MUSIC IN THE HOME

Taranaki Daily News, 23 November 1929, Page 27 (Supplement)

MUSIC IN THE HOME

GRAMOPHONE RECORDINGS. GLORIOUS DUET FROM “NORMA.” Those who followed the season at Covent' Garden this year will remember that Bellini’s opera “Norma” was specially revived after thirty years in order that Rosa Ponselle, who was the principal soprano engaged for the sea- • son, might play in the title role. There is stately and charmingly lyrical music in this opera, which was presented in New Zealand last year. Bellini’s best cantabile subjects are very beautiful, and Poneelle’s performance was the acme of operatic art, and hiusielovers in the Dominion will be pleased to know that she figures in the greatest duet in the opera, “Mira, 0 Norma” (Hear Me, Norma), with Marion Teloa, a contralto with a beautiful voice and style. The blended tone is rich and warm, and here is a glorious " example of piano singing with a background provided by the Metropolitan Opera House orchestra, under Giulio Setti. The duet takes place in the second act, and is sung by Adalgisa and Norma, after the latter has decided not to kill the former’s two children, but begs Adalgisa to take them and flee with her lover. Nothing could be more convincing'than the interpretation of these two illustrious singers. (H.M.V., D 81276). DAWSON AT HIS BEST. Peter Dawson makes a fine thing of Sir Edward German’s “Rolling Down to Rio.” His bass-baritone voice has just that touch of lightness that makes a sea-song a rollicking affair. A contrast is provided by a re-recording of an old favourite, “Till the Sands of the Desert Grow Cold” (Ball). Here again there ip an artistic balance between words and music. (H.M.V., 83023). DANCE MUSIC. The following are three good dance records from the latest H.M.V. catalogue: —“Raquel” waltz (from “Vanities”), vocal refrain by Frank Munn, played by Edwin J. McGnelley’s orchestra, and “Twelve O’clock Waltz,” with vocal refrain, played by Victor Arden-Phil Ohman and orchestra (EA557); “Love Tales of AlsaceLorraine,” fox-trot, with vocal refrain, played by Waring’s Pennsylvanians, and “Honey,” foxtrot, vocal refrain by Rudy Vallee (EASGI); "Dream Mother,” fox-trot, vocal refrain by Frau Frey, Bob Rice, and Bob Borger, and "A Garden in the Rain,” fox-trot, with vocal refrain by Frau Frey, played by George Olsen and his Music (EA 569)1 “There is a Happy Land” (Far, Far, Away), fox-trot, and “Wedding Bells” (Are Breaking Up That Old Gang of Mine), fox-trot, vocal refrain by Elliott ShaW. (EA.. 54G).' FAVOURITES FROM HISLOP. The Scottish tenor, Joseph Hislop, who was in New Zealand about two years ago, has re-recorded “Che Geljda Maniri” (Your Tiny Hand is Frozen), from Puccini’s “La Boheme,” and the equally famous “Addio Alla Madre” (Farewell, Dear Mother), from Mascagni’s “Cavalleria Rueticana.” Hislop’s voice ie cast in an heroic mould, and he plays the part as well as sings it. This is apparent on the gramophone, and the atmosphere is completed by the accompaniment by an orchestra under John Barbirolli, the Co vent Garden conductor. (H.M.V. DB1230). GIANNINI CONQUERS. Dusolina Giannini has added New Zealand to her list of conquests and there is now a rush for her records. Many claim that no finer soprano has been heard in this country. After hearing her on the platform one has no hesitation in recommending her records on the score of fidelity in reproduction, and a glance at the catalogue will show that they are representative. They include two arias from ther most' famous opera-tic role—“Ritorna Vfncitor,” and “O Patria Mia,” from Aida.” Other arias -include “Madre, pictosa Vergine,” from “Forza del Destino,” “Voi lo Sapete,” from “Cavallerina Rusticana,” “Pace, pace mio Dio,” and “La Vergine degli angeli,” from “La Forza del Destino,” “Un bcl di vedremo,” from “Madame Butterfly,” and “In quelle trine morbide,” from “Manon Lescaut.” Itallian folks which she always includes on her programmes, and English ballads, folks songs and German lieder. Among the Italian numbers are “Luise,” “0 Sole Mio,” “Manella Mia,” and “Ohie meneche”; the English songs include “My Lovely Celia” and “Love Has Eyes”; and the modern ballads, “Carmona,” “I Love You Truly,” and “My Mother.” The German lieder includes “Margaret at the Spinning Wheel,” and “Impatience,” by Schubert, and “Allerseelen” and “Devotion,” by, Strauss. (H.M.V.). NEW ELMAN RECORD. After a very long absence from records, Miseha Elman, the famous Russian violinist, makes a welcome reappearance in two short works: Drdla’e “Souvenir” and Cui’s “Orientale” op. 50. We have had one, or two, records by Elman’s String Quartet, but this is the first electrical record by Elman himself, who plays the piano, accompanied by Raymond Bauman. The great violinist’s wonderful tone is still as rich and expressive as in the past, and, needless to say, the present standard of recording brings it out to a greater advantage than every before. (His Master’s Voice). Cui’s “Orientale” is particularly fascinating in its atmosphere of dreamy yearning and mystery. OLD ENGLISH DANCES. Nothing could be more refreshing in the field of light music than. Sir. Edward German’s “Nell Gwynne” dances —the Country Dance and the Pastoral Dance, played by the New Symphony Orchestra, under Dr. Malcolm Sargent. Here we have a faithful picture of the English countryside at play. The playing of the orchestra is always clear and defined and the rhythm of these dance’s is fascinating and irresistible. Sir Edward based his compositions on old folk dances and in his work in this respect deserves the gratitude of the musical world. (H.M.V. D 2957).

