RECORDED MUSIC

Timaru Herald, Volume CXXV, Issue 18382, 28 September 1929, Page 14

RECORDED MUSIC

Another contribution to |/r imophone history is made by a Cojumbia recording of two great “Faust” choruses hi the Paris Opera House a record as unique as it is successful. Gounod’s immortal “Faust” is known and loved the whole world over, and particularly popular are the “Soldiers’ Chorus” and “La Kermesse,” the numbers given on a 12-inch Dark Blue this month. The artists responsible for this really amazing gramophone production are the distinguished Chorus and Orchestra of the Theatre National de l’Opera, Paris. (Columbia No. 02895.)

To many the recording of Haydn’s “London” Symphony by John Barbirolli’s Chamber Orchestra will recall pleasant memories. The symphony had a great vogue to the end of the nineteenth century, and its revival is, if anything, overdue. Barbirolli is one of the Covent Garden conductors and he

has gathered together a fine body of instrumentalists. Haydn did not indulge in mass efforts, and his harmonies compared with Beethoven and Wagner are of a delicate texture. Still he can be virile and firm in his own way, and his contrasts are beautifully made. One notices in these records the firm, ringing, sonorous chords in the opening, the fine balance and the clean playing in every instrument, are some of the good points in the bright sparkling Allegro. In the Andante, the limpid tone will please all. The throbbing Minuet is still attractive, while the Finale, with its highly developed principal theme, is carried forward with rare swing and precision highly creditable to the orchasera and its conductor. (H.M.V., CI6OB-9-10.) Sir Henry J. Wood is well to the ore again in his full-blooded interpretation of “Finlandia,” issued on the 12-inch Dark Blue series of Colambia. Both he and the famous New Queen’s Hall Orchestra have given us a strong, colourful interpretation of Sibelius’ great work, based on national melodies, and known in every corner of the globe. The fact that the record was made in a concert hall adds atmosphere to the subject. (Columbia No. 02889.)

Grouped on the latest record from the Hawaiian Orchestra are a number of old negro songs. These include “Swanee River,” “Hard Times,” “My Old Kentucky Home,”' “Old Black Joe,” “Molly Darling,” “Nellie Was a Lady,” “Carry Me Back to Old Virginny,” and “Listen to the Mocking Bird.” The record is entitled “Southern Melodies, Waltzes,” and the Hawaiian plays give the pieces a plaintive and beautiful rhythm. (Zonophone A 345.)

A number of music-lovers have discovered that Mercedes Capsir’s “Traviata” record of ‘'Sempre libera” astounds with the marvellous tinging of the aria. It really is a remarkable piece of soprano singing, and we should not be surprised at any time to hear it declared the finest soprano record in existence. Is it? (Columbia No 9632.) After a long break New Zealand is again to hear an international artist. Next month the famous operatic soprano, Dusolina Giannini, is to visit this country, and if her gramophone records are to be taken as a criterion, her concerts should be big events in the musical life of the Dominion. Giannini is a singer imbued with an earnest zeal for chaste musical expression, and she never fails to communicate the composer’s mood to her audience. The mmaculate vocalisation of the artist, combined with poetic fervour, has made her a foremost figure on the operatic and concert platforms. Giannini’s interpretations united a definiteness of expression with carefully regulated tonal qualities measured by the emotional content of her song. In her record “Voil ’lo Sapete, o mamma,” from “Cavalleria Rusticana,” Santuzza’s agonised confession of Turriddu’s berayal of herself and desertion for Lola are poignantly expressed. It is grouped with the “most beautiful air in modern Italian opera,” “Vissi d’Arte,” from “Tosca.” Vital are her interpretations of “Ritorui Vincitor” and “O Patria Mia,” from “Aida,” perhaps her greatest role, and the singer has a fine range of English and German bal'ads and folk songs, which are presented with an intimate beauty and charm (H.M.V.)

The Goodrich Silvertown Quartette art a very happy combination, and the delightful way in which they handle “Weary River” and “Wedding Bells” will ensure them many new admirers. Their “01’ Man River” number for Columbia is among the best from “Show Boat.” (Columbia No. 01538.)

“Honey” promises to be one of the season’s outstanding numbers and is coupled with “My Sin” by Ben Selvin and his Orchestra, which combination gives a perfect rendition. (Columbia No. 01525.) Paul Whiteman also offers two excellent numbers, “Louise” and "Nola,” both fox trots of particular merit, the former being the charming theme song from “Innocents of Paris.” (Columbia No 07022.)

The Irish tenor, Colin O'More has just issued two Irish songs, “Danny Boy,” which is a setting of the popular “Londonberry Air.” O’More has the sympathetic quality of voice characteristic of Irish singers, who include M’Cormack and Margaret Sheridan. His other number is an old air, “Kitty of Coleraine.” The charm of this piece is infinite. (Zonophone 5192.)

