MUSIC IN THE HOME

Taranaki Daily News, 26 April 1930, Page 27 (Supplement)

MUSIC IN THE HOME

THE SHEFFIELD CHOIR.

(1) Jerusalem; (2) Let us now Praise famous "men. Sir Henry Coward conducting the Sheffield Choir. Columbia 05049. :

Sir Henry Coward, the veteran conductor of what is easily the leading secular choir in Great Britain, brings off one of his biggest recording triumphs in Parry's noble setting of Blake’s poem, “Jerusalem.” He strikes a rich variety of effect (verse 1, women alone; verse 2. unaccompanied; vers'e 3, full unison), and the only possible ground for complaint might be in the edgy tone of the women in the first ’verse. The last verse, however, is thunderously imposing. Walford Davies’ anthem is notable for some good spirited singing. FAMOUS GERMAN BASS. (1) Im Kuhlen Keller (In Cellar Cool); (2) Per Svinaherdc (Swineherd’s Song). Sung by Ivar Andresen, Bass. Columbia 04370.

Although basses and baritones without number have given us the famous song “In Cellar Cool,” such a version as this new one by Ivar Andresen is more than welcome. It is a remarkable lesson to singers how those abyssmal notes should .sound, and. how its wide leaps should be stridden. His; companion piece, sung in Swedish, is a “Swineherd’s Song”—a gem of Swedish folk music—in which he again plumbs the depths. His phrasing is broad, and his tone has an attractive dark quality which he uses with . great effect.;,- ■' • ■ ■ • . : BRILLIANT ORCHESTRA. For sheer brilliance and • truth of tone, the Philadelphia Symphony Orchestra’s performance of Rimsky-Kor-sakov’s “Russian Easter ‘Festival” overture is a high water mark. There has perhaps been no'finer piece of orchestral recording. It is a gorgeously coloured work with its hymn theme more strikingly handled than in Tchaikowsky’s “1812 Overture.” Those who remember the Oriental richness of the composer’s “Scheherazade” will gain an idea of the muscial texture of the overture, but there seems to be even greater contrasts in the latter. In the big moments, and they are big, the (ensemble playing is magnificent,, and there aro also some exquisite, passages by individual instruments. (H.M.V., D 1676.)

GREAT OVERTURE.

For his only opera, “Fidelio,” Beethoven wrote no fewer than five overtures, of which the “Leonora No. 3” is the most famous. Although the opera itself is performed but occasionally, the overture is an established work m the classical concert repertoire. It opens after a brief introductory phiaij. with tho melody known as “Florestan’s” air heard on the wood-wind. The superbly vigorous and syncopated melody of the allegro is given out softly at first by the strings; there are two short interruptions to the swing of the allegro. An important feature is the twice repeated trumpet fanfare played "off” with magical effect. The rushing string passage introducing the coda is a thrilling moment. The performance or the work by the Vienna Philharmonic Orchestra under Franz Schalk is what* one would expect from such a famous combination. Schalk gives the overture a noble reading, and there is brilliance and finish in the playing. (H.M.V., DIGI4-15.) BEETHOVEN PIANO SONATA. Sonata in E Flat (Beethoven —Op. 81a). Pianoforte solo by Leopole Godowsky. Columbia 04371-72. It is surprising how few of Beethoven piano sonatas have found their way on to the discs) The “Moonlight” -has been done —almost done to death—and the “Appassionata,” both fairly frequently, but the great range of middle-period works no less magnificent in purpose and effect are hardly touched. Leopold Godowsky, who made a big name, for himself with his recent Chopin Nocturne records, now gives us tho well-known “Adieu, Absence and Return?’ Except in the joyful and vigorous “Return” section, one can hardly recognise the bluff' Beethoven in the sad,' almost .wistful, beauty of this sonata, but the master touch is - present, none the less. Godowsky shows himself a genius with a brilliantly intellectual insight into the music. NEW HAYDN QUARTET. . Quartet in G Major (Haydn —Op. 76). Played by' the Poltronieri String Quartet. Columbia 05649-50. The Poltronieri Quartet, who in their recent tour of Great Britain became one of the most popular items in the 8.8.'C. programme over the air, make a capital recording of one of these delicious little quartets that old “Papa” Haydn threw off from time to time. Thematically

