The Gramophone Corner

Star (Christchurch), Issue 18013, 25 November 1926, Page 4

The Gramophone Corner

fj ® By 1

Turntable

Tke new self-adjusting Srtop on the H.M.V. models does not work there is a “run-in” line on the but a “run-in** line is being to nil the new pressings of old CSelsfesity records in the catalogue! a , 4l a great luncheon given in Lonhast month by the Columbia Comto demonstrate their new gramothe chairman stated that til QWB month no less than. 1,650,000 €@hgfebi& records had been sold, At tJlft game luncheon Sir Henry Wood that in his opinion the greatest that he had done was Part L pi tfee “1S12” record (L 1784), _ , S « « , records, a make new to Nfee? Zealand, will shortly be placed fen the market in Christchurch. These record*. made by the new process, have the • distinction of having most of the greatest European artists of to-day on their lists. * K X problem of synchronising films had records has been solved if we are to believe the reports of the demonstration of the Vitaphone in New York.

For ineet gramopbiles this Vitaphone idea presents no charms. The great advantage ©f the gramophone. fend of wireless is that you can enjoy the music without sitting in a crowded hall [ and without seeing the frequently tM« lovely methods of the performer o t performers: On the other hand* the great use ef this invention When perfected will he that appropriate tnusie for ordinary films can be recorded synchrpnically with the making of them, and can be reproduced in provincial cinemas on gramophones in lieu of the i usual scratch orchestra or piano* K S 5 « I Edith Lorand's orchestra (Parlophone) has given us many records to remember and treasure, and also many which we like because they are pretty alone. It is probably due to their commercial acumen that they seem rather to prefer recording the last type of record, when they might with credit give us much better-class music. Some of their classical discs were hard to excel, but they continue to sandwich in music of the saccharine kind. This class sells, however, and that, one supposes, must be the excuse. In this class is their daintily played intermezzo “ Vienna Breezes ” (Jean Gilbert) and “The Waltz Dream" (Oscar Strauss). The interpretation is excellent and the record may be recommended, but it is their artistry in this that makes one wish for something more worthy of their attention. Some time ago I recommended George Baker’s recording of Verdi's “ Credo " from “ Othello," a Parlophone disc, which has the admirable solo, “ II Balen," from the same composer’s “II Trovatore," on the reverse side. Baker has a voice of singular beauty of tone and dramatic power. These qualities are well to the fore in this recording and the advice to hear the disc is here repeated. “Twelve German Dances" (Beethoven) is the title of a new Parlophone recording by the orchestra of the State Opera House, Berlin. Only seven of the suite have been recorded on this disc, taking both sides, but they are seven gems of which the orchestra, under the conductorship of famous Dr Weissmann, gave a magnificent interpretation. This is an outstanding example of the interpretative ability of this famous organisation. The colour and balance are p.erfect. Another example of their work is afforded in “ The Gypsy Baron" overture (Strauss), which occupies both sides of a twelveinch disc. This is one of the almost too numerous works of Strauss, a composer of small ability. “He chose an attractive line of goods," said a reviewer recently, “and delivered them well. That is as good an epitapji as most of us can aspire to." The orchestra, conducted this time by Bruno Weyersberg, gives a good, clean performance of this number.