In a masterly fashion, J. H. Squire has mingled together Suppe’s flambuoyant “Poet and Peasant” Overture, Liszt’s lovely “Liebestraum,” the sparkling “Moment Musical” of Schubert, the lingering “Melody in F” of Rubinstein, and Liszt’s beautiful “First Rhapsody.” This concludes the first part of the record. On the reverse the lilting “La Paloma” merges into Boccherini’s delightfully old-v/orld “Minuet,” which, in its turn, passes to the alluring “O Sole Mio” of di Capua, finishing with the equally popular “Blue Danube” waltz, for which Strauss is famous. (Columbia 02896.)

Parlophone 4100 —“I Pagliacci,” coupled with “Barber of Seville,” and sung by Giovanni Inghilleri, baritone. Tonio, in the person of Giovanni Inghilleri, sings “A word—allow me” at the start of this record, and goes on to explain his appearance alone before the play begins. He is the prologue to the story, and reminds the audience that these actors will not be simulating emotion, “the story is true.” He relates how the author came to write it and ends with a piognant appeal to the audience to identify itself with the actors. The broadly-conceived virile music finds an ideal interpreter in Signor Inghilleri. Tonio is one of his best-known pt.rts—and his voice rings out splendidly at the dramatic moments. He is equally at home in the riotous fun of “Room for the factotum of the city,” Figaro’s great aria from Rossini’s masterpiece.

Johann Strauss wrote nearly five hundred waltzes, polkas and quadrilles, of which “Wiener Blut” is assuredly one of the finest. It has that irresistibily gay, lilting, melodious rhythm so characteristic of the close of the Viennese nineteenth century. Bruno Walter is the ideal conductor of this waltz, being an acknowledged authority on the Viennese tradition. * His broad handling of the wonderful Berlin State Orchestra results in a record of divine sparkle and infectious vitality, the superbness of which has only the incomparable recording as a rival. (Columbia No. 04337.)

Two more records by the Orchestra - Comique, are Nos. 2597 and 2796, the Sylvia Ballet Music in four parts. This is a delicious addition to the Orchestra’s 10-inch series.

Francis Russell has already”^secured a following by his previous Columbia records, which have revealed him to have a gloriously rich voice of rare charm, and he further employs it in the interpretation of two excerpts from “The Flying Dutchman,” sung in English. On the first side is ’’Erik’s Song.” In happier strain is the “Steersman’s Song” written (second side). (Columbia No. 02894.)

Parlophone 4108—“ Minuet” (Boccherini) and “Toreador and Andalouse” (Rubinstein), Edith Lorand Orchestra. The old world grace of Boccherini’s Minuet is faithfully preserved in this delightful record, notable, too, for its string tone. Rubinstein can always be relied upon for a well-tuned tune. Here are two of charming quality.

The Arcadians Dance Orchestra is one of the most popular of its kind now recording, and its steady output for Zonophone maintains a splendid standard. This orchestra shows always a fine balance between melody and rhythm. Their latest discs include “I Must Be Dreaming”—fox-trot, and “Somewhere in Hawaii” fox-trot, with vocal refrain; “Counting the Hours”—waltz; and “Aloma”—waltz.

One of the reasons for the success of Clarkson Rose, the English comedian, is that he has the gift of satire. He gets his laughs out of events and topics of the day, or the little weaknesses of men. In some cases he displays touches of W. S. Gilbert. Rose is also a fine singer and his infectious chuckle gives greater force to his numbers. His latest record includes “My Austin Seven” and “What Did the Village Blacksmith Say.” (Zonophone 5285.)

The National Military Band makes a splendid job of two Wagner numbers, Prelude to Act 111. of “Lohengrin” and the “Grand March” from “Tannhauser.” There is some beautiful legato playing in the Prelude, and the woodwind tone is particularly fine and very steady. The poetical meaning of this brilliant entr’acte has been made clear by Wagner himself. It was intended, so he has told us in his writings, to convey a general impression of the festivities following the wedding of Else and Lohengrin with which the previous act closes. The exhilarating close by the full bass is a memorable performance. The Grand March is grand in every way—it is magnificent. This record is an admirable one for anyone wishing for introduction to Wagner. The harmonics are easily understood and the playing is up to orchestral standard. (Zonophone A 358.) MUSICAL PARTY AGAIN. Recurring paragraphs in the society columns of the newspapers show an increase in the popularity of the musical party in circles where much entertaining is done, states a London writer. Music makes an excuse for an agreeable mixed gathering when one desires to return the hospitality of a number of friends and invite some acquaintances to an afternoon or evening party which involves only buffet refreshments. A good-sized room and a firstclass piano are the chief essentials. The hostess fortunate enough to include professional musicians among her personal friends who will help with her programme is favourably situated for giving a successful party.