MUSIC IN THE HOME

Taranaki Daily News, 7 June 1930, Page 27 (Supplement)

MUSIC IN THE HOME

GRAMOPHONE RECORDING. A WEBER CONCERTO. Clarinet Concerto {Weber). Played by the Band of the Garde Republicaine of France. (Columbia 02879). • This is good direct music frankly designed to please and charm. It is typical of the airy, aristocratic romantic who wrote it. Written originally for Barmann, the finest clarinet player of hie time, it gives to the soloist a chance to revel in deliciously piquant melodies.' The soloist of the Garde Repriblicaine Band has taken hie chances . with both hands, and the result is a recording of delightful charm. The clarinet tone is mellow and beautifully . rounded, and the orchestral background gleams with bright lights and shades. This famous band, perhaps the finest military band in the world, gives a splendid account of itself. GUGLIELMETTI SINGS. Variations on a Theme by Mozart (Adam). Sung by A. M. Guglicmetti, soprano. (Columbia 03G41). These Mozart variations add another triumph of brilliant execution ito this soprano’s collection. Usually ■one listens to this kind of singing with a sense of fear—afraid that the next glii-sando, the next stupendous ..leap to the upper register, will prove .too much for the singer. But’ Guglielmetti brings it off with such superb ease that pleasure is unalloyed. The loveliness of the middle register is irresistible, Of course, the work is. rather in the nature of a show piece, but the Mozartian melodic genius redeems it from, banality. RICCARDO STRACCIART. (1) “Otello” —'’Credo'’ (Verdi); (2) “Ideale” (Tosti). Sung by Riccardo Straeeiari, baritone. (Columbia 01176). This electric recording of one of Straeciari’s finest numbers is assuredly a work of art. His “Credo” alone would class him as the greatest living baritone. On the reverse is Toeti’s lovely “Ideate,” suna in a manner that is likewise ideal. These Straeeiari electric recordings are truly historic, and take their place as standard interpretations on which the baritones of the future may base their own efforts to finest advantage. A BEETHOVEN QUARTET. ••'Quartet "in F Major” (Op. 59, No. 1) (Beethoven). Played by the Lener String Quartet. (Columbia L 383741). . • Beethoven’s second series of Quarttets, known as the Ramousovsky, are far’ larger in scope and style than his earlier works, and are among the out'standing masterpieces of the “second period.” Favourite with musicians is the first of the series. It is composed of an allegro, one of Beethoven’s most nobly broad and spacious movements, with a magnificent chief tune —an allegretto full of a singularly fascinating sort of humour; an adagio which is one of the kings, among its composers’ slow movements; and a vigorous and powerful Finale, which introduces the famous “Theme Russo.” The playing by the famous Lener String Quartet of Budapest is bold and forceful, but never loses its understanding subtlety, while the players achieve some astonishing beauty of tone.

BACH AT HIS BEST. “Grand Toccata and Fugue in D Minor” (J. >S. Bach). Organ solo by G. T. Pattman. (Columbia’ 9136). This ie Bach at his best in the lovely organ music to which lie • almost alone, could give warmth and deep interest. And Pattman, on the Liberal Jewish Synagogue organ, St.' John’s Wood, London, presents this Bach prelude to ue in rich, eonoroue harmonies that Bach himself would have given hie eyes to be able to produce with the limited instrument at hia disposal. A wonderful piece of playing, it is magnificently recorded. MARIA KURENKA.. (I) “Cradle Song” (Tchaikowsky); (2) “None But the Weary Heart” (Tchaikowsky). Sung by Maria Kurenka, soprano. (Columbia-03576). • Maria Kurenka, one of the younger Ruaaian sopranos, is ideally equipped to sing- sbngs by Tchaikowsky. All of her records are sung most artistically, displaying wonderful agility, and a perfect technique. She imbues these numbers with great, feeling. ENGLAND’S PREMIER VIOLINIST. (1) “Elegie” (2) “Thais” .“—Meditation (Massenet). Played by Albert Sammons. (Columbia 02687). It has always been said of Sammons that he records better than any other violinist, and now that we are losing our - prejudice in favour of foreign names, some London critics are even venturing to declare that lie plays aft well as any foreign maestro. His phrasing is certainly as subtle as one could wish for, and his tone is gloriously mellow. Listening to these familiar numbers one •realises how important it is to have them played by a violinist of first rank. TWO HUNGARIAN DANCES. Hungarian Dances, Nos. 5 and 6 JBrahms). Sir Hamilton Harty conducting the Haile Orchestra. (Columbia 01677). Columbia’s policy of introducing some of the finest orchestras in the world in its standard section has rarely given better value- to the gramophone lover than in a record of two Brahms’ dances by the Halle Orchestra. The dances are among the most popular and the most melodious Brahams wrote. No. 5, in particular, is thrillingly impetuous, and exhibits in fascinating degree the beautiful string, quality for which the Halle Orchestra is famous. Both dances are vivid and tuneful, and, played with finch verve and distinction, should win for his record a wide popularity. EVA TURNER. Eva Turner (Columbia), returning to the United States for her second season with the- Chicago Opera, Company, was recently feted for her performance of the tii-lp role of “IsaIx’.'iu” (Mascagni) . ?4 tfie old Roman

