MUSIC IN THE HOME

Taranaki Daily News, 28 December 1929, Page 27 (Supplement)

MUSIC IN THE HOME

ARBOS AND MADRID ORCHESTRA.

“La Procession del Rocio” (Turina). Arbos conducting the Madrid Symphony orchestra. Columbia 028 SO. Turina is a. typical Spaniard in his lo 3 of gorgeous, fiery colours, which ho lays on with a heavy, but none the less artistic, hand. This work of his has an almost Eastern vividness, and paints the annual summer festival held at ' r riana in honour of the Virgin. We c r almost see the illuminations, the silver car drawn by oxen, the bells, the glowing robes of the priests, the songs a- I dancing. One eould scarcely wish for a better performance, or one that gives better values to the glare and glitter of the scene. The Madrid orchestra ha e given us another very effective recording.

FAMOUS BASSO. ■ '

“0 Re del eiel’’—from “Lohengrin’’ (Wagner). Sung' by Tanceedi Pasero, bass.' ’ Columbia 04333.

Pasero, who fame as a bass is steadily growing, delivers this broad theme of

King Henry’s prayer from the first act of “Lohengrin’’ with fine thoughtfulness and great vocal power. After sweeping successes in Italy, he has had a brilliant year in U.S.A, and , great things aro prophesied for him; This recording is paired with another excerpt from the same act, “Grazie Signore,” sung by that fine baritone, Armando Borgioli. GREAT SWISS ORCHESTRA. (1) “Der Frieschutz,” Overture (Weber) iu three parts; (2) “Rosamuride,” Entracte No. 2 (Schubert). F’eliX Weingai'thof conducting the Basle Symphony orchestra. Columbia 02874.75.

Weingartncr, tho great German conductor, has now undertaken the control of the Basle Symphony orchestra. The first fruits of his new appointment is a sp'endidly energetic and moving. In convincing style ho has captured the c ie glamour proper to the work—some passages, indeed, arc among the most “othc- wordly” in feeling that music has to offer. Tho playing 'is impulsive and spirited, and the richly fabricated tone speaks volumes for tihe grasp of instrumental make-up by this genius of the baton. Tho lovely Schubert Entre’acte is given with lino understanding and sympathy. COMPLETE ORATORIO. Oratorio, “Crucifixion’’ (Stainer). Sung ov Francis Russell, Robert Easton and tihe 8.8. C. Choir, conducted by Stanford Robinson; Columbia; 02868-73. Very few oratorios have tho universal appeal of Sir John Stainer’s "Crucifixion,” which has won wide-spread admiration both for its reverent sincerity and the strength and originality of its music. Columbia have done a service for which all music lovers will be grateful, in recording to on six 12-ineh records. The two soloists, Francis Russell and Robert Easton, have both won their spurs, and they give out the impressive and rich melodies with sureness and authority. The singing throughout impresses, and rises at times, in such striking passages as "King Ever Glorious” and the choral passage, “Fling Wide tho Gates,” to lofty beauty. Tihe recording in a church gives a beautiful resonance and amplitude to the voices, which are enhanced by a finely played organ accompaniment. OLD SONGS OF THE ORGAN. Organ Fantasia of Old Songs. Organ solo by W. G. Webber. Columbia 02 JOS. W. G. Webber, who usually plays the organ of Christ Church, tho big Presbyterian 'church in Westminster Bridge Road, where the singing is so fine, comes off his solemn-perch to give us a bouquet of favourite old songs. The tunes include John Peel, Grandfather’s Clock, Little Brown Jug, the Mistletoe Bough, Old Folks at Home, and Auld Lang Syne. Mr. Webber plays them simply and unaffectedly, leaving the happy associations he evokes to provide the chief charm of this excellent record. His tone is full and clear.

SONGS FROM GLADYS MONCRIEFF.

