The Gramophone Corner

Star (Christchurch), Issue 18419, 22 March 1928, Page 6

The Gramophone Corner

By TURNTABLE

Looking back upon the past few years one. is amazed at the wonderful strides that have been made both in the improving of gramophones and recording. One advance has been swiftlyfollowed by another, and it is largely' to the great competition between rival firms that we have to look for the reason for this. Every large recording company has now staffs of highly' qualified scientists in its employ' and each has its costly research laboratory'. The results of the labours of these experts is to be seen in evepy modern machine and record. They have wrought well and that the music-loving public appreciates this is showm in the greatly increased demand for both gramophones and records. x x Another y'ear is before us and one 1 wonders whether it will be productive of as many advances as 1927. The indications are that it will. What form these advances will take it is difficult to predict, for none of the companies has yet made any announcements. Certain it is, however, that improvements will come before the y'ear is out. This week one must look back over the month’s issues—the ne ? month’s catalogues are not y r et out—-and it is a pleasant work. Columbia. Taking the Columbia catalogue first, one finds it somewhat difficult to choose a best record. There was the Sextette from “Lucia” (Donizetti) sung byMaria Gentile, Sino Borgioli, G. Vanelli, S. Baccaloni, G. Nessi and G. Mannarini, of La Scala, Milan, with the full chorus. This was « remarkable record i not only' as regards tone quality, but also for volume and recording. Paul Klenau, conducting the Royal Philharmonic Orchestra, gave us “Iberia” (Images for Orchestra, No. 2). In “Iberia” Klenau reveals inspired insight into Debussy’s work. The inspiration of the works is Spanish, but it is Spain as seen through Debussy's individualised spectacles. The vivacious first movement idealises the bustle, and ! more strongly, the colour of city ! streets: next a lovely nocturne in a typically elusive Debussy vein; and finally a merry picture of the morning of a fete day'. The playing is fascinating in its delicacy and lovely tone, and the conductor has caught the very spirit of Debussy. Behind the apparently liquid formlessness he has built a very sound and workmanlike structure, and for all its glitter and sparkle it is not tinsel but exquisite jewellery, whose rich colours flash out from a deep core. This is a set of records tjo live with. Lionel Tertis, that master of the viola, played a “Berceuse,” by the Russian, Arensky', and “Fugue in D,” by Tartini. Tertis makes one realise that the viola is as much a solo instrument as the 'cello. His chief asset is a mellow tone, and to this is added technique of rare quality. Few artists could better his double-stopping in the “Fugue.”

One of Beethoven’s most widely' known works, the “Kreutzer Sonata in A Major,” was played by Albert Sammons (violin) and William Murdoch (piano). This set of five records

was issued in an album with descriptive notes. The work was composed for Bridge tower, a brilliant negro violinist, in 1803. Beethoven was very much behind time with the music, there was no time for rehearsal, and Bridgetower, with Beethoven at the piano, had to play at sight from the blotted and erased manuscript. Nevertheless, the whole performance was a great, success, and the Andante had to be repeated. If hurriedly prepared, it shows no signs of haste in its ruction. Indeed, it marks the beginning of Beethoven’s second and most virile and creative period. Sammons’s beautiful tone and Murdoch’s crisp technique dovetail to perfection. Columbia’s “Parsifal” was an interesting issue. The recording by Bruno Walter, conducting the Royal Philharmonic Orchestra, covered the “Prelude and Transformation Music,” act 1, the Prelude being in three parts. This richly dramatic prelude begins with the symbolic motive of the “Eucharist," at first unaccompanied and then repeated with arpeggio accompaniment. After a pause the same motive reappears followed by another pause. The second motive, the Grail, appears, followed by the Faith motive, which is developed in an impressive manner, the Grail motive occasionally»joining it. After a drum passage, followed by a tremolo cf the strings, the Eucharist motive reappears, followed by the Lance motive. The recording was exceedingly good and the tone was very faithful. The performance was indeed a satisfying Ignatz Friedman’s visit to this country has caused his admirers to w'atch his every record, and they have yet to

find a disappointing one. His recent issue of the Chopin “Raindrop Prelude” and Liszt’s “La Campanella ” are in striking contrast. Friedman makes the “ Prelude ” a melody of haunting beauty, whilst his “ Campanella ” is a miracle of dexterity. Here we have , a pianoforte record of rare quality.

