MUSIC IN THE HOME

Taranaki Daily News, 7 February 1931, Page 11 (Supplement)

MUSIC IN THE HOME

GRAMOPHONE NOTES.

INTERNATIONAL LECTURES.

Not only educational bodies, but the thoughtful private collector should •make la joint of exploring the wonderful ■ list of International lecture Records i&sued by Columbia. There are now well over A hundred 'of these discs. They range over an- extraordinary wide field of subjects, and in every ease the ■speaker is a-pre-eminent authority on. his topic. Music lovers will be par.ticularly interested in “How to Listen io Music" (D 40050-51), by Hr. Percy Buck, '■ the examiner for New Zealand Mils Bae. candidates, and a series of six Great Composers by authorities like Sir Henry Hadow 'and Dr. Markham Lee. Sir Oliver Lodge gives a fascinating lecture on “Time and Space’- 1 (D 40070). Literature is handsomely covered by such men as John Drinkwater- (“The Speaking of Verse,” D 40QJS-19) and Professor Ivor Evans. {“Twentieth Century Poetry"- D 40100-101).- Sir John Forbes-Robertson, th® famous actor, gives a ’“Shakespearean Recital” (D 40006-01). Among the subjects treated are History, Physics, Chemistry, Economics, Greek and Latin Literature. Truly, the eager .explorer. will find many treasures in this wonderful series. MENDELSSOHN AT HIS BEST. Symphony No. 3 (Scotch) (Mendelssohn).- Felix Weingartner conducting the Koyhl Philharmonic Orchestra. (Col-' limbia 05039-42). Since some eminent critic damned Mendelssohn with faint praise, as “first of-the second rankers,’? his'stock has been rather low in the musical world; but ho one should, he foolish enough, to. allow such a generalisation to' blind them to thb many brilliant exceptions. “The Scotch Symphony" can tank with the finest compositions, _ judged by poetry and. insight. Inspired by hig famous Scotch tour, and more particularly at the sight of the ruined Chapel at Holyrood,'it ha® caught a grandeur far removed from much of the trivial thought that cluttered some of his, other work, and Weingartner draws the utmost but of it. One cannot fail to’admire the beautifully tenuous quality of his strings and the lambent vigour of. the Vivace. Altogether, four desirable records. ' A FAMOUS FRENCH BAND. (1) “Marche Ipdienne” (Sellenick); (2) "Le Bbxfibardier” (G. Pares). Played by the Band of the Garde Rfepublica.ine of France. (Columbia 01504.) This famous band, the finest of ite kind, even in the country famous for its military music, achieves a stirring triumph under' the veteran Gabriel Pares in this record. They give two thrilling marches in slick and vivid style. “De Bombardier” makes a gripping we of heavy drums, and, its. finely balanced melodies have a solid power most appropriate to the theme. .By contrast the Indian March has a bizarro quality with Orental colouring, the sharp fife passages and the bold vigour of the brass producing a lively and exhilarating effect. SCALA CHORUS MASTERPIECE. “Otello” (Verdi), (I) “La Tempests”; (2) “Fuoco di gioia.” Sung by La Scala Chorus of Milan. (Columbia 02723). Here is an amazing record by the La Scala Chorus of Milan. The thrilling intensity of the voices, the dramatic intensity of the music, and the spirited