(!)• Just for a While. (2) Just to be Near You. Sung by Gladys Moncrief!’, soprano, Columbia 01685. This record is a gem of the ballad singing art. Gladys Moncrief!’, the brilliant Australian, does more than sing them; she breathes pulsating life into them by sheer force of personality. Her voice has a sort of silken sheen of smooth purity. Notice those exquisitely taken notes near the end of “Just for a While,” and how suavely she floats from forte to mezzo. She is a natural “pleaser,” and this record will appeal strongly to her enormous public. FAMOUS ENGLISH SOPRANO. (1) A song of Thanksgiving. (2) Love, tho Pedler. Sung by Doris Vane, soprano. Columbia 02938. During tho last few years Doris Vr.no- has become an established fixture of tho London concert season. Her recordings have won hef a still wider circle of warm admirers. Tho “Thanksgiving” song is gloriously clear arid eloquent with its swinging rhythm anil delightful piano accompaniment. By contrast, the light merriment of German’s well-known “Love, the Pedler,” shows her in happier mood. ■ SCHUMANN’S “CARNIVAL.” Ono cf the most beautiful piano works ever composed, “Carnival,” has been re-recorded by Alfred Cortot, the celebrated French pianist. The “Carnival” is unrivalled in its charm and freshness, and it is as captivating to-day as it' must have been When Robert Schumann first composed it, thinking of his beloved Clara, whose hand wag hard to obtain owing to her father’s strong objection to the composer’s uncertain financial position. Many French pianists are rather superficial, but this • can hardly be said of Cortot, who has lived for a long time in Germany, and who ever acted as chorusmaster at Bayreuth. Cortot was tho only pianist who recorded the “Carnival” some few years ago, and’ now he has added the two short numbers which ’ were previously omitted, the “Replique” and “Sphinxes.” The recording is brilliant, and' the piano tone especially gives an exceedingly fine reproduction, (H.M.V., D 81252-3-4).

NEW WILLIAM MaeEWAN RECORDS

William Mac Ewan, whose inspired interpretation of sacred songs has earned him the title of “The Sweetest Gospel Singer,” has now produced four new records that will be eagerly welcomed by his admirers. The titles are: “Lead Me to Calvary,” and “Behold, I stand at the Door.” (Columbia 016-49). “I Need Jesus” aand “In My Heart There Rings a Melody’’ (Columbia 01650), “Your Best Friend is Always Near,” “By and Bye” (Columbia 01651), “Sail On’’ and “Satisfied” (Columbia 01512). His rich tone and fervent expression are heard at their best. THE MILAN ORCHESTRA. Overture, to “Il Matrimonio Segretb” (Cimarosa). Molajoli conducting the Milan orchestra. Columbia 02877. This overture is a happy example of the high-spirited Italian, operas of tlie latter half of the eighteenth century, and is full of fun and dainty swagger, moving with dapper sort of politeness very refreshing after the strained and pompous period that followed it. The Milan orchestra plays it with inimitable gusto. Though Molajoli controls with, deftness and precision, the discipline does not show in the playing, especially in the fine quality of tlie woodwind, for which the orchestra is justly L -nous. The forte . passages come out strongly, with a nice juicy quality that the recording brings out to splendid effect. Anyone with half an ear for light but well-constructed music will relish this happy recording to the uttermost. RECORDS FROM “CARMEN.”' Two interesting ’records from Bizet's ever-popular “Carmen” have been made available by H.M.V. The Covent Garden season chorus and orchestra, under Vincenzo Bellazza, were specially engaged to record several excerpts from the opera. The first introduces the opening scene of “Carmen.” The solliers are watching the medley crowd outside the cigarette factory, when Micaela arrives inquiring about Don Jose. The dialogue between the two and the choral singing are very well reproduced, as is the reverse side containing the melodious chorus of cigarette girls coining out of the factory. The second chorus consists of the smugglers’ chorus from the third act, and the singing of the crowd watching the procession into the bull arena in the last act. Bellazza, who has made a name for himself both in England and American opera houses, is thoroughly conversant with the requirements .of Bizet's score. (C 1422 and 1423). MODEL PIANOFORTE PLAYING.

