MUSIC IN THE HOME

Taranaki Daily News, 20 June 1931, Page 17 (Supplement)

MUSIC IN THE HOME

GRAMOPHONE NOTES. FULL OF COLOUR. Albert Coates, the British conductor, who was born and brought up in Russia, frequently chooses Russian music for recording, and gramophone enthusiasts will be interested in his latest selection of an excerpt from Moussorgsky’s opera, “Khovantchina,” as yet little known outside the country of its origin. Left unfinished by the composer, the opera was subsequently completed and orchestrated by his friend, Rimsky-Korsakoff, whose master hand is unmistakably recognisable in the richly glowing instrumentation of the “Persian Dances” from the fourth act. These are very well played in two parts by the London Symphony Orchestra. Mr. Coates scores an artistic success and crisply brings out the details of theorchestration. (H.M.V., D 1855.) “TALES OF HOFFMANN.” The National Symphony Orchestra plays the “Barcarolle” from Offenbach’s “Tales of Hoffmann.” The opera was at first a failure, but its German revival about 25 years ago made it very popular, and enabled the “Barcarolle” to become one of the best-known melodies in the world. The strings gently play the flowing melody with harp accompaniment. The name of the conductor is not mentioned on the label, but he deserves a word of praise for the good performance and excellent recording (Zonophone). FROM LEHAR’S NEW OPERETTA. This month the London Theatre Orchestra give us a charming selection of tunes from Franz Lehar’s new operetta “Frederica,” the story of which is based on the life of the German poet Goethe. The tunes included, are as follows:— Part I. —Wayside Rose; Wherever Woman Holds Her Sway; Wonderful; I Live For Your Love. Part IL —(Maid of Alsace; Why Did You Kiss My Heart Awake? Rhineland Dance; A Heart As Pure as Gold; Student’s Chorus; My Heart Lies in Your Hand; O Maiden, My Maiden. (Columbia DOX. 145). POPULAR SOPRANO. (.1) “A Summer Night” (Marzials and Goring Thomas); (2) “My Dearest Heart” (Sullivan). Sung by Miss Doris Vane ou Columbia DOX 144. Two more songs to add to the already wide popularity that Doris Vane enjoys wherever Columbia records aresold. On a twelve-inch disc we have two tender ballads—beautifully sung—replete with piano accompaniment and ’cello obligato. Sullivan in his “Lost Chord” vein is a change from his Savoy style, and the Goring Thomas song paired with “My Dearest Heart” is sure of popular applause. The recording is very fine. “PATHETIQUE” SONATA. A distinguished performance of Beethoven’s "Pathetique” Sonata in C Minor, Op. 13, is given by Mark Hambourg, who is to visit New Zealand shortly in company with Peter Dawson. This sonata evidently takes its title from the sad and dramatic introduction theme, 1 which is played with wonderful expression. The slow movement, Adagio Can- 1 ta'bile, is of beautiful serenity arid breathed a great religious calm. The rondo maintains the high plane of the first two movements, and once again l Beethoven’s genius compels one’s awe and reverence. Hambourg plays the sonata with deep understanding. The bold themes are majestically rendered, but when soft tones are required there is delicacy of fingering. There is a singing tone throughout the adagio cantabile, and the final allegro is artisticaL ly outlined. The .piano tone is uniformly excellent. (H.M.V., 02051 and C2O- - SWEET-VOICED SOPRANO. An American soprano, Elena Danieli, who was a member of the last Melba Opera Company in Australia, and who has since had regular engagements at Covent Garden, has made a charming record of two delightful little songs, “Rose in Bud” (Dorothy Wood) and "Garden of Happiness” (Haydn Wood).’ Miss Danieli has a lyric soprano voice of rare purity. Her top notes are as clear as crystal, and she shades them in keeping with the sentiments of -her songs. These two numbers are beautifully set, and are enhanced. by the expressiveness of the' singer. (H.M.V., 83567.) ST. GEORGE’S CHAPEL CHOIR. After a lengthy absence : the famous Choir of St. George’s Chapel, Windsor, returns ' to Columbia this month, with Sir Walford Davies , as conductor, inTchaikovsky’s lovely “Angel Spirits Ever Blessed” (from “The Cherubic Hymn”) and “O That I Knew Where-; I Might Find Him” (Sterndale Bennett). The music of the first-named is altogether charming, in its similarity of -style to typical Christmas 1 carols, and t’he fine ending is particularly notable. The English words are an invaluable feature, while the smoothness and bal-. ance of the singing will at once command attention. Stei'ndale Bennett’s anthem is thoroughly representative of. his restrained yet deeplyrfelt writing;; here again the choralism is perfect'. Under Sir Walford Davies’ guidance the choir have produced a record of outstanding merit. Columbia DOX 146. SONGS OF THE ROAD. ' '■ (1) “I Travel the Road” (Parsons and Thayer). (2) “The Song of the Tinker”. Sung by Raymond Newell, baritone, on Columbia- DO 301. Fine, swinging melodies, sturdy rhy.-’-thms, manly sentiments, and an invigorating style of singing—these are the; outstanding features of. the 10-inch record which appears against the name of Raymond Newell in the Columbia Maylist. The songs he has given, “I Travel the Road,” and “The Song of the Tinker,” are full of cheery philosophy and’ the spirit of the open air. Mr. Newell’s interpretation is a sheer delight. COCKNEY STUDIES. The English comedienne, who is enjoying a big run of success on the London musical halls, has made a record of two more Cockney character sketches. The first is a bed-time story entitled “Bluebeard,” and it lacks nothing in originality. In realistic Cockney dia; lect, Miss Wynne tells the story of the wicked man who lived in a castle ofeight rooms! Mr. Snowden ..also conies into this most amusing tale, as well as other figures who loom largely in the life of the East Enders. On the reverse side o'f the record is “An Embankment Impression.” There is pathos here as well as humour, and Miss Wynne lives the part. (H.M.V., 3'644.) DRAMATIC TENOR. Alessandro Valente’s records always prove for .this Italian tenor baa

