MUSIC IN THE HOME

Taranaki Daily News, 12 October 1929, Page 27 (Supplement)

MUSIC IN THE HOME

MENDELSSOHN OVERTURE. Many composers have felt themselves urged to composition by some scene or pher-menon in nature. Haydn was so inspired by the turmoil of a stoim through which he sailed on the way to England. Mendelssohn paid a visit to the Hebrides in 1829, and, stirred by the tang of the air, and the awesome aspect of the famous Fingal's Cave, conceived this fine musical expression of his emotions. It is more, this, than a definite picture of the scene itself. The overture has all those qualities which make for popularity, and it is a wonder there has not been a previous electrical version. The St. Louis orchestra plays with the verve and responsiveness of the well-disciplined body it is reputed to be. The recording is up to the best American standards. (H.M.V., D 1299.) DRAMATIC BARITONE. Of the music for the baritone in “Trovatore,” the Cavatina, “Il Balen,” is best known; but following this aria is a martial number also for the Count, "Oh, fatal hour impending,' 1 which Benvenuto Franci has just recorded so well. Di Luna, having approached with his followers to the cloister of the convent whence ho hopes to cany away Leonora before she becomes a nun, sings of his love for her in “11 Balen.” Then, as the time draws nigh for the kidnapping, he intones, “Per Mo Ora fatale.” “BROADWAY MELODY.” Charles King, who took the leading role in the successful “talkie” musical comedy “Broadway Melody,” has recorded the “hits” of his spectacular production. King is a Broadway star with a voice and a personality, and both arc caught up by the gramophone. On one disc is grouped “Broadway Melody” and “Love Boat,” and on the other “You Were Meant for Me” and “The Wedding of the Painted Doll.” (H.M.V., EA544 and EA552.) CHAMBER ORCHESTRA. Mozart’s Serenade —“A Little Night Music”—is one of the most beautiful things in all music, and exquisitely is it played by John Barbirolli and his chamber orchestra. In these days of big massed orchestral effects this small band of musicians provide a pleasing contrast, and their excursion into Mozart is a particularly happy one. Here is finished playing. The string tone is delightful, and the soft phrases and downy notes fall like blown rose petals. The string tone is particularly good, and the whole performance is an achievement. (H.M.V. C 1055 and 1C56.)

BARITONE IN SIMPLE SONGS. John Brownlee (baritone), in “Mother o’ Mine” (Tours) and “On the Day I Get to Heaven” (Lehmann). (11.M.V. E. 533.) John Brownlee, discovered by Dame Nellie Melba, and a great favourite at tho Paris Opera House, where he will shortly sing the 'part of “Joehanaan” in “Salome,” under the baton of Dr. Richard Strauss himself, as a concert artist specialises in German and English songs. His mastery in these is shown in this magnificent record of these popular ballads here recorded. CONTRALTO IN LOVELY LIEDER. Maria Olezewska (Contralto), in “Widraung”—“Du meine Secle” (Schumann) ; and with violin and ’cello obbligato, “Nur we die sehnsucht kennt” (“None but the Weary Heart”), (Tschaikowsky). H.M.V. E 534. These great liedcr have in Maria Olezewska the ideal interpreter. Her voice and art defy even' the purple language of laudation; she is beyond the shadow of a doubt the world’s greatest contralto.