playing Of the orchestra have made this a gloriously outstanding recording achievement. Some of the most striking of Verdi’s “Otello” music was written for the Chorus at the commencement of the opera, and “La Tempesta” and “Fuoco de gioia” (Tempest and fire) choruses are wonderful examples of his genius. , The raging of the storm 5® marvellously pictured in choral and orchestral colours, and the singing is of an extraordinary fine character. An astonishingly realistic record. “TANNHAUSER” CHORUSES. (1) . “Pilgrim’s Chorus”; (2) Grand March, from “Tannhauser” (Wagner). The 8.8. C. Choir, conducted by Percy -Pitt, (Columbia 02Q33.) Percy Pitt, the veferap Covent Garden conductor, directs . the 8.8. C. Choir and the 8.8. C. Wireless Symphony Orchestra -to telling effect in, these two stirring, Wagner choruses. . The ■ ypices are remarkably well balanced, with, a superbly controlled, rise and fall. Pitt knows, as few others, how to contrive this blending, and we have the sente of complete satisfaction that a, workmanlike job always gives us. His phrasing is beyond , reproach. Those who enjoy good chorus singing should on , no account miss this splendid example. A tlirill- is in store for them. , A LOVELY OVERTURE. “Carneval” Overture (Dvorak). Sir Hamilton Harty conducting the Halle Orchestra. (Columbia. 01073). Bursting into a whirl of impetuous delight, shivering dull care -with a spate of gleeful melodies entrancingly entwined, Dvorak’s . “Carnival” Overture captivates more and more at each hearing. It- is one of Sir Hamilton party’s favourites. He lets himself.go, wjth unreserved, gusto, on it.... Notice, the rich quality of the woodwind; especially that cor anglais passage which is like a ,sigh of utt&r content th& beauty of everything. A very happy rendering of what might be called the. spirit of exhilaration expressed in good music. • THE SONGS OF SCHUBERT. “You have my heart, Mt Schubert has my souk’* said the dying Beethoven to his closest friend., and truly that soul sang ite sweetest; in the songs that Franz Schubert loft behind him. Ah thirty years of age, but ten months after his adored Beethoven, Schubert was to pass, the same way.to dust, ■but not to silence and oblivion. His 700 songs remain to testify that no composer in the whole history of music even nearly approached him in song writing. Necessarily, but a fraction of this glorious treasury has been recorded but even that fraction is sufficient to prove that, not Mozart, not 'Haydn, or Bach., not even Beethoven himself,- could match him in the lovely art of wedding a ballad to music. Perhaps the best known of all Schubert’s songs is the wild “Erl .King,” written when Schubert was only 19 years of age. Sophie Braslau, the famous contralto, gives a thrilling reading of this,, changing her voice to suit the three protagonist® in the dialogue, with a vivid eense of the dramatic. This is paired with “Death and the Maiden, the accompaniment of which Schubert liked so much that he based a quartet movement upon it. (Columbia 04161.) “Der Lindenbaum,” as ■ lovely and spontaneous as a folk-song, is paired with “Am Meer" (By the Sea) by the great German basso, Alexander Kipnis. -