arena of Verona, Italy. With Miss Turner in the east was the tenor Lazoro, as Folse. Eva Turner is one of the very few English sopranos who carried Italy by storm before reaping the harvest of her fame in London. She has made a wonderful record of two numbers from “Turandot” (Columbia 03610), in which she took the part of Pin in the Italian premiere. STRAUSS TONE POEM. A tone poem by Richard Strauss, “The Merry Pranks of Till Eulenspiegel,” has been recorded by His Master’s Voice. There is no doubting that Albert Cootes, under whose direction the performance is given, has the requisite temperament for an - interpreter of Strauss. The performance by the London Symphony Orchestra reveals the mockery, adroitness, wit and lightning variations of mood which made the poem such a marvellous example of humorous writing.' (H.M.V., Dl4lB- - CAPTIVATING EFFECT. Josef Lhevinne’s name is familiar to owners of player pianos, for he has made many rolls, but only now he is making his de blit as a gramophone artist. In America, where most of his successes were made, the Russian pianist is noted for his remarkable, technical equipment and amazing lightness of touch. . He has chosen one.of the most difficult works of the piano, . repertoire, Schulz-Evler’s paraphrase op Strauss’s “Blue Danube” waltz.' This paraphrase, first performed in New Zealand by Levitzki in 1921, consists of a network of intricate arabesques, woven around the waltz. It is only natural that Lhcvinne plays it most brilliantly, but he does rnpre than that, for he invests the charming melody with an invigorating effect. The piano recording is superb, and as clear as a bell. (I'I.M.V, DBJ201). ZONOPHONE RECORDS. The latest Zonophone catalogue contains a wide variety of records. The National Symphony Orchestra plays the brilliant military-like overture from Auber’s opera eomique, “Fra Diavolo” (5461). The same orchestra also gives an old favourite, Herold A “Zampa” overture, and the rendering is very finished, with excellent tone (EF29). Browning Mummery, Australian tenor, who Jias made several H.M.V. records recently of operatic arias in English, contributes “Beneath Thy Window” (“O Sole Mio”), by Di Capua, This is perhaps the most popular of the Neopolitan ballads, and again Mummery docs a service by giving it in English. On the other side he sings ‘’Madeline,” by James (5440).

A beautiful soprano, Madame Megan Telini, sings two eternal favourites, “The Heart of the Rose” (Nicholls) and “I Passed by Your Window” (Brahe). The voice is clear and has the right lyrical touch.. Foster Richardson’s record of “A Jovial Monk Am I” and “I Am a Friar in Orders Grey” will no doubt be welcome. Richardson is doing a real service by recording these old songs, and his sonorous bass voice gives them splendid expression (5471). The Pace Jiibilee Singers, a choir of mixed voices, contribute a Negro spiritual, “•Old Time Religion.” The blend of voices is admirable, and is enhanced by the organ accompaniment. On the other side Norman Blair (baritone) sings “Just Plain Folk” (Gilbert-Leslie), which will no doubt revive memories. (EE188). REMAKABLE BOY.

