MUSIC IN THE HOME

Taranaki Daily News, 22 November 1930, Page 11 (Supplement)

MUSIC IN THE HOME

MOZART’S SUNNY MUSIC. . Mozart’s charming little Symphony No. 35 in D major, which contains some of the composer’s sunniest music, is played with appropriate vivacity and. tenderness by the New York Philharmonic Orchestra, directed by Toscanini. To many listeners the attractive feature of the performance will bo the treatment of an “andante.” No musical form is more misinterpreted by conductors, who in a number of instances seem obsessed by the idea that it indicates a definitely slow rate of playing. Toscanini’s easily flowing rhythm is an effective answer to any such unimaginative misreading, and it also supplies a perfect contrast to the sturdy vigour 'of the succeeding “Minuetto.” The American orchestra has scored, a tremendous victory in persuading the great Italian conductor to relinquish, in its favour, what seemed to be his life .work with the Milan Symphony Orchestra. The completion of this set of reeords by the lovely Gluck “Melodie” —“Dance of the Blessed Spirits” —is in admirable taste. The serenely classic beauty of this orchestral fragment is in absolute harmony with the limpid purity of Mozart’s writing. .(H.M.y., D11782-83-S4). TCHAIKOVSKY’S FAMOUS “1812.” “The Year . 1812”—Solemn Overture (Tchaikovsky); played by the Classic Symphony Orchestra (with organ). (Regal G 30032). If there is one item more than another that draws folk to an orchestral performance, it is the hymn-laden cannonade, “1812.” 1 The ordinary man knows that at the first performance, salvos of artillery were fired at appropriate points in the score, and amid the roll of drums in concert performances he can imagine the gun-fire and..clash of arms in battle. As a musical picture it uses primitive colours—but it gets there! / TWO FAMOUS ARIAS. The Italian tenor, Beniamino Gigli, is in wonderful voice in two famous arias—“O Paradiso” (“0 Paradise”), from Meyerbeer’s “L’Afrieana,” and (“Like a Dream”), from Flotow’s “Marta.” “O Paradiso” may be taken as the acid test of a tenor’s , vocal attainments, ana Gigli’s beautiful 1 voice adds colour to the,ecstatic accents of the music. He also shows a full realisation of the dramatic moments in the aria, and after listening to the record one is again convinced of-'Gigli’s claim to the mantle of Caruso, The “Marta” number brings out the lyric qualities of his voice, and his singing is remarkable for its fluency. It is worthy of note that a New York writer stated recently that this aria is more popular in America than ever “La Donna e Mobile,” and this is not surprising in view of its entrancing melody. Gigli receives splendid assistance from a full orchestra, and the spectacular accompaniment of “0 Paradiso” is a fine performance indeed. (H.M.V.,. DB1382). - AN ' ORCHESTRAL • FAVOURITE. “Zampa” Overture (Herold); 'played by the Classic . Symphony' Orchestra under Clarence Raybould. (Regal G 30041). “Zampa” for a twelve-inch disc in the four-shilling class, represents surprisingly good value. The nlaying is as fullbodied as anyone could wish for, and the recording and noiseless surface up h the highest standards. GILBERT-SULLIVAN FAVOURITE. “The' Mikado” —Vocal Gems; sung by the Regal Light Opera Company. (Regal G 30029). The vogue tor the Savoy operas is perennial. The popularity of the better known ones never wanes, and of these ' “The Mikado” is one of the first favourites. The vocal gems included on this disc are not only well chosen, but also well sung. Those who are looking for a, “potted,” “Mikado” need look no further.’'" GREAT SYMPHONY. Outstanding among the recent orchestral recordings is the interpretation of Brahms’ First Symphony by Philadelphia Symphony Orchestra under Leopold /Stokowski. It covers five twelveinch records •’ (ten sides)', which are contained in a special album. The production of his First Symphony in 1876 was probably the greatest event in Bfahms’ career. The work occupied his attention over a period of several years—indeed, the first movement was more or less ready in 1862 —and was awaited with interest and enthusiasm by the; whole musical world. The impression made by the composition was a profound one and Brahms was acclaimed on many sides as being the equal of Beethoven. The combined efforts of the Philadelphia Symphony Orchestra and of the Gramophone Company do full justice to the masterpiece, and the recording is one which might well be included in any collection. (H.M.V., D 1499-1503). THREE VALLEYS FESTIVAL CHOIR. (1) “Land of My Fathers” (traditional); (2) “Marchog Jesu” (Moriah) (Williams and Wesley). Sung in Welsh by the Three Valleys Festival Choir on Columbia 01906. (3) “Joanna” (St. Denio) (M. Rhys and A. Gymreig); (4) “Jesu, Cyfaill F’enaid'l” (Aberystwyth) (D. T. Evans and Dr. J. Parry). Sung in Welsh by the same choir. (Columbia 01907). The four choral items included on these two new discs were recorded in the Pavilion at Mountain Ash, where the Three Valleys Festival is . held. Numbers 1 and 3 are sung with piano, and numbers 2 and 4 are unaccompanied. The singing by the massed choirs that constitute the Festival Chorus is fine indeed—fine even for golden-voiced Wales. During the recent festival their performance of contemporary Welsh music excited the admiration not only of their audiences, but also—and much more significant—of the eminent conductors who were engaged to direct affairs. It is likely that these two dises will cause a sensation , among self-satisfied choralists. They certainly ought to. / THE POPULAR LESLIE SARONY. ■ 1 (1) “Wallah-Malaka-Lucy” (Leslie Sarony); (2' “Over the Garden Wall” (Sarony and Harrington). Sung by Leslie Sarony (with orchestra). (Columbia DO 173). The enthusiastic record buyer will see the name. Sarony a long way off and raise a cheer. A Sarony record does not come out every month, and is accordingly something to be looked for eagerly and snapped up before stocks are exhausted. Sarony is a comedian in a thousand. The laughs he raises are not just “oncers”—th<ey keep you chuckling for days afterwards. This particular disc must not bo missed,

