RECORDED MUSIC

Timaru Herald, Volume CXXV, Issue 18536, 5 April 1930, Page 11 (Supplement)

RECORDED MUSIC

Two most amusing Cockney studies are presented with pianoforte accompaniment by Will Kings, the London musical hall comedian. The first “’E’s a Wonder Wiv’ an ’Ammer an’ a Nail” is an extremely funny eulogy of a friend’s prowess with these articles. “Soused ’Errings” provides another big laugh. Will King’s imitation of a Cockney is perfect. It is never overdone and the intonations imparted to the voice are very effective. (H.M.V., B 3161.)

Joseph Szigeti, the young Hungarian violinist, gives an excellent performance on three sides of Tartini’s Sonata in G Major. It is an object lesson in broad phrasing and double stopping. It is hardly a masterpiece, but so great are this artist’s powers that it seems possible to listen to it for ever and ever. Great technical demands are overcome as if they don’t exist, and there remains the joy over the purely musical eminence of this great violinist. The Beethoven is dashed off brilliantly. Ought to be heard by the million. (Columbia 03621-22.)

A delightful musical offering comes from the New Light Symphony Orchestra, under Dr. Malcolm Sargent, of Bach’s “Air on a G String,” and Grainger’s arrangement of “Londonderry Air.” The lordly impressive phrases of the Bach piece are recorded with impressive dignity, and rich sonorous colour. The recording has a satisfying fulness and realism. An equally enjoyable performance is the lovely version of the old Irish air, played with a winsome pathos. (H.M.V. 82913).

The latest orchestral numbers include: (1) “Overture” — Sir Henry Wood and the New Queen’s Hall Orchestra; (2) “Scerzo”—Willem Mengelberg and Concertgebouw Orchestra. From “Midsummer Night’s Dream” (Mendelssohn) (Columbia 42780-81). In the Overture, Sir Henry gives us, at the start, the busy sprites to the life, with Just a trace of the clouds of faerie they trail behind them. The music of pomp is well controlled, and the balance of the various elements in the Overture is excellent. The recording gives an effect of distance and haziness that entirely suits the work. The “Scherzo” is not quite light enough— Mengelberg somehow congeals the insubstantial fabric of the dream, but his working out is otherwise musicianly and cultured.

“Shepherd’s Hey,” one of Percy Grainger’s characteristically English compositions, is played by Mark Hambourg w'ith a great display of technique, and a merry rhythm. On the reverse side is the really beautiful Romance in F Sharp (Schumann) a subtly phrased piece with soft tone colours, which Hambourg presents with rare skill. The pianist is capable of obtaining big climaxes from his instrument, but here he never allows his power to over-rule his artistry, and the romantic sentiment of Schumann is expressed, but never allowed to become sickly sentimental as some would have it. (H.M.V., 83172).

Elisabeth Feuge-Friederich (soprano).—“Dich teure Halle” and “Allmachtige Jungfrau,” Elisabeth’s Prayer from Tannhauser (Wagner). A clear resonant soprano of refined texture and exactly of the right pleading quality for Elizabeth’s Prayer; a rendering almost ideal. One can find naught but praise for the singer’s expressive style, her intelligent phrasing and strong rhythmical feeling. The accompaniments and recordings also command approval.

“Merrie England” contains some of Sir Edward German’s happiest melodies, and the tuneful fragments, sung by Miriam Licette, Clara Serena, Francis Russell, Denis Noble, and Robert Carr, can be heard on a record that is bound to be popular. The selection includes “Love is Meant to Make Us Glad,” “God Save Elizabeth,” “O Peaceful England,” “Yeomen of England,” “English Rose,” “In England,” and “Merrie England.” (Columbia 05026).

“On Her Doorstep Last Night,” comedy fox-trot; “Excuse Me, Lady,” foxtrot. Jack Payne and his 8.8. C. Orchestra. Bright and tuney, and played with plenty of vigour. “On Her Doorstep” is one of the few really funny dance records. “Return of the Gay Caballero,” “My Sweeter Than Sweet.” Sung by Len Maurice. A jolly good vocal record by a baritone who had deserved his wonderful popularity. “You’re Always in My Arms,” waltz; “Sweetheart, We Need Each Other,” fox trot. Jack Payne and his 8.8. C. orchestra score another hit. The

waltz has a real lilting melody. “Estrellita” (Little Star); “La Golondrina.” Organ solo by Emil Velanzco. Without doubt one of the finest Wurlitzer organ solos yet recorded. “Estrellita” is a magnificent tune, and Velanzco plays it to perfection. “Sumiyside Up,” medley fox-trot, by Jack Payne and his 8.8. C. Orchestra. A melodious medley of the catchy tunes from this big-hit talkie. Hear “If I Had a Talking Picture of You.” “Sunny-side Up,” "Pickin’ Petals Off the Daisies,” and “I’m a Dreamer.”