ings i® “Der Wegweiser” (The Signpoet), a song with a sad but haunting and appealing melody, and the dark, gruesome “Der Doppelganger” (The Phantom Double). (Columbia 104195.)

One of the most charming of all song records is sung by Sir Georg® Henschel, accompanying himself at the piano. The songs are ‘Das Wandern” and “Der Leiermann" (Th® Hurdy-Gurdy Man). Sir George sings them with great artistry and. feeling on. Columbia 03594.

Elsa 'Alsen, the famous American soprano, ha® chosen the exquisite “Du Bist die Ruh" (Thou' Art My Peace), the loveliest of all Schubert songs, and sings it with . incomparable sweetness, paired with “Gretchen am Spinnrade,” on Columbia 04194. ■ “Litany" and “Ave Maria" she sings on 04196. “LILY OF KILLARNEY.” The Light Opera Company,, which has now a long list of successful recordings of 'vocal “gems” from, famous musical works, adds to its reputation this month- with the vocal gems from Benedict’s light opera, “The Lily of Killarney,” in which John McCormack scored one of his finest stage successes. The opera - abounds in lyric melodies, which remind, one at times .of “The Bohemian Girl.” The calibre of th® voices in both solos and choruses is uniformly excellent. Among the numbers selected are “Andante” from overture, the duet “The Moon Hath Raised Her Lamp Above," “I’m Alone,” “It’s a Charming Girl I Love,” “Cruiskeen Lawn,’ 1 “Eily Mavourneen,” “Colleen Bawn,” and Finale of Act IL Several of these songs are well known to those who have not heard opera, for the airs have been popular concert platform items for year®. (H.M.V., C2OO0.) MARK HAMBOURG. The famous pianist, Mark Hambourg, is at his best in Chopin’s “Nocturne” in F (op. 55), and Schumann’s Novelette in F. Th® Chopin piece is a model of dual melody, lusciously yet not sentimentally ornamented. In spite of its familiarity, Hambourg makes it sound fresh from th® forge. His performance of Schumann is proud, forceful playing, in which the composer is. vitalised with an instantaneous touch, a .rhythm plastic as poetry, and where ( fascination of touch is not the main need, the grandeur of harmony. Every.not® is made to mean something. (H.M.V., E 1921.) WAGNER OVERTURE. Dr. Leo Blpch, one of Gernjany’s, leading conductors, figures with, the Berlin State Opera, Orchestra in a Splendid recording of th® overture to 'Wagner’s “Mastersingers of Nurnberg.” The majestic and poinpous opening strains announcing the march of the mastersingens are always impressive, and at the end of th® overture Wagner .has very ingenuously wielded three motives with imposing harmonic effect. In IR6I, seven years before the first performance of the opera, Wagner wrote: “My wish to apply, myself. to some easier and speedier work is Supported by th® consideration of the difficulties with which I have to contend in getting my serious works performed, and I believe it is A happy thought to put in hand the. execution of an earlier idea for a popular operatic comedy. The opera, is called ‘The Mastersingers of Nurnberg,’ and the subject is.extremely, full ,oi humour. Th® style of poetry and music shall be thoroughly popular, and I am right .in forecasting it a® one of my most original and -popular works.” (H.M.V., D 1314.) CHARM OF TCHAIKOWSKY. g?he latest big instrumental work to be recorded is Tchaikoweky’s lovely violin concerto in D major, which is performed by Mischa Elman and the London Symphony Orchestra under the baton of the brilliant young conductor, John Barbirolli. Both Elman and the orchestra afe splendidly recorded down to the finest, nuance of tone and colour. The violinist exploits with, refinement and rare ,skill his. instrument’s capacity, for both songfulnes® and exciting dexterities of figuration. His tone is remarkably true in line, and he has a charming intimacy. of touch .for the vety notes that seem to, poise a sen: tehee. : The second movement is full of these intimacies, and , there, is jimt eousfigh firmness in tone io avoid sentimentality. Ab the movement grows Elman’s playing, gives the freest sp(in one of Tchaikowsky’s sweetest melpdiea—the second,subject—in which every phrase comes but. of the last,.the tune scarcely stopping for breath, so ardent is the impulse in it. EJman’s tone and attack in the rapid phrases are bo clear and certain that it ( is. possible to naine the notes, but not to pronounce 'tMm at the speed 'at which the music is racing. He is both. a brilliant and a profound arti&t: The orchestra is. beautiful m balance and during th® second movement th® playfrig Im® a rate' modesty and tenderness of touch. (H.M.V, DB 1405-0(5-07-03.) MAGNETIC RUAYING. The “Carnival,” op. 9, on® of Schumann’s best-known and most appreciated trorks, ,hks now been recorded by that master pianist, Alfred. Cortot, complete in six parte. One can only speak hi superlatives of ths magnetic playing of this pianist, for whom technical difficulties do not extet. The utmost chann, lightness of tbuch, refinement, ahd grace. pervade Cortot’s masterful interpretation of th® romantic, little ton® poems “Estrella,” “Chiatina,” “Aveu,” or, the “Vajs6.Allema.nde!” In the “Marche des D.avidsbundler contre les Cortot gives a most brilliant,performance, in which his mastery of.pedallipg te a.veritable triumph. The recording , is magnificent, the ten® being full and the quality singularly clear. (H.M.V., D8125&-53-54.) TOSCANINI’S GENIUS. ' In ..view of. the furore the Italian conductor, Arturo Toscanini, has" recreated both in Europe and in America during his tour ..with the, New York Philharmonic Orchestra, music lovers in. New Zealand must be thankful that his genius has been-transferred to the gramophone/. In years to com® Toscapinis performances will give the measure of th® best orchestral, playing of.thij age. Here is the- perfect instrument (or as nearly as can be) in tfie New York Philharmonic Orchestra and the perfect interpretation., r Tlje work which H.M.V. have just, issued, is the ‘‘Barber of Seville” overture. For Toscanini there .are no trivialities in music; provided It is worth playjng down to the minutest detail. It would be easy to expatiate on the almost miraculous precision of this performance, but one point may be singled out, the crescendo on the second Side. It ip one of the most; exciting things imaginable. (H.M.V., D 1835.)