The Gramophone Corner

Star (Christchurch), Issue 17881, 24 June 1926, Page 6

The Gramophone Corner

© By Turntable © jjj

Every graraophile enjoys going back over old catalogues in search of favourites. This quest is much like that of the bibliophile and often results in finds of remarkable value.

j I have been going back over a Columbia catalogue and amongst the singers I sorted out were Jose Mardones, Maria Barrientos, Rosa Ponselle. Ilipolito Lazaro and Eugenie Bronskaja. These singers arc all possessed of remarkably fine voices and the three sopranos represented are de-

lightful. Of the three Maria Barrientos has the most beautiful voice, capable of wonderful results and of amazing sweetness and purity. Rosa Ponselle, who, by the way, recently comjnenced recording for H.M.V., is notable for the glorious roundness and quality of her voice. She has a very wide range. Eugenie Bronskaja’s voice is chiefly remarkable for its strength and sweetness. Too often singers give away tonal purity for volume, but this artist has both qualities aplenty. Discs by any of the above-mentioned artists are worth hearing if you have not already stored one or two in your cabinet.

Bands, generally speaking, record well, but special mention must be given the Homochord Military Band’s recording of “Trial by Jury” (Suilivan), which is as good a band record as T have heard. Perfect balance and amazing volume make it an outstanding number, whilst the sprightliness of the melodies must inevitably appeal to all. Cavalier 11. Solloway is a violinist who certainly will make many admirers. Ilis technique is marvellous, his execution excellent and his broad tone beautiful. “Gipsy Airs” (Sarasate) and the Adagio movement from Brahms's Sonata in D Minor make up his latest IlomochOrd record, which has just reached Christchurch. “Gipsy Airs” is the more striking of the two. Those who hear this disc will be delighted. Emmy Heckman Bettendorff is easily one of the finest sopranos at present recording, and Parlophone are lucky to have such a good

artist on their list. Her best-known record and probably* her best is “Senta's Ballade,” from the “Flying Dutchman,” a song which is recorded on both sides of a. 12inch disc. Among the latest issues on which she is listed is a disc on which are duets with Emma Bassth, both selections be-

mg from Humperdinck’s “Hansel und Gretel.” It is not possible to draw any distinction between the two sides of this record, on which are recorded “Dance Duet” and “Evening Prayer.” The soprano voices of both artistes blend perfectly and the recording is excellent. Robert Howe, bass-baritone, has a \*oice which, besides recording well, is notable for its purity, sweetness and l volume. He has been, heard on Columbia and Homochord discs .before now, and on both he has attained a measure of popularity that is a tribute to his fine artistry'. His Parlophone records, too; -are of outstanding merit and have added to his list of admirers. “Down Zummerset Way” and “The Song of the Waggoner” (Parlophone) are two songs which suit him and make up a 12inch disc which is sure to prove popular. Saint-Saen’s “Le Cygne” is one of the daintiest pieces that that master has composed. It is given a delightful rendering by the Marek Weber Trio (violin, harp and Mustel organ) on a recent Parlophone issue. Its companion number is Massenet's “Meditation” from “Thais.” a popular and beautiful melody. This 12inch disc may be recommended.

Gertrude Meller has already . been mentioned several times in these columns for her delightful pianoforte work. Her style is distinctive and her execution brilliant. Her latest Homochord recordings are: “Impromptu in G, No. 3” (Schubert), and ’‘Paraphrase de Concert”-I*Eugene 1 *Eugene Onegin” (Tschai-kowski-Pabst). With the new method of recording the pfano comes off exceptionally well.

One has only to hear a modern record of a dance played by one of the foremost syncopated orchestras to realise that here is something vastly different to the jazz of a few years ago. Specialisation has resulted in the development of a marvellous technique and an equally remarkable facility for thinking out new effects and transforming humble little Cinderellas of tunes into radiant fairy princesses. It is music for the million, easy to understand, and as befits the youngest of the arts, it brims over with vitality, fun, and high spirits. In its quieter moments it is frankly sentimental and “glories in the fact.” Vet it has developed with such rapidity that a new type of composition “Symphonic Syncopation.” is not only coming to the fore, but has undoubtedly come to stav. Its oustanding characteristic is its broken (syncopated) rhythm, and it demands a larger orchestra than dance music. George Gershwin’s “Rhapsody in Blue” (recorded for 11.M.Y.) is a very good example of what is meant. Verdi has been dead for a quarter of a century, and his five-act opera “Rigoletto” won out in Venice and Bondon over fifty years before that. It needed a big dash of 1926 enterprise and courage to decide that “Rigoletto” would be a practical proposition_ in Fox-Trot form. Bert Ralton, of Havana Band fame, leader in the art of syncopated music has “fox-trotted Verdi's great composition in record form exclusively for the Columbia. This unique disc will arrive here, shortly, and should be a big draw among the many who heard Ralton apd his live band play this, during their recent tour in this part of the world. lie is, by the way, a master of that much discussed and often abused instrument, the saxophone, and it will be interesting to follow his manipulation of it in his novel Verdi translation. a

