RECORDED MUSIC

Wanganui Chronicle, Volume LXXXIII, Issue 19846, 21 May 1927, Page 17 (Supplement)

RECORDED MUSIC

THE WEEK’S NEW RECORDS. HIS MASTER’S VOICE. An Orchestral Tone Poem. ‘ ‘ Scheherazade ’ ’ Rimsky-Korsa-kov), recorded in four parts by the Royal Opera House, Covent Garden, under Eugene Goosens. H.M.V., C 1287-1288, 12-inch. The story of Rimsky-Korsakov’s delightful poem. “Scheherazade,” is the story of the “Arabian Nights,” which had their origin in the idea of the Sultan’s favourite to postpone the threatened execution of all the ladies of the harem by telling a scries of fascinating stories to the Sultan, which lasted, over 1001 nights. At the end of that time the Sultan had forgotten his original design. The music endeavours to depict the high lights of the entertainment, as for example, the “Festival of Bagdad,” the “Storm,” and the “Shipwreck.” These are excellent records, and as they are in the “plum-label” class, arc moderately priced. * ♦ ♦ ♦ From a Brilliant Australian. “Elcgic” (Massenet’s “Song of Mourning”), and “Ich Grolle nicht” (Sshumann’s “I Do Not Complain”), by John Brownlee (baritone). H.M.V., E 439, 10-inch. John Brownlee, Australia’s brilliant young baritone, was “discovered” by Melba, who took him with her partyon her farewell tour of the British Isles. For his inaugural appearance on the H.M.V. discs he has chosen two charming and happily contrasted numbers, one sung in French and the other in German. Brownlee’s voice is of sound quality, with a fine resonance and richness of tone. These records quicken one’s anticipation of future recordings by this very capable artist. * * * * A Master of Chopin. “Nocturne in B Major,” Op. 32, No. 1, “Impromptu in F Sharp Major..’ Op. 36, No. 2 (Chopin). Recorded for H.M.V. by De Pachmann. D. 8.859, 12inch. This is probably Pachmann’s best recording of Chopin, and should be included in every gramophonist’s library. Both numbers are thoroughly representative of Chopin’s style. * * * Galli-Curci in Verdi. “Come d’aurota sogno,” and “Timor dime?” (Verdi). Amelia GalliCurci (soprano). H.M.V., D. 8.813, 12inch. Verdi’s style is admirably suited to coloratura singers of the Galli-Curci school, and in these two numbers the famous Galli-Curci gives us of her best. The record is a very representative presentation of the Galli-Curci method. Simple Tunes by a Master. “Aloha oe” (“Farewell to Thee” — Hawaiian) and “From the Lanil of the Sky Blue Water” (Cadman), violin disc by Kreisler. H.M.V., D.A.745 10-inch. Here are two very simple and appealing melodies, interpreted with all the artistic expression and technical skill of a world-famous vrtuoso. That fact in itself makes the disc well worth while. *** ' * Backhaus and Brahms “Variations on a Theme” (Paganini), Op. 35, No. 1 to No. 13, in two parts. Pianoforte, William Backhaus, H.M.V., DlOl9, 12-inch. Paganini’s extraondjinary “Variations,” written for the violin, have been transcribed for the pianoforte by Backhaus himself, and recorded for gramophonists with all the verve and brilliance for which this great virtuoso of the instrument has become justly famous. To teachers and students especially this disc should be very valuable.

A Ragtime Joke. “Ragtime” (Stravinsky) and? “Navarra” (Albeniz). Pianoforte recording by Marcello Meyer. H.M.V., D 1063, 12-inch.

In “Ragtime,” Miss Meyer gives us a capital reading of Stravinsky’s celebrated 11 ragtime joke.” Stravinsky, of course, would consider straight ragtime composition beneath him, but the superiority of his art enables him to make a very diverting play upon the well-known features of jazz. The companion number is an attractive morceau by the Spanish composer, Albeniz.

An Orchestral Bouquet. “La Boutique Fantasquc” (RossiniRespighi) Royal Albert Hall Orchestra, H.M.V., DlOlB, in two parts, 12in. This is, in every sense off the word, an orchestral bouquet of sheer delight, and no collection of orchestral records would be complete without it. Its merit as a musical work lies in its wealth of tone colour, and its delicate filigree work. The recording of the Royal Albert Hall Orchestra under the new process is excellent. * * * « Splendid Choral Recording. “Behold, the Lamb of God,” “Halleljah Chorus” (“The Messiah,” Handel). Royal Choral Society. H.M.V., DUOS, 12-inch. When the Royal Choral Society gave its last performance of “The Messiah” in the Royal Albert Hall, the British Gramophone Company mad® special arrangements for the recording of the actual performance. The results of this echicvement, which was entirely successful, arc being released from time to time. These two records are excellent examples of the quality of the series. The volume of choral tone, the full orchestra, and the grand organ, are reproduced with a fidelity that is really thrilling. * * ❖ ❖ Light Orchestral Fare.

