RECORDED MUSIC

Timaru Herald, Volume CXXV, Issue 18542, 12 April 1930, Page 13 (Supplement)

RECORDED MUSIC

Alessandro Valente (tenor) and members of La Scala Orchestra, Milan, in “Madame Butterfly,” Addio fiorito asil (Farewell, oh Happy Home) (Act 2), Puccini; “L’Africana,” O Paradiso! (Oh Paradise) (Act 4), Meyerbeer. H.M.V., 83141. Valente and Caruso resemble each other strikingly. Valente’s singing of these two well-known operatic excerpts is superb and his really glorious voice, so warm and richly coloured throughout its entire range, is reproduced with electrifying realism.

Concerto in D for Violin and Orchestra (Tchaikovsky). Bronislaw Huberman and the Berlin State Orchestra, conducted by Steinberg. (Columbia). For some time after its

composition even violinists of first rank were daunted by the apparent technical difficulties, but after Brodski had persevered with it, other virtuosi gradually realised that its beauties amply compensated for the difficulties. And just as the performer has to probe further than the sheer technical aspect of their concerto, so the listener must overcome the initial impression that it is merely a vehicle for virtuosity. Actually, it is moulded in the classic style of Beethoven. Composed |in Tchaikovsky’s “Geneva period,” it is unusually free from his usual hj'peremotionalism. This would seem to be the music after Huberman’s heart. His technique is flawless, and the tone firm and sweet, while he maintains the lyric qualities of the work most artistically. The “Melodie,” by the same composer, which is on the odd side, is well known and exquisitely played.

Philadelphia Symphony Orchestra (conductor, Leopold Stokowski), in Russian Easter Festival Overture (Rimsky-Korsakov). H.M.V., D 1676. Rimsky-Korsakov’s “Russian Easter Festival,” better known, perhaps, as Overture —La Grande Papue Russe, is one of the most magnificent and gorgeously coloured pieces of programme music ever penned. Its main theme is founded on a Russian hymn, and the composer has woven it with consummate artistry into a wonderfully rich musical texture.

Symphony in D Minor (Franck). Philippe Gaubert conducting the Orchestra de la Societe des Concerts du Conservatoire, Paris. The obstinate popularity of Franck’s Symphony seems puzzling to the critics, but the public knows what it likes, and will continue to find an overplus of merits, even while its faults seem painfully obvious to the more learned. It is significant that a widespread vote in New York , among typical concert-goers, placed this as the most popular of all Symphonies. Philippe Gaubert gives a capital, straightforward performance. He ably avoids the danger of over-ex-pressiveness, which would ruin the work, and allows Franck to speak for himself. The general level of the tone and balance throughout is high. Especially good is the brass in the first movement; the cor anglais solo in the slow movement has great beauty, and Gaubert admirably realises the delicate whspering string section that supplies the scherzo element. The Symphony fills eleven sides, the remaining space being appropriately given to a pleasant piece by one of Franck’s pupils, Henri Duparc—“To the Stars.”

John Barbirolli’s Chamber Orchestra in Elgar’s “Introduction and Allegro for Strings” (op. 47). H.M.V., C 1694. “This is without doubt the finest modern work written for string orchestra, and a superb example of Elgar’s genius. I cannot conceive any musical person failing to be thrilled by the spaciousness and loftiness of these lovely tunes, and as to the mastery of the writing, that almost leaves one breathless.”—John Barbirolli in “The Gramophone.”

Three Dances from “Henry VIII.” (Sir Edward German). Dan Godfrey conducting the Bournemouth Municipal Orchestra. (Columbia 01769). A capital 10-inch disc, which gives the three popular dances composed for Sir Henry Irving’s production of “Henry VIII.” in 1892. The lively, bustling dances include the Morris Dance, the Shepherd’s Dance, and the Torch Dance. The playing is virile and clean, and Sir Dan Godfrey makes the most of the finely disciplined orchestra under his control. The music has an airy liveliness that he has captured to perfection, and has a typically English ring about it.

Keith Falkner (baritone), in “Shepherd, See Thy Horse’s Foaming Mane” and “Had a Horse” (Korbay), “Hungarian Folk Songs”). H.M.V., 83105. Only an artist of calibre can do justice to Korbay's magnificent Hungarian folk songs, which have in them something of the quality of Loewe’s great ballads. Keith Falkner is one of the most act&omplished concert artists in Britain.

