RECORDED MUSIC

Timaru Herald, Volume CXXXVII, Issue 19308, 8 October 1932, Page 11

RECORDED MUSIC

Following his splendid record of “Eri tu,” Lawrence Tibbett sings the Toreador’s Song from Bizet’s “Carmen,” with the Metropolitan Opera Chorus, conducted by Giulio Setti. The American baritone imparts plenty of life into the popular song, but he Is responsible for some memorable singing in the “Te Deum” from the end of the first act of Puccini’s “Tosca.” The church bells are fine, the orchestra is good, and so is the chorus, and Tibbett displays an intellectual quality that is surprising, and he obviously understands to the full Scarpia’s part.

What is said to be one of the finest records of violin-playing ever made was the one issued a couple of years ago of the Brahms with the Halle Orchestra and Josef Szigeti. “Once in a while,” said the “Musical Digest” when this record was brought

out, “some achievement in musicianship and recording leaves us breathless with its beauty and faithfulness. Such high points do not come often. The Brahms violin concerto recently issued should prove to be such a lofty mark. Josef Szigeti and the Halle Orchestra, with Sir Hamilton Harty as conductor, have made this new recording with an

abiding sense of musical understanding and intelligence. Virtuosity sparkles and scintillates over the first and third movements, where it is allowed to have full play. Then between their brilliance are the lovely phrasing, the song of breathed emotion tender cadence and soaring passion.”

Liszt’s striking and colourful “Mefisto Waltz No. 1” is superbly recorded by the London Symphony Orchestra under Albert Coates. This work is the second of Liszt’s two settings of scenes from Lenau’s “Faust” and takes place in the village tavern. Faust and Mephistopheles have stopped to refresh themselves at a village

inn. There is music and dancing there, for a wedding is being celebrated. Seizing a fiddle from the hands of one of the village players, Mephistopheles strikes up a wildly intoxicating dance, and his magic tones, infused with a spirit of diabolical mockery, gradually set the whole assembly dancing in a wild frenzy. Of all the settings of “Faust," there is none more vividly fired with diablerie, and it is impossible to resist the eerie, impassioned seductiveness of the melody —its amazing vigour and its richly varied colouring. In such music as this Albert Coates is in his element.

“Abendlich gluhend,” from Wagner's “Meistersingers,” sung by Lauritz Melchior, is the second verse of the “Prize Song” sung to Hans Sachs in the first scene of the last act. The latter’s remarks are sung by Friedrich Schorr, to the accompaniment of the London Symphony Orchestra. Melchoir’s vocal delivery is excellent, and there is a complete absence of the explosive style favoured by many German tenors. On the reverse side Schoor sings "Euch macht ih’s leicht," in which he addresses the crowd in the last act, and tells them of Pogner’s sacrifice in giving the winner of the contest his only daughter’s hand and all his wealth. In the opera this address is immediately preceded by the beautiful chorus “Watch auf!” released a few years ago.

Although Weber’s opera “Euryanthe” has never been popular, principally owing to its impossible libretto, it contains some of the finest romantic music the composer ever wrote, and the opera is also important historically as another stepping-stone in the direction of Wagner. Several Wagnerian commentators regard the tomb motive in “Euryanthe” as having conveyed to Wagner more than a suggestion of the leitmotif system which has developed so fully in his music drama. The overture to “Euryanthe” has been recorded by the Berlin State Opera Orchestra under Dr. Leo Blech, and it is a worthy companion of the “Oberon” and “Der Freischutz” overtures which were recorded by the same orchestra some time ago. The “Euryanthe” overture may be said to consist of two vigorous, stirringly dramatic sections separated by the weird tomb motive, and under Dr. Blech the orchestra presents the music vividly. The climaxes are skilfully built up, and throughout the balance and blend of tone is excellent.

After a somewhat lengthy absence from the monthly catalogues Elena Gerhardt, perhaps the greatest lieder singer in the world to-day, makes a welcome reappearance this month in three songs by Brahms, which are grouped on one record. Gerhardt’s interpretations of Schubert, Brahms, Schumann, and Wolf create the impression that her readings are final and authoritative. The numbers on the record under review are “Auf dem Kirchhofe” (“In the Churchyard”), Vergebliches Standchen” (“The Vein Suit”), and “Madchen SpricKt” “The Maiden Speaks”), and the sympathetic quality of the- singer’s voice, the beautifully sounded notes and depth of expression reveal the songs In all their charm and beauty. Brahms was a real master of the song, and he followed the tradition of Schubert and Schumann in the lieder school. One could not wish for greater vocal artistry than Gerhardt’s, and she lavishes it on the best there is in vocal music. She receives sympathetic support from the proud accompaniments I which are played with understanding.