“Nola” (Arndt) and “Glow Worm Idyll” (Linckc). Salon Orchestra. H.M.V., J 32169, 10-inch. Of the various small orchestras whose recordings of dance and other light music are very popular amongst gramophonists, the Salon Orchestra has an excellent reputation for “good stuff.” A very good example of the Salon Orchestra’s quality is to be heard on the above disc. Each has a charm of its own, and although it is not of a lasting quality, still very pleasant for interludes. * * * * Indian Love Songs. “Kashmiri Song,” and “Less than the Dust” (from Amy Wood fordo Finden’s “Indian Love Lyrics”). Played by De Groot and his orchestra. H.M.V., C 1257, 12 inch. Played as orchestral pieces by De Groot’s finished orchestra, these charming songs by Amy Wodforde Fin don have a double value and attraction. They can be enjoyed as straight-out orchestral numbers, or used as orchestral accompaniments by those desiring to sing them. The latter is a very enjoyable experience. * * * * A Good Band Bracket. “Funeral March of a Marionette” (Gounod) —“Punjaub March” (Payne). Black Diamonds Band. Zonophone 2793, 10 inch. It is a long time since we heard a really clear record of Gounod’s quaint marionette processional, and that is what the Black Diamonds Band has given us. The reverse number shows the band in excellent form in a good rousing quick-stop. Xs * ❖ * This Should be Popular. “Always” (Irving Berlin), sung by Barrington Hooper (tenor) —“When the Red, Red Robin” (Woods), sung by Clarkson Rose (comedian). These are probably |wo of the most popular hits of the dev, and in the hands of the above artists make excellent entertainment. COLUMBIA RECORDINGS. Songs of a Century Ago. The Grenadier Guards Band have made an excellent record of a selection of Sir Henry Bishop’s Songs. The popular composer is best remembered to-day by the well-loved “Home, Sweet. Home,” but here is evidence that he wrote equally captivating melodies and the record will bo enjoyed both for its music and the lively interpreiation of it. The soloists take full advantage of the opportunities offered, and two outstanding features are the beautifully open cornet tone and the fine oboe playing. The recording is delightfully clean. A Clever Band Record. Another record by the popular Grenadier Guards is a jolly descriptive number entitled “In a Clock Store.’’ The “kitchen” instruments have a rare chance to display their ingenuity, and manage to extract the last ounce of fun out of a very bright and tuneful piece. On the other side of the same Columbia record is a Strauss waltz full of swinging rhythm. The new electric recording does remarkable justice to the fine clear tone of the cornet and the other brass instruments. This record should be very popular. * * ❖ * A Great Tchaikovsky Favourite. Rippling and irresponsible, full of the joyous sort of music that makes you want to laugh aloud —no wonder Tchaikovsky’s Caissc Noisette (Nutcracker) Suite, always fresh and new, still continues to appeal to musiclovers the world over! There is a careless sort of abandon about it that takes one straight into a charming world of make-believe, and yet the critic will tell you that this insouciance hid a vast deal of technical skill. The whole suite is now offered by Columbia in three 12-inch records and music-lovers are fortunate in hearing the suite recorded for the first time by the new electric process by Herman Finck and his orchestra. It takes an adaptable conductor to meet the unusual demands that Tchaikovsky makes upon an orchestra, but Herman Finck has shown again and again that he is at his very best when he catches his composer in lighter vein. Though his resources must have been taxed by Tchaikovsky’s peculiar idiom and his fondness for the quainter tones, Herman Finck gives delicious renderings throughout. Though in some of the dances the piano is not so prominent as the composer intended, the string instruments are brilliantly handled, and even the brass seems infected with the jollity of the suite. Tchaikovsky’s great sense of orchestral colour and his ready gift of melodic invention will make these records a never-failing source of enjoyment to their lucky owners. Those who burteye that even good music can be cheerful and “witty” —there is no other word for it —should make haste to get these excellent numbers. Bright Orchestral Music. The gramophonist with a leaning for bright and vivacious descriptive music will get good value for his money in these two Columbia recordings of the Court Symphony Orchestra. “In a Persian 'Market” is alive with the vivid atmosphere of the East —throbbing drums, tinkling hells, and the staccato movements of a busy market-

place. Voices—and fine voices they are, too—are introduced into both numbers, with particularly telling effect in the piece “In Venice.” Two Excellent Quartettes. One always hears Ravel with a faint surprise that his work is not more gencialiy popular, so invariably interesting in his melody and so firm and satisfying his handling of detail. His wistful, almost sad, “Quartette” will make a great appeal to lovers of string music. On the other side of this record is the Allegro Movement from Beethoven’s Quartette in C Minor, a brisk and vigorous passage which the London String Quartette play with admirable feeling. Both these quartettes arc superbly recorded, no flaw being perceptible at any stage of the playing. A London Light Opera Triumph. Delightful melodics, excellent singing, and surprisingly clear recording make this selection from “The Student Prince” one of the most pleasing records we have ever heard. This light opera, though blest with fine vocalists for principals, owed much of its triumph in London to its superb male chorus of 40 voices, and the chorus is certainly heard to grand effect in some of the haunting numbers given in the selection. We particularly like the charming “Golden Days” and “Drink!” It is a pity that the names of the soloists are not given, as there is evidence of a very fine tenor. Those racy and tuneful extracts are decidedly good. ❖ * * * A Glorious Tenor. An operatic number full of dramatic and rare vocal beauty has just come to hand in the new Columbia recordings of Aroldo Lindi (tenor). “The Death of Othello” is a magnificent excerpt, deeply stirring in its simplicity; and the arioso “Ora c per sompro addio’’ shows Othello, torn by jealousy and rage renouncing everything. Aroldo Lindi made a successful debut last year and established himself at once as a singer of high rank. His voice is of the true tenor timbre, young, fresh and vigorous, and one has a sense of great reserves of power behind his ample volume. Both items arc beautifully recorded. * X: ❖ * Two Delightful Waltzes. To say that a waltz has been written by J. Strauss is to say at once that it is tuneful, rhythmic and full of colour; and to say that it has been interpreted by the Geiger Orchestra is to guarantee that all these typical Strauss qualities have been studiously cared for. We like the “Carnival Children’’ waltz the better of the two, but if “Twirling Millions” waltz is not so sure in finish, it has a gaiety that will strongly recommend it to the lover of light music.