English folk songs, madrigals and ballads have their intrinsic appeal. They call for sympathetic handling and naturalness in interpretation, and it is here that J. Dale Smith holds a prominent place. His baritone has. many fine qualities and it is well suited with the seventeenth century “Since First I Saw' Your Face” and with Keel's fine ballad, “ Helen of Kirkconnell.” These make a Columbia record certainly worth having when this type of singing is desired. $$ Jamieson Dodds (baritone) has probably' never been better recorded than on the Parlophone disc of the Toreador Song from “Carmeri” (Bizet) and "Yeoman of England” (E. German). He has a magnificent voice which is heard to advantage in “The Toreador.” This is a remarkably fine performance and would be hard to better as an English rendering. One of the outstanding features of his singing is the excellent diction. “Yeomen of England” is too old a favourite to need any recommendation. One need say no more than that this is a most satisfying rendition. It is a 12inch Parlophone disc. An old Columbia disc which has gained many friends and which is sure to gain many more is “Gypsy Rondo,” from Finale, Trio,

No. I (Hadyn) and “Aubade D’Avril” (Eugene Lacroix), which is played by one of the best trios recording at the present day r , Arthur Catterall (violin), Wil’iam Murdoch (piano) and W. H. Squire (’cello). In this disc their work. is excellent, whilst; the music is of such 1 a character as al-

to command admiration. One cannot praise this delightful recording too highly. Arthur Catterall, however, may be given special mention as one of Britain’s best champions of the bpw. The Lener String Quartet's version of Brachin’s Quartet in A Minor is an important addition to the already* big series of Columbia classics and will be welcomed by lovers of chamber music partly because it is tvoical of the composer’s lighter work and partly on account of a fine combination of playing and recording. Much of Brachin’s instrumentation in his orchestral productions is stodgy, but his A Minor has a pleasing mixture of both Mendelssohn and Beethoven principles, coupled with themes that are typically his own. The dramatic first subject seems to favour the Beethoven manner, while the flowing rhythm of the second is very' suggestive of Mendelssohn. The Minuet, recorded in parts 5 and 6 of this S-part work, is beautiful in every sense, while the syncopation in the Finale, is notably successful. Throughout the many important passages for violin and ’cello are brought out with exact strength.

One frequently hears gramophiles complain that the English language is quite unintelligible on the records, and this complaint has considerable foundation. The fault, however, does not always lie with the record. In the majority of cases the singer is at fault. In this respect it is interesting to compare Italian singers, for instance, with British. In alrnost every instance the British artist’s diction will prove faulty'. Miriam Licette, the sweetvoiced soprano, who sings for Columbia, has made some verv attractive records of operatic arias, but she shows a careless indifference for diction and pronunciation and completely spoil some of her discs. And there are several other notable artists who might take a lesson from Tohn Mac Cormack, whose pronunciation and diction in English/ Italian and German songs are remarkable. Robert Howe, the English bass baritone, who sings for Parlophone and Homochord and who at one time recorded for Columbia, is an outstanding example of clear pronunciation and good diction. Arthur Jordon, whose voice is heard to such advantage in the Hebridean songs he has recorded for Columbia, is another artist who could "ive lessons to some of his fellow's. Generally the failure to pronounce and enunciate words clearly when singing appears to lie ■with women. It was left to the Kedroff Quartette to initiate music lbvers generally and gramophonists in particular into the possibilities and beauties of Russian concerted singing, which until then was almost an unknown quantity. This combination, comprised of “stars” from the Imperial Opera in Petrograd, is to-day one of the most popular in celebrity concerts in England. The Columbia record of their singing in “The Church Bells of Novgorod” and "A Life for the Czar” proved to be one of extreme value and novelty, an unusual example of part singing on its highest level. This faculty of the Kedroff combination is further evidenced by their newest record, which has two typical old Russian songs “Serenade Melancholique” and “Ilia Murometz.” This fine disc recently issued has much to recommend it.

It is some time since w r c have a hew pianoforte recording by Moiscivitsch, and there is no sign of -any coming forward. This is a pity, for in the writer’s opinion there is no finer recording artist than he. There may be better on the platform, but there is no question about his excellence in the recording room. The best record by' Moiscivitsch is' Ravel’s “ Jeux d ear. ” (H.M.V. D. 58), which is without question the finest example of pianoforte recording I have ever heard. It is far preferable to Cortot’s rendering of the same number, which is too hard and brilliant and altogether lacking in that delicate rhythmic treatment imparted by' Moiseivitsch. The pianist does not once forget to keep his muscles under control and not one trace of the hardness produced by rigid wrist play'ing can be found. Next to this record I would place the “Psrpetuum Mobile” of Weber (D. 735), in which record the piano tone is splendid, and one cannot fail to notice fhe smooth, even progression of the notes. In his record of Debussy's “Clair de Lime” (D. 59). the tone is good and the “Jardins sous la Pluie” on the reverse side is a "wonderful piece of recording. His playing of Scriabine's “Nocturne for the Left Hand Only'” has a fine depth of tone. Another excellent record by Moiseivitsch is H.M.V. D. 588, Chopin’s “Waltz in G Flat Major,” which is very well recorded, the staccato notes being pleasing to the. ear.

