MUSIC IN THE HOME

Taranaki Daily News, 14 February 1931, Page 23 (Supplement)

MUSIC IN THE HOME

GRAMOPHONE NOTES. BRILLIANT GRAND OPERA. DISC. Maria. Luisa Fanelli, Piero Pauli and G. Masini, in Boito’s “Mefistofele,” Act 4 (Duct: Helen and Faust); “Forma Ideal” (Form of Ideal Loveliness); and “Amore, mistero” (Deep Power of Lovoperatie version of Goethe’s “Faust” is, of course, the most popular but there are many other settings which adhere more strictly to the spirit and letter of the great German poet. Arrigo Boito, who was an able man of letters as well as a first-rate composer, called his setting ’’Mefistofele,” and this acene from the fourth act is superbly done by three stars of La Scala, Milan, with chorus and orchestra of La Scala. (H.M.V., DB144O). 'FINE ORCHESTRAL RECORDING. Chicago Symphony Orchestra, in “Traume” (Dreams)' (Wagner, arr. -Thomas). and “Russian wid Ludmila’ — overture (Glinka). H.M.V., DISOB. _ Five songs Wagner composed later in life are magnificent. They were settingte of poems by Mathilde Wesendonck—a woman with whom -he was at the time passionately in love—she was, in fact, the G rande passion of his life and it was this love that inspired Wagner to “Tristan and Isolde,” the greatest expression- of physical passion in all art. Of “Traiune,” which was actually a study for “Tristan and Isolde, and which is the last of five songs, an excellent orchestral arrangement has been made, and it is played by the Chicago Symphony Orchestra, under Frederick Stock. The Overture to “Russian wid Ludmila,” by Glinka, “The Father of Russian Music”—needs no introduction, for it is a favourite piece.

HAYDN SYMPHONY. ' ?

Haydn’s “London Symphony has been recorded on three records by John Barbirolli’s Chamber Orchestra, which h?s earned a big name at London concerts. Of all the hundred-and-more symphonies that Haydn wrote, the “London” holds the popular vote more than any, unlees the “Surprise” and the “Oxford” should be reckoned along with it. It breathes the atmosphere of courtliness and wit, and calls up a picture of the times of powdered wigs, precious snuff-boxes, and gracious deportment. It begins with, a mild forerunner of Beethoven’s “Fate theme, and passes on to a tuneful slow movement, a jolly minuet, and a gay finale. Better material could, hardly have been chosen for the Chamber Orchestra. Here one does not want a massive body of strings as for Beethoven and the later giants; the music moves along all the more lightly and in its true spirit with a smaller and more malleable orchestra. The performance comes off delightfully. (H.M.V., 01608-10).

VIOLIN AND PIANO. I T

Cesar Franck’s “Sonat'a in A” for piano and violin is one of his great efforts in'chamber music, and it has now been beautifully interpreted for the gramophone. by Alfred Cortot and Jacques Thibaud. ' Opening with an allegretto ben .moderate of dreamy ecatacy and containing much intricate and delicate fingering for the piano, it ''next leaps into a brilliant allegro oi passionate vehemence, and joyousness. This gives - way- to a fantasia, with a stately and delightful recitative, and then on we go again into a Imai allegretto poco mosso, fascinating m, its melody, .youthful: in its gaiety. It is claimed ’by one critic that Cortot and Thibaud are the finest interpreters of the sonata. They play , with a true understanding of its spirit and pany one another enchanting!y. (H.M. V., DB 1209-1212.). DELIGHTFUL BALLET MUSIC. Symphony Orchestra, in “Coppeha” (Delibes). “Variations,” and Waltz of the hours.” H.M.V., 01939 The grace and delicacy of the style exemplified by Delibes’ “Coppelia Ballet” have not lost their power to charm •us, andy listening to this music as played by the Symphony Orchestra, it is easy to understand why the more con- ' servative tastes prefer it. • THE “LILY OF KILLARNEY.” Light Opera Company in “Lily of Killafney”—vocal gems (Benedict), introducing “Andante from Overture,„ “Moon Hath Raised Her Lamp Above, “Em Alone,” “It is a Charming Girl I Love,” “Cruiekeen Lawn,” “Eily MaVourneen,” “Colleen Bawn,” “Ensemble, Finale, Act II.” H.M.V., 0200. Benedict knew how to write charming melodies- which were pleasing both to singers and their audiences, and while in these days of speed we might find a full length performance of the “slow going,” the record giving you the heat of the music admirably rendered is jus t right. GERMAN STARS IN “DIE MEISTERSINGER.” ■ Elizabeth Rethberg and Friedrich Schorr in “Sieh’ F^chen! Da<chtich doch” ('See, Ev’chen! Where, Methought Can She Be?), and “Hat mann init dem Schuh werk” (A Shoemakers Life m Aye Full of Care). From Wagners “Die Meistersinger.” . This excerpt is from the first scene of the third act—set in Sachs workshop. Schorr, as the cobbler, is so seemingly blind and rough, and yet so deeply sympathetic and understanding. Eva’s passionate outpouring .of gratitude beginning “O Mem Freund is gloriously sung. H.M.V., D 81421. HARP RECORD. Harp records are so rare that lovers of this instrument will be delighted with the disc made by Mildred Dilling, who plays the well known “Arabesque by Debussy, and . Za'bel s At the ■Spring” (“Am Spnngbrunncn ). lhe new process has certainly solved the problem of the harp, for it no longer sounds like an old piano out of tune. The vibration of the strings has been successfully caught, and in the graceful arpeggios' and passages of At rne Spring” the harp is heard to distinct advantage. The actual reproduction, however, will considerably depeuc on the type of phonograph used. Miss Dilling plays very brilliantly. (H.M.5 ~ C 1642.), BEAUTIFUL SONGS.