Master Dennis Barthel, the phenomenal boy soprano who recently made a sensational debut as a record-

ing artist, has now recorded with organ accompaniment “He was Despised” from Handel’s “Messiah.” This air, built on the words “He was despised and rejected of men; a Man of Sorrows and acquainted with grief,” has been called “the very echo of the words.” The theme conveys simply but eloquently the story of the Great Sufferer’s mortal life, who “poured out His soul unto death.”' Dennis Barthel sings the air with rare depth of feeling and musical intelligence, and his interpretation conveys the full meaning of both words and music. It is astonishing to find such understanding in one so young. On the same record he sings Bridge's Easter hymn, “Allelua,” and again the voice is rich, full, and round in tone.

As one would expect from a song written in honour of Mussolini there is plenty of vigour in “Inno al Duce” (Ihne). which has been recorded by the famous operatic baritone, Apollo Gronforte, accompanied by the La Scala Orchestra. This song recalls an equally stirring number “Inno di Garibaldi,” which was recorded by Caruso. Both songs have a fervour which is irresistible, and one can easily imagine how they must excite the patriotism of both singers and listeners, Gronforte’s big resonant voice enters into the spirit of this strikin:; national song and his singing is matched only by the visibility of the accompaniment. On the other side of the record he sings “Inno di Roma” by Puccini, another Italian patriotic song in which the composer’s music matches the grandeur of the theme. Here is the Italian national sentiment nobly expressed.

There are in recorded German music both from lieder and opera, some delightful numbers appealing to all

students of the music of a country that has produced some of the great-

est composers, musicians and singers that have lived. In a selection of numbers recently lent to the Wellington German Club at one of its musical evenings, there were some excellent recordings. Among these was a fine number by Mr. John Brownlee, the famous baritone, “Ich Grolle Nicht” (Schumann); a lovely bracket, “Vor deni Fensher” (“At the Window"), from the album of Brahms. Op. 14. No. 1; and Schubert’s delightful “Die Forelle” (“The Trout"), by Elena Gerhardt, the gifted mezzo-soprano; a contralto bracket, “Stille Nacht, Heilige Nacht” (“Still Night, Holy Night"), from Gruber’s works, and a Christmas hymn, “O du Frohliche,” by Martje Offen; the “Fire Music” finale to “Die Walkure” (“The Valkyrie"), with Friedrich Storr, bass, and the Berlin State Opera House Orchestra; two lovely numbers from Goldmark’s opera, “Die Koenigin von Saba” (“The Queen of Sheba”), sung by Maria Niemeth, soprano, with the Vienna State Opera House Orchestra and chorus; two Bach numbers by the famous soprano Elizabeth Schumann, “The End is Come” (Cantata No. 159>, and “For Love My Saviour Suffered” (from the “St. Matthew’s Passion”); the “Trial Song” and “By Silent Hearth,” from “Die Meistersinger,” by a very fine tenor. Max Lorenz, with the Berlin State Opera House Orchestra; Elizabeth Schumann in tw T o lovely airs by Brahms, “Standchen” and “Morgen;” and in a triple disc, “Vergcbliches Standchen.” “Das Madchen Spricht,” and “Auf dem Kirchhope,” by the same composer; and last, but by no means least, Friedrich Schorr, one of the finest living bassos, in “Sach’s Speech” and “Sunset was Gliding With Heavenly Light,” from “Die Meistersinger.”

Among the new records this month is a performance by the New Light Symphony of George Gershwin’s ‘An American in Paris.’ This work has been hailed as jazz’s greatest achievement. It is a record of the composer's impressions of a holiday in Paris, and is a worthy successor to his previous original effort, ‘Rhapsody in Blue.’ Whether the listener is high-brow or low-brow, he will be intrigued by the skill and ingenuity of the foremost of all jazz composers. The work is distinctly impressionistic, and one can easily imagine Gershwin strolling along the boulevards collecting ideas for his striking music. As he strolls along he is startled by the honking of motor horns and attracted by the strains of music from the cafes. He becomes lonely, and his fit of the blues is depicted with uncanny fidelity. He meets a fellow-American, and once again he becomes the carefree American tourist. A Charleston theme depicts their jollity, and then Gershwin wends his way to the Montmartre, where he gives us his impressions of this gay and colourful quarter of Par:The work is daring in its orchestration and with the composer at the pian in addition to the orchestra, one he this great jazz achievement with tonishing realism. When ‘An Ameri in Paris’ was performed at t: Carnegie Hall, New York, before : audience accustomed to classical sym phonies, it was received with bountle enthusiasm. In the field of jazz th; work is certainty a mastatpieca,