RECORDED MUSIC

Timaru Herald, Volume CXXXVII, Issue 19483, 6 May 1933, Page 20

RECORDED MUSIC

The mighty organ of the Liverpool Cathedral is heard in Chopin’s

“Funeral March” (from the B Flat Minor Sonator, Op. 38), played by Harry Goss-Custard. The beginning is given very softly, but the artist secures a magnificent effect in the loud passages. A lovely singing tone is heard in the tender intermediate part. The funeral march is recorded in two

The British Broadcasting Corporation has placed a contract for a main 100 kilowatts transmitter which will replace the long-wave National station. formerly known as Daventry 5 XX. There will be a second transmitter to replace the M'dland Regional, formerly Daventry 5 GB. The new station will be the 8.8.C.’s loudest voice, and will, it is claimed, give the clearest quality of any station in Europe. The cost of building the statiion and transferring from the old one will be between £200,000 and £250,000.

Noel Coward, the popular composer of “Bitter Sweet” and other successful musical comedies, sings a “Noel Coward Medley,” - which comprises eight selections from his own stage works, such as “Parisian Pierrot.” “Poor Little Rich Gild,” “Room With a View,” “Dance, Little Lady,” ‘'Some Day I’ll Find You,” “Any Little Fish,” “If You Could Only Come With Me,” and the appealing melody, “I’ll See You Again,” from “Bitter Sweet.” The record is undoubtedly interesting, introducing the interpretation of the composer himself. Noel Coward sings with feeling and warmth.

Sir Charles Stanford’s rollicking song. “Father O’Flynn,” is a happy choice for a recording by Peter Dawson, and he sings it with a spirit and a will. It is a song just suited to his voice and temperament, and he brings out vividly the character of the fine old Irish priest. “Father O’Flynn” is one of the very best of modern ballads, and as a ballad singer Dawson has few peers. The companion number is “When the Guards go Marching By” (Barker), and Dawson makes a stirring thing indeed of the march-like refrain. In both songs he receives

splendid support from a competent orchestra, and the recording brings out the resonance of his robust voice.

In the “Potpourri d’Alain Gerbault,” Yvonne Printemps exerts the full charm of her personality, and her warm voice is admirably adapted to the requirements of all moods. The selection embraces several songs, one of the most captivating of which is at the end of side one, “II y a des souvenirs.” Her voice is very mellow and sympathetic, warm quality permeating all she sings. Towards the end of the second side, the famous French artist sings with feeling “One Fine Day,” from Puccini’s “Mme. Butterfly,” immediately followed by “I Kiss Your Hand, Madame.” The orchestral accompaniment is conducted by Raoul Lapis, who arranged the selection.

The stated policy of the New Zealand Broadcasting Board is to exclude advertising and controversial matter from its microphones. The fact that Messrs. Forbes and Coates are heard on a hook-up of all the YA stations broadcasting distinctly controversial statements, while Opposition members are refused the same privilege, brings the Board under fire. Actually the Board is not to blame. The license issued to it by the P. and T. Department compels it to broadcast statements—however controversial—and advertisements for any Government Department, and it is the regulations, not the Board, which Mr. H. E. Holland should tackle. When it comes to advertising, the Board is not so blameless, as undisguised publicity is put on the air for all kinds of societies apart from departments.

The beautiful lyric tenor voice of Tito Schipa is heard in two Neapolitan songs, “Napulitanata” (“Fair Maiden of Naples”) and “Chi se Nne Schorda Occhiu!” (“Oh, How Can I Forget”). Both songs have infinite appeal. Both have captivating melodies and fascinating rhythms, and Schipa gives them life. The Neapolitans have a wonderful heritage of song. Every activity of their life has been transplanted into song, and from this boundless musical treasure, the Italian singers, such as Caruso, Gigli, and Schipa ,have recorded many fine examples. These two latest examples ■will assuredly be welcomed by those who have in the past come into contact with Neapolitan music. Schipa sings them with sincerity and conviction, in- , fusing them with delightful sentiment. His wonderful voice is responsive to every moed of words and music, and he is supported by a first-class orchestra. There are attractive melodies in “The Merry Teddy” <Pata) and “Doll and Show'inan" (Siede) which are played by Ferdy Kauffman and his orchestra. Like Marek Weber's orchestra. Kauffman's combination has made a name for itself in the presentation of attractive music which is neither “highbrow" nor “lowbrow.” They serve a large following with music that all can understand, but few indeed would care to despise. These two pieces have distinct merit, and their catchy tunes should be widely popular. The orchestra is assisted by a Wurlitzer organ, and the combined effect is most satisfying; and pleasing.

| No violinist obtains greater sonority of tone than Micha Elman, who has recorded “Serenade,” by Drdla, and |Drigo’s “Les Millions d’Arlequin.” Both these melodies are well known | examples of those exquisite trifles in : music which have gone a long way to give music a wide appeal. Even the most untutored mind is able to comprehend the themes at first hearing, and familiarity enhances their appeal. In both numbers Elman achieves a wide range of tone colours, and his phrasing and general conception of the melodies are convincing and artistic. The net result is a record of distinct charm as well as a beautiful example of the violinist’s art. The piano accompaniment gives the violinist adequate support, and has been excellently reproduced.

