RECORDED MUSIC

Timaru Herald, Volume CXXV, Issue 18412, 2 November 1929, Page 13

RECORDED MUSIC

There seems to be little doubt that as a song-writer Schubert has no peer, and John M'Cormack makes a notable contribution to the gramophone catalogue of two of the composer’s early numbers. “Who Is Sylvia?” composed to words by Shakespeare, is one of the best-known Schubert songs in Englishspeaking countries. "Die Liebe hat Gelogen” (“Love has Lied”) is full of sorrow and yearning, and the great tenor’s interpretation is pervaded by tenderness and feeling. The accompaniments are played by Edwin Schneider, v/ho has been M'Cormack’s accompanist for many years. (H.M.V., DA933.)

One of the most enchanting of light operas, “Veronique” is represented by its two popular duets, “The Donkey Song” and “The Swing Song,” sung by the London light opera stars, Winnie Melville and Derek Oldham. This is the latest of a number of light opera duets which these two singers have made. “The Donkey Song”—“Trot Here and There” —has a tripping tempo and a lilting air, and it is obvious that the artists enter into the spirit of the duet with real enjoyment. The other number is more romantic in theme and in this there is a charming blend of two beautiful voices. (H.M.V., 82939.)

There are a number of first-rate dance records coming to hand at present but there are none finer than those issued by Jack Hylton’s Orchestra, which has just made a most successful tour of Europe. This is perhaps the only orchestra that is universally popular. There are some orchestras that are all the rage in the United States and failures in England, and vice versa, but Hylton is a tremendous draw wherever he goes. His clever orchestration of “I Lift Up My Finger and Say, ‘Tweet, Tweet,’ ” is one of the best things in jazz music. Other “hits” from the same source include: “The Heart of the Sunset” (foxtrot), “The Wedding of the Painted Doll” (foxtrot), and “Bogey Wail” (H.M.V.)

There is no more artistic baritone than Emilio de Gogorza, who has recorded two favourite Neajolitan songs, “O Sole Mio” and “Santa Lucia,” which will please his numerous admirers. The same admirable singing which has distinguished his work in the past is characteristic of these numbers. His phrasing and ease of vocal technique are delightful. (H.M.V., DA903.)

The andante cantabile, from Tschaikowsky’s Quaret in D, is one of the accepted favourites of string quartets, and for those about to delve into the beautiful realms of chamber music, here is an ideal start. The times will captivate all who hear it. While Tschaikowsky sat near an open window he heard a Russian workman singing beneath. The lovely folk-song haunted him all night, and next morning he called the singer in and set the tune on paper, later giving it to the world to become “one of the loveliest slow movements in all string quartet literature.” This movement is recorded by the Elman String Quartet, and the playing is marked by smoothness of tone. The balance is perfect. H.M.V., D 81055.)

Charles King, who took the leading role in the successful “talkie” musical comedy “Broadway Melody,” has recorded the “hits” of his spectacular production. King is a Broadway star

with a voice and a personality, and both are caught up by the gramophone. On one disc is grouped “Broadway Melody” and “Love Boat,” and on the other “You Were Meant For Me” and “The Wedding of the Painted Doll.” (H.M.V., EA544 and EA552.)

There is no doubt that Jascha Heifetz’s playing is growing in warmth of tone. No longer is he just the marvellous technician, and there is no greater evidence of this than in “Hebrew Melody,” by Acron, a talented young Russian composer and violinist, who resides in America. Acron dedicated a modern violin concerto to Heifetz last year, and has composed several outstanding work for the violin. Heifetz plays the “Hebrew Melody” thoughtfully and with repose, his tone being conspicuous for its roundness and sonority. On the reverse side Heifetz, the virtuoso, displays his impeccable technique in Sarasate’s brilliant and colourful Spanish dance, “Zapateado” (The Cobbler). (H.M.., DB1048).

Casals, Cortot, and Thibaud are three artists who do not require an introduction. Each occupies a very prominent place in the world of music. During the last few years they have met once a year in Paris to give joint recitals, and about two years ago Schubert’s Trio in B Flat played by them was recorded in complete form. They have now released a little-known but most delightfully melodious and dainty trio in G Major by Haydn. The work is in three short movements which are notable for theh; captivating charm and old-world grace. The poco adagio cantabile is particularly beautiful, and the last movement, rondo, based on a Hungarian folk dance, is irresistibly fascinating. The interpretation is masterful in its lightness and brilliance. (H.M.V., DAB9S-6.)

Margaret Sheridan, the young Irish soprano, who has firmly established herself not only at Covent Garden but at several important Italian opera houses, is responsible for a delightful record, consisting of two excerpts from Puccini’s “Madame Butterfly.” The entry of Butterfly (“Ancora un passo”) has been done before, but in the present version Margaret Sehridan is accompanied by a chorus of women which is well brought out by the electrical recording. The other aria, “Equesto,” is sung by Butterfly during her duet with Sharpless. The soprano’s fresh and sympathetic voice is heard to excellent advantage. (H.M.V.)

Immeasurably though music has broadened out since the days of “Papa” Haydn, in both its range of expression and constructional richness, Haydn remains on a select pinnacle of his own. In his time, a musician's first job was to find a patron. Wealthy lovers of the arts “collected” a musician in the same way as their descendants pf today collect china or Rembrandts or mediaeval armour. And 60. in this courtly atmosphere, Haydn produced his courtly music, and polished and refined it to the fastidious taste of his patron. Almost in pampered ease, his fertile mind busied itself with no I other concern than to produce elegant and pleasing compositions, j And how mellow they are! What crystal clarity, what limpid fresh- | ness flows from this inexhaustible spring. No man knew better how to soothe and charm, how to evoke that ' unutterable content that comes from delightful music. His deeper moments he had too, and they were not rare.

