MUSIC IN THE HOME

Taranaki Daily News, 10 May 1930, Page 27 (Supplement)

MUSIC IN THE HOME

“GONDALIERS” POTPOURRI. Light Opera Company (concerted), in “Gondoliers”—-vocal gems, parts 1 and 2 (Sullivan). H.M.V., C 1768. A tuneful and melodious collection of numbers from the evergreen “Gondoliers.” Every number is a gem. POPULAR PETER DAW'SON. Peter Dawsori ('bass-baritone), in On the Road to. Mandalay” (Hedgecock), and “The Trumpeter” (Dix). H.M.V., C 1770. Peter Dawson has a flair, for the selection and presentation of popular songs for baritone. The Australia,]!.-ban-tone .makes the most of the opportunities that these favourites present. CORTOT AND THIBAUD IN THE “KREUTZER.” Alfred .Cortot . (pianoforte) and Jacques (violin), in Beethoven’s “Sonata No. 9 in A Major, Op. 47” (Kreutzer Sonata”),-H.M.V., D.B. 1328-31. Beethoven’s “Sonata in A Major” for pianoforte and. violin, popularly known as the “Kreutzer Sonata,” owing to the fact that, the first edition, published in May, 1305, bore the dedication to “my friend R. Kreutzer” —is the most widely-appreciated work in this form. Its melodies' are clear, simple, and straightforward, yet it is at the same time one of the most beautiful sonatas ever written (a detailed account will be found in the album, which is presented with each set of records). “TROUT QUINTET.” Schubert’s “Trout Quintet’,” which is recorded electrically by William Backliaus and the International String Quartet,, is .one of the 'greatest contributions to chamber music. In melodic wealth and masterly form, the quintet is a work that will always delight the lover of music. The mastery of musical expression which- Schubert achieves in this work is astonishing, for. he was only 22 years of age at the time of composition. The name of the quintet is derived from Schubert’s song, “The Trout,” which forms the theme of the fourth movement (theme and variations). (H.M.V., D 1484-7.)

PIANO AND VIOLIN.

Music lovers will be pleasantly surprised with the lovely Schubert Sonatina in G Minor played by Isolde Menges and Arthur de Greef. It is a most delightful work belonging to three . sonatinas, opus 137. The composition is in four movements (two records), consisting of an irresistibly bright and captivating allegro guisto, .a lovely andante, a dainty minuet, and a fine allegro moderate. The principal theme of the first movement is one of those typical . Sehubertian flowing melodies which are an eternal fascination. Isolde Menges, one of England's best known violinists, and Arthur de Greef, distinguished Belgian pianist, who studied under Franz Liszt, give an exhilarating performance of the sonatina which is reproduced with notable clearness and roundness of tone. (H.M.V., D 1398-9.) FAMOUS CONTRALTO IN OPERA GEMS. .Sigrid Onegin (contralto), in 0 mio Fernando (“La Favourita”). Act 111. (Donizetti), and On don fatale (O fatal gift) (“Don Carlos’’), Aet 111. (Verdi). H.M.V., DB 12'02. In Germany, season 19-28-29, “Don Carlos” was among the most performed of Verdi’s operas. There is! Sigrid Onegin’s singing of the part of Eboli is one of the finest displays of accomplished vocalisation in contemporary operatic art. This part, although written for a contralto, presents difficulties, both of range and technique, that would daunt many a coloratura soprano. NEW OPERATIC .TENOR. . Antonio Cortis (tenor), with members of La Scala Orchestra, in Massenet’s Ah; Dispar, Vision! (Depart, Fair Vision). Act HI. “Manon”), and Bizet’s 11 flor the avevi a. me (Flower Song). (Act 111. “Carmen’). H.M.V., DBI3-U3. . Cortis is a tenor who has made great successes both with the Chicago Civic Opera Company and in South America. He has good, interpretative power, and is eminently suited to express the feelings of De Grieux, who, tormented by the image of his lovely Manon, begs (her depart. His “Carmen” number is equally charming. PAUL ROBESON SINGS AGAIN. Paul Robeson (bass), in “Just Keepin’ On” (Phillips), and “Mighty Lak’ a Rose” (Nevin). H.M.V., 83199. “1 have heard all the great singers of our time. - No voice had ever moved mo so profoundly with so many passions of thought and emotion. The marvel is that there- is no monotony in the spiritual -spell. It is effortless enchantment moving through fluctuant states of thought and feeling.” —James Douglas in the London Daily Express. LATEST ZONOPHONES. There is a wide variety of selections in the latest Zondphone catalogue. The English basso gives a masterly interpretation of the “Messiah” numbers “Why Do the Nations?” and “The People That Walked in Darkness.” The tone shadings are artistic and impressive (A 372 His resonant voice is ■again heard to advantage in two spirited ballads, “Young Tom o’ Devon” and “Glorious, Devon” (5369). A gem by Balfe, “Then You’ll Remember Me,” -is sung with feeling and sympa- 1 thy by Barrington Hooper, a lyric j tenor, and the companion number is another pleasing piece, “Marguerite,” by White. (5367). Norman Biair, the possessor of a strong baritone voice, gives' “The Song of Shiraz” (Coleman), and ‘‘Could You Have Waited?” (Mitchell) (5259). A treat for the children is provided by Lewis James, whoso “Songs For Little' People” (a medley of'nursery rhymes) 'are merrily sung (5245). Barrington Hopper and Foster Richardson are associated in two fine duets, “in tho Valley Where the Bluebirds” (Solman), and “Genevieve” (Tucker). ..The bleiql of the vpiees. is . adinirabje.' •. iT w P by a ' well -balanced church .chpir,. aifig