BEETHOVEN TRIO. A record in which the performers are Cortot (pianist), Thibaud (violinist), and Casals (’cellist) leaves the critic with very little to say. They play Beethoven’s Trio in B Flat, the “Archduke,” and the result is about as near to perfection in the recording of chamber music as we shall prouablv ever get. It in particularly pleasing to notice the beauty of the piano tone. It io nicely balanced with the strings in the ensemble passages and in the solo pieces there is not a blemish. So perfect is the understanding of these artists and so imbued are they with the spirit of the music that the performance is a sheer delight. The first movement (allegro) opens with a noble majestic phrase, composed of two elements; this gives rise to the bridge grossage which leads to the second subject in G major in three long phraeee. After a development section in three distinct parts, alternating between periods of activity and repose, the recapitulation takes place normally and is rounded off by a beautiful ending which serves ae an emphatic commentary on the first subject. The scherzo, a movement full of freedom and joy, contains in the trio, a curious chromatic passage with an outburst in striking contrast. The third movement (andante) with variations in D Major, is a captivating theme and comes to a marvellous conclusion with an amplification of the melody; The finale (allegro moderate) which is' linked up with the andante, ie another pastoral symphony—not a landscape, ' but a merry meeting of peasantry. The work ends in most joyously’ brilliant:: fashion. (H.M.V., D 81223—4-5-0-7). ! I MAJESTIC SINGING. It is not often that a big voice is 60 flawless in tone as that of Frida Leider’s. She is perhaps the greatest Wagnerian soprano of the day. Wagner demanded dramatic power ae well as complete vocal technique from his soloists, and Leider is perhaps as near an approach to hie ideal as has been heard , on the gramophone. This month she I sings “Isolde’s Narrative and Curse,” j from the first act of “Tristan and i Isolde,” and one cannot detect a flaw ! in her rich tone. The musical' construction reminds one of a grand specimen of cathedral architecture. The suave beauty of the passages that lead up to the intense denunciation of Tristan are magnificent examples of legato singing and the climax is gripping in its intensity. The glorious tones of the Berlin ' State Orchestra do full justice to Wagner. (H.M.V.). EXCERPTS FROM- “CARMEN.” This month the Philadelphia Symphony Orchestra, conducted by Stokowski, contributes a couple of excerpts from Bizet’s “Carmen”—“March of the Smugglers” and “Soldiers Changing Guard.” Nothing is lacking here in the way of vividness. Bizet yas a master of what is called “local colour.” There is a furtive aspect about the “March of the Smugglers” and striking tonal contrasts that are realistically reproduced. The martial aspect of the brass in the second piece is in keeping with the theme. Here again there °is the skilful employment of light and shade by this marvellous,, efficient orchestra. (H.M.V., D1G18). “Dio Fledennaus” —Overture ( Johann Strauss). Played by Bruno Walter and the Berlin State Orchestra. ..Columbia 04345. Hero is another recording from Columbia's Berlin studio. Bruno Walter is a big man among conductors, and his work with the London “Royal Phil.” will be remembered for a long time. lie takes the Berlin State Orchestra through the overture to “The Bat”*' with an extraordinary feeling for what is correct in the interpretation of a typical Johann Strauss light-opera prelude. No funny business with dynamics; no attempt at Wagncrisation. Just fascinating melodies and comfortable armchair harmonies moving along in perfect rhythm. “The Bat” overture will be enjoyed particularly by the ordinary man. But what piece of the “Waltz King’s” music is not! ■ FRIEDMAN AGAIN. (1) Berceuse (Chopin); (2) Minuetto from Suite (J. Suk—Op. 21). Ignaz. Friedman, pianoforte. Columbia 0434 G. Chopin’s cradle-song is one of those classic..! works that everyone loves. The simplest of melodies is canned on dreamily against a glittering fairy-like background of sound. Suk’s “Minuetto” is but* little known, and is an admirable choice. No one should miss this particular disc. Seldom has Friedman played with more dainty sympathy. THRILLING HUNGARIAN DANCES. Hungarian Dances Nos. 5 (G Minor) and 6 (D Major) —Brahms; by Sir Hamilton Harty and the Halle Orchestra. Columbia 01677. This record is one of the biggest bargains of the month. For the. price of . a ten-inch jazz record, we have the finest orchestra in England giving Brahm’s two most popular da-.ce movements. Those to whom Brahms is just, another name for boredom will get a shock when they encounter this disc. Hero is thrilling music thrillingly played. Not an atom of the passionate firiness of these gipsy pieces has been lost in recording. THE “KING'S THANKSGIVING.” (a) National Anthem and Psalm of Thanksgiving; (b) Coronation Offertoriuin. The Choir of St. George’s Chapel, Windsor. Columbia 02936. Sir Walford Davies himself —Wales’ doyen among musicians—conducts this service in the King’s own Chapel of St. George, ’Windsor Castle, in thanksgiving celebration of His Majesty’s happy recovery. This is a really historic record —ono that is worthy of taking a place beside the remarkable record (Columbia 02502) of the King’s Speech at the opening ceremony of the New Tyne Bridge a year ago. VOCAL VERSION OF “BARCAROLLE.” (1) Tales of Hoffman—“ Night of Stars and Night of Love” (Offenbach); (2) Madame Butterfly—“ Give me Your Darling Hands” (Puccini). (1) Sung in English by Isobel Baillio and Nellie Walker; (2) by Isobel Baillie and Francis Russell. Columbia 02935. Can we welcome yet another version of Offenbach’s undying boat song? Yes! We most assuredly can when it is sung

