RECORDED MUSIC

Wanganui Chronicle, Volume LXXXIII, Issue 20127, 21 April 1928, Page 17 (Supplement)

RECORDED MUSIC

THE WEEK’S NEW RECORDS COLUMBIA Bayreuth Festival Records. Columbia offer to the gramophonist this month what will surely stan.d: for a long while as one of the .finest set of recordings ever made-. This is nothing less than a series of recordings, foreshadowed in my notes a week or two back| of the Wagner i'esti'al at Bayreuth, the Mecca of all Wagnerites, where the Master 's operas arc produced regardless of cost. All these records are issued with, authority and approval of Siegfried Wagner, ’who himself conducts several of them. On the technical side the recording is certainly far better than anything that has yet been given us. For this we thank not only the Columbia recording, but also the marvellous acoustic properties of the Fcstspielhaus, where the Festival takes place. This fine theatre has no pillars, and the seats are arranged in the shape of an open fan. I can only briefly note | some of the records so produced. * :fe jjc The Ride of the Valkyries. “ The Ride of the Valkyries ” —The Valkyries (Wagner;. Bayreuth Festival Orchestra, conducted by Franz von lloc--lin. Columbia L2GI7. This mis piece serves as the in--1 reductii nto Act o of the opera. It is a tone-picture ow the war-like daughters of Wotan as they,swoop down on the field of battle to rescue fallen heroes and bear them, on their winged horses to Valhalla, the home of the Gods. The music is thrilling in the extreme. The violins and strings play a wild turmoil of rushing sounds, representing the sky, and giving the impression of the vastness and vagueness of the heavens. Into this rushing sound come the trombones with the • majestic scene of the Valkyries, which suggests the gallop of the winged horses across the stormy sky. The music is punctuated by the piercing battle-cry, “Ho, yo, to, ho” of Brunnhilde. ♦ The Entry of the Gods into Valhalla, “Entry of the Gods”—Rhinegold (Wagner). Bayreuth Festival Orchestra conducted by Franz von Hocsslin. Columbia L2OIG. A stirringly dramatic record that illustrates part of the story of the opera. Columbia, in addition to the usual orchestral version, include the Rhinemaiden’s Trio. These glorious voices blend sujierbly with the orchestration. The thunder and lightning created by Donner, the procession of the Gods led by Wotan, and the Availing of the Rh i noma id ens for the, loss of thei r gold are all most graphically presented. & * * » Parsifal Prelude. “Prelude to Act 3”—Parsifal (Wagner). Bayreuth Festival Orchestra conducted by {Siegfried. Wagner. Columbia L 20.12. This music is truly Wagnerian in its rise and fall, and in its blending of intricate themes and subtle harmonies. It hews Wotan approaching a bleak spot at the foot of a mountain. He realises that the .fate of the Gods is sealed and is about to question the goddess Erda. The chief themes heard are the Valkyr'm. by violins, and the “distress of the Gods” in octaves by the ’cellos, tuba, louble basses, bassoons and bass clarinet. The record ends with a deafening burst of music, and it is a great, tribute lo the recording that this remains so clear. * * * * Flower Maiden’s Scene. “Flower Alaiden’s Scene”—Parsifal (Siegfried Wagner). Bayreuth Festival Orchestra conducted by Dr. Karl Muck. Columbia L 20.11. That Parsifal is tho most popular of AVagner’s operas is shown by lhe fact that it has been produced far more times than any other in the Bayreuth Festivals since their inception in 1876. The music is seductive rather than turbulent. It illustrates the garden created by Klingsor, the enemy of the Grail. an>d peopled by beautiful creatures, half maidens and half flowers. When Parsifal arrives the Flower Maidens attempt to entice him by their singing ami dancing, but are repulsed. # *-• * * Clara Butt. (I; “Deep River”’ (2) “The Min-

From London it is reported that the musical comedy “Tho Girl Friend” is meeting with much favour. Its best airs, which have been recorded on H.M.V., are “The Blue Room,” “Mountain Greenery,” “What’s the Use of Talking?” and “The Girl Friend.” These numbers either as foxtrots or vocal records, arc obtainable from lhe local agents, Messrs Ellery

strcl Boy.” Sung by Dame Clara Butt, contralto. Columbia 9002. A famous English critic declared the other day that only four artists could fill the Albert Hall—and, needless to say, Clara Butt is one of them. New stars come and go, but she, by virtue of that glorious voice, goes serenely on. Her rendering of Thomas Moore’s famous song “The Minstrel Boy” is deeply stirring. They call her “The Queen of Song; ” while she can proidiuce records of such fine calibre, her reign is likely to continue. Apart from every other quality, her note-production alone is sufficient to merit the attention. * * * * La Scala Chorus. (I) “Humming Chorus”—Madame Butterfly (Puccini); (2) “Festa c pane”—La Gioeonda (Ponchielli). Sung by La Scala Chorus, of Milan, Columbia 03523. One of the most effective moments in “Madame Butterfly” is where Susuki, Cho Cho San and her child arc Availing for Pinkerton’s arrival. From the town below comes a murmur o.t‘ sound and voices Avoven into a languorous sloAvly moving refrain. The melody is taken by the chorus Avho hum Avith (dosed lips, and tho. effect is exceedingly beautiful. Quite in contrast is the vigorous and- spirited festal ('horns from “La Gioeonda” (The Snake). La Scala Chorus has the reputation of being one of the best operatic Choruses in the Avorld, ami they certainly give us a remarkable record.