FOUR STIRRING CHORUSES. Royal Opera Chorus and orchestra. Covent Garden, in “Boris Godounov” (Moussorgsky). T.M.V, C 1576. Hero wo have four stirring choruses from Moussorgsky’s “Boris Godounov” —“Opening Chorus,” “Pilgrims’ Chorus,” “Coronation Scene,” and “Polonaise” — sung in Italian. They were recorded at the Royal Opera House, Covent Garden, London. This adds greatly to the interest of the records. The melodious “Polonaise” is particularly attractive. THE “MISSISSIPPI SUITE.” Paul Whiteman and his Concert orchestra, in “Mississippi Suite” (“A Tone Journey”), (F. Grofe). H.M.V. C 1574. Paul Whiteman has here recorded the highly popular “Mississippi Suite.” It is a typical example of. that form of “Symphonic Syncopation” which he brought to such a high pitch of development in his record of “Rhapsody in Blue” (C 1395. MELODIES ON THE “WURLITZER.” Jesse Crawford in “A Precious Little Thing Called Love” and “Carolina Moon.” H.M.V. 536. Both the selections on this record are widely popularised and greatly in demand. “Carolina Moon” is beautifully played. The melody is most lovely and tranquil. On the reverse side Jesse Crawford employs a lot of unusual instrumental novelties in combination of stops. Reginald Foort, in “Love’s Garden of Roses” (Haydn Wood) and “Chanson” (R. Friml). H.M.V. 82988. SONGS BY MARIA KURENKO. With two such lovely airs as “The Lass with the Delicate Air,” and “ ’Tis the Last Rose of Summer,” Maria Kurenko does well to leave the beautiful music to tell its own story. She does not force the sentiment, but with natural simplicity and perfect diction unfolds the melodies for our delight. Maria has a voice of crystal clarity which she uses with nice discretion, and if some people think it a trifle cold they will agree in time that this is for the best. She has shown elsewhere that she has intense dramatic power. It is not wanted here. Natural, unaffected singing suits these songs. (Columbia 03590). “THE’ DESERT SONG.” Now that the famous Drury Lane musical comedy success “The Desert

Song” is touring the Dominion, “Desert Song” records are all the vogue. There is a fine bunch for gramophiles to choose from. Columbia score well in securing the original Drury Lane artists to record. Harry Welchman, an old favourite with London audiences, gives a stirring rendering of two of the best numbers, “The Song of the Riffs” and the famous “One Alone.” In bold, manly style, his singing goes straight to the mark. (Columbia 01238). Another Drury Lane artist, the American, Edith Day, who scored the big Lon- . don production of “Rose 3Larie,” sings the two important “feminine” numbers “Romance” and “The Sabre Song” (Columbia 01239). The humorous "It” with which Herbert Mundin is delighting New. Zealand audiences, is in the competent hands of Gene Garrard and chorus. On the other side is the duct “Eastern and Western Lo.e.” (Columbia 01240). The inevitable “Selection” is rendered to perfection by the Debroy Somers. Band, who play with a cheery vigour and a clever use of orchestration (Columbia 02,700). Some excellent singing by the Columbia Light Opera Company is heard in “Vocal Gems,” which brings in the best of the “Desert Song” lyrics (Columbia 02558). One of the most popular dance hits of the season is the high-spirited “Shinaniki-Da,” a 0-8 one-step with exactly the right rhythm for the new dance. It is played by that combination, Debroy Somers Band, and is paired with another humorous number, “The Egg Song” (Columbia 01523). From the talkie “Annapolis,” which will shortly be heard over here, comes a fine theme song "My Annapolis,” brilliantly played by Paul Specht and his orchestra. On the reverse side the Ipana Troubadours give us “Deep Night” (Columbia 01539). NUMBERS BY THE DON COSSACKS Don Cossacks arc always welcome, for their superb unaccompanied choral singi ing is a perpetual treat. They make a i brilliant success of “Kolj Slavenj” (How Greatly the Lord is Glorified), a splendid example of Russian Church music, in which their voices blend in perfect unison, rising and falling with the sweep' of a wave. On the reverse side-they give us three sharply contrasted Russion folk songs —music of the people and sung as only Russians can sing them. Those who remember their visit here two or three years ago will recapture from this admirable record all the thrill they gave us then (Columbia 02712), SCHUBERT SONGS BY ELSA ALSEN. Elsa Alsen, whose brilliant success as a soprano has been a notable feature of the American music season, makes an admirable choice of two songs famous even amongst Schubert’s innumerable gems. Indeed “Du Bist am Ruh” (Thou Art my Peace) is often reckoned to be the composer’s finest. Elsa Alsen sings’ it with quiet and telling serenity. Every note is a jewel of clarity and pure lucidity. Her control is amazing. “Gretchen am Spinnrado” hints of deep sadness, but like a true artist tho singer holds the emotion in restraint. One could hardly wish for more satisfactory recordings, or for more lovely accompaniments (Columbia 04149). GRIEG PIANO SOLOS £Y GRAINGER. There is peculiar appropriateness in the choice of Percy Grainger, the Australian pianist, to play two of Grieg’s most delightful shorter trifles for the piano, for composer and pianist were personal friends. Grainger, in fact, was present in Troulhaugen when “Tho Wedding Day” was written, and was the first to play it. He makes it here a merry and infectious picture of festivity. On the reverse he gives us an even more famous work, the exquisite “To Spring” and embellishes it with rich, mellow tone. The makeweight is one of his own compositions, “One more day, my John,” in the .Shanty manner —a hearty work that will be a general favourite (Columbia 04114).

