MUSIC IN THE HOME

Taranaki Daily News, 17 January 1931, Page 9 (Supplement)

MUSIC IN THE HOME

GRAMOPHONE NOTES.

CASALS AND BACH.

IPa’blo Casals plays two Bach numbers as ’cello solos, “Aria from Suite in D” and. a lesser known “Andante*” arranged by Siloto. Like most of Casals’ records, this is the despair cf the poor reviewer, who, having exhausted bis superlatives on this artist, can only sit back and marvel at the perfection of technique displayed. As an interpreter of Bach, Casals stands supreme. As the critic of the Musical Timos, writing in the April number of this year, put in when reviewing a Casals concert in London, “No other great violinist or ’cellist exploits quite the same tone without affecting in any way the noble character of Bach’s music. The immense majority of violinists and ’cellists fail partly because their technical resources—especially in respect to tone—are not adequate, but chiefly because of the weakness of their rhymical control. It is in this respect especially that Casals’ reading should be remembered fop.pianists, conductors, soloists, and choirs find in this their chief ob-staclc-if they only knew it. Casals interpretations of Bach provide the best proof of the supreme importance of strict and continuous control of rhythm.” (H.M.V., DB 1404.) ■LONDON CHURCH CHOIR. The choir of St. Margaret’s Church, 'Westminster, which is recognised as one of the finest in England, tins month gives two hymns dear to English hearts, “Ten Thousand Times Ten Thousand (Dykes) and “Abide With Me, Both numbers are sung with devotional sincerity, and the organ accompaniment comes through very clearly. Never has the 3Lt/in6sph£T6 oi a church been ipoie realistically caught up by the recorders, and another striking feature of the singing is the admirable balance of voices. (H.M.V., 83491.) FLUTE AND PICCOLO PIECE'S. (1) The Merry Brothers; (2) “Echoes of the Valley” (Jean Gennin). Flute and piccolo duet by Jean and Pierre Gennin, accompanied by Sir Dan Godfrey and the Bournemouth' Orchestra. (Columbia 02930.) No two woodwind, soloists have achieved such fame for themselves as the brothers Gennin, who play in Sir Dan Godfrey’s Bournemouth Orchestra. In i“The Merry Brothers these talented instrumentalists play a dashing piccolo duet, full of the liveliest fancy and repartee. On the other side is another of Gennin’s sprightly compositions for a flute and echo-flute, a piece of captivating charm that sets off wonderfully the beauty of these instruments. , MILAN ORCHESTRA. “Mignon”—Overture (Thomas). Cav. Molajoli conducting the Milan Symphony Orchestra. (Columbia 05038). The Milan Orchestra is one of the bigrrest orchestras in the world to-day. They do this lovely “Mignon” music admirably and produce a tone that calls up sunny skies and strong bronzed toilerg. We must be grateful for the inimitable delicacy with which they serve up this neat and flower-like overture. GALLI-OURCI’S NEW RECORD. There, is an atmosphere of sincerity in Amelita Galli-Curci’s singing of the two beautiful-hymns, “Abide With Me and “Lead, Kindly Light.”. The purity -'of her , voice, with its liquid fading notes, gives these songs a new appeal and supremely beautiful, expression, those who know Galli-Curci only as a dazzling coloratura singer will be amazed at her complete and successful change of . role. There are no dazzling vocal feats ill'this' record, but this does not mean that her art is any less. GalliCurci has one of the great voices of all times, and it adds distinction to any music it turns to. She is supported by ’•an impressive orchestra. (H.M.V- D.A. 064.);. ■ STIRRING .MARCHES. Two stirring marches, ‘ Swastika Match” (Klohr) and “Entry of the

Bovards'’ (Halvorsen), are played with snap and verve by the Coldstream Guards Band. This band, under its <, re at conductor, Captain Evans, records very vividly, and these two marches are as good as anything it has done. Both pieces have a distinct musical, value as well as an irrestible rhythm,and one can well imagine the inspiration ’they would be to a regiment on a long march. (H.M.V., 83459.) THE (GREAT TOSCANINI, . Under the great Italian conductor, Toscanini, the New York Philharmonic, Orchestra, plays Haydn’s "Clock Symphony,, and the recording is worthy of the occasion. The performance is reproduced in exquisite purity. The symphony is perhaps the most typical ot .Havdn’s works,' from the graceful adagio to the finale, with its fine and flawless phrases. Here is a record that should help ,on vastly the growing interest in Haydn. The last side of these four discs has a passage from the “Midsummer Night’s Dream.” Here again Toscanini has the orchestra working with a unanimity which only an autocrat like Toscanini can achieve. He takes the passage with his usual rapidity. It is curious how, by perfect timing and the faultless precision of the instruments, a conductor like Toscanini can make the simple tonics and dominants of Mendelssohn sound fresher than all the complicated chords of the moderns. (H.M.V., D 1668-69-70.-71.) JOHANN STRAUSS FAVOURITE. Tales from the Vienna Woods (J. ■Strauss, Jnr.J. Bruno Walter conducting the Symphony Orchestra. Columbia 02359. The vague “Symphony Orchestra” on the label probably means the good old L.S.O.—the London Symphony Orchestra. One recognises some of their richness in the brass and the discreet tempering of the woodwind. Besides, Bruno Walter is an old friend of theirs. The “Tales,” one fancies, have a Boccaccio flavour. A certain impudent passage on the oboe might well be the provocations of a courtesan, and the whole music has an amusing naughtiness ■which suggests that it is about time the police raided the Vienna Woods. However, if the purient will soothe--their consciences by labelling it “A Sunday ■School Treat in Maidstone Park,” they ■will be vastly refreshed with its exuberant jollity and sparkle in the playing. LOVELY HEBRIDEAN SONGS. (1) The Mull Fisher's Love Song; (2) Islay Reaper’s Song; (3) A Fairy ■Plaint (-1) Pulling the Sea-Dulse. Sung •by Patuffa Kennedy-Fraser, mezzo-so-prano. Columbia 02986. These old traditioned songs of the race apart 'that ■inhabits the Hebridean Islands, oil the ■west coast of Scotland, might have been ih&t iar ey4r hut for