by two such artists as Bella Baillie ami Nellie Walker. Here is a really hackneyed work rescued from hackneydom — delicious orchestral prelude and all! The “Butterfly” duet is also assured of a warm welcome. If this disc is not one of the month’s best favourites, it will be a very big surprise. “TANNHAUSER” OVERTURE. “Tannhauscr” Overture (Wagner). Played by Mengelberg and the Concertge.bouw Orchestra of Amsterdam, Columbia 02945-46. This re-release of a fine recording is paticularly welcome as the latest addition of standard works to the popular price class. The “Magic Notes” people would ■ be wiser if they made more of a song about it. The dark-blue-labelled classics deserve a special list all of their own. NEW “TWO BLACK CROWS.” (1) Esau Buck and the Bucksa-w; (2) Foolishments; by Moran and Mack. Columbia 01671. Parts 13 and 14 of the Two Black Crow’s argumentative escapades have arrived. There is pleasure nlerely in hearing their inimitable voices , again. No comedy combination has ever attained sticJi phenomenal success as these two Columbia mirth-makers. There must no literally hundreds of thousands waiting to hear this new record. NEWEST DANCE NUMBERS. Paul Whiteman lifts his saxophones and gumblehorns to the tune of “Reaching for Someone and Finding Nobody There.” They are mot - lifted # in vain. On the reverse is that nifty fox-trot “’When my Dreams. Como True” (Columbia 07624). Paul. Whiteman is something more than a mere jazz conductor. His long musical training, his novelty of thought and his instinctive feeling for rhythm ensure that records of his orchestra are 1 indeed well above the average. TWO BRIGHT ; FOX-TROTS. “Sposin’ ” and “Laughing Marionette” are . paired on Columbia record 07027 — two numbers played with the usual Whiteman verve and precision. Both these fox-trots are well worth hearing in their “King of Jazz” arrangements. A PHENOMENAL SUCCESS. “The Toymaker’s Dream” is having an extraordinary. successful run. It has been chosen by Miss Phyllis Bates, the Dominion’s leading exponent of ballroom dancing, as the ideal recording for the new style quick fox-trot.. What more can wo say but to.add'that the number is Columbia 01686,: i Lhu. . 1