MUSIC IN THE HOME

Taranaki Daily News, 31 January 1931, Page 9 (Supplement)

MUSIC IN THE HOME

GRAMOPHONE RECORDINGS [ OUTSTANDING TENOR. ] -— —— I Of the younger American tenors, Kic'liard Crooks is one of the most notable. He made his entry into the artistic world as a church tenor in New York. Later, on the advice of influential friends, he took up concert work, and became very popular. At first it was thought that he would develop into a purely lyric tenor, for his voice strongly reminded one of that of John Mac Cormack, but later his voice developed, and now it is very much' more robust. About two years ago Crooks made a very successful series of operatic appearances in Germany, which will, no doubt, be later repeated in America, where so far he is only known as a concert singer. In the “Prize Song” from Wagner’s “Meistersinger” the beautiful quality of his voice is heard to excellent advantage. He possesses ample power and resonance, singing high notes without the slightest effort, and altogether he has made an exceedingly fine record, in which he is supported by orchestral accompaniment. On the reverse side he sings the Narrative from the last act of Wagner’s “Lohengrin,’’ given with a forceful effect that is quite impressive. (H.M.V., EDIS). LOVELY BACH SUITE. Suite No. 3 in D Major (J. C. Bach). Desire Defauw conducting the Brussels Royal Orchestra. (Colombia 0505777). In the old days, a music lover wag either a pro-fßach or an anti-Bach; one of the elect or one of the selfd’amned. If you could honestly—or even dishonestly—say that you understood Bach, you felt yourself entitled to sneer at the rest of the world. In a large part, the gramophone is to be thanked for the change that has come about in the last few years. For Bach takes a lot of listening to; but, unlike many another composer whose would-be intellectuality is nothing but obscurity, Bach repays it. Beauty, truth, honesty, flawless craftsmanship—all these are at t'he bottom of his deep, clear well. The third suite (he himself preferred to call them overtures) is one of his most easily understood works. The Brussels Royal Conservatoire Orchestra play it admirably under Desire Defauw, with that explanatory touch, that elucidates and' clarifies the music. 'They are ,especially happy in the Aria—better known as the Air for G String—and use ,the bass strings with exceptionally good effect. The suite occupies five sides, and the sixth is given to Corelli’s “Sarabande,” a stately measure played with dignity by Arbos. and the Madrid; Orchestra. IDEAL FOR RECORDING. , Liszt might have written his first piano concerto in E flat major with an ear to its being recorded' (writes the English critic, Compton Mackenzie). The whole of it goes on to tw’o twelveinch dises, and the orchestral effects are just those with which .the gramophone can, deal most successfully. .1 remember that in old’days one of the, tests we used for sound-boxes was. their ability to extricate the triangle' in the third movement. No difficulty about that nowadays on the electrical recording just brought out on two black twelve-inch discs with Mischa Levitzki as soloist and the London Symphony Orchestra, conducted by'Sir Landon Ronald, to support him. Somewhere round about six years ago, I think, I wrote that the most successful piano concerto recorded up to date was that of the First Concerto of Liszt by H.M.V., and I have no hesitation in saying the same about the latest H-MjV. recording of it. . Mischa Levitzki has evidently the right touch for recording, and I feel inclined to prophesy for him a, long, successful career on the gramophone. He is lucky to have such an experienced •conductor as Sir Landon Ronald for/ hie first recorded concerto. The result is a beautiful balance between the piano, and the orchestra, and a perfect performance of lovable music. (H.M.V., D 1775-6). TWO HUNGARIAN DANCES. Hungarian Dances, Nos. 5 and 6 (Brahms). Sir Hamilton Harty conducting the Halle Orchestra, (Columbia 01677). Columbia’s policy of introducing some of the finest orchestras in the world into their Standard Section, has rarely given better value to the gramophone lover than in a record of two Brahms’ Dances. These are among the most popular and the most melodious dance movements that Brahms ever 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 such verve and distinction, should win for his record a wide popularity. Recording is first rate.

HAUNTING MUSIC. There is a glorious performance of one of Delius’ most idyllic works, “In a Summer Garden,” played by the London Symphony Orchestra, under the baton of Geoffrey Toye. What a haunting picture of luxurious charm, of gentle breezes, murmuring bees, _ and lazy content this tone-poem conjures up. How admirably varying moods are suggested by a subtle motif given here to the woodwind, there to the harp, or strings. Toye has a full sense of the deep poetical sense of the music, and brings out all its lyric beauties with delicacy and finesse of understanding necessary to a proper interpretation of Delius. The fourth side of the second disc has another of those wonderful tonal impressions of which Delius was master in “A Song before Sunrise, ’’ played by the New Symphony Orchestra, under the conductorship of that brilliant young man, John Barbirolli. It is interesting to compare how two great mcxlern conductors interpret Delius. If anything, Barbirolli is more vigorous, though still adequately conscious of the fine tonal shades the work calls for. He conveys splendidly the idea of nature awakening to a new day—'the twittering of the birds, the passing of darkness, and with a fine burst of melody the blaze of light that heralds the corning day. These are a pair of discs every lover of Delius ■music will add to their library, (H.M.V.). STUPENDOUS WORK.

