,” fox-trot, and “You Were Meant For me,” fox-trot (from “Broadway Melody”), played by Nat Shilkrct and his orchestra. (H.M.V.) GOOD DAWSON DISC. Peter Dawson (bass-baritone) in “Hmton, Dinton and Merc’* (Holiday), and “The Curtain Falls” (d’Hardelot). H.M.V., 82936. “Hinton, Dinton and Merc” is a rollicking little ballad with .a . certain amount of sly humour; that it is “modera’ is proved by the motor-car which plays so important a part in the episode. NEW JOHN McCORMACK. John McCormack (tenor) in. “Since First I saw Your Face” (arr. Somerville), and "La Maison Grise” (‘Fortunio”) (Messager). H.M.V., DA94G. McCormack is a singer who by Ins art enriches every song lie sings. Wonderful though it may seem, he is equally at home in the magical songs of Hugo Wolf and in the most simple ballad. NEW FRANK CRUMIT. Frank Crumit (comedian) in “The Road to Vicksburg” and “The King of Borneo” (by himself). H.M.V., E.A. 524. The first of these is a stage recitation by him that was immensely popular years ago. “The King of Borneo” is one of those well-known of the bachelor dinner repertoire. The amusing words sung very fast by Crumit are all distinct. Most of the young folk will hail this record with enthusiasm. JOHN McCORMACK. Two numbers, simple and yet movin'*, beautiful in melody,' “Since First I Saw Your Face,” an old English song arranged by Somerville, and “La Maison Guise” (“Fortunio”), by Messager, are sung by John McCormack. Such mellifluous singing as this remains a wonderful thing, even in these days of virtuosity and richness of tone, and easefulness of production makes every note musical, whether he wills it or not. His naive singing of these ballads is fascinating without vocal tricks. His legato phrasing is broad and smooth. (H.M.V., DA940.)

- EMOTIONAL INTENSITY. The London Symphony Orchestra, conducted by Albert Coates, figures in an admirable arrangement of Bach’s Fantasia and Fugue (in G Minor), by Sir Edward Elgar. The Toccata and Fugue, played by the Philadelphia Symphony Orchestra, produced quite a sensation some months ago, and there is no reason why this record should not prove equally attractive, even if the orchestral volume is not quite as full. The Fantasia is very beautifpl, and pervaded by intense sadness, bordering on yearning. The emotional intensity of the work is remarkable, and would suffice to convert those who, unacquainted with Baeh’s compositions, proclaim him to be dry. The Fugue is vigorous and bright, forming a strong contrast. Elgar’s brilliant orchestral arrangement quite successfully suggests the organ-like qualities of Bach’s work. (H.M.V., D 1560.) SHARP CONTRAST. Two songs that arc in sharp contrast, the rollicking, ballad, “Hinton, Hinton and Mere,” which tells of a romance that ended in a smash up in a ditch, and a philosopical song “The Curtain Falls” by d’Hardelot, are Peter Dawson’s contribution to the October list. Dawson is ever welcome, not only for the robust quality of his voice, but for his artistry and the sincerity of his utterances. In comedy he seems to sing with a chuckle in his voice that is wholly intriguing. (H.M.V., 82936.) A SUPERB RECORD. Berlin State Opera Orchestra in “Polonaise, No. 2” (Liszt, arr. Muller-Berg-haus). H.M.V., D 1625. Even as the Philadelphia Symphony Orchestra established their colossal English reputation by their records of Liszt’s ‘Second Hungarian Rhapsody,” so will the Berlin State Opera Orchestra enhance the high esteem in which wo already hold them by their superb record of another Liszt piece—the “Second Polonaise.” It is every bit as tuneful and colourful as the “Rhapsody.” PAUL ROBESON AGAIN. Paul Robeson and Lawrence Brown (vocal duet) in “Witness” (arr. Lawrance Brown), and in the negro spiritual, “I Got a Home in Dat Rock.” Paul Robeson’s artistry is evident with every note he Sings. With this record, as with his earlier records, it is impossible to listen and not be moved deeply by the simple fervency of the rendering. The wonderful bass voice is only secondary to the complete and utter sincerity that lies in this superb record. “LOHENGRIN.” DUET. The crisis of Wagner's opera “Lohengrin” is vividly portrayed in the famous love duet by Aureliano Fertile and Alfani Tellini, assisted by the La Scala Orchestra. In this duet Wagner attains a freedom and an intensity of expression previously unknown. Those who listen intently must be surely impressed by the many beautiful harmonies. The orchestra enriches and heightens the dramatic expression of these two famous singers, Elsa and Lohengrin are alone for the first time after the wedding ceremony. Elsa had vowed that she would not ask her champion whence he came, but now she is insistent. Lohengrin vainly tries to calm her. Elsa becomes m’ore and more in-