(1) Ivan Caryll Memories; (2) Paul Rubens Memories. Vocal Gems sung by the Columbia Light Opera Company. (Columbia 05038). The run of musical comedies that made the name of the London “Gaiety” Theatre at the beginning of this century, contained many delightful songs that are still remembered, and many that are worth remembering. The songs, written by Monckton, Ivan Caryll, and Paul Rubens, had their own infectious tunefulness, and are the last relics of the bygone days when England w'rote her own light music, before she turned the job over to the Yankees. Anyone hearing these 1 delightful tunes will agree that we have lost a lot by the change.

Cyril Scott (piamoforte) in his “Lotus Land” and “Souvenir de Vienne.” H.M.V., 82894. This is the second of the records which Cyril Scott, the famous composer, has made of his own works. (See also 82895.* Both are very typical and delightful. “Lotus Land,” as its name suggests, floats dreamily above an iridescent haze of harmony; “Souvenir de Vienne* echoes fragments of a Vienna waltz across a misty harmonic background. (1) The Modern Diver; (2) P.C. Lamb. Duets by Mr Flotsam and Mr Jetsam. (Columbia 01774 L These two original songsters, who write and compose as well as sing their own material, are in happy vein again with the jolly ditty about P.C. Lamb, father of thirteen little lambs, who controls the traffic jams in London, and expects to do the same with the queue outside the Pearly Gates in the Hereafter. Jetsam’s marvellous voice holds us as spellbound as ever. Has anyone ever reached so low, and yet kept his musical head above water?

Maurice Chevalier (baritone) in “Valentine” (Christine), and “Les Ananas” (Pearly-Eddy). H.M.V., EA 639. This vivacious artist sings in French but introduces these numbers with a little explanation in his delightful broken English which certainly adds to the unique charm of the record. John McCormack (tenor) and Salon Group (male voices), in Schubert’s “Serenade” and “Ave Maria” (H.M.V., D 81297). The crowds that still attend John McCormack’s concerts are sufficient proof of his tremendous popularity. The songs on this record —they are of all Schubert songs the most popular. McCormack breathes life into them, and listening, we find that they are not only beautiful songs but poignant expressions of human emotion.

(1) Mucking About the Garden; (2) Get Up Nice and Early. Jack Payne and the 8.8. C. Dance Orchestra. (Columbia 01765). A real “top-notcher” among dance records, with an all-star cast. Leslie Sarony sings the vocal choruses very attractively, while there is some amusing patter by Tommy Handley, the famous clown who made his name over the air with 2LO London. “Get Up Nice and Early” has a catchy little tune that promises to be all the rage.

Berlin State Opera Orchestra, in Wagner’s “The Mastersingers,” overture (H.M.V., D 1314). A fresh recording of this fine overture has long been looked for and this remarkable orchestra render it w T ith all their customary delicacy, flexibility and precision. Guilhermina Suggia (’Cello), in “Concerto for Violincello and Orchestra in D Minor” (Haydn). (H.M.V., Dlsl8 —20). This delightful ’cello concerto, available on records at last, is like a fine quality champagne: amber clear and bubbling. So splendid a work deserves a first-rate interpreter, and it has certainly got one in Mme. Suggia.

(1) Second Serenata (Toselli); (2) Tarantelle for Flute and Clarinet (Saint-Saens). Played by H. G. Amers and the Eastbourne Municipal Orchestra. (Columbia 05033). Two delightfully written tunes by famous composers, played by an orchestra which has a brilliant reputation for its wood-wind playing. The SaintSaens “Tarantelle” is an especially appealing tune, captivating in its enchanting simplicity. The reproduction is startingly vivid.

Will Kings (comedian), in “Soused ’Errings” and “ ’E’s a Wonder” (H.M.V., B 3161). We last heard Kings as Bertram the orator; here he portrays an entirely . fferent type, and gives two most amusing Cockney studies.

New Symphony Orchestra, in “Air on G String”( Bach), and “Londonderry Air” (arr. Grainger), H.M.V., 82913. Two of the greatest melodies ever written. Bach’s marvellously serene and deeply moving “Air on the G String” finds a curiously effective counterpart in the “Londonderry Air.” Both are beautifully rendered by this popular orchestra.

The Edith Lorand Orchestra needs no recommendation. “The Skaters Waltz” and “Tree Jolie” (Emil Waldteufel) are old favourites, and they are delightfully played. (Parlophone A 4181.)