Benno Moiseivitch plays Brahms’ “Rhapsody” in E flat with a purity of tone, a sensitive regard for rhythmic and structural features, and a great variety of colour. Even .in the swiftest passages there is no loss of style, and the pianist secures exhilarating effect. Tho dainty “Jeux d’eau” gives Moisei witch in another mood, and his delicacy of touch gives this wellknown piece an unusual charm. Hectare two models for students of the piano. (H.M.V., D 1648). NEW DANCE RECORDS. From the H.M.V. December dance list the following records have been culled for their melody, rhythm, and orchestration: “Underneath the Russian Moon,” vocal refrain by Rudy Vallee, and “The One That I Love Loves Me,” fox-trot, refrain by Rudy Vallee, played by Rudy Vallee and his Connecticut Yankees (EA565); “Every Moon’s a Honeymoon” (With You), fox-trot, vocal refrain by Rudy Vallee, and “When You Come to the End of the Day,” waltz, vocal refrain by Don Howard, and “Sparkling Waters of Waikiki,” waltz, played by the Hilo Hawaiian Orchestra (EA574); “Jericho,” fox-trot, with vocal refrain, and “I’ll Always Be in Love with You,” waltz, with vocal refrain, played by Warings Pennsylvanians. (EA559).

DANCE TUNES ON THE WURLITZER

The wonderful range of tone colours of : the Wurlitzen organ are artistically and effectively used by Reginald Foort in. two suitable numbers for the instrument, “Forever” (Ager) and “In the Heart of the Sunset,” by Nicholls. The first is a waltz and the second a fox-trot, and make ideal dance numbers. Dancing to the Wurlitzer is a pleasant variation from the orchestra, and it is a good thing to have an organ record amongst the orchestral. (H.M.V., 8304-1). AUSTRALIAN SUCCESS. Florence Austral and Browning Mummery are two successful Australian artists who have firmly established themselves in the musical centres of the world, and it is fitting that they should be brought together on one record. They have recorded two duets from “Trovatore” —the ' ever-popular “Miserere” and the equally well-known “Home to Our Mountains.” Austral has achieved remarkable success in the singing of the soprano part allotted to Leonora in the “Miserere” and her singing of Azueena’s music in the other duet shown that with her remarkable range she is equally competent in the mezzo-soprano part. Mummery is now a favourite tenor with the'British National Opera Company, and both duets are a convincing proof of the artistic success of these two Australian singers. (H.M.V., D 1302). REALISM FROM CHALIAPIN. Theodor Chaliapin, the Russian basso, who has been responsible for many recording triumphs, has contributed to gramophone music one of the most stirring and dramatic excerpts in existence —the death scene from Massenet’s “Don Quixote,” an opera first produced in Monte Carlo in 1910. The chief success of this opera, both in Monte Carlo and New York, has been due solely to Chaliapin’s realistic impersonation of the hero. The great Russian is ideally suited to portray the part. The music of the death scene is most impressive. Don Quixote realises the failure of his dreams, and Chaliapin’s singing is a masterpiece of pathos and dramatic force. His exclamation, “Je incurs” (I am dying); is truly terrifying, and one cannot' help visualising the <lyi»g hero sharing his last few moments with hie faithful

Panza. At the very end a vision of Dulcinea appears, singing to a harp accompaniment. The last gasp and the sobbing of Pancho, whom Chaliapin subsequently impersonates, are thrilling in their grim realism. H.M.V.. DB1096).

WELL-KNOWN IN NEW ZEALAND.

. (1). Abide With Me, (2) The Promise of Life. Sung by Fraser Gauge, baritone... Columbia 02811. >

Most of us carry happy memories of th' last visit of Fraser Gange, the magnificent ballad finger. It may .be some year.; before comes here .again, for

his American tour promises to be prolonged almost indefinitely. However, we hav his records, and I venture to prophesy that his latest will be one of the most popular, of the lot. He sings “Abide With Me” with a fine sense of its grandeur and-repose. The setting is Liddle’s, and the record owes much of its beauty to- a- magnificent orchestral accompaniment. . -■...- : . CHILDREN’S OVERTURE. Those wise parents who .'wish to in-, culcate into .their children; a love for. -music cannot, do better, than -commerieo’. the -work -.with ’Roger.- .Quilter’®; >,r. S..'-

ren’s Overture,” which has just been fiven a delicious rendering by the New right Symphony Orchestra under none other than Dr. Malcolm Sargent. Qiiil-.. ter, who is one of the foremost of our present-day English . composers, haa taken a number of the tunes of tho traditional nursery rhymes and' ’ has woven them into a charming piece of orchestral music. He retains all the fun of the originals, but his transcript tion also showe musical scholarship and/ one .might say, genius. Even the' grown-ups cannot help but be with this delightful work. Dr. Sarji .gipnt and his orchestra give a joyotti : (H.M.V.,