Kennedy-Fraser family. Every year the Kennedy-Frasers give a London recital to a music-loving audience. Nothing is heard save the melodious and plaintive music of the Hebrides,. or which these songs are the most typical. IPdtuffa, youngest of the family, sings ■them not only with an xquisitely pure ■soprano, but gives them, the ethereal beauty proper to the music of a race of mystics. A Celtic .glamous pervades the ■songs like a twilight, and this almost “haunted” atmosphere she has captured do perfection. RESPIGHI MASTERPIECE. "The Fountains of Rome” (Respighi). Cav. Molajoli conducting the Milan Symphony Orchestra. (Columbia 02962■83.) To the Columbia record of “Tne Pines of Rome” Columbia has 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 completed. Four sides of two 12 inch records deal in order with The Fountain of 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 music leaps and runs and revels with bright phrases and rich watery gurgles. The- fascination is in'esti'ble, 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 has the endless attraction of the fountain itself. Molajoli’s interpretation is properly realistic and imaginative. the realism subdued all the time to the poetry. “WAND' OF YOUTH.” Sir Edward Elgar’s round dozen of orchestral pieces that make up the two i“Wand of Youth” suites are singularly happy and effective. • The touch of his practised hand in maturity has (enhanced and given point 10 his childish fancies without in the least staling or making pompous their ingeniousness. And there are the marks of affection on all hands upon the reading in which (lie has conducted the London Symphony Orchestra. Here, indeed, is a favour able example of the enlightened initetpretation in which this band, at t-heir best, are unapproachable. Mark how crisp and proportioned are the, details of the delicious scoring, how the counterpoint comes out, how the spirit of fantasy is enjoyed. One would like to discuss the points of every movement; .but all one can do is to recommend the work strongly. The recording is extraordinarily rich and somwous, and m every way these sets reach the highest devel that has yet been touched. (H.M. ,V„ DI 63’8-7 and DIM)-50.) ,THEME SONGS AND DANCE MUSIC. Gil Dech and his Syncopators have made the first dance record of tjie.two foxtrot hits from “Lot’s Go Native. The titles r»re “My Mad Moment and (“It seems to be Spring.” You should (hear this disc—Columbia DO 220. “Whoopee,” the super-film now being screened throughout New Zealand, inspires Jack Lumsdaine and . Colin Crane, two popular baritones, to give us the song hits that are such a feature of the film.- The former sings “My Baby Just Cares For Me” and "A Girl Friend of a Boy Friend of’Mine” (Columbia D O 237). The latter singer does “I’ll (Still Belong to You,” coupled with “Little White Lies.” (Columbia DO 241). Nell Fleming, a versatile comedienne, sings both “Believe It or Not,” from “Love Among the Millionaires,” and “That’s How I Like ’em.” (Columbia DO 219). “Meet Me in My Dreams To-night” land “When I Passed the Old Church Door” are the choice of that ever popular pair, Layton and Johnstone. This Inew disc of theirs should prove phenomlenally popular. (Columbia DO 226).

NEW STABILE RECORD. /

(1) O Sole Mio; (2) Siciljana (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. Now, in his third Columbia record, he is just as gloriously alive in the famous ballad, “0 Sole Mio,” perhaps the most popular tune that Italy has produced. Paired wi th it is a haunting cradle song of Pergolesi’s, (“Siciliaha,” perhaps better known as “Nina;”

THE SINGER’S ART, Exquisite sensibility .to every ebade 'of meaning mark® Richard Crooks’ singing of two of Wagner’s finest tenor arias, “Tile Prize Song,” from “The Mastersingers,” and “The Narrative” from “Lohengrin.” The beautiful poise of . the singer’s art, the fine economy of means, both in technique and expression, whereby intensity is achieved and held •without effort —these are some of the qualities which give. Crooks the high place he has attained in the world of 'song. “The Prize Song” is truly a wonderful piece of lyric music in which the melody flows on without a break, and Crooks sings it with a fervency which works up to a great climax. He makes a noble aria of the “Narrative,” and hi® wide range of vocal colour deepens the impression. In both arias the beautiful orchestral settings are beautifully played, and the instrumental tone is always sympathetic with the voice. (H.M.V., (E.D.15.) BOOS'EY BALLADS. A number of Boosey ballads, which were tremendously popular a few years ago, are pleasantly revived by J ack Hylton and his orchestra. They are cleverly grouped on to a 12-inch record, and the orchestra is supported by a party,of vocalists, who enter into the spirit of •the songs. The selections include “Drake Goes West,’’ “I Hear You Calling Me,” ■‘‘’Father OlFlynn,” “Gleaner’s Slumber •Song,” “Glorious Devon,” “Kerry Dance,” “My Ain Folk,” “When You Come (Home;” “Until,” and “Yeoman’s Wedding.” has treated these old tunes in a novel and interesting way without losing any of their charm. (H. •M.V., C. 1886.) 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 Ziehrer. They are redolent of the usual ingredients of these charming confections; an atmosphere of romance, of moonlight and flirtation, 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’ rhythmic ipterOT “‘-'‘Gojjg.