It is not everyone who can understand, the Strauss confection “Till Eulenspiegel’s Merry Pranks.” Still, as recorded for Parlophone (A 4178) by the Berlin Opera House Orchestra, on a 12-inch disc, they provide entertaining colours and variety of ideas. Weber’s “Invitation to the Waltz” (Parlophone A 4180), as played by the Grand Symphony Orchestra, is a good investment. Ninon Vallin’s mellifluous soprano makes the Parlophone bracket (ARI 27) “Claire de Lune” and “L’Automne”— a most attractive addition to one’s collection. An unusual “speciality” record is that made for Parlophone (A 2950) by Guido Gialdini, a star siffleur, of “Nola” and the “Creola” Tango. Quite good, this. Richard Tauber, the well-known Parlophone tenor, is effectively heard in “Stenka Rasin,” a traditional Continental folk song, and “The Song of the Volga Boatmen.” (AR125.) Emanuel Feuermann plays, with Michael Taube, “Le Cygne,” and a “Danse Espagnole” by Granados (Parlophone E 10838). This player performs cleanly, and does not slide or slop over-much. The Granados dance is a piano piece, arranged. The piano records very well indeed, as it generally does with Parlophone. On Parlophone E. 10871, Claudio Arram plays Liszt’s “Fontains at the Ville d’Este,” one of three pieces Inspired by the beauties of the same place (found in his third “Years of Pilgrimage” set —impressions of Italian scenes). This is a characteristic light, mildly poetio piece.

“Memories of France”—“The Estaminet” and “The Attack.” (Parlophone A 2946). This is an attempt to convey something of the atmosphere of the War by fragments of conversation, cheerings, and gun-fire. Quite a realistic effort.

Brahms’s “Hungarian Dances” (Nos. 5 and 6) find a capable interpreter in Karol Szreter (pianist), associated with the Berlin State Opera House Orchestra. (Parlophone A 2885.)

Two of the most popular hits from the latest musical comedy success, “The New Moon,” are pleasingly presented by Sydney Burchall (Parlophone A 2906). These are “Lover, Come Back to Me” and “Softly, as in a Morning Sunrise.”

Gloria Swanson (soprano), in “Love (Your Spell is Everywhere)” and “Serenade” (Toselli). (H.M.V., B 3168). Gloria Swanson’s first record. It recreates with uncanny realism both the voice and the personality of the great film star, whose talents and charm have endeared her to audiences throughout the world. She sings the theme song of her first talkie, “The Trespasser” and Toselli’s ever popular “Serenade.”

(1) Nymphs and Shepherds (Purcell) ; (2) Should He Upbraid? (Shakespeare and Bishop). Sung by John Bonner, boy soprano. (Columbia. 02988). These delightful songs go back to the only days when England was really a force to be reckoned with in the musical world. Purcell was perhaps our greatest composer, and his fame rest largely on a multitude of songs of which “Nympths and Shepherds” is one of the more famous. Slight though it may be, it is as a whole flawless as a jewel. Sir Henry Bishop sets Shakespeare’s exquisite lyric, “Should He Upbraid?” to music as fragrant, and both songs form an admirable vehicle for the sweet purity of young John Bonner's voice.

“Tannhauser,” Act 1, Scene 3 “Herd Boy’s Song and Pilgrims’ Chorus”—Else Knepel, soprano; Hans Clemens, tenor. (Parlophone A 4167). This is an exceptionally fine and rarely recorded scene from one of the most popular of Wagnerian operas. Both singers and orchestra are good, while the recording is excellent.

Dvorak’s “Slavonic Dances,” Nos. 8 and 16. Berlin State Opera House Orchestra. (Parlophone A 4171.) An exceptionally good recording of two of the best-known of Dvorak’s characteristic dances.

The Sieber Choir with Grand Symphony Orchestra in “Tales from the Vienna Woods” (Strauss). If one heard this record from every portable out-of-doors for the next two months or more, one shouldn’t complain. What a change it w'ould be to hear from all sides a Johann Strauss w'altz! Even a dull version might pass; and this is certainly not dull—it is in fact, one of the best Strauss waltz records yet heard. (Parlophone E 10878).

Emmy Bettendorf (soprano) and Karin Branzell (contralto). “Entweihts Gotter” from Lohengrin (Wagner). In German, with Berlin State Opera House Orchestra under Weissmann. (Parlophone El 0852). A magnificent duet, sung by two artists of the first rank. The scene between Elsa and Ortrud in the second act of “Lohengrin,” is one of the gems of the opera. CHEAPS IDE’S FAMOUS CLOCK. Cheapside is likely to lose a familiar object which is of great interest to visitors to the city of London. Mr Henry Ford, the United States motor-car manufacturer, when last there took a fancy to the famous clock at the premises of Sir John Bennett, Limited, watchmakers and jewellers. The clock is surmounted by the decorative figures of Gog and Magog, who have struck the hours on a bell with hammers for more than a cen- , tury.