RECORDED MUSIC

Timaru Herald, Volume CXXV, Issue 18518, 15 March 1930, Page 10 (Supplement)

RECORDED MUSIC

(1) Rolling Down to Rio (KiplingGerman). (2) Border Ballad (ScottCowne). Sung by Fraser Gange, baritone. Columbia 01718. This a magnificent example of ballad-singing, by a baritone whose recent visits to this country have already converted us into his warm admirers. The songs rank almost as national folk-music, so familiar are they now in English-speaking countries, and it is interesting to note that Gange’s recent tour of Scandinavia met with unqualified success, on the score of his ballads being so representative of British music. Fraser Gang? sings these two in manly martial style. They make good hearing. One of the j oiliest and most versatile records of the month is a selection from the big film “Broadway,” bringing in all the big song hits. The music is played by the London Regal Cinema Orchestra conducted by Emmanuel Starkey, with the popular Quentin Maclean at the Compton Organ. That popular comedian Leslie Sarony takes the vocal choruses throughout the first half of the “programme.” Among the songs given are:—Broadway; Hot Footin’ It; Which Came First, the Chicken or the Egg?; Hitting the Ceiling; Sing a Little Love Song. The recording is in the magnificent Regal Cinema, Marble Arch, London.

The Philadelphia Symphony Orchestra, directed by its illustrious conductor, Leopold Stokowski, has recorded two items from Bizet’s “Carmen.” All the recordings by this wonderful orchestra are so splendid that no matter what it plays, the performance is sure to be of outstanding merit. In the “Soldiers Changing Guard,” a little episode from the first act, the trumpet has come out with exceptional brilliance and realism, the echo of the hall in which the recording has been done being clearly heard. The “March of the Smugglers” is from the beginning of the third act and precedes the card scene. As ever, the precision of attack and discipline of the members of the orchestra are superb. (H.M.V., D 1618.)

Polonaise in A Flat, Op. 53 (Chopin). Pianoforte solo by Ignaz Friedman. Columbia 02940. Among the Columbia transfers to the popularpriced label, one that will find a host of fresh buyers is Friedman’s interpretation of the A Flat Polonaise. He makes a lofty high-souled work of a piece often known as the “Heroic,” bringing before one the tramp of a troop of horsemen. He handles the dignified opening theme with a rich sense of colour, and shows consummate pianism in the curious and fascinating harmonic passages in the workingout section. It is of interest to note how a great part of his effect is obtained by a judicious use of the pedal. This makes one of the most majestic and spirited piano records that one can call to mind. The recording has improved quite perceptibly during the last year, as regards piano tone.

“La Serenata” (Braga), coupled with “Plaisir d’Amour” (Martini). Sung by Ninon Valin, soprano. This should be the most popular of all records by Ninon Vallin, whose lovely voice is here lifted in a piece by Braga which is familiar to all violin students. The Martini song is a delicious double. (Parlophone 1030).

(1) The Mull Fisher's Love Song. (2) Islay Reaper’s Song. (3) A Fairy Plaint. (4) Pulling the Sea-Dulse. Sung by Patuffa Kennedy-Fraser, mezzo soprano. Columbia 02986. These old traditional songs of the race apart that inhabits the Hebrides Islands of the West Coast of Scotland might have been lost for ever but for the efforts of the Kennedy-Fraser family. Every year now, the Kennedy-Frasers give a London recital to a music-loving audience. Nothing is heard save the melodious and plaintive music of the Hebrides, of which these songs are the most typical. Patuffa, youngest of the family, sings them not only with an exquisitely pure soprano, but gives them the ethereal beauty proper to the music of a race of mystics. A Celtic glamour pervades the songs, like a twilight, and this almost “haunted" atmosphere she has captured to perfection.

“Der Freischutz,” Act 2 —Agatha’s Aria (in two parts), (Weber). Sung by Lotte Lehmann, soprano. Art artistic and recording triumph. Madarame Lehmann sings the exquisite and wellknown prayer perfectly and, ort the reverse, proves the magnificence of her vocal equipment in the technically difficult section which follows the Aria. (Parlophone 1031).

Amelita Galli-Curci has recorded by the electrical process Bishop's “Home, Sweet Home.” On the reverse side is Moore’s “Last Rose of Summer,” which is sung in the second act of Flotow's opera, “Martha.” As in the past, her husband. Homer Samuels, accompanies her on the piano. On another 10-inch record Amelita Galli-Curci sings two duets from Verdi’s “Rigoletto,” with the late Giuseppe de Luca, accompanied by the Metropolitan Opera House Orchestra, conducted by Giuseppe Setti. The first “Ah Veglia o donna,” in which Rigoletto takes leave of his daughter, is from the second act. Both voices blend very well indeed, and de Luca sings his part with great precision. “Piangi fanciulla” is from the third act. (H.M.V., DA 1011 and 1023.)

(1) Immer Leiser Wird Mein Schiummer, (2) Feldeinsamkeit. Sung by Alexander Kipnis. Columbia 04334. With each new record he produces, more and more music-lovers fall under the spell of Kipnis’ quiet and thoughtful art. His choice of material is invariably worth while. After Schubert, he gives the Lieder of Brahms, songs that have always been the treasured joy of the connoiseur. Kipnis’ perfect legato, his broad phrasing, and his easy production were never better exemplified than in these calm, intellectually secure gems of the songwriter’s art.

“Hansel and Gretel Evening Prayer” (“Hast Thou Heard It?”), (Humperdinck), coupled with “Hansel and Gretel” Witch Song, with waltz duet (“Hoorah, Now the Witch is Dead ”) sung by Meta Seinmeyer (soprano) and Helene Jung (mezzo-soprano), with orchestra. Those who remember the old Parlophone acou/ic Parlophone record of this dainty music will welcome this wonderful electrical version. The voices blend faultlessly and the recording is in every way worthy. (Parlophone 4150).

