RECORDED MUSIC.

Wanganui Chronicle, Volume LXXXII, Issue 19443, 31 October 1925, Page 21 (Supplement)

RECORDED MUSIC.

His Master’s Voice

Sir Landon Ronald and the Royal Albert Hall Orchestra have achieved la notable success with Mozart’s charming “Divertimento” minuet and trio and the “Marriage of Figaro” overture. Delicate wood-wind details in the overture, often blurred by less capable recorders, are reproduced with delightful clearness in this version.

There is some particularly fine recording in the disc by the Royal Albert Hall Orchestra (conducted by Landon Ronald) of No. 2 of the Debussy “Three Nocturnes.” It is certainly one of the brightest and most vivacious items wo have had recorded by any body of instrumentalists, and' tho muted trumpet effects are wonderful. Would that detail were so well brought out in all orchestral records. ft ft ft ft

The famous Prologue from Le&nCavallo’s “Pagliacci,” lately recorded by Dinh Gilly, the French baritone, will be welcomed by many, for the words (English) are clearly sung and the orchestral part is, for once, not made subordinate to the vocal. This is an excellent record (but it isn’t here yet.)

There is an extraordinary record by the Trinity Choir of Dyke’s “Hark, Hark, My Soul,” and a “Prayer of Thanksgiving” (arranged by E. Kremser). It is not that the performances themselves are particularly outstanding—although the “Pflayer” is well done—but the recording is miles ahead of anything that has been done in the direction of reproducing choral singing. Is this, asks a reviewer, the new electrical process at work?

Erika Morini is a welcome addition to tho H.M.V. list of violin celebrities. Her first numbers (to be here soon) are from Wieniawski—the “Capriccio Valse No. 7” and the “Romance” (from the “Second Concerto”). I like immensely her playing of the waltz (says a reviewer). She has splendid technique—double-stopping and barmonies are alike perfect—and a lovely caressing quality of tone. The waltz has a charming, fairy-like grace right through. Less creditable is the “Romance.” Technically it is as go id as the other item, but the artist loses effect by treating the piece with too much evenness. The ascending passage shows no increase of tempo, and th? nsult is in consequence a trifle laboured. Tho rendering cuihl certainly have been better built up

The big instrumental work of tho latest issues in London is the Beethoven “Quartette in G Major,” which is given complete on four records. The artists arc the Catteral String Quartette, and the performance (says a reviewer) does the combination credit. In the first part—the allegro—the recording is very fine. The rhythm is sound. The adagio cantabile is a good piece of work —vivticity, fine balance, and very good tone in ensemble being the notable features. The beautiful tripping measure of the following scherzo is well brought out, and the rhythm is perfect. The finale record—the allegro molto quasi presto —is pi ib ably the best of the four, being notable for beautiful warm tone-colour and really inspired playing.

* * Columbia Records

Elsa Stfalia’s new records of “Bel Raggio” from Rossini’s “Semiramide” sung in Italian, is joined on the one disc with “Elizabeth’s Greetings” from “ Tannhauser,” in English. It is to be regarded as one of Columbia’s successes in recording tho crystal-clear notes of Stralia, her wonderful breath control and the freshness and eace with which she invests the elaborate passages in the first selection are commended to all aspiring coloratura singers, not for imitation but for study. Tho “Elizabeth” selection is different, of course, from the florid character of “Bel Reggie” which Rossini was an adept at imparting, but it too may well be heard and studied by your sopranos, with great advantage to themselves and their art. As for the listener who has no other object than to hear and enjoy, this fine record of Elsa Stralia will give unalloyed pleasure. It is a pity that her visit to New Zealand was deferred, but she may come yet in tho not far distant future. The record under notice is remarkable too for the splendid orchestral accompaniments to both arias. : %ft ft ft ft

There are fervent hopes expressed already in New Zealand that Mr E. J. Gravestock will bo able to bring the London Symphony Orchestra to the Dominion. Its splendid work is already known in here through the medium of Columbia records. These include Beethoven’s symphonies, and Wagnerian selections conducted by that great authority, Felix Weingartner selections from the works of RimskyKorsakoff, Scriabine, Wagner’s “Seigfried Idyll,” by Albert Coates’ “The Planets,” conducted by Gustave Holst, the composer; The “Sea” Suite, of Frank Bridge, conducted by the composer, and a “London Symphony” of Dr. Vaughan Williams, conducted by Sir Dan Godfrey. ft. ft »

It is a long way off, but a Gilbert and Sullivian season is due early in 1926, under the Williamson management. This will now bo the opportunity to become well acquainted with tho delightful music and tho words to it. A complete album of selections from “The Gondoliers,” “Yeoman of the Guard,” “H.M.S. Pinafore,” * * Princess Ida.” “lolanthe,” “Pirates of Penzance,” “The Mikado,” and “Patience” is available from the exclusive performance by the Court Symphony Orchestra, conducted by Albert W. Ketelbey. There arc individual selections, vocal and instrumental to choose from in the Columbia catalogue. Of course, there is a wide selection to be made of the vocal numbers of the operas from the Columbia lists. * * *

A notable record, not due until early in December is “Adeste Fidelis,” sung in New York, by 4850 voices. It wbs electrically recorded by Columbia, and the occasion was the festival of the Associated Male Glee Clubs of America, t]io place the famous Metropolitan

Opera House. Tho record was intended to bo confined to tho Glee Singers in the ancient Christmas hymn and the did Yorkshire hunting song, 11 John Peel.” The club singers numbered 850, but there was fully 4000 in the audience and in “Adoste Fidelis” everyone was asked to join. The result is a record of one of the greaest, possibly tho greatest, number of voices ever recorded at one time. Those who have had the privilege of hearing the record say that it is marvellously clear and the great volume of sound is most impressive. ❖ >;« # * Beethoven’s String Quartette in E Flat, op. 74, performed by the Lener String Quartette for Columbia is already in tho Dominion, but held up on board ship through the strike. It is the latest effort of this remarkably talented quartet of artists. The collection of records that does not include Lener String Quartets is not complete.