MUSIC IN THE HOME

Taranaki Daily News, 18 January 1930, Page 11 (Supplement)

MUSIC IN THE HOME

NEGRO CHOIR. The Utica Jubilee Singers, one of the most famous combinations of its kind in America, gives two rarely-heard numbers “Balm in Gilead” and “Leaning on the Lord.” This negro choir lias an appealing quality and there is a note of sincerity and genuine feeling that only the negro seems to be able to give to spirituals. Extremely beautiful they are and beautifully sung. (5378). BIRTISIT ORCHESTRAL TRIUMPH. Albert Coates and the London Symphony Orchestra appear on two discs which are a triumph for British musicians. In Liszt’s “Les Preludes’’ they have an attack which indicates many rehearsals, and which bears no trace of raggedness. Albert Coates waves a firm baton, and his climaxes are assured. Furthermore, he shows a nice appreciation of crescendo. The. poetic music—Liszt at the peak of his powers—has an immensity that foreshadows Wagner, though the broken rhythm that is the composer's hallmark never disappears. Without the fine recording, the cellos and double basses would not have that deep richness that is so like the actual performance. (H.M.V., 1616-17). LIGHT MELODIES. For the all-talking and all-singing motion picture “Say It With Songs,” several numbers were written by the Jolson-de Sylva-Brown-Henderson combination, which was responsible for “Sonny Boy” and other successes. These songs are now available on the gramophone, sung by some of the most famous American musical comedy artists. Johnny Marvin gives “Used to You” and “I’m in Seventh Heaven,” and Gene Austen, the lyric tenor, sings “Why Can’t You” and Little Pal.” On the Wurlitzer organ Jesse Crawford plays with novel and fascinating effects “Why Can’t z You” and “Little Pal.” These are tuneful and attractive songs. (H.M.V., f'EA 589, ’590, and 594). OLD ENGLISH SONGS. 1. Nymphs and Shepherds (Purcell). 2. Should he Upbraid? (Shakespeare and Bishop). Sung by John Bonner, boy soprano. Columbia 02988. These delightful songs go back to the old days when England was really a force to be reckoned with in the musical world. Purcell was perhaps our greatest composer, and hie fame rests largely on a multitude of songs of which “Nymphs and Shepherds” is one of the more famous. Slight though it may be, it is as a whole flawless as a jewel. Sir Henry Bishop sets Shakespeare’s exquisite lyric “Should he Upbraid?” to music as fragrant, and both songs form an admirable vehicle for the sweet purity of young John Bonner’s voice.

A POPULAR VOCAL QUARTETTE. 1. 0 Dem Golden Slippers. 2. Verc is Mein Lectio Bog Gone? Sung by the Lions Quartette of Seattle. Ccluiubia 01705. The first- title is an old plantation song, delightfully harmonised with fascinating richness. The second is a broad low-comedy song that brings back memories of the old-time German one-man band. The Lions Quartette, one of the most popular organisations of their kind in the States, treat them both with a style that gets the last ounce of fun and spirit out of them, and are backed up by an out-of-the-usual novelty accompaniment. SCHUBERT'S MASS. Schubert's Mass in G major is a novelty of the gramophone that certainly merits consideration; and “His Master’s Voice’’ has done well to provide a careful recording. The rendering is by the Philharmonic Choir, the impressiveness of whose ensemble is heightened strikingly by the powers of the principal vocalists, Elsie Suddaby, Percy Manchester, and Howard Fry. The tender feeling and beauty of the music is expressed in a right spirit. In the Credo the nuances arc quite arresting, well reproduced too. The considerable part allotted to the soprano adds to the quality of a record that all admirers of Schubert will be glad to possess. (H.M.V., DI47S-80). DANCE MUSIC. The Arcadians Dance Orchestra records, which Zonophone have recently issued arc rich in tone, suggesting a nice balance of instruments. The bass effects are particularly '.good, being cleverly introduced. The orchestra plays “Giovanna” (waltz) and “Empty Hours” (fox-trot) on one record (5386) and on one side of anothe.r gives “Tell Mo Mon About Love” (fox-trot). The other side ; s supplied by the Rhythmic Eight, which makes an attractive number of the fox-trot, “Dig a Dig a Do” (EEI7S). Other fine dance numbers on the same list* are two waltzes “Destiny” and “Ecstasy” played by the Zonophone Salon. Orchestra (5387). VIRILE SINGING. The English bass, Foster Richardson, is in his best form in two popular ballads, “The Bandolero” and “Bedouin Love Song.” Richardson has a strong voice with a splendid lower register and his. virile singing is supported by a fine orchestra (5388). ISOBEL BAILLIE. Elijah (Mendelssohn) — Hear ye, Israel. Sung by Isohel Baillie, soprano. Columbia 01706. The famous aria from Elijah fits comfortably onto both sides' of a 10-inch disc ami will be welcomed by anyone with a taste for this sort of music. One may go further; it should make a host of converts, for Isobel Baillie has a soprano of surprising richness and power, and gives to the inspired lines a life and glowing energy which they seem to lack in the hands of moot soloists. It is curious how the average singer of oratorios seems to believe that his or her voice should sound as if it were coming out of. a morgue. Miss Baillie docs not make that dreadful mistake. She takes as personal an interest in the as if it were a spontaneous love song. How well she records. NEW STABILE RECORD. 1. 0 Sole Mio. 2. Siciliana (Pergolesi). Sung by Mariano Stabile,