Yehudi Menuhin, the remarkable violinist, has made his first twelve-inch i record. In his playing of Handel’s “Te Deum” (arranged by Flesc), this boy reveals such an impressive and majestic conception of the work that it is almost impossible to believe that at his ago one could possess an equally deep insight into art. The breadth of his interpretation, the perfection of hie legato, and 'the superb tone are things to marvel at. Ho is a phenomenon and the record clearly reveals hi« singular talent. On the reverse side is a pleasing “Scottish Pastorale,” by Saenger, played with the finish of a mature artist. Ju both piece he- is accompanied on the piano by Louie Persinger, his teacher, and himself a notable violinist. (H.M.V., DB1284). AUTHORITY OF DE PACHMANN. A new" record of de Pachmann will bo welcomed by lovers of Chopin as played by this veteran exponent. It gives the E Minor Nocturne and two Mazurkas —Op. 63 No. 3 and Op. 67 No, 4—and they are treated with the delicate grace that characterises de Paehmann’s playing, Let with all the delicacy of touch, there is never a suggestion of insipidness and the reproduction of the pianoforte tone is realistic. Records such as this arc valuable, not only for the beauty of the playing, but as musical documents of tlio future, affording authentic evidence of what was really done in the days when there were giants on the earth. (H.M.V., DBMOfi). TOSCANINI AND HAYDN. Haydn’s “Clock” .Symphony, which ift played by the New, York Philharmonic Symphony Orchestra, under Toscanini, is a sheer masterpiece of playing and recording. It is, one hopes, a pardonable cliche to describe the Italian conductor’s reading of the great music as authoritative. Throughout tins lovely performance of the work one is conscious not merely of the presence- of a first-class orchestra, but a conductor who knows tho music intimately, and has the will and power to convey his feelings to his confederates. The rhythm throughout is human and not machine-made; brilliance and delicacy of execution, beauty of string tone, beauty of balance between sections or ihe orchestra—all are to be found in the ensemble of this wonderful American orchestra. The symphony is recorded on four discs, one side of the last record being devoted to the Scherzo from Mendelssohn's incidental music, to “A Midsummer Night’s Dream’ —a. real treasure. (H.M.V., 1668-69-70-71). ENRICIHNG EXPERIENCE. There are records for study and records that enrich out musical experience. r lJie.: ‘Philadelphia/ Orchestra’s

playing of Rimsky-Korsakovs “Easter Festival Overture” stands high in the second and more valuable class. The. music lives in broad impressions, which: can bear the bluntings and roughening?' of reproduction; and the performance is one blaze of vitality. The records have a power, a brilliance, a range of tone colour which has not been hoard on discs since “Scheherazade.” But Rimsky-Korsakov’s imagination is working here in a richer, sterner material; barbaric joy blends with religious splendour, and awe’, and both with ilie sense of reviving life ofi'sprhijn The light shines in da-rknb’fi/ fin compre-

hended, yet felt through all the ferment that seems at first like an escape from it. (H.M.V., D 1676-7). ART 'OF GALLI-CUR CL. It was with her record of “Lo, Here the Gentle' Lark” (Bishop) that GalliCurci first came into* prominence as a recording artist, and now we have a new electrical recording of the number, and witli.this advantage, together with, the ne\y cadenza .'duet with tho fiqte, thq of the other t r l “!Bplwejg.s

Song” is sung with great- expression-, and in perfect - tune. The delicate points of rhythm are timely revealed. A word must fie said also for ihe clarity .of-the. orchestral accompaniment. • (H.M.V., ■ DBI278). POPULAR MUSIC. Columbia 01S42—The big hit from Untamed is The Chant of the Jungle, and Paul Specht and his Orchestra Rlay it with weird and wonderful ‘effect. .With.;it.-io paired- That Wondorffil .’Sometliing 4? :-Ddvo.i-.,J. rO'tvT fl .i ; > -.-- •> i.t v.c'.m sh-;. a—••.w