The Gramophone Corner

Star (Christchurch), Issue 18338, 15 December 1927, Page 11

The Gramophone Corner

By

TURNTABLE

As might be expected, the new Ilis Master’s Voice list for January, to be released earlier on account of the festive season, has a strong Christmas flavour. Christmas giving*, when one says it with music, however, need not necessarily be confined to records conveying a special Christmas note. Any good record, when it comes to that, is a good present. Nevertheless, there are many people who like to hear real Christmas music when the season of “ peace on earth, good-will towards men ” comes round. “ This Day Christ was Born,” “ Christie Qui Lux es et Dies” (Byrd), (a) “ O Lord Increase My Faith,” (b) “ O Clap Your Hands,” “ God is Gone Up” (Gibbons). H.M.V. C 1334—1337. These records of York Minster Choir were issued to coincide with the ceremonies and celebrations of York Minster’s thirteen hundreth anniversary. The recording was carried out actually ill York Minster. The performances recorded were made under the direction of Dr. E. C. Bairstow. Dr. Bairstow is well known to all who take a serious interest in music as one of the most brilliant musicians, and the fine singing which the choir gives us here will certainly uphold his reputation. Quite apart from the immense interest lent them by? - the fact that they were actually made in the historic Minster itself, these records will appeal strongly to all who take an interest in choral music. The music chosen is representative of one of the greatest periods in English music; for both Byrd and Gibbons were composers of Elizabethan times. « x The favourite artists of the D'Oyley Carte Opera Company, under the personal direction of Mr Rupert D’Oyley Carte, have made a re-recording of Gilbert and Sullivan’s most popular opera, “ The Mikado,” by the new electrical process. The result is really excellent, and miles ahead of the old process recording. The cast of the principals is as follows: The Mikado of Japan Darrell Fancourt Xangi-Poo (his son, disguised as a wandering minstrel, and "in love with Yum-Yum Derek Oldham Ko-Ko (Lord High Executioner of Titipu) Henry A. Ly’tton Pooh-Bah (Lord High Everything Else Leo Sheffield Pish-Tush (a noble lord) George Baker Yum-Yum, Patti-Sing, Peep-Bo (three sisters, wairds of K!oKo) Elsie Griffin (Doris Hemingway, Aileen Davies), Beatrice Efbum Katisha (an elderly lady, in love with Nanki-Poo Bertha Lewis. When we heard the recent H.M.V. recording of London choir boys we were amazed, particularly at the sweetness and purity of the boy soloist’s voice. This week Parlophone issue two similar records, sung - by the boys of the Hofburg Chapel Choir, Vienna, which cannot fail to make an instant success. Theif numbers are: “ Solveig’s Song ” (from Greig’s “Peer Gynt”) and “ Freude Ko'nigin der Weisen” (from Mozart’s Symphony No. 3), and “O Quam Sua\*s ” (Vinzens Goller) and “ Wer Flat dich du Shoner Wald * (Mendelssohn). The boys sing exquisitely and Josef Kaepplinger, the soloist, invests his singing with a depth of emotion unusual in a boy. Flis voice, too, in addition to .its evenness and quality is remarkably powerful. “Agnus Dei” (Bizet)—“Noel” (Adam). Sung by Maartje Offers (contralto), with organ, ’cello, and harp. H.M.V., DBGBO.

Maartje Offers gives capital renderings of two famous songs. Adam’s “Noel” (“Christmas”) is enhanced by harp and organ accompaniment (played by Herbert Dawson). In Bizet’s lovely melody, “Agnus Dei’’ (“The Lamb of God”), Maartje Offers’ beautiful voice