A more than welcome return to London U that of Emmy Destinn, a distinguished liIEV; artist; Her re-appcar-ance after all these years of absence ■will be a wonderful stimulus to memories of those glorious days before the war when Destinrij Caruso, Scotti and others sung at Go vent Gardeii: London always had a particular affection foi* Destinn* and it was she Who first created the role of Madame Butterfly'* ill Puccini's opera irt London. Destinn “created** the leading soprano foies o t many important operas, including besides that of ‘‘Madame Butterfly' 1 in London, the rote of Minnie in “TheGlrl of the Golden West.” She sang this part with a brilliant cast, including Caruso, Amato and liomer. Destinn is reported to have received the highest fee ever paid to a singer (£2500; fox* .giving a concert in a den of Hons. She certainly deserved it! We may look forwarcl now to hearing some new records from her. « Jean Lensen and his orchestra can be relied on to give good music always. Their subjects arc well chosen and their interpretation refined. This combination's latest recording contains “None But the Weary Heart Rejoice" (Tschaikowsky) and “Les Tresors de Columbine"—Petite Air de Ballet (R. Drigo). Drigo’s little gem is delightfully played, its graceful music being full of charm. The sombre beauty ot Tschaikowskv's composition is given a remarkably faithful interpretation and the record may be confidently recommended. Stuart Robertson, that fine, bass, who has made so many friends with his Duophone records, I announced some time ago, would probably tour Australia and New Zealand with Dame Nellie Melba. Private advices received in Christchurch by the last English mail state that he will probably sail for Melbourne in January. II is voice, which Melba heard at a concert, is of the basso profundo variety, very powerful, but sweet withal. His Duophone records are “Myself When Young” and “The Roadside Fire” and “Pals of Yesterday” and “Sea Fever.” The almost unbelievable strides that have been made in recent times in the direction of the perfection of the modern gramophone were made clear at, a recent recital in England. If any doubt remained as to the gramophone’s having passed out of the classification of mechanical music into that of the highest artistry (states a London paper), it was removed by this experience of a programme which enabled H.M.V. artists such as Galli-Curci, Caruso, Heifetz, Chaliapine, Backhaus, and Peter Dawson to be heard on the wonderful new process records so to speak, on the same platform with a general effect that almost conveyed the impression of their actual ! presence. In one or two cases the illusion was uncanrtv. All that was ( missing was the living entity. The individual tone, clearness of detail, both in diction and note, power, range, and t balance, were a revelation of perfected method. What the . gramophone is now open to do was demonstrated by the accompaniments of both the voice and the instrument by Mr H. L. Rink, the demonstrator, on the pianoforte, and by Mr James Tomlinson, the Pre'ston Corporation organist, on the organ, as well as by synchronisation, and by an arrangement which gave to a vocal setting of “Down in the Forest,” a 'cello obligato by Casals amidst the song of several nightingales. In this light the gramophone is an agency for musical culture of the greatest possible value. ♦.j j.j The “His Master's Voice” Company have never given us anything finer in pianoforte music than the renderings of “Liebestraume No. 3” (Liszt) and j the “Naila Waltz” (Delibes-Dohnanyi) (says a London critic). Although the pianoforte records the company are issuing are so amazingly good, we feel that this disc of Backhaus playing Dohnanyi’s transcription of the “Naila Waltz” is the most surprising record of the pianoforte yet produced. The real illusion of the pianoforte “being there” is achieved completely if the record is played on the new “Ilis Master’s Voice” gramophone. “Solveig's Song” is among the best known airs from Grieg’s “Peer Gynt,” and is a favourite with sopranos all over the world, but rarely does one hear it so well sung as on a recently issued Homochord disc by Madame Heckmann-Bettendorf, an artist who has gained world-wide renown. Her voice is of warm timbre and marvellous quality, and to hear it is to love it. Her other number is “Maria Weigenlied” (cradle song), by Regar, which she sings magnificently. This record, however, is chiefly valuable for Madame’s rendition of “Solveig’s Song.” The sustained flute-like passage at the conclusion is magnificently sung. H.M. Grenadier Guards Band has the reputation of being the best regimental band in the British Army. It is certainly in the list of “best” bands recording and its Columbia issues are always quickly snapped up by gramophiles. They have just made two rerecordings b}’ the new process of “Rigoletto” (Verdi) selections and “J 1 Trovatore” (Verdi) selections. The old issues have not been available for a long time arid these records are very welcome. The Selections include most of the bestknown airs from these two operas and should be heard by every gramophile. The selections call for master musicianship, which only a great band can give. Lieut. George Miller, who Conducts, gives us here music that glows, and the recording is astonishing in its, brilliance and purity of tone.