One of the longest work® yet_ recorded is Bach’s B Minor Mass, which consists of seventeen, records, contained in two albums. The great composer wrote several Masses during his stay in Leipzig, but by .far the greatest is the B Minor Mass, a colossal work, whose “heavenly length,” as Schumann might have called it, preclude its performance in church. The Mass shows Bach’s remarkable virility and inspirations, as in the surprising animation and buoyancy of “Et incarnatus,” or the great “Sanctus” chorus, with, its wonderful climax, or the lovely contralto solo, “Agnus Dei,’’ at the end. A fine cast has been selected, the principals being Elisabeth Schumann, Margaret Balfour, Walter Widdop, Friedrich Schorr, and the Lon-

don Philharmonic Choir, with the assistance of the London Symphony Orchestra, conducted by Albert Coates. With the exception of Margaret Balfour, the soloists sing with expression, the chorus is very good, and the recording is, generally speaking, very fine. (’H.M.V., Cl7lO-26). MOST POPULAR COMPOSER. No other great composer ever made so profound an impression on the ordinary music-loving public —'that is, quite apart from the more “highbrow” section. There is something in Grieg’s music that appeals to everyone. What this something is, is rather hard to define. Perhaps the lovely melody; or the quaint rhythms and exquisite harmony —perhaps a combination of all three and a something that still eludes us. Truly, Grieg is the composer for those who are not “high-brow” and who “know what they like.” The Columbia Company in the matter of recording does Grieg proud. GRIEG’S “PEER GYNT” MUSIC.

“Peer Gynt” was the hero of an Ibsen play by the same name, and Grieg wrote the incidental music that accompanies ite staging. Most of - this music was later made into two orchestral suites, and it is these pieces that first made Grieg famous the world over. Nearly half a century has elapsed since the “Peer Gynt” music was first heard, but to-day it is still delighting hundreds of thousands. A brilliant performance of the two suites .is given by George Schneevoi'ght and the New Queen s Hall Light Orchestra. The first suite is allocated as follows: —“Morning and “Ase’s Death” are on Columbia 02629, and “Anitra's Dance” and “In • the Hall of the Mountain King” are On Columbia 02630. . The Second Suite also takes two discs: “Ingrid’s Lament” And the Arabian Dance take up Columbia 00631. and “Peer Gynt’s Return.’’ and the lovely Solveig’s Song are on Columbia 02632. This is wonderful playing and recording. GREIG’S “SIGURD JORSALFAR.” Bjornsoii was a dramatist contemporary with Ibsen. He also commissioned Grieg to write music to a play. This was the drama, “Sigurd Jorsalfar”—about a Norse crusader. As with “Peer Gynt”’ the music was later published as a concert <uite, and its .popularity was large and immediate. It comprises three pieces the prelude “In the King’s Hall,” the intermezzo “Borghild’s Dream,” and Sigurd’s “Triumphal March.” Schneevoight and the L.'S.O. give a splendid performance of the suite on Columbia

LI74S- and L 1749. The March, on L 1749, has always —and deservedly been a real best seller.

ANOTHER GRIEG TIT-BIT.

Robert Hood Bowers and the Columbia Symphony Orchestra play Grieg’s “Bridal Procession” with real 6kil]° and verve on Columbia 02622. This is paired with the “March of the Boyars,” an exciting piece by Halvorsen, one of Grieg's friends. This is a disc that is in many, and should be in more record collections. GRIEG’S NORWEGIAN DANCES. There is not a soul alive who would not enjoy these thrilling danca pieces —-richly orchestrated, full of piquant melody, and wonderfully contrasted. Four of the most popular ones are recorded by- Schneevoight and the London Symphony Orchestra. Brilliant playing and fine volume make these exceptional records, (Columbia 0’2943’ 02942). NEW KETELBEY WORK.

In a Camp of the Ancient Britons (A. W- Ke'telbey). Played by Albert; W. ' Ketelbey’s Concert Orchestra. (Columbia 05074). .... Like most of Ketelbey’s music, this is a richly pictorial composition, full of action, drama and scenery, Ketelbey takes us first of all to the Sacred Grove of the Druids; we hear the In-, vocation before the Battle; a stirring march represents the Ancient Britons in battle array, and then we hear the advance of the Roman Legions. On Part Two, the 'battle begins, the Britons retreat, and then—by a suggestive passage, we are carried back to the present day, listening to _a band on the Promenade. The music throughout is intense and vivid, an<L conducted by the composer himself is put across with gripping effect.