a voice of exceptionally fine and resonant quality, and every one of this discs so far has been very well received. His recording of the “Flower Song” from Bizet’s “Carmen” is his first solo number since he sang in the complete usual clearness and roundness of tone. “PagliaCci” set. He sings with his In the aria “E Lucevah le Stelle/’ he proves that he can sing with emotional force without overdoing the tensity of the situation. (H.M.V., 83457.) •RAVEL’S FINEST MUSICAL WORK. This mdnth sees the issue on Columbia of the symphonic suite from Ravel’s ballet “Daphnia .and Chloe.” This work is. acknowledged to be his finest for the orchestra.' The first record contains “Dawn of Day” and “Pantomime,” the secopd continues. the “Pantomime,” and includes the “Danse.” In “Dawn of Day” ; we hear a delicate, shimmering melody with faint flute notes in the background, suggesting the herald of morning.' The melody grows in beauty and strength until we are plunged into the whole glorious panorama of the scene; . . All the time there is a sense of.quivering life, natural activity and joyous. freedom. “Pantomime” opens with' terrific animation, but quietens almost, immediately as the wood-wind insists on ’repeating a little bird-like phrase. Now comes a wonderful flute solo, against a lingering orchestral background, uttering a melody of aesthetic pupity. and sweetness. The third part 'opens with a scurrying in the orchestra. “Danse,” as the title suggests, is a mad, breathless revel, vibrant with life and excitement. Woodwind, brass ,and ..strings fight , for supremacy, while a'beautiful melody in tile background is : struggling to emerge; but the dance must .' go on—resistless in its. rush forwards a magnificent finale.' Philippe Gaubcrt has conducted the Walther Straram Orchestra of Paris in this amazingly lovely work, and, the recording is so fine that even the unobtrusive side-drum, passage in - the fourth side 'has come out clearly. (Colombia LOX 81-82.) PETER DAWSON. There 1 is fine virility , m Peter Dawson’s singing' of two of his own settings of ballads by Rudyard Kipling. As. a composer Dawson seems to be particularly attracted to Kipling’s poems, and he certainly knows how to interpret their spirit in music. His two latest compositions, “Route Marchin’ ” and “Cells” are two outstanding examples of the ability of music to enhance the. words of the poet, and Dawson sings them with a marching swing. His voice -is robust and resonant, and his clear enunciation makes it possible for the listener to follow every word. Dawson, in company with the pianist, Mark Hambourg, is to tour the Dominion shortly, and many New Zealanders are looking forward to this rare musical treat. (H.M.V., 83629.)