Gems of Recorded Music

Timaru Herald, Volume CXXXVII, Issue 19668, 9 December 1933, Page 10

Gems of Recorded Music

Latest Vocal and Instrumental Discs

The London Palladium Orchestra’s latest recording is of “Choristers' Waltz," by Phelps. This is a bright and sparkling waltze neatly played. “Second Serenade,” by Heybens, on the reverse side, is a totally different type of composition in four-four time with a lilting melody. The New Mayfair Salon Orchestra is heard in Toselli’s “Serenade.” The vocal refrain to this is a long one, and the singer is evidently a soloist and not a chance singer. “Song of the Nightingale,” by Ailbont, has bird-voice effects and the same singer giving the tune. Marek Weber and his orchestra's December offering is a selection of tunes from “Countess Maritza.” This Continental operetta has charm. One wishes, however, for some quiet passages. There are violin solos and some clever ensemble passages. Vladimir Horowitz has recorded Liszt's "Funerailles.” The gloomy funeral bell effect at the opening and the beautiful and mysterious chord passage set the atmosphere of the work. Horowitz gives a most interesting interpretation, and the work is very well recorded. When one hears a Liszt work which is not a rhapsody or a display of clever musical fireworks, one is amazed at the beauty that creeps in through the music. Liszt is, of course, remembered mostly as the creator of orchestral piano-playing and of the symphonic poem. Chopin, who shrank from concert playing, once said to him, “You are destined for it. You have the force to overwhelm, control, compel the public.” All his revolutionary ideas found vent in his pianistic achievements. We remember with admiration the reports of his marvellous playing, the fulness of his chord power, his dynamic variety. His highest ambition was, in his own words, “to leave to piano players the footprints of attained advance" in piano playing. His piano paraphrases and transcriptions are thoroughly his own tone creations.

The lesser known works of Liszt, less frequently played, such as "Funerailles.” make interesting contrasts to the bigger works. This disc by Horowitz should be of musical worth to pianists who are not acquainted with the work.

For the children for Christmas the following records by George Baker and Uncle George's party was suitable:— Songs from “When We Were Very Young,” “Hums of Pooh.” Nursery Rhymes, and “Visit to the Zoo” (recorded in Zoological Gardens, London).

Christmas hymns and carols recorded are: “Adeste Fideles” and "The Palms,” by John M'Cormack; “Open the Gates of the Temple" and “Star of Bethlehem,” by Richard Crooks; "Holy City” and “Better Land,” by Essie Ackland; "Messiah” “Hallelujah Chorus” and “Gloria” from "Twelfth Mass,” by Trinity Choir; "Good King Wenceslas” and 'Christians Awake.” by St. Swithins Choir; “Nativity of Our Lord” and "Sermon on the Mount,” by Lewis Casson; “Still Night, Holy Night” and “O du frohliche, O du selige,” by Marek Weber's Orchestra; “Christmas Melodies by the Fireside,” by Mayfair Orchestra; “Christmas Oratorio,” by Philadelphia Symphony Orchestra; and “St. Margaret s Chimes" and “Big Ben,” by chimes and organ.

Christmas records have already arrived. Walford Davies’s charming little carol, "O Little Town of Bethlehem,” as sung by Master Dennis Barthel, makes a most attractive disc. This simple hymn is followed by the more difficult “Jerusalem,” by Parry, where sustained singing shows the boy singer’s control of phrase and sentence.

Two Christmas hymns, “Christians Awake” and "Hark, the Herald Angels Sing, ’ have been put on a record by the Royal Choral Society conducted by Dr. Malcolm Sargent. The first hymn, which is always arresting and fresh each Christmas, is splendidly sung. “Hark, the Herald Angels Sing” has its second verse accompanied, a most effective proceeding.

Gounod s “Nazareth” has been sung by Richard Crooks. The tempo of the opening phrase is slower than Is usual with this song, but the singer picks up the time in the second verse. “The Rosary,” by Nevin, is on the second side. “The Holy City” and "Star of Bethlehem,” by Adams, are a second recording by this singer. The orchestral and organ accompaniments add to the effectiveness of the records.

Four Enjoyable Records: There are many ways of displaying works of art. The European way is to smother a wall with pictures. A Japanese connoisseur keeps his pictures in a treasure-room and exhibits them to favoured guests, one at a time, with flattering ceremony. Most people will confess that they like to enjoy the new gramophone records as a Japanese enjoys pictures—in small numbers. Here are four fine records.

The first Is of Beethoven’s C minor Symphony. It has been recorded before, and it Is constantly played in the concert-room, with the result that many people are beginning to avoid It. Here it is recorded by the London Philharmonic Orchestra, a splendid body of men, and Dr. Felix Weingartner, whose almost military precision is a wholesome corrective for works suffering from undue familiarity. That first movement is one of the most magnificent examples in all music of evolution from a simple theme. It is all contained in the first four notes.

Next comes an abridged version of Puccini’s "Madam Butterfly” in 12 selections on six records made by Rosetta Pampanini and other artists of La Scala with the Milan Symphony Orchestra under Vittore Veneziani. One does not easily tire of “Butterfly,” or, for that matter, of any of Puccini’a best operas. It is not only the quality of the music. He had an uncanny flair in devising the right music for any dramatic situation. Take the “Vigil” for Instance. Musically it is very simple, but there are few things as poignant in all Italian operas.

And the third new record is that which Joseph Szigeti has made of Bach’s unaccompanied Violin Sonata in A minor, the third of the famous six. For years critics have regarded Szigeti as one of the few real giants of the fiddle. If he had more talent for showmanship it would be general knowledge, but there are some artists who are shy of putting their wares In the shop-window, and he is one of them. But here he cannot help himself.

Another fine record is that of the Variations and Rondo from Mozart's great Serenade for 13 wind instruments, played by the Berlin State Orchestra under Dr. Leo Blech. The work has a strange history. The greater part of it exists in the form of a string quintet dated January, 1768, when Mozart was not yet twelve years old. But even then the quintet bore evidence of having been adapted from a work for wind Instruments. Then, in 1780, at the ripe age of twenty-four, he turned the quintet into a Serenade, added a movement or two, and scored it for 13 instruments. It is delightful music—a record to treasure. ON KEEPING COOL. Living rooms will be cooler if you suspend a wet sheet over open windows and doorways. Take away any superfluous draperies, as these only help to make rooms stuffy. Some people keep all bedroom windows closed during the hottest part of the day, opening them only at night. Gauze sheets hung across whidows are a good plan to keep out mosquitoes from bedrooms. Citronella oil is worth trying as a perfume. The main meal should be eaten in the cool of the day. preferably at about seven in the evening. Cooling drinks should be sipped, not gulped, and should be drunk between meals, not with them. Ants can be kept at bay by rubbing over all larder and storeroom shelves with carbolic solution and keeping saucers of oil of lavender about the kitchen. Wrapping the legs of cupboards and tables with rags soaked in caster oil is another useful lip often used in hot countries. A good way to keep butter sweet for cooking is to clarify it and store it tn a jar in the larder. If you do this only just sufficient "eating" butter need be ordered and kept in the cooler.