Two famous waltzes, “Blue Danube,” by Johann Strauss, and Lehar’s “Gold and Silver,” have been recorded by Marek Weber and his orchestra. These richly-romantic, lilting melodies are played with an irresistible rhythm by the orchestra, which has deservedly achieved popularity for its recordings of Viennese waltzes. There is a grace and charm about the Viennese school which is distinctive and unique, and Weber brings out the magic of their music. The “Blue Danube” is easily the most famous of all waltzes. It was one of the forerunners of its type, and still retains its popularity and eminence. The orchestral tone in these two fascinating numbers is excellent.

The Cedric Sharp String Sextet have recorded two delightful little compositions by Drigo—“Valse Bluette” and “Les Thesors de Columbine.” Drigo has a large number of popular songs to his credit, and his instrumental music has had a wide appeal. The sextet, which is led by Cedric Sharpe, the English ’cellist, who has recorded several solo numbers, is a well-balanc-ed combination, and the ensemble tone is particularly fine. It has both body and richness, which have been caught up by the recorders, and these two tuneful little works are played with infinite charm. This is an excellent record for those wishing to become acquainted with chamber music.

Marguerita Carlton, a young contralto with an unusually rich voice, is heard in two old songs, which she enhances with her artistry. The fine old Scottish song, “My Ain Folk,” which is sung with organ accompaniment, is interpreted with understanding and sympathy which make its sentiments very real. Every note is clear, and in the lower register there is not the slightest trace of heaviness. Miss Carlton discloses her wide range in “Beloved, It is Morn,” which is sung with piano accompaniment. Here again there is a ring of sincerity and artistic use of light and shade. There is no doubt that the singer’s voice is admirably suited for the gramophone, and not only are her notes clear, but her enunciation enables every word to be heard.

The Boston Symphony Orchestra, conducted by Serge Koursevitzky, gives Haydn’s “Surprise” Symphony in six parts. After the short introduction a most enjoj'able performance of (Andante Cantabile), the famous Russian composer imparts tremendous vitality into the bright and vigorous Allegro Vivace. The Andante, with its dreamy and melodious theme, is charmingly played, and the repetition of the principal theme fortissimo is done with splendid effect. Charming and delightful as the Minuet is, it certainly does not lack in animation and spontaneity. The Allegro di molto bubbles with the joy of life and boundless brightness. The recording of the symphony is complete.

The young Polish pianist. Vladimir Horowitz, in his playing of the LisztBusoni transcription of Paganini’s “Etude in E Flat Major” leaves no doubt as to his technical resources—they appear to be infinite. But he has more than technique; he has superb vitality. He plays the “Etude” with a bold freedom which reminds one of his countryman, Paderewski, and like Paderewski he never allows his theme to lose its significance. His second piece is Debussy’s “Serenade for the Doll,” from “Children's Comer Suite No. 3,” which is played with a deep understanding of the composer's idiom. Horowitz’s playing lives as much in a rhythmical freedom as it does in finely articulate line—it liberates the imagination— and for this reason his Debussy is especially interesting. There is little doubt that the record will make a deep impression, and his future recordings will be eagerly awaited. The complete new recording of Verdi’s “Trovatore” introduces a strong all-Italian cast, including Apollo Granforte as Count di Luna, Maria Carena as Leonora, Aureliano Pertile as Manrico, and several excellent artists in the smaller parts. The principals are responsible for a high standard of singing, whilst the members of the La Scala Chorus, under the direction of V. Veneziani, greatly enhance the excellent performance conducted by Carlo Sabajno. The favourite arias, such as “Tecea la notte," “Stride la vampa." “II balen,” and all ensemble numbers, including the “Miserere," are admirably interpreted. Maria Carena’s singing of “D'amor sull* ali" is very artistic. The opera is recorded in thirty parts with an album containing a book of English and Italian words.

Fredric Lamond, one of the few remaining pupils of Liszt, plays his great master’s “Feux Follets” (“Will-o’-the-wisp”) from the famous “Etudes d'execution transcendante,” which also comprise the "Harmonie du soir” and the F Minor etudes. Liszt composed this set of twelve etudes, op. 1, about 1826, at the age of 16, the influence of his teacher, Czerny, being strongly discernible. They were completely rewritten and republished in 1852, showing a remarkable artistic, as well as technical, development. The original “Feux Follets'’ etude was, according to Huneker, “a mere trifle in the manner of Cramer, but the final version is of the most remarkable transformations extant, and perhaps the best study of the entire series, consistent in point of musical design, and full of delicate technical contrivances.” Rubinstein’s Barcarolle in G Minor is very pleasing, possessing a romantic under-current, which is decidedly pleasing. There are very few recorded works of Rubinstein, so that the “Barcorolli” should be welcome in both works. Lamond presents a very authoritative interpretation.