“The Trumpeter,’ Descriptive Ballad. Sung by Raymond Newell, narrative by lon Swinley. Columbia 05043. A new style of record is a rare thing, but Columbia have struck a winner in “The Trumpeter.” The famous ballad of the same name has been given a dramatically descriptive treatment at the hands of the famous Shakespearean actor and elocutionist, lon Swinley. From the opening trumpet notes to the closing hymn the record provides a thrill that has rarely been achieved on the discs. We prophesy a wide popularity for this novel and exciting record. Perhaps receiving more adequate treatment than on any previous occasion, Tosti’s "Parted” now receives a somewhat belated reproduction considering its l,iold on the public. The singer is Essie Ackland, a contralto who has a rich timbre suited to that type of song, which, helped by commendable diction, is made very impressive. Miss Ackland’s other song, “Down the Vale.” by Moir, is also made a big number, because of the singer’s treatment. The organ accompaniments are eminently suited to the big, rounded voice. (H.M.V., C 1702).

“Romeo and Juliet,” Vavatina. Act 2 (“Ah! Leve-toi Soleil”), (Grounod). coupled with “Mignon," Act 3. Romance (“Elle ne croyait pas”), (Thomas), sung by M. Micheletti (tenor). A new tenor with a beautiful voice and gracious style. He selects two of the finest arias in French opera for his Parlophone debut. (Parlophone 4149 U

“L’Apprenti Sorcier” (Paul Dukas). Phillippe Gaubert conducting the Orchestra des Concerts du Conservatoire of Paris. Columbia 0294142. The Scherzo, “L’Apprenti Sorcier,” is a fanciful composition based upon Goethe’s ballad, “The Magician's Apprentice.” It is very free in form, being a running narrative of the mis-

' adventures and strange antics per- ! formed by the apprentice after he had scaped from his master's service. lit I various fantastic ways the .composer describes the river which . supplies water for the bath, and particularly the apprentice's misadventures with the broom, which he makes stand on two legs, and bring the water in a paiL Unfortunately he forgets the rtiaglc word, and the broom continyes to bring in water, until the house is flooded. He takes an axe and cuts the broom in two, and immediately both halves begin emptying water into the house. Finally he calls fe* his master who quells the hubbub. Gaubert, conducting the historic Parisian orchestra, tells the story with great deicterity and strong effect, achieving his effects by the simplest means. The bright Gallic tone of the orchestra is most

happily suited to the mischievous plot. The whole recording is most ingenuous and delightful. “Carmen” selection (two parts), (Bizet), playec. by Dajos Bela Orchestra. A pot pourri of favourite tunes from one of the most colourful •of all operas. The Dajos Bela men se&h to enjoy playing it as much as the listeners will assuredly in hearing it. (Parlophone 4151). Quartet in B Flat Minor (Mozart). Played by the Lener String Quartet. Columbia 04308-10. The melodious happiness which was Mozart shines serenely through every note of this enchanting work, which has been recently re-recorded by the Lener Quartet. Particularly beautiful is the first movement, with its first subject like the happy song of a bird. Nevertheless, the peculiar genius of the Lenes is more apparent in the Adagio. Save for their playing of the glorious First Ramousoffsky of Beethoven’s, it is the best example of quartet playing they have given us. Architectonically, 1 the Adagio is Mozart's subtlest creation, and the Lener with all their attention to detail and all their fine polish, achieve a magnificent breadth. They make the music “live.” It glows with meaning. The tone is profound, beautifully shaded, and modulated as suavely and deftly as anything in muslt.

“Whispering of the Flowers” Von Blon), coupled with “Winter Storms” waltz (Fucik), played by the Edith Lorand Orchestra. Fascinating Viennese tunes played inimitably by the Lorand Orchestra. (Parlophone 4134).

Harold Bauer’s two records of Beethoven’s “Appassionata” Sonata are highly successful. It beaFs out what Rolland writes of the music: "A union of unrestrained passion and rigid logic." It is indeed a matter for gratification that Bauer plays r-in a straightforward way without any subjective interpolations, and thus we have a well-recorded, vigorous masculine rendering. Played so, it has an astonishing freshness and vitality. In fact Bauer’s interpretation is characterised by pregnant and . vital rhythm. The insistence placed by the pianist upon intelligence. rather than upon emotion constitutes a welcome change from the hectic sensationalism indulged in by many well-known players. The dazzling spirit of exhilaration displayed in the last movement makes the hackneyed music seem positively unfamiliar. The recording of the piano tone is remarkably l successful, and even the rapid passages of the opening allegro *are very clear with every note defined. The admirable variety of the tone, an element seldom present in mechanical piano transmissions, is even more striking than its realism. It appears to special advantage in the subtleties of the andante con moto. Altogether the work is played as formerly one hoped it would be. (H.M.V. DB 1293-94.)

“Barcarolle” in F Sharp, Op. 60 (two parts), (Chopin), played by Alfred Hohn. One of the finest piano recordings of the year. The - beautiful • Barcarolle” is poetry in sound when this piani3t exerts his art. (Parlophone 4145). Interested Spectator (excitedly): “That man over there’s just pulled out a tremendous fish.” Old Hand (calmly) : “What bait's he using?” “Don't know, but I just heard someone say he ‘hooked it with bated breath;’ ” “You assure me that this is the very latest style?” “The very latest, madam.” “And it won’t fade?” “I’m positive of it. Why, we've had it in our window for three months.”