this work is so naive as to suggest an Op. 1, but the old hand shows itself throughout in the development and especially in the delightful counterpoint. The Poltronieri players give it a most engaging performance. Among their many virtues is an unusually -wide range of power. A perfect little gem is the dainty and whimsical minuetto. FLORENCE AUSTRAL. Florence Austral, the Australian dramatic soprano, whose forthcoming visit to New Zealand promises to bo one of the big musical effects of this year, has recorded Weber’s aria, “Ocean, Thou Mighty Monster.” It is one of the most taxing as well as one of the finest things in the dramatic soprano's repertoire, and lit is magnificently sung. There is not a Haw in this great voice, which is supported by the Royal Opera Orchestra under John Barbirolli. The long apostrophic opening is sung with superb breadth and style, and throughout the beautiful air—one of the most famous “big” tunes in all opera —the tone of the voice is always clear and ..smooth. . The dramatic power is impressive, but it is iievcr on show, being always subservient to the music. (H.M.V., D 1504.) ANOTHER “DEBROY” TRIUMPH. Classical Memories. By the Debroy Somers Band. Columbia 65023. Another of the famous “medleys modernised” on which the Debroy Somers Band have made their name on the yeeords. Playing and recording alike aro full of high-lights and have a wonderful definition. You will recognise such tunes as Anvil Chorus, Habanera from “Carmen.” Coppelia Ballet, Tannhauser Overture, Hungarian March, Invitation to the Waltz, Light Cavalry Overture and a couple of Hungarian Rhapsodies, Without doubt, Debroy Somers best-over. '

HUNGARIAN FOLK 'SONGS.

Keith Falkner is one .of the finest of England’s young basses, and he has done a real service to lovers of vocal music by adding to the gramophone catalogue two Hungarian folk songs arranged by Korboy, whoso researches have enriched the store of song. It will bo remembered that Liszt made use of Hungarian. folk music for many of bis finest works. Falkner’s two numbers require greater vocal treatment than is usual for folk songs, but he is equal to the task, and gives us vivid pictures. Both “Shepherd, See Thy Horse’s Foaming Mane” and “Had a Horse” are sung with due dramatic intensity, for there is a note of tragedy in each, and the pianoforte accompaniments by Gerald Moore add to the effect. (H.M.V.. B 3105.) JOHN McCORMACK. Two re-recordings by the Irish tenor, John McCormack, are to hand this month. They are Schubert’s “Serenade” and the same composer’s “Ave Maria,” and the singer has the assistance of the Salon Group (male voices) and a beautiful orchestral accompaniment. No singer to-day has a greater hold on the public than this remarkable tenor. The beautiful, sympathetic quality of his voice, the almost miraculous light and shades are given to the life in these two lovely songs. "The Serenade,” which has been called “a dream of passionate tenderness,” > is perhaps the most popular of -all Schubert’s songs, and the haunting melody of the “Ave Maria” has never been more eloquently sung. (H.M.V.,. DB 1297). ENGLISH FOLK DANCES.

(1) Haste to the Wedding; (2) Bonnets so Blue. Walton O’Donnell conducting the 8.8. C. Wireless Military Band. Columbia 01809. A pair of very jolly folk-dances, full of the “Merrie England” spirit. Cecil -Sharp, tho famous authority on English traditional folk-music, arranges them; and he sees to it that in rhythm and tune they are the real thing. The well-known 8.8. C. Band makes the tunes fairly hum with life. POPULAR MUSIC. Columbia 01900. They all Fall in Love, and Sitting on a Doorstep. Foxtrots. Will Osborne and his, orchestra are splendid in the tuneful first number, while everyone will enjoy the clever harmonising of Ted Wallace’s Campus Trio in tho vocal chorus of the reverse. Regal 020626. Chorus Flits of Yesterday. Sung by the Jolly Old Fellows. Those who enjoy the good bld tunes will find them heartily sung on this 10-ineh disc. Among the many songs, they will pick. out '• Whirlie Girlie,” “The Golden Flair was Hanging down her Back,” “Comrades,” “Little Annie Rooney.” “Where did you get that Hat?” etc. Columbia 07033. My Lucky Star, and Button up your Overcoat. Two tuneful song hits from the famous “Follow Through” talkie, .played by Paul Whiteman and his orchestra.