The new Homochord discs are made under new recording prcf-essfe* and. needless to sav, the results are excellent. The surface is much better and the reproduction greatly’ improved. The latest lists have just been issued.

Those who are interested in musical progress are fully aware of the valuable services which have been rendered by Sir Landon Ronald. It is accorded to him that he has done much towards making good music popular with the general public. Unfortunately'. Sir Landon’s health is not so good as could be wished, and he has. been compelled to cancel his engagements. These circumstances give a fillip to <a story which has been going the. rounds. It seems that Sir Landon Ronald on one occasion went on a country walk with Sir Edward Elgar and Sir Frederic Gowen, and that in order to recurc some souvenir of the occasion the famous trio visited the local photographer. It was duly impressed upon this personage that the required photograph was for purely private purposes, and was not to be used for publication. The puzzled phbtograher inquired, “Well; who are ye all anyway?” On being informed of the identity of his prospective patrons, the man calmly' remarked. “Well, I’ve never hoard of any of yer, so that won't matter much, will it?” Sir Landon tells the story, and it will be agreed that it is worth the telling. k Arthur Jordon as a tenor is not “ magnificent ” or phenomenal in any way. but still invariably worth listening to. His voice has an attractive timbre and undoubtedly good tonal quality, and he is successful in a number of recently pressed Columbias giving a variety of old fa\-ourite songs. He has vocai power well in hand, and always exhibits an earnestness in delivery that has much to do with the good results he gets. In all of the following he is heard to fine advantage: -—“ Eleanore ” (Coleridgc-Taylor) with impressively good piano accompaniment; “The Lord is My Shepherd” (Walford Davis’s setting), in which Rei lies’s violin obligato is beautifully played; Messiah Selections—“ The Rebuke ” and “ He Was ’Cut Off,” each with orchestral accompaniment. •*: As a violiniste Edith Lorand is one of Parlophone's best artistes. Her brilliant work in

the trio bearing her name and also in her orchestra have gained for her well-deserved popularity and lias placed her in the forefront of modern instrumentalists. This beautiful Hungarian has a broad and beautiful tone which makes her records particularly desirable. Two

recent issues of disc? by her orchestra are “ Japanese Lantern Dance ” (Joshitomo) and “ Mah-JOng ” (Jara Benes), and “In a Chinese Temple Garden” (Ketelby) and “Sanctuary of the Heart” (Ketelby). The firstnamed disc is the better of the two, though “In a Chinese Temple Garden ” is most attractive with its Chinese vocal effects; i t makes striking hearing. “ Sanctuary of the Heart,” a sweet melody, is spoiled by a contralto who sings flat throughout. In both discs the violin playing of Miss Lorand is distinctive.

There are many fine little gems in the folk songs of Italy', many of which have been recorded by Caruso. “Mamma mia, ee vo’ sape’ ” is a popular favourite. The words arc by Fovdinando Russo. “Perche?” on the other side, is a very' good song, and one of Caruso’s own favourites, writes C. J. M. in' the “Dominion,” Wellington. He sing? all three verses, which are addressed to Carme. She has stolen his youth—why does she not return to him?. He too is advised bv his friends to forget her, but it is obvious that this counsel also has fallen on deaf oars. “’A vucchella.” which mean “little mouth,” is written by Gabriel d’Annuiizio, and is all in charming diminutives, simply asking for a Ifttle kiss from that little mouth that is like a little rose, a little faded. In “Cielo turohino” the singer praises the sea under the sun, the moon, and the stars, but—what is the good of it all ?—Rosina won't make up her mind. “Luna d’estate, ” a melodious Tosti song and “Viene Sul mar,” which is no other than “Two Lovely Black Eyes” Italianised, are not particularly Neo poll tan, but both are in Caruso’s best manner, and the latter has as “Pimpincla” on the .other side. Gigli’s “Surdato inamorato,” De Luca’s “Nuttata’e Sentimento,” de Gorgorza's “Comme se cant a a Napule,” are all splendid records, and all have something good on the other side. John M’Cormack’s “Carme” has had a great success with the Italians who have heard it, though they regret that with his perfect pronunciation of Italian he does not attempt to sing it in dialect. Tita Ruffo’s great voice; is heard in “Maria Mari.” a very popular ; song and “Torna a Surriento,” which everybody knows.