baritone. Columbia 03652. One might describe Stabile as an “electric baritone,” his voice has so vivid and dynamic a quality. Readers may remember •his great record of “Monologo del Onore” —a masterly, intensely vital piece of singing. Now, in hie third Columbia record, he i« just as gloriously alive in the famous ballad “0 Sole Mio,” perhaps the most popular tune that Italy has produced. Paired with this is a haunting cradle song of Pergolesi’s “Siciliana,” perhaps better known as “Nina.” ENGLISH BALLADS 1. Rolling Down to Rio (KiplingGerman). 2. Border Ballad (Scott - Cowen). Sung by Fraser Gauge, baritone. Columbia 01718. These are two fine songs that should be in everybody’s collection. Fraser Gange sings them, and New Zealand knows from personal contact how he excels in manly ballads of this vigorous upstanding type. Sir Edward German’s setting of Kipling’s famous song is too well known to need much comment. The coupling is a “Border Ballad” by the composer of the familiar setting to “Onaway Awake Beloved.” A really fine masculine sort of record by a singer with a flair for robust songs. MUSICAL PRODIGY. The greatest musical prodigy of the present day, the twelve-year-old violin-, ist Yehudi Menuhin, is introduced to' the New Zealand public per medium of the gramophone. With all the fire, tone, strength in bowing, and finish in technique of a matured genius, and an amazingly developed emotional andintellectual interpretation, this child plays Ries’ “La Capriccioso” and Floccus “Allegro” on his Stradivarius violin; it is an amazing and enchanting performance,- a remarkable and exquisite record. This Jewish boy, with his rendering of the most exacting works in the violinists’ repertoire, ha's been hailed as a great virtuoso by the critics and public of America, Germany, and France, and created a sen- ; nation at the Royal Albert Hall at the end of last year. (H.M.V., DA 1093). CHARM OF ELGAR. The re-recording of Sir Edward Eloar’s “Wand of Youth” suites by the London Symphony Orchestra, under the composer himself has been a popular move. Elgar intended these suites as incidental music to a stage-allegory to be performed by the family. He sketched them out when he was in his early tfiene. In 1906, when at the height of his fame and creative genius, he revised them, added the expansiveness and polish of experience to the charm of youthful ideas, and thus o-ave to the world an exquisite musical treasure. One finds it difficult to pick out a record or records for those who cannot afford the whole of the suites. Perhaps the “Slumber Dance” and “Fairy Pipers,” bracketed together, make the greatest record of ravishing music; but then there is the lovely piece of contrapuntal music in the Minuet, and the flashing | beauty of the Sun Dance, and the melodious charm of the Fountain Dance, and the careering energy of “Wild Bears.” The suites throughout are splendidly played and recorded, and that they have the weight of an authoritative interpretation, because they wore played by the London Symphony Orchestra, under the conductorship of Sir Edward himself. (H.M.V., D 1636-37 and 1649-50). RESPIGHI COMPOSITION. The Fountains of Rome (Respighi). Cav. Molajoli conducting the Milan Symphony Orchestra. Columbia 0298283. To the Columbia recording of ‘“The Pines of Rome” is now added a recording of “The Fountains of Rome” played by the same conductor and orchestra. Columbia have but to give us “The Festivals of Rome” and the cycle will be complete. Four sides of two 12-inch records deal, in order, with “The Fountain at the Julian Valley at Dawn,” “The Triton Fountain at Morn,” ‘.‘The Fountain of Trevi at Mid-day” and “The Villa Medici Fountain at Sunset.” The mimic runs and leaps and revels with bright phrases and rich watery gurgles. The fascination in irresistible; both in the delights of each piece and in the variety of poetic meaning in all four pieces. Each strikes a different mood, but each lias the endless attraction of ■ the fountain itself. Molajoli’s interpretation ie properly realistic and imaginative, the realism subdued all the time to the poetry. TWO -WAGNER MARCHES. I. Homage March (Wagner), Columbia 02960. 2. Kaiser March (Wagner). Columbia 02961. Sir Dan Godfrey conducting the Symphony Orchestra. One of Sir Dan Godfrey’s great successes—spirited recordings of two fine marches by Wagner—have now been made available in the standard section at a cheaper price, and should become known to a wider public. There is about them a triumphant ring that reflects the occasion for which they were composed—the acclamation of the King of Prussia as first Emperor of a United Germany at the end of the FrancoPrussian war of 1870. Sir Dan knows how to thrill us with the clang and colour and nervous intertwining of phrase that in the soul of Wagner. These are records that allow us to lie back and soak in the satisfying majesty of a great writer. “TRIAL BY JURY.” Continuing their policy of recording the vocal gems from Gilbert and Sullivan operas’Zonophone this month group the genie from “Trial by Jury” on to one disc. This opera, which is the shortest of all the G. and S. works, is rich in sparkling music and inimitable humour. The record makes the most of both. (A363R JUSTIC TO 'WAGNER. Wagner's music looms large in the H.M.V. catalogue. There is a selection, on eight discs, from “Rheingold” and ’ “Siegfried,” the orchestras hailina from London, Berlin, and Vienna, the conductors being Albert Coates, Leo Blech, and Karl Alwin; and there is a virtually complete electrical recording of the third act of “Parsifal,” with Pistor, Hoffmann, and Bronsgeest as Parsifal Gurnemanz, and Amfortae