ENGLAND'S. GREATEST VIOLINIST. It is a recognised quality of ’Albert Sammons that ho records better than any other violinist. This is no freak of acoustics, but a logical outcome of the silken purity of his tone. ‘Every note is exactly as he intends it to be. He plays “Passacaglia,” by Nachez, after a theme by Sammartini, with extraordinary insight. The thing grows like a flower 1 under his bowing. Every feature delights — the melodious flow of tune, the brilliant virtuosity, the mellow silken tone and the extraordinary sureliess of technique combine to make one of the most satisfying violin records that one could wish to hear (Columbia 02601). . THE GREAT ZIMBALIST. (1) “Ave Maria” (Schubert); (2; “Impromptu” (Aulin). Violin solos by Efrem Zimbalist. Columbia 042’20. Efrem Zimbalist has at last returned to the recording stupes—and Columbia have led him back. The first of his two new electric records’ gives us a masterly interpretation of Schubert’s well-known "Ave Maria.” On the reverse we have Aulin’s “Impromptu”— not quite so well known, but a brilliant composition nevertheless. Ziihbalist’s playing is sheer pleasure to listen to. His tone is pure and utterly without tho slightest “edge.” nnd not the most carping vn’ic could find fault with the recording. G. ARANGI-LOMBARDI. Duet from “Il Trovatore” (Verdi), (a) “Udiste?” (b) “Qual Voce!” Sung by Arangi-Lombardi, soprano, and Carlo Galeffi, baritone. Columbia 0-12’24. Hero is another glorious I. ban opera record. Arangi-Lombardi and Galeffi have made other splendid records, but these seem to reach new heights in this thrilling scene from tho last act of “Trovatore.” The soprano’s singing of the brilliant passage at “Vivra! contend© il giubilo,” is especially notable, but the work ,of both artists throughout the record is a model of tho finest Italian style. Tho reproduction is vividly realistic. JOHN BROWNLEE. Tho Australian baritone, John Brownlee, records “Mother o’ Mine” (Tours) and “On the Day I Get to Heaven”

(Lehmann), two ballads that seem to defy the passage of time. In the big notes there is not a suspicion of roughness, and in the quiet passages it never loses its quality. “Mother o’ Mine” is sung with tenderness and sympathy, and the Lehmann number is given with consummate artistry. Brownlee is a cultured, baritone who maintain a fine balance between words and music. (H.M.V.; E 533.) ' DUETS’. REVIVED. Ono of the- most enchanting of light operas, “Vcroniqrie,” is represented by its two popular duets, “The Donkey Song” and “The Swing Song,” sung by the London light Opera stars, Winnie Melville and Derek Oldham. This is the latest of a number of light opera duets which these two singers have made. “The Donkey Song”-4"Trot Hero and There’i —has a tripping tempo and a lilting air, and it is Obvious that the artists enter into the spirit of the duct with real enjoyment. The other number is mono romantic in theme and in this there is a charming blend of two beautiful voices. (H.M.V., 82939). DANCE MUSIC. The follownig dance records have been culled from the H.M.V. October list: “I Lift Up My Finger aiid I.say, ‘Tweet! Tweet!’”—fox-trot with vocal refrain—and “Sweetheart of All My Dreams”— fox-trot with vocal refrain, played by Jack Hylton and his orchestra; "Laughing Marionette,” fox-trot, and "Shinaniki,” one-step, with vocal refrain, played by Jack Hylton and his orchestra;

“One For All—All 1 . For One,” fox-trot, vocal refrain by Frank Munn, and “I’m Thirsty for Kisses,” fox-trot, vocal refrain by Dick Robertson, played by Nat Shilkret and' hie orchestra; “My Moth-

er’e Eyes,” fox-trot, vocal refiain by Clare Hanlon, and * Sally of My Dreams,” fox-trot, vocal refrain by Bert Lorin, played by Waring* len:i\vhaniana.