HIS PIASTER S VOICE. Have You Heard Julia Culp? Madame Culp is a splendi/1 interpreter of Schumann. Unlike the modern German lieder singer, she finds the spiritual depth of the composer beyond the mere fringe of romanticism. She fuels the sweetness of its poetry where others only imagine a saccharine .sen" timent. Listen to her reading of “Nun hast du mir den ersten.” Such understanding of Schumann’s nobility may never be heard again if the modern German lieder singers ihavc their way. She sings for H.M.V. A Fine Organ Disc. Dr W. G. Alcock’s record (H.M.V. 82466) may be heartily recommended lo those whose music room is not 100 , large, and who enjoy the organ in a.n intimate mood (says a reviewer). Neither of his own composition, “Toucatina” nor “Canzona” (Guilmant) rs the least sensational, but both are full of ciharni, and the playing exactly suits them —restrained, but always interesting. The registration is especially admirable in its moderation and variety. The organ used is Dr Alcock’s own. instrument in {Salisbury Cathedral, aud has some singularly beautiful soft solo stops. * # ® Something Terrifically Welsh. Zonophone.—Madame Telini (soprano), in Welsh, Avith orchestra. Welsh songs (? all traditional). “Dacw ’Nghariadi” and “Y Colder du bach,’’' “Wrth fynd e.fo Dcio i Dywyn,” and “R'obin ddiog”; “Robin Goch” and CliAvech o Eifr. ” 2952-1. One hasn’t the vaguest idea whs.? Madame Telini is singing about, as far as th(* Avoids arc concerned; but one does knoAv that one may have the most characteristic records in existence. If anyone Avho knows “den of Harlech” and “All Through tho Night,” imagines he knows all about Welsh song, let him get one of these records. Any one Avill be enough to give him a shock—and a revelation, too. They seem excellently done, the light orchestral accompaniments being delightfully effective. ♦'# ♦ # A Guitar Virtuoso. Andres Segovia (H.M.V. D 1255) provides us with some truly astonishing playing on the guitar, an instrument which, by the way, appears to record excellently. His rendering of a Bach “Gavotte” is pleasantly rhythmic, and the rubato, though meretricious, is effective. But the result, interesting as it is, is hardly Bach, ami the guitar seems more naturally suited to the pleasant, childish prattling of a “Theme X'arie” by Sor, which is most successful. Tho playing is, of course, the main thing, and Illis no one should miss. * * « * A Rumanian Tenor. One wouders if “Mandndita” is a Rumanian folk-song. If so, musical banalities of West. Europe tend- to cheapen it. At any rate, it is decidedly interesting, and one might come to value it highly. “ideale” is one of Ibe best Tosti songs. For voice, “Aletaxa’’ certainly deserves a place, in the, first ranks of contemporary tenors, and his singing is almost as good as any of its own, modern Italian, style. His first record appeared in the March H.ALV. list. * Caruso on the Films. Caruso died on August 2 six years ago. correspondent writes to a London contemporary to say that Caruso appeared, in two films of light, comedy, “Aly Cousin” and “The Splendid Romance,” in the former doubling the parts of a famous singer and his cousin; ami adds that “by virtue 0± Caruso’s droll humour the somewhat slenider story, proved to be good entertainment.” Will not someone—the British Film Society, for instance —rescue these reels from the limbo and let us see them again? * * v Walford Davies as Composer. Sir Walford Davies has composed much, but is little known as’ a composer, apart from the “Solemn .Melody” and possibly about two other things. “King of Glory” (H.M.V. 82493) has much sound Avork in it, also some musical feeling (says a reviewer). It is really a continuation of the best of the nineteenth-century English conception of church music, it starts Avith the versicles “Lift up your hearts,” “We lift them up,” and then continues with the well-knoAvn liner I beginning “King of Glory, King of Peace, 1. Avill love Thee.” The singing of it is very sound and clear, bu? lacking in delicacy. “O Filii” is an example of one of the very things that a correspondent complains of this month—a Latin title on the label, but English words sung. Surely this is plainsong? If so, Avhy not say so? But it may be an imitation —it Avould take time to make a safe guess. It is elaborately arranged—very fine, if one I likes such treatment of such music. jThe singing is very finished, and per-

haps beautiful, but tho sentimentai conception is out of ]dace. Ci A Critic’s Complaint. A new record by (’nsnls (H M'.U. D.A.562) of a “Gavolte” by JJillmacher and a. “A.lenue; ” be Delm.-sy is a very .fair example of his Avonderlul playing, aud the music is by no means dull (says a. critic'/. But now that tl.lower notes of the ’cello can be so successfully recorded, it; seems a pi’y [not to employ (hem more .frecpientlv in the pieces chosen or arranged fer reproduction. If tho instrument is confined always to its alto or tenor register one oxperiem'es the same kind of discomfort as when listening lo a tenor singer Avhoso part ne\cr sinks below, say, C.