respectively. These are, in the former, many bright lights —the “Entry of the Gods into Walhulla,” “Wald we ben,” and so on( suberb tone and splendid singing by Laubenthal and Schiffer, Schorr and Arthur Fear, Frida Lcider, and Olczew* ska. One cannot believe it possible that the third act of “Parsifal” can ever be more perfectly reproduced. The solo voices are precisely attuned in the most telling. and touching of Wagner’s music. Gotthelf Pistor as Parsifal is particularly fine, but Bronsgeest in a most appealing Amfortas. and Hoffmann, a Gurnemanz decidedly above the average. Dr. Muck is the unexcelled conductor. ■ FROM GAY VIENNA. 1. Vienna Maidens, waltz (Ziehrer). 2. Nights of Fragrance (Ziehrer). Anton Weiss conducting the New Concert Orchestra. Columbia 02979. Typical of the carefree Viennese music are these two dainty compositions by Zeihrer. They are' redolent of the usual ingredients of these charming confections; an atmosphere of romance, of moonlight and flirtations and the scent of roses lingers in every bar and phrase. They are the music of the gentleman amateur, who knows a good tune when he hears it, and does not want anything too deep or turbulent. Anyone with°an ear for their soothing delights will be enraptured with Anton Weiss's rhythmic interpretations. ' 1. Le jet d’eau (Smith). 2. The Maiden’s Prayer (Badarzcwska). Piano solos by Gil Dech. Columbia 01719. Gil Dcch, whom we also know as the brilliant conductor Gilbert DecheHct'tes, is a pianist of no mean order, and proves his virtuosity by a sparkling version of Sydney Smith’s old favourite, Le Jet d’eau. He has a caressingly sympathetic touch, and phrases with ■ a sound knowledge of the structure of the music. On the reverse side is a. piece by the Stellar Instrumental Trio, in which the playing of the versatile Gil Dech can be heard agdin. In spite of its title, “The Maiden’s Prayer” is well worth listening to, and its sentiment is by no means insincere.