Gems of Recorded Music

Timaru Herald, Volume CXXXVII, Issue 19626, 21 October 1933, Page 14

Gems of Recorded Music

Latest Vocal and Instrumental Discs

The Ministrel Singers have preserved the true Christy minstrel tradition in a selection which includes such tunes as “Old Black Joe,” "Driven From Home,” “Just Before the Battle," and others Just as well known.

The Squire Celeste Octet has made many records during the past few years, and almost every monthly list sees additions to its repertoire. The latest offerings are Drigo’s “Valse Bluette” (“Air de Ballet”) and the evergreen “Narcissus,” both of which are played as only the Squire Octet can play.

Yehudi Menuhin's remarkable technique is shown to advantage in the Weiniawski “Scherzo Taranteliel,” wjrich dances from his violin so brilfantly that one unhestatingly praises him as a mdst clever virtuoso. Clean finger work and bowing are needed in this rapidly moving concert piece and both are oresent in Menuhin’s recording. Schubert's “Ave Maria,” arranged by Wilhelmj shows lovely tone on the low strings and some true double stopping. The disc is a well contrasted one.

Of the two pieces. “Slumber Song," by Schumann, and Rubenstein’s "Melody in F.” by Mark Hambourg, the latter is the more successful. The Schumann piece is very metronomic for this artist. A realistic piano tone s reproduced in both numbers. The disc is made under the new piano recording process.

A wild composition of the “Ballet Egyptien” type, though not so successful in use of Instrumental colour, is “Tartar Dance,” by Spialek-Woodin. It has, nevertheless, effective drumbeats, dramatic passages in unison, sudden pianissimos, and minor melodies in sequences. Miller-Woodin’s

“Lamente for the Unknown Soldier," which is strongly reminiscent of Grieg’s “Death of Ase,” and has a march-like middle section, is on the second side of the record. The orchestra which attacks the first work with a will that is infectious is the Salon Orchestra, its conductor Nathaniel Shilkret.

Mischa Elman plays a very beautiful “Valse Sentimentale,” by Schubert, arranged by Franks. Marked by the rhythmic swing of Johann Strauss's waltzes. Schubert's composition is really “sentimental” In its elusive wistfulness and atmosphere of sadness with which It is strongly pervaded. The lovely “Traumerei,” (“Scenes from Childhood”) hardly requires an introduction, and it is only necessary to comment on the compelling beauty of the tone of Elman's violin, the artist playing the dreamy melody in utter repose. The piano accompaniments, played by two different pianists, are very w'ell recorded.

Of entirely different character from the pot-pourri reviewed last week is the “Chopiana" arranged by Silberman and played by Marek Weber and his orchestra. It is a real •‘pot-pourri," for in the space of one record we have scraps of the polonaise In A major, A flat ballad breaking into the D flat piano waltz ((playing on piano for the running section, and therefore effective between orchestral arrangements), a scrap of the big scherzo, a portion of the first nocturne, berceuse, C sharp minor waltz, fantasle impromptu (also played on the piano for its rippling section), the revolutionary study, the second part of the funeral march, two waltzes played against each other, and a fragment of the biggest polonaise to finish up with—surely a representative collection. The Kneller Hall Musicians, conducted by Captain H. E. Adkins, play a selection of “Fanfares” in two parts, with verbal announcements. Most of them are by Britain's prominient composers, such as Granville Bantock. Roger Quilter, Arnold Bax. Walford Davies, Lord Berners, and Dame Ethel Smyth. The "Fanfares,” which were composed for the Musicians’ Benevolent Fund, are for various occasions, and range from royal, heroic, ceremonial, to humorous, as, for Instance, Roger Qullter's “Fanfare for Fun,” which is based on the nursery rhyme, “A frog he would a-wooing go,” or Dame Ethel Smyth's “Hot potatoes." founded on a bugle call of the same name. The record is quite a novelty, and, as the reproduction is excellent, It should prove very popular. The New York Philharmonic Symphony Orchestra, conducted by the great Willem Mengelberg, plays a delightful “Sinfonia" by Johann Christian Bach, one of the twenty children of the famous Johann Sebastian Bach. The work Is In three short movements, opening with a very bright allegro Assai, which very little resembles his father'* style, bu,t rather strongly reminds of Mozart in lightness and grace. The Andante Is very beautiful, and Mengelberg's master hand Is unmistakably evident In the handling of the winds, and In the delicate phrasing. The Presto is one of those Irresistibly bubbling and bright movements made familiar by Haydn. The delightful principal theme, heard again and again. Is pervaded with Infectious humour and spirit. The splendid performance is notable for Its artistic nuances and perfefet balance. The “Sinfonia” is recorded In three parts, and In the fourth the orchestra plays the wellknown majestic ‘‘Air'' from J. S. Bach’s Thlrt Suite In D Major, well known as the “Air on the G. String" for violin, arranged for the orchestra by Gustav Mahler.