sistent. May she not just whisper her husband’s name to herself. As so, in her frenzied, excitement, she puts the fatal question: “Speak! Who then art thou? Tell me what is thy name?” She. has broken her 1 vow; The'eVil'is irreparable. The two voices sing gloriously through these intense moments. (H.M.V., DB1218.) " ■' ’ • . GIANNINI. Several new records by Dusolina Giannini have jiist been issued (His Master’s Voice;. The aria “One Fine Day,” from Puccini’s “Mme. Butterfly,” and “In Quelle Trine,” from the second act of Puccini’s “Manon Lescaut,” vocally and artistically must be considered amongst Miss Giannini’s very best records. for her voice as well as the orchestral accompaniment (by the Berlin Opera Orchestra) are of unusual richness and volume. Another very fine record by Giannini is Schubert’s wellknown song “Impatience” (“Ungedud”), which is familiar to all who remember “Lilac Time.” On the reverse side is one of Schubert’s greatest songs, Gretchen am Spinnrade” (“Margaret at the Spinning Wheel”), of which the singer gives an interpretation pervadied by very groat feeling and sorrow. (H.M.V.) GIANNINI SINGS ENGLISH SONGS. Dusolina Giannini (soprano) in “My Lovely Celia” (arr. Lane Wilson) and “Love Has Eyes” (Bishop). H.M.V., D.A. 1025. “Annie Laurie”' and “Bonnie -Sweet Bessie” (Gilbert). H.M.V. DAIOI9. Not since the days of Adelina Patti lias any singer captured the public imagination as has Dusolina Giannini, the wonderful young singer (who is now touring Australia) early in a Career which promises to be one of the most remarkable the world has ever known. Here we have her in English and Scottish songs, sung in our own language. PERTILE IN FAMOUS GEMS. Aureliano Pertile, Alfani Tellim, Ersilla Fanelli, and members of La Scala Orchestra, in... “Lohengrin”—“Cessaro i eanti alfin!” (Love Duet), (Wagner). H.M.V., DBI2IB. The “Love Duet,” which comes from the “Bridal Chamber” scene in Act 3, is one of the loveliest passages from a score in which beautifully lyrical episodes abound. Pertile, enjoying the collaboration of Signora Tellini in the first part, and Signora Fanelli in the second, (both of whom are attached to the famous La Scala Opera House of Milan) uses his glorious tenor voiee to the best advantage and proves his artistry by exercising due. restraint in this noble and beautiful scene. ELOQUENT VIOLIN. The hauntingly beautiful “meditation” from Massenet’s “Thais,” is recorded by Miss Marjorie Hayward. Purity of playing is matched by purity of reproduction. Another famous melody “Poem” by Fibich is the companion mimber. There is some exquisite double stopping in the opening of this number, and the variations are most pleasing. Miss Hayward is nothing if not eloquent, and her latest record is one of the most life-like of recent months. (H.M.V., 82938.) BEAUTIFUL ’CELLO PLAYING. . -The.chief impression left by the.playing of Miss Beatrice Harrison, the English ’cellist, is the attractive tone and phrasing. In her rendering of Popper’s “Harlequinade” taste and technique are on an equally high level. The melody is carried straight through. On the other side is Van Biene’s “Broken Melody,” which had a great vogue about twenty years ago, and is well worth revising. Few string players record better, with full value for every shade of tone. (H.M.V., GIG2G.) ROSA PONSELLE IN VERDI OPERA. Rosa Ponselle (soprano), in “Ernani! Ernani! involami” (from “Ernani”); and “Pace, pace, mio Dio (“La Forza del Destrno”). (Verdi). H.M.V., D 81275; Rosa Ponselle started her musical career as a vaudeville singer and had, although only twenty-one, established a great reputation as such, when Caruso heard her, and advised her to study for opera. Within six months she has learned several roles, and made a sensationally successful operatic debut at the Metropolitan Opera House, New York, as Leonora in "La Forza del Destine.” On one side of this record is an intensely dramatic aria from that opera, and it is paired with an exquisitely lyrical passage from “Ernani.” MOZART’S “NIGHT MUSIC.” John Barbirolli’s Chamber Orchestra in Serenades—“A Little Night Music” (Mozart). H.M.V., 01655-56. Written in 1787, this is the most famous of the Mozart Serenades, and is known both in this, its original form, and as a string quartet. Whether your musical brow be high or low, you will find its engaging melodiousness irresistible. It has the delicacy of Dresden china, and scintillates and sparkles like fountains in the sunlight. John Barbirolli and his Chamber Orchestra have achieved an exquisite - performance of this delicate masterpiece.

GREAT DEBUT. It is riot, often that we in New Zealand are able to participate in a great event, but through the gramophone we are able to share in one of the greatest debuts made at Covent Garden in recent years. This was the debut of Rosa Ponselle, whose records have been coming to hand steadily, and who in the October list gives “Ernoni! Ernoni! Woolami,” from Verdi’s “Ernoni,” and “Pace, Pace, mio dio,” from “La Forza del Destino,” by the same composer. These arias have been recorded before, but Ponselle is a new star on the firmament. Referring to her debut in “Norma,” the “Morning Post” critic wrote: “Miss Rosa Ponselle has burst upon London music-lovers with the effect not merely of a new star, but of a new sun, in the musical heavens. She is undoubtedly the greatest Italian opera dramatic soprano London has heard for many years, and in point of fact very old Covent Garden operagoers were saying at the first interval of Norma that this was singing that took them back to the days of Tietjens, while younger astonished habitues of the opera were to be heard confessing that if this was the singing of the Malibrans and the Pastas of the days they heard so much of and rarely believed in, there was something after all in the claim that dramatic sopranos were also sopranos with gloriously beautiful voices, and wonderful singing style and technical accomplishment. Certainly the dramatic singers we have been accustomed to hear in Italian opera have usually been dramatic without. being overwhelmingly impressive :'n point of beauty of voice. And here, in the very first phrase, Miss Ponselle sang, was a voice of rich and rounded

beauty of timbre, and of a volume so generous that quality and power were at once apparent as the perfectly-bal-anced attributes of a great singer.”