AUTHORITATIVE RECORDING. The London Symphony Orchestra, > conducted by Albert Coates; plays two ; excerpts from Rimsky-Korsakoff’s “Le Coq d’Or” (“The Golden Rooster”), based on the old Russian fairy-tale. Some years ago the Symphony Orchestra, conducted by Coates, recorded a very interesting suite in six parte from the same opera, but tho records were deleted from the catalogue some time ago, and the present disc compensates for the old acoustic records. The two most popular items have been retained; the. colourful introduction largely based on the thematic materials, made familiar in the “Hymn to the Sun,” and the bright and spirited “Bridal Cortege, both of which are very successfully played undei- the capable direction of a recognised authority on Russian music. (H.M.V.). FANCIFUL ARABESQUES. Cyril Scott has very well recorded four pieces by himself. The three of them, “Rainbow Trout” and “Dance Negre” (on H.M.V. 82859) and “Lotus Land” (on 82894), are typically fanciful arabesques, and on the last record is a very well carried out .imitation called “Souvenir de Vienne.” Lovers of Scott’s music will appreciate these two records. GABRILOVITSOH, PIANIST. Ossip Gabrilovitech is one of the bestknOwn Russian pianists, who gave up a brilliant virtuoso career to become conductor of the Detroit Symphony orfchestra. He studied music under Liadov- and Glazounov, and piano under ; ■ Leschetizky, in Vienna, making a debut i Berlin in 1896. During the 1925-26 'season Gabrilovitsch appeared as soloist ;with the Philadelphia Symphony Orchestra, to commemorate his appearance with that famous organisation at his : debut in America 25 years ago. He has recorded with the Flonzaley Quartet Schumann’s “Quintet in E Flat Major, “Op. 44 (H.M.V. DB 1191-1194). A HERO OF LA SCALA. Carlo Galeffi is a renowned' Italian baritone, who has made successful ap- • pearances at the leading opera houses of Italy, and he also appeared at the New York Metropolitan a few years I.ago. Galeffi was chosen by Arturo Toscanini to create the part of Fanuel ! ht La Scala in Milan at the premiere of ’Boito’s “Nero,” in 1924, which attracted world-wide interest, Hie receipts on that Occasion amounted to nearly £lO,000. His solo records include “Nerpne” (Boito) —“Aaddio di Fanuel” (H.M.V. D 8734). GAIETY OF STRAUSS. Johann Strauss was h of the famous Strauss family of waltz-writers, and his opera, “Die Fledermaus,” has the same melodious gaiety characteristic of the waltzes which have bean accepted as classic examples of their kind. This opera was one of the features of the recent Co vent Garden season, and the role of the heroine was 5 taken by Elizabeth Schumann, who has now recorded two of the soprano arias from the work. Into these she infuses all the coquetry which is associated with the role of the artful Rosalind. The deliciously gay atmosphere of both arias is aptly expressed, but both are elaborately scored with cadenzas and trills, and require finished technique to do them justice. This Schumann gives and more—she endows both songs with her art, and the orchestral accompaniments under Karl Alwin are rich in tone. (H.M.V. E 545). GREAT WAGNERIAN TENOR. Lauritz Melchior (tenor). —-“Hochstes Vertrau’n hast du mir schon zu danken” from Act 3, Sc. 2, ’and “O Elsa, nur ein Jahr an deiner Selte” from Act 3, Sc. 3, of “Lohengrin” (Wagner). In German. Orch. ace. •H.M.V. D 1505. ' These excerpts from ‘Lohengrin” embody two of the least hackneyed pages of Wagner’s early opera; moreover, they are sung by a tenor who has no mannerisms, whose voice is musical and sympathetic, whose declamation is clean and unforced, . his enunciation clear and his German very pure. APOLLO GRANFORTE. Apollo Granforte (baritone). —“Era la riotte” from “Otello” (Verdi) and “Eri tu che nteechiavi quell’ anima” from “Un Ballo in Masehera” (Verdi). In Italian. Orch. acc. H.M.V. DB 937. To establish the presence—the atmosphere—of lago it is necessary to preface “Era la notte” with a few bars of the preceding conversation with Otello. Granforte does this, and is thus enabled to produce a striking contrast when he starts his tissue of lies about the dream and proceeds to imitate the voice of the sleeping Cassio in a whining mezzo voce. The effect is wonderful. A GOOD CORTOT. Alfer Cortot enjoys a popularity which is enhanced by his playing of Chopin’s “Berceuse” (Op. 57). On the record’s other side Cortot gives us a most amusing and distinguished performance of Handel’s . “Harmonious Blacksmith.” H.M.V. D 81145. ECCENTRIC FUNERAL MARCH. San Francisco Symphony Orchestra, conducted by Hertz: “Funeral March of a Marionette” (Gounod). H.M.V. D 1286. The San Franciscans give the music a broad impulse. Their Gounod has the grave, wooden humour that, begets this piece of whimsical puppetry. , A GREAT BARITONE. Benvenuto Franci is one of the younger “coming” Italian operatic baritones. Some critics claim that he remainds of Titta Ruffo, possessing a fine robust voice and a great range. He is extremely popular in Italy, and also in South America, where he has scored great successes at the Colon Opera Jn Buenos Aires. His H.M.V. records includes DBll3B—“Ernani” (Verdi )— “Gran Dio” (Act III); “0 Sommo Carlo” (with Palet, Urbine and chorus), DB 1154—“Otello” (Verdi)—“Credo”; “Era la notte.”