The brilliant Toti dal Monte makes a welcome reappearance in the April catalogue. In “O, luce di quest’anima” from Donizetti’s little-known opera “Linda di Chamounix,” her remarkable soprano voice is truly dazzling. In this aria the heroine of the opera sings rapturously of her lover. It is a brilliant aria containing many elaborate passages which display the art of the coloratura to the utmost. It is coupled with another radiant number the Polonaise, “Io son Titania” from Thomas’s “Mignon.” The staccato notes in the upper register are beautifully clear. These two famous coloratura numbers are now recorded electrically for the first time. (H.M.V. DB1318).

The Columbia Light Opera Company give a delightful pot-pourri of songs from Lionel Monckton’s musical comedies. Monckton v/as in the hey-day of his fame when their stage works from which these melodies are drawn were all the rage, and the blithesome songs he wrote are still possessed of abundant vitality and fascination. Among the operas represented are “The Quaker Girl,” “The Toreador,” “The Country Girl,” and “The Cingalee.” (Columbia 05038).

The virile Peter Dawson adds to his long list of records with the robust “Yeoman of England” from Sir Edward German’s opera “Merrie England.” Dawson’s resonant bass-bari-tone voice makes fine play, and the words are always distinct. On the other side is Sanderson’s “Drake Goes West.” Those who remember Dawson’s singing of a group of sea songs some time ago will welcome this number. The singer is not only a great vocalist, but he has the real art of ballad singing. He never forgets that he is telling a story. (H.M.V., B 3111).

Of all Beethoven’s quartets, none abounds so freely in entrancing melodies as the 13th, Op. 130, in B Flat. One of his latest works, it is typical “Third Period” work in its greatest depth and human feeling. Sides 7 and 8 of the Lener recording are occupied by one of the most inspiring and deeply felt movements in all music—a noble Cavatina of great breadth and haunting appeal. On the other end of the emotional scale are a dazzling little Presto, filling half the third side with an irresistible little tune, while the customary Scherzo is replaced by a Danza alia Tedesca which is infectiouely melodious. (Columbia L 1929-33.)

Harp records are so rare that lovers of this instrument,' which was so popular with the Westminster Glee Singers, will be delighted with the record made by Mildred Dilling, who plays the well-known “Arabesque,” by Debussy, and Zabel’s “At the Spring.” The new process of recording has certainly solved the problem of the harp, for it no longer sounds like a piano out of tune. The vibration of the strings has ben successfully caught, and in the graceful appeggios and passages of “At the Spring” the intrument is heard to distinct advantage. Miss Dilling plays brilliantly. (H.M.V.)

There is something in human nature that always prefers the natural gift to the hard-won, over-trained talent. That is why we enjoy listening to Gladys Moncrieff so much. The silvery notes flow out with a divine effortless ease, and please us like the natural solo of the nightingale. Her latest record pairs two numbers of typical charm. “Just for a While” has a pleasant wistfulness, while “Just to be Near You” mellows into a caressing softness. Both are admirable material for Gladys’s wonderful voice, and the record is sure to please her wide public. (Columbia 01685.)

Any recording by those consummate artists, Thibaud, Casals, and Cortot, naturally compels the interest of music lovers. Already they are represented —either individually or collectively—by some superb recordings, and now they are happily associated in an interpretation of Brahm’s Double Concerto in A Minor (op. 102). The violin and ’cello parts are, of course, played by Thibaud and Casals, respectively;