is supported by a superbly reproduced accompaniment, consisting of ’cello, harp, and organ. What a beautiful voice has Lotte Lehmann and, who, after hearing her “ Oberon ” number. “ Ocean, thou Mighty Monster ” (Weber), recorded in two parts by Parlophone, can fail to dip into his pocket for the necessary shekels? Mme. Lehmann, whose career as an operatic star has brought her world-wide fame, in this great aria gives a performance which fully justifies her position in the front rank of living operatic artistes. Her tone is superb, her delivery and diction magnificent. XXX Still another recording has been add ed to Parlophone’s Beethoven library. This time it is an outstanding performance of the “ Symphony in C. (“Jena”) by the Orchestra of the State Opera House, Berlin. The work, which takes up two complete discs, is splendidly performed by the Orchestra, which is under the conductorship of Dr Weissmann, and a wonderful sense of reality has been achieved. The recording is excellent. 5C *■» While public taste rare!}' errs in the long run. an exception must be made •in the case of Donizetti’s opera “ Lucia di Lammermoor.” Time and again famous singers have chosen for recording the excerpt from the Mad Scene and altogether overlooked the two lovely and inspiring arias, “ Regnavi nel Silencio ” and “ Quando rapita in Estasi.” However. Gughlielmetti, the famous soprano, has more courage and presents these numbers on a new Columbia disc. Guglielmetti has a soprano of rare delicacy and sweetness. What is more, she brings to her singing an artistry that adds infinitely to her charm, and makes us appreciate why she scored such a signal success art Covent Garden this year. Reproduction is beautiful, especially of the orchestral accompaniment to “ Quando rapita.” A word in season, however, if the first hearing disappoints you, play it again. I heard traces of surface noise that entirely ifisappeared at the second playing. Serei Rachmaninoff (pianoforte), in “Sarabande” (Bach) and “Impromptu in A Flat, Op. 90, No. 4” (Schubert). H.M.V., D. 8.1016. Rachmaninoff’s fame as a composer needs -no mention here, but it is not so widely known that in him we have, also, one of the greatest pianists of the day. His playing iS characterised by delicacy and a highly individual neatness of execution. Such delightful playing is well suited to the music" as that he has given us for this record. Bach requires a nimbleness of touch just such as this. If it be imagined that M. Rachmaninoff’s playing rs peculiar for its adroitness alone, the Schubert piece will reveal the error. Behind all he does i§ the sense of a great artist. Sufficient evidence of this will be found in the beautiful phrasing of the left-hand melody in the Schubert Impromptu. (This melody was. incidentally, one of the loveliest of those borrowed for the operetta “Lilac Time.”) Meta Seinemeyer, soprano, with the State Opera House Orchestra and chorus, sings three numbers from “ La chorus, singe three numbers from “ La Forza del Destina,” “ Son giunta, grazie O Dio,” and “ Madre, pietosa Vergine,” and “ Non m’abbandonar.” Meta Seinemeyer is the leading soprano at the Dresden Opera House. Already much admired for her exclusive Parlophone Records, her popularity will be greatly increased by her magnificent rendering of this famous aria. The realism of this dramatic Grand Opera excerpt is heightened by the fine performances of the chorus and orchestra. Emmy Bettendorf, soprano, with

piano, sings the Soqg Cycle, “ Frauenliebe Und Leben ” (“Woman’s Love and Life ”), Op. 42 (Schumann) : No. 1, “ Seit Ich Ihn Gesehen ” (“ Since I first beheld him ”) ; No. 2, “Er Der Herrlichste von Allen ” (“ He more knightly than the noblest.”) ; No. 3, “Ich Kann's Nicht Fassen ” (“ Ah, no! I cannot believe it.”) ; No. 4, “ Du Ring an Meinem Finger” (“Thou Ring upon my finger.”); No. 5, “ Susser Freund, du Blickest mich Yerwundertan ” (“ Sweetest Friend, why gaze on me with wond’ring eyes.”); No. 6, “Nun Hast du Mir den Ersten Schmerz Gethan ” (“ Now hath this heart felt a bitter wound.”). It is hard indeed not to write what appears extravagant praise of these records, for in this glorious Song Cycle are some of the world’s greatest songs sung by one of the greatest of lieder artistes. Emmy Bettendorf is here provided with a truly worthy vehicle for the display of her unique powers. Her lovely voice and delicate artistry make these Parlophone records indeed a life-long possession, to be studied lovingly and treasured always by lovers of music. The most noteworthy addition to recent orchestral recordings is that of Paul Dukas’ “L’Apprenti Sorcier,” is sued by Columbia in three parts. Dukas was born in 1865, and though he has composed several operas and symphonic works, “L’Apprenti Sorcier'’ remains his most popular composition. The sorcerer's apprentice, during his master’s absence, commands a broom to bring a bucket of water. The order is at once executed and repeated, because the apprentice had forgotten the magic word to stop the broom. In a frenzy of excitement be grabs a hatchet, and splits the broom in two, only to make matters worse. .“Woe, oh woe! Both the parts quick as darts stand on end, servants of my dreaded foe. O, ye Gods, protect me! And they run and wetter still grow the steps and grows the hail! ” The house is becoming flooded, until at last the sorcerer appears and commands the brooms .to stop. ‘'L’Apprenti Sorcier” is a delightful and brilliant work, must brilliantly orchestrated and colourfullj? - descriptive. Throughout the world it is recognised as one of the finest examples of the modern French school of composition. The well-known Parisian Orchestra of the Societe des Concorts due Conservatoire, whose history dates back over a hundred and thirty years, makes a welcome debut Concerts du Conservatoire, whose lisvivid and captivating performance of the Scherzo. The tone of the orchestra is noticeably French,. showing how an orchestra, as well as a man, can have a national accent. The stridency of the brass in particular gives this Gallic colouring. The electric recording superbly brings out every shading and detail of the brilliant score. On the last side the orchestra gives a fine performance of Mozart’s “Marriage of Figaro” Overture. Phillipe Gaubert is the conductor.

Dame Clara Butt decided that her first electric recordings should represent works of high character, so she chose Dvorak’s “Four Biblical Songs.” He choice is admirable, for she excels in religious songs. Here we have this great artist in expressive mood, voicing first awe, then admiration, supplication, and soul-contentment. Listeners everywhere will be grateful to her for the nobility of treatment accorded by the divinely-gifted contralto, and the fact that the songs were sung and recorded in one of the largest London churches adds much to their magnificence. It is high time that these songs were popularised, and that someone should dispel the general illusion that Dvorak wrote nothing worth-while save “Humoresque,” a Symphony, and “Songs My Mother Taught Me.”