. x x x An interesting record whic'h was recently issued by 11.M.V. presents Armand Crabbe, the great Belgian baritone, in Sobrinho’s “ Na coieta ” (in Portuguese) and the “ Chant de Berger ” (in French), from Gounod’s little known opera, “ Mireille.” He has a magnificent voice of full volume and wide range, and this performance helps one to understand the reason for his popularity on the Continent and in America. Beniamini Gigli, the famous tenor, who is already a familiar “ Red Label ” artist of “ His Master’s Voice,” has added a brilliant record of Puccini’s “ Recondita Armonia,” from “ Tosca,” and “ Donna non vidi mai,” froiti' “ Manon.” Every 'true music-lover will welcome the harpsichord records by Violet Gor-don-Woodhouse, and especially as these happen to be her first records by the “ His Master’s Voice ” electrical process. They consist of two 12in records, and contain the three movements of Bach’s “ Italian Concerto ” and the same composer’s “ Polonaise,” “ March ” and “ Musette.” The artistry of the performance, the dexterity of the playing and the clarity of the recording are of exceptional^merit. Everyone is still talking about" the original Temple Church choir record, in which the boy soprano, Master Lough, was first heard. In another

Temple Church choir disc which should not be overlooked, from the fact that in this instance the choir itself is in the limelight, the boy is merely one of the trebles in a truly exquisite ensemble. “ O Filiae et Filii,” and “ King of Glory,” the two pieces recorded, are both essentially choral numbers, and the performance by the choir certainly seems to justify their reputation as being the finest church choir of the present day. The hymn, “ O Filiae et Filii,” is an ancient Easter carol which has been sung in the Round Church of the Temple on festival occasions from time immemorial, and is recorded with the musical arrangement of Mr G. Thalben Ball, the temple organist. The “ King of Glory ” was composed by Sir Walford Davies—who was himself organist at the Temple Church for more than a quarter of a century—specially for the services in this historic building. There have been some notable instrumental discs lately. One by Cortot. who gives a brilliant performance of Liszt’s “ Hungarian Rhapsody,” and the other by Una Bourne, who plays Mozart’s “ Turkish Rondo ” and Scharwenka’s “ Polish Dance.” The delicacy of Una Bourne’s art is singularly effective in the Mozart. A good organ record is that by Reginald Foort, who now completes the “ Ballet Egyptien,” the first two parts of which appeared some weeks ago. x :: x Parlophon®. Of the month’s records, the ones that stand out in this catalogue are the “ Cavaleria Rusticana ” records, conducted by Mascagni himself. These two discs of the Introduction, Siciliana and Opening Chorus of this work, played by the orchestra of the Berlin State Opera House, are among the most striking orchestral recordings ever issued by any company. Anyone who likes orchestral music with an atmosphere of realism about it should not fail to hear these. Aureliana Pertile's record of “E Lucevan le Stelle ” and “Recondita Armonia,” from “ Tosca,” was another striking disc. This tenor sings his first number as he would on the operatic stage, and, aft et all, that is what we want—the real thing. Then there was one of the leading lyric tenors of the day, Richard Taubir, singing two de-

lightful numbers, “ Lenz ” (Hildach) and “ Das Zerbrochene Ringlein ” (Kuhe). His is a voice one would never tire of. This was his first Parlophone record, but it proved such a success that English papers are now announcing him in twelve songs from Schubert’s lovely

song cycle, “ Winterreise ” (The Winter Journey). All who heard, his first recording will await this new issue with great expectancy. x :: So much for the 12in records of especial note. In the fighter Parlophone 7 issue one finds four tango numbers of excellent quality. These melodies were actually recorded in the land of the tango—Argentina—by the Orquesta Tipica, of Bueuos Aires. The numbers are: , “ Aquella Noche ” and “ Tierra Mia,” and “ Amiga so ” and “ Sentimiento Gaucho.” The orchestra is conducted by Roberto Firpo, and its work is very tuneful and in perfect time.