the well-known hymns, “Oft in Danger, Oft in Woe,” and “Christian, Seek Not Yet Repose,” with organ accompaniment, and are rendered with beautiful expression (5240). Boccherini’s exquisite “Minuet,” and a pretty descriptive piece “Sous Bois” (“In the Forest”) are nicely played by the Concert Orchestra. The tone is very good indeed (5019). Sylvester Ahola is excellent in two cornet solos, “Absent” (Metcalf) and “The English Rose” (German), and the . orchestra . accompaniment enhances the (5451). Two stirring marches, “Belphegor March” and “Forward March,” are vigorously 7 played by the National. Military Band, a fine' combination (5391). The popular music-hall comedian, Clarkson Rose, makes merry in “Single and Married.” and '“Better Than Nothing at All.” two pieces of his own composition (5406). ( FINE OLD FAVOURITE. National Symphony Orchestra, in “Zampa” —Overture (Herold). Z'mophone EF29.. “Zampa” is one of the most popular of all concert overtures. The music is exciting, having a stirring . military swing from beginning to end. Played by the National Symphony Orchestra, it is . unusually attractive. ... IN THE ROLE OF A JOLLY’ MONK. Foster Richardson (bass), in “A Jovial Monk ■Am I” (Andrew), and “I am a Friar of Orders Great (Reeve). Zonophone 5471. . Foster has the very voice for the hale and hearty old monje. Good songs, these aVBER’S “FRA DIAVOLO.” . National Symphony Orchestra, in “Fra Diayolo”—Overture (Auber). Zonophone 54(11. A well-known overture by a famous orchestra. Those who appreciate orchestral records will delight in this. “CLARKIE.” Clarkson Rose ' (comedian), in “Get Up Nice and Early in the Morning,” and “Don’t be So Unkind, Baby.” Zonophono 5454. You’ve got to laugh at “Clarkic.” You may - be a trifle shocked at some of the things he says, but he wins every time. GREAT BRAHMS WORK.