One of the loveliest songs written by Rachmaninoff, Russian composer and pianist, “In Silent Night,” is sung with beautiful expression by the English tenor, Derek Oldham, who is accompanied . by piano, violin and ’cello. His voice has all the fullness and lichnesß which one expects from a front-rani tenor, and it is very sensitive to every tone colour of the music. The other number on the record is Griegs I

Love Thee,” which is also charmingly sung. This song is wider known than the Rachmaninoff work. The sentiment is charmingly expressed, and Oldham again adds delicate lyric, touches which enhance his interpretation. (H.M.V., 83458.) AN ATTRACTIVE COMBINATION. ■ The London Palladium Orchestra, with organ accompaniment, in Dawn and “Sunset.” . The combination of the Palladium Orchestra (conducted by Richard Cream) with the organ has led to the production of a very good .record. These de icate pieces, familiar to all cinema lovers and diners-out, are very welcome. H.M.V., ClB9B. “ ’ARRY’S ROMANCE.” Vernon Watson, in “The Future Mrs. ’Awkins.” “Knocked ’Em in the, Old Kent Road,” “Our Little W, A Fallen Star ” “My Old Dutch. H.M.V., C 1922. Is there an English-speaking person who has not heard “My Old Dutch ? If. such a person should exist, tins re cord will remedy matters and throw in four more immortal Albert Chevalie numbers as a make-weight. ernon Watson is perfect in all of them. DE GRiEEF AT THE PIANO. Arthur De Greef, in 'Walse in E Major,” Op. 34 (Mosakowski). J This attractive little waltz by Mosz kowski is a favourite. Brilliantly played, the melody lilts and sparkles along in the most delightful fashion. H.M.V. Eo'&3. POPULAR STUFF. Jeanette McDonald in “Monte Carlo ” “Beyond the Blue, Horizon, and Always in All Ways. ’ Once you have seen the film o “Monte Carlo” you will want the record, which carries the a^ OS P, ere , S Jeanette McDonald so faithfully, but whether you’ve seen the film or not, the record is sure to find its way into your heart. H.M.V., EABI3. ORCHESTRAL HUMOUR. Paul Dukas’ clever and charming orchestral scherzo “The. Wizards Prentice” (L’Apprenti Sorcier) « recorded on a nc i disc, by the New harmonic Society, conducted, by celebrated Arturo Toscanini The music illustrates a poem of Goethes telling how the prentice, when-, his maste.i s back was, turned, experimented with macr i c —with comic confusion in the result, which the wizard’s, return sets rio-ht. Under Toscanini the orchestra chives a veiv sensitive performance, briiming out the humour of the music. (H.M.V., D1B89.) PUBLIC PERFORMANCE RECORDED. A recording for the gramophone of a portion of Richard Strauss’ opera Der Rosenkavalier,” during. a Pubhc.performance at' the Berlin ■ State Opera House, is one of the latest noteworthy achievements of His Master’s Voice. The portion is reproduced on a l--incli disc, and considering the circumstances under which the actual musical reporting was done the result is exceedingly meritorious. Two sections are heard, both from the concluding phases of the opera, and the early stages, of the enthusiastic applause of the audience as the curtain falls round off this grantiophone version. (H.M.V., D 1629.) THE “APPASSICNATA.” Beethoven’s Sonata in F Minor has been well-termed the “Appassjonata. It contains a tumult of emotion which is splendidly interpreted by Harold Bauer, whose previous recordings have been made in the company of the i<lonzalev Quartet, and he now records alone for the first time. The first movement of the Sonata is allotted two sides, and the second and third movements have one each. Bauer’s playing reaches a high standard of artistry; in the allegn it is masterly, and in the andante musicianly. He has a fine regar , or tone values and his shade contrasts are remarkable. This work has not the ruggedness of the famous liabt” Sonata, nor is it as vivid, but it contains a greater depth of beauty. (H.M.V., D 81293.)