the orchestra is the Pablo Casals Orchestra of Barcelona, conducted by Cortot. The work is conveniently arranged on four 12-inch discs—two for the first movement and one each for the second and third—and the playing is marked by engaging musical thought and penetrating beauty. The technical difficulties of its exposition are such as only virtuoisi can successfully surmount. Originally -written for Joachim and Hausmann, it is the last orchestral work of its composer. While both solo instruments have opportunities for display, the ’cello has the more prominent place, but tfie most striking feature is the rich effect of their combined playing, and hardly less remarkable Is the fine cohesion with the orchestra and its expressive rendering of every detail, tvhether in the development of the allegro’s arresting themes, the poetic andante, or the gay-hearted final movement with its piquant passages for the soloists. (H.M.V., DBI3II-14). Weingartner, the brilliant German conductor, who is possibly the greatest living authority on Beethoven, has just accepted the control of the Basle Symphony Orchestra. The Basle is certainly the leading, as it is also the oldest, of the Swiss Orchestras, and the new combination should prove fruitful. In conjunction, they have provided a gripping version of Weber’s fervent and romantic “Der Freischutz” overture—a work in which the composer has forgotten his polite and polished mannerisms and touches the imagination with almost ghostly significance. The work has power and intensity, and is played with keen urgency. Tonal beauties reveal Weber’s marvellous gift of invention in this direction. (Columbia 02874.) Thanks to the energy and enthusiasm of various composers—both British and American the traditional nursery rhymes and folk music are being used far more frequently than was the case a few years ago as part of the preliminary stages of musical education. Roger Mullen’s delightful “Children’s Overture” in which familiar tunes are interwoven In a charmingly dexterous manner, receives a most sympathetic performance from the New Symphony Orchestra conducted by the specialist in children’s music, Dr Malcolm Sargent. The two records should be in every school collection. (H.M.V., 82860-61.) Another set of record admirably suited to the taste of a youthful audience is devoted to early English folk dances, including such classic examples as “Newcastle,” “St. Martins,” and “Rufty Tufty.” (HM.V., 82954-9.) The playing of these dances by the Folk Dance Band retains the humour of these old tunes and he would be a surly and misanthropical listener who could resist a feeling of enjoyment.

Alessandro Valente has a tenor voice that strongly reminds one of the great organ of the late Enrico Caruso, and this young tenor is to-day a favourite at the La Scala Opera, Milan, where he sings most of the big dramatic roles. On his latest records he sings the principal aria from Meyerbeer’s “L’Africana”—“O Paradiso!” This number in which the singer, stupifled by the exotic scenes of a strange land, apostrophises the new country in ecstatic accents, may well be taken as the acid test of a tenor’s vocal attainments, for it contains many passages which are impossible to any singer without a thorough training. The big, rich voice is also heard in “Addio flprito asil,” from Puccini’s “Madame Butterfly,’* an aria of pathos which is realistically interpreted. (H.M.V., B 3141).

Alfred Hohn plays for Farlophone, Chopin’s Barcarolle, Op. 60. (E. 10850), treating the piece gently, using a nice light tone, and does not pull the rhythm about. His piano records very equally throughout—a most important thing in this piece.

An issue of considerable importance to gramophonists this month is that of the famous Philadelphia Symphony Orchestra in its first reproduced concerto. The work is Rachmaninoff’s

Piano Concerto, No. 2 in C Minor, and the interest is likely to be intensified by the fact that the composer of the C Sharp Minor Prelude himself takes the solo instrument. There is much to enthrall one in the Concerto, which bears evidence of Tchaikowsky influence. It has its passages of gloom, or passion, and of tenderness. Yet pervading nearly the whole of the work one finds a fine spirit of energy and manliness. Rachmininoff is a super-technician of the piano, and in addition he has splendidly balanced artistic perception. The piano opens out in the Concerto in a most striking fashion that is apt to remind the listener of the bell-like features of the popular Prelude. We get an exquisitely reproduced horn passage in the first movement, just as in the third movement there is a delicious cascade in the upper octaves of the piano. Tit-bits of rich clarinet and flute notes also manifest themselves in pretty little medodies in the Adagio. Now and again when Rachmininoff lashes himself into a passionate expression Stokowski, who conducts the Philadelphia players, is wide awake with his share of the game, so that a tremendous thrill is the result. Stokowski’s exuberance in these passionate outburts possibly accounts for the fact —or it it a fault of the recording—that the piano part is once or twice practically submerged beneath the tremendous weight of orchestral tone. The Philadelphia Symphony Orchestra, as well as Rachmininoff, have countless enthusiastic followers w'ho will find much for comment in the gromaphone version of the Concert, which is contained on five records, which cost 8s 6d each. An album with analytical notes, is provided. (H.M.V.)

Snakes are growing in popularity as pets in the West End of London; they range from grass snakes at a shilling or so each to larger and more uncommon varieties at several .pounds each.