. Columbia 01S-03. . The Bully Song. Sung by Vernon Dalhart. An attractive and novel successor to this singer’s other song hits. There is some catchy banjo.) accordion and Jew’s harp playing in the accompaniment. ELGAR AT IIIS BEST. - The j playing .by ..John .Barbirolli’s Chamber Orchestra of Elgar’s . “Introduction and. Allegro for /Strings’’,,is ft very' line piece of work./. To many, .Elgar is more pleasing in’ this composition than in his symphonies. It is conceived on spacious lines ami the themes are lofty and impelling. Although scored for strings alone,' the work is so rich that at times it seems impossible that the composer -should' be writing under such limitations. Even in the more vigorous passages, the string tone is nicely rounded, and Barbirolli’s obvious enthusiasm and admiration for the composition is shared'by the players. The recording reaches a high level. (H.M.V., 01694-95.) OFF THE BEATEN TRACK. The performances of Ravel’s “Septet” —‘Introduction and Allegro for harp, with strings and woodwind accompaniment,” by the Virtuoso String Quartet and J. Cockerill, R, Murehy and 0. Draper, indicates ft praiseworthy departure from the beaten track Of conventional recordings and an excellent interpretation is- given of this subtle and suggestive music. Ravel Is ‘ihe‘ most famous of modern French composers, and it is interesting to note that he was recently honoured by the English universities. His music reminds one of Debussy. . , Ji.as . thej same soft glow and delicaf^peg^ ; The; work covers three sides of .tayoj, and on the remaining ji/ • '■ i amid •

alone plays Frank Bridge’s “Novelette No. • 3” Bridge’s, like Ravel, is full of dainty pictures,, and it is interesting to compare the characteristics, of the-two Composers. (H.M;V., CI6G2-63.) BEAUTIFUL HARP. SOLOS. ' ■ •. (1) ■ Song of the - Volga Boatmen; (2) Largo (Handel). Harp solos by ■Sidonie Goossens. Columbia 01810. It ■ is strange how. rare harp solo, >records are;. for. -there is . not ..one.-of us who* is not fascinated by this old-. est of musical instruments. _ Mi« 3 Goossens, whose position as principal harpist in Sir Henry Wood’s orchestra is sufficient guarantee- of her quality, plays with exquisite‘sensibility and feeling. She has wisely chosen two very familiar tunes, and they give her full scope to show the mellow tone and the tremendously wide range of her instrument. If this record meets with the success • it deserves, may wo hope for some records of those glorious mediaeval tunes written expressly for the harp? MAREK WEBER AGAIN. After recording an arrangement of selections from “Pagliacci,” it was only to be supposed that Marek.Weber and his orchestra would follow up with a group of airs from . the ' companion ‘opera “Cava'lleria Rusticana.” The fact'-that 'the famous ‘'lntermezzo” is .included’ will' bo enough /for many people/ but all the 'beautiful' melodies of the opera are artistically arranged and delightfully played. Weber has a lightness of touch ‘ which gives a charming lyric quality'’'ip pis records, and this may be pho the' reasons f<sy iris nonvlarityi . His f'&Tj! <so Jdgilnomo d.liw

atic gems are growing rapidly, and are at least equal in their appeal to his series of Viennese waltzes. (H.M.V., C‘1736.) . GIGLI. AT lIIS No tenor records more .superbly than the great Italian,'Beniamino'Gigli, who will be the star perfqrmer gt the Covent Garden this season. His mellow, velvety voice ie heard in “Wild Dream of My Youth” from ‘Verdi’s ’“La Traviata” -and “Tomb of My “Sainted Fathers” from “Lucia 'di Lammermbor” (Donizetti). ‘The first song is full of joy and happiness; the second is on a tragic note, but it shows perhaps to great<- • advantage the wonderful range and quality of the singer’s voice. These ariae are from Gigli’s most famous roles. (H.M.V;) MOZART SYMPHONY.' Recently the English critic; Ernest Newman, pronounced the Vienna Philharmonic Orchestra the finest in Europe and their playing of Mozart’s Prague Symphony in D Major certainly seems to justify this opinion.- This-symphony contains some of the most clrai-acteris-tic of Mozart’s music. Its-first and last movements are full of energye and yet are tuneful and fmoulded in thatmarvcllous grace and refinement, 'Which distinguish his work. The second movement « the loveliest thing, imaginable, of enchanting simplicity and beauty. It seems more like a .divine pie<;c of chamber music; it takes symphonic composition t the uttermost end?- .of delicacy. Kleiber conducts tho wotX and the. orchestra, responds to him td- . mira.bly.:“.Tj)e : -three records are.. hi all v. &-■ delight.. (ELM S V., rtGICB6 : 7-34:<A ' ■’ . ’ 0.-v< Jmi. c.< stm.i ''.noiCiAth/