But it is for a certain courtly ineffable elegance that we love him best.

The most famous movement of the “Clock” Symphony, recorded for Columbia by Sir Hamilton Harty and the Halle Orchestra, of course the Andante from which the Symphony takes it« name. Throughout the movement the irresistible naive melody with its quaint tick-tock effect captivates the senses. But every movement has equal freshness and charm. No less delightful is the melodious Quartet in F played by the famous Lener String Quartet (Columbia 02833-34). Each side of a record contains a perfect gem of a movement. The second movement is particularly pleasing—a fluent melody given by the first violin throughout, while the other three instruments play an harmonious background. Descended from three generations of band conductors trained in the famous Kneller Hall, the Army School of military music, Sir Dan Godfrey is one of the few conductors who can get the real martial thrill from an orchestra. For Columbia he conducts the Bournemouth Municipal Orchestra, where his iabours have made this towm the musical centre of the English South Coast. His version of Herold’s lively “Zampa Overture” is surprisingly rich and bold; he handles the impetuous brass passages like an orderly charge of the Guards (Columbia 02816). Among his solists he numbers the famous Gennin Brothers, famous for their i flute and piccolo solo. Their “Fluttering Birds,” paired with “Idylle Bretonne,” is a revelation in delicate woodwind playing (Columbia 02809). In more serious vein, and revealing his high musicianship, and his recording with the London Symphony Orchestra of Mozart’s majestic “Jupiter Symphony” Columbia 04043-46).

Mozart is best remembered, in spite of his marvellous output of orchestral music, for his matchless operas, of which the three most famous are “The Magic Flute”, “The Marriage of Figaro” and “Don Giovanni.” All of them provide a fund of arias for opera singers. Miriam Licette and Ernest Noble sing in English the lovely duet, “The Manly Heart” from “The Magic Flute,” in bold and attractive style (Columbia 02825). Guglielmetti of the impeccable coloratura renders “Cli Angeli d’lnferno,” revealing all her glorious purity (Columbia 04074). From “The Marriage of Figaro,” Pampanini, a brilliant soprano of the Mel-ba-Williamson Company, gives us that loveliest of all songs, "Voi che sapete” (Columbia 03556). From “Don Giovanni,” Licette and Noble choose the “Give Me Thy Hand” aria to pair with their “Magic Flute” recording. “Piece Heroique” (Cesar Franck). Organ Solo by G. T. Patterman. Columbia 9207. A work with a majestic sense of mass, and as titanic as a thunderstorm, is this great organ work by Cesar Franck. Patterman plays it with immense power and yet, in its quieter moments, with a rich sense of its melodic beauties. His tone is grand, and the recording brings out its r®«sonance to perfection. (1) “The Clock is Playing" (Biaauw); (2) “Chanson Bohemienne” (Boldi). Played by Jean Lensen and j his Orchestra. Columbia 01102. “The Clock” is a pretty bit of picture playing. The theme lends itself to clever instrumentation, of which full advantage is taken. On the reverse is a pleasand melody with a song-like motive. Jean Lensen nas a deft touch, and his orchestra is famous throughout Europe for orchestral works of this light style. “Concerto” in ‘A’ Minor Piano" (Grieg). Played by Ignaz Friendman with Orchestra, conducted by Phillippe Gaubert. Columbia 02702-05. What a tremendous opening! From a crescendo roll on the drums there bursts out a crashing chord on the piano—like a flash of lightening. The key is fixed for the whole work. Wild passion plays throughout the first movement. Not disorderly passion, but expressed in a grand terrific theme of utmost power. This is Grieg at his very finest, and Friedman, the famoiis Polish pianist whom many of us remember on his recent visit here, plays with masterly grasp of the music’s meaning. Gaubert is the well-known French conductor of the Paris Symphony Orchestra—and a genius at this passionate type of music.

Recorded during an actual public performance at the Berlin State Opera House in 1928, Strauss’s “Der Rosenkavalier” —Ich weis ouch—nix—Gar nix (trio from finale, Act HI), and the closing scene in Act HI. H.M.V., D. 1629. “Der Rosenkavalier” is unquestionable one of the finest of modern opera pieces. It has a melodic richness, a delicate “Dresden china" delicacy in keeping with the period of the plot, and plenty of full-blooded sentiment, as well as not a little humour. The two passages on this record was made during an actual performance at the Berlin State Opera House on the Unter den Linden, the inclusion of the beginning of the applause as the curtain drops serves to heighten the illusion that we are there.

“Che gelida manin” (“Your tiny hand is frozen”), from Puccini’s “La Boheme," and “Addio alia madre” (“Farewell, Dear Mother”), from Mascagni's “Cavalleria Rusticana;” H.M.V., D.B. 1230. Joseph Hislop’s many admirers will gladly welcome this electrical rerecording of two of his most popular numbers. His superb voice and perfect artistry are well remembered, and this record will serve to bring back again the artist who met with such remarkable enthusiasm when here.

John Brownlee (baritone), in “Comme une Pale Fleur” (“Like a Lovely Flower"), and "O Vin Dissipe La Tristesse” (“Oh Wine Dispel the Heavy Sorrow l ). from Thomas’s fine opera “Hamlet.” H.M.V., D. 1654. To those w-ho best know John Brownlee’s fine rich baritone vhese numbers will even come as a surprise. His fine dramatic tones and style are well reproduced.