The famous trio, Cortot, Tibaud and Casals, appear in a new permutation, the last two playing and the first conducting (with . Casal’s Barcelona Orchestra) the famous Brahms’ “Double Concerto in A Minor.” Tho three artists have lavished all their virtuosity and car© upon Brahms’ last orchestral work, upon which he, too, has been lavish in his pains. The result is a piece of technical perfection. But that, is the least thing about it. It is full from first to last of that strong, deep interior beauty which is Brahms at his best. (H.M.V.f DBI3II-14). LATEST DANCE HITS. There are several excellent dance pieces in the latest 11.M.V. catalogue, and the following may be recommended for tho coming season: “You Wouldn’t Fool Me” (foxtrot) and “I Want to Be Bad” (foxtrot), played by Shilkret’s Orchestra (EAG7O); “House On the Hilltop” (foxtrot), and “Dreamy Honolulu” (foxtrot), played by Jack Hylton’s Orchestra (EA679); “I Love You, Believe Me, I Love You” (foxtrot), and “If You Were tho Only Girl” (waltz), played by Rudy Vallee’s orchestra (JEA6B4);-“’Georgia Pines” (foxtrot), and “At Close of Day” (foxtrot), played by Shilkret’s orchestra (EA6B7); “The ’Land of Going-to-be” (waltz), played by Aaronson’s Commanders, and “Miss Wonderful” (foxtrot), played by Weom A Orchestra (EA67SI; ■ “Sitting by the- Window” (foxtrot), and “A Night of Happiness.” played by Taylor's Orchestra (EAfiSfi). - FINE ORCHESTRAL RECORDING. Philadelphia Symphony Orchestra' (conductor, Leopold Stokowski), in Bach's “Brandenburg Concerto, No. 2 in F Major”; and Chorale Prelude, (“Wo Believe in One God Alone”). H.M.V., D 1768-10. The wonderful “His Master’s Voice” records of Bach’s “Preludes” (DI4G4) and the “Toccata and Fugue” (D 1428 have given conclusive proof that the Philadelphia Symphony Orchestra is the ideal instrumental body for playing the works of the great master of counterpoint. Bach’s six Brandenburg concertos were his first essays in this form, and each one is laid out for ;a , different groupings of instruments. The second is scored for strings, with s(> 7 o violin, (lute, oboe and trumpet. All these are employed in the spirited first movernent,, but the lovely andante, is in the form of a quartet for fiutie, oboe, violin and ..’cello. The infectiously gay last, movement has a trumpet* part, which, owing to its altitude, presents insurmountable difficulties to all but the most accomplished players. “BLUE DANUBE WALTZ.” Every shade of piano tone is exquisitely employed by tho famous Continental pianist, Josef Lhcvinne, in his interpretation of Strauss’s “Blue Danube Waltz” (concert arabesques by Schulz-Evler). His playing, with all its wealth and fine shades and mastery, suggests also a quick musical imagination. In this romantic waltz, which Schulz-Evler has transposed for the piano, as Liszt did pieces by Verdi and Schubert, Lhevinne’s phrasing never hinders the . easeful movement, of . the music, and he creates a mood of real poetry. There is no doubting the pianist’s genius for his instrument, and further, to use the. words of the English critic, Ernest Newman, when writing of Lhcvinne, “the music . is not so iniieh being played to ns as spontaneously generated.” ; (H.31.V.,'D81261). WAGNER OVERTURE. An exceptionally fine recording of the prelude to Wagner’s ‘‘Tristan and Isolde” has. been (issued; -‘ Under' Otto Klemperer -the. Boldin •Sta-tei Opera. orchestra -plays- with ‘clarity-' Mid' precision

and gives a stirring and emotional love tragedy. The prelude terminates on the third side and the fourth gives “Isolde’s Love-Death Music” (“Isolde’s Liebcstod”). (H.M.V., E47G-7). “THRILLER” RECORDED. Angela Baddeley and Company (talking, with effects), “The Safe” (a thriller). H.M.V., C 1738. Novelists, playwrights and the wireless arc all doing their respective bests to cater for the widespread demand for “thrillers.” Now it is the turn oi the gramophone. What do you think of it? PIANOFORTE PERSONALITY. Vladimir de Pachmann (pianoforte), Chopin’s “Nocturne in E Minor, Op. 72” and “Mazurka in C Sharp Minor,” Op. 63, No. 3,” and “Mazurka in A Minor, Op. 67, No. 4.” H.M.V., D 81166. It has been said of de Pachmann that he is one of the last of tho pianists with tho authentic “grand manner.” He is as a pianist acknowledged to excel above all in tho interpretation of certain aspects of Chopin. , In some of his records tho great pianist has made some of those quaint explanatory remarks which are so familiar a feature of bis concerts. VIOLINIST’S BOUQUET. Peter Bornstein (violin), in “Musette” (Rameau-Lieberson), “Mazurka” (Wieniawski), and “Polichinelle” (Kreisler), H.M.V., EA67O; “Rondino” (BeethovenKreislcr), “Adagio” (Grazioli-LiebersonK H.M.V., EA677. Mr. Bornstein is known in Australia as the solo violinist of Pavlova’s tour. His records should be popular.