RECORDED MUSIC

Wanganui Chronicle, Volume LXXXIII, Issue 20168, 9 June 1928, Page 5 (Supplement)

RECORDED MUSIC

THE WEEK’S NEW RECORDS • HIS MASTER’S VOICE. Gems from Wagner Maria Jeritza (soprano), in Lohengrin—“Einsam in truben Tagen ” (Eisa’s Dream) (Wagner), Tannuaus- i er—“All Maehlige Jungfrau” (Elizabeth’s Prayer) (Wagner). H.M.V. D.B. 1092. Maria Jeritza’s versatility knows no bounds. She seems to be as happy in Wagnerian music dramas as in •’Thais’’ or “Tosca. ” Recently she has even added “Carmen” to her repertoire, scoring a very great success at the New York Metropolitan Opera House. Some few years ago Mme. Jeritza recorded • • E'.-.:i’* Dream, ” from “Lohengrin,” tu-i Elizabeth’s Prayer, ” from “ Tannhausen” Now she has recorded both items, the electrical recording being responsible for far greater vocal clearness as well as greater orchestral richness of the aecoiitpaniment. A New Florence Austral Disc. Florence Austral (soprano). in Aiua—“Kitorna Vineiiur’’ (Verdi).' H.M.V. Ei74. “Ritorna Vincitor” is a moving page from Verdi’s opera “Aida.”' j iic hero has just marched oli iu the wars leaving his beloved Aida behind. She is a slave to the Egyptians. Her people are those against whom the armies of Egypt Eave just marched. tJhe has joined in the shout “Return Victorious” because she knows that Rha/lames will gain great glory by victory. Aida when »he is left alone realises that she has been cheering het lover on to L'lvieat her father ami his armies. It is a predicament which tears her heart »n twain. “Ritorna Vincitor” is the great soliloquy in which she laments the circumstances. It is a passage ol dramatic intensity beginning with an echo of the joyful citizens’ cries ami ending with a magnificent melody in which melancholy is raised to a high pedestal and made beautiful. Austral is responsible here for one of the finest records she has ever majde. The superb volume and range of her voice are conveyed in a very remarkable manner. Fine Orchestral Prelude. London Symphony Orchestra, conducted by Siegfried Wagner, in “Lohengrin—Prelude” (Wagner). H.M.V. D 1258. This very fine record is made ,doubly noteworthy by reason of the famous conductor who lias directed the performance. Siegfrioi Wagner (whose first “His Master’s Voice” electrical recording this is) is t.he son of the great genius Richard Wagner, and it is most appropriate that he should have recorded a work of his illustrious lather. The interpretation given is peculiarly interesting, for whilst it is authoritative to a degree it. is of more “classical” .demeanour than many performances we have heard recently, ami we are given an opportunity to analyse the fabric far more minutely than usual. Wagner’s “L hengrin ’’ “Prelude” is one of his finest inspirations. It pictures for us the gradual formation of a vision of the “Holy Grail” and its gradual fading. The music floats softly high in the air. Choral Gems from Verdi. La Scala Chorus, conducted by Cav. Carlo Sabajno, in 1 Lombardi. “O Sig nory d a l lotto natio (Verdi); Nabucco, “Va peusiero sull’ali derate ” (Verdi); Ernani, “Beviam, beviam” (Verdi); Ernani. “Si ridesti, il Icon di Castogiia” (Verdi). H.M.V., 8.2622. Four of Verdi’s greatest operatic choral numbers inimitably sung and recorded by the world’s most famous grand opera chorus. Light Orchestral Tidbits. New Light. Symphony Orchestra, in “The Waltzing Doll (Poldini), “At Dawning ’ (Cadman). H.M.V., 8.2629. Poidin: s “Dancing Doll” comes froma. suite of Marionette pieces. It has just the fragile stiff -jointed charm that echoes the almost real antics of the doll;. “At Dawning” is an or<h«:.stral version of a well-known ballad. Tenor Gems from Opera. M.guei Fl eta (tenor), in La T’avorita, “Spirt<> Gentil” (Donizetti); Manon. “Chiuda Gli Oc.c.hi” (Massenet). H.M.V., 1)15986. The aria. “ ( iiiutlo Gli Occhi.’ which is better known as “The Dream,” is sung by “Des Grieux.” as he describes to “Manon” a drcam he had about her. The orchestral accoinpan'fment admirably suggests the dreamy atmosphere. The aria, from the last act of “La Favorita. ” strikes a different note altogether, for “Fernando.” having renounced the world, wishes Io forget Leonora and all earth ly matters, seeking peace and rest within the monastery walls. Four Fine Songs. John Goss (baritone) and the Cathedral Male Voice Quartet. in, (a) “Corpus Christi Carol” (Shaw), (b) “The Keeper” (Ceeil Sharp); (a) ‘•Caleno Custere Me” (Arr. Taylor Harris), (b) “I am a Bright amt Sprightly Lad” (Arr Hullah). 82483. The four songs which John Goss has given us, with the assistance of the Cathedral Male Voice Quartet, cover a very wide range. “I am a fright and Sprightly Lad’’ is one of ythos. boisterous obi sea songs, which he sings with such vigour. The beautiful little “Corpus Christi Carol” is a

carol of ancient origin, and appeals as much for its naive piety as for its strangely beautiful tune. “The Keeper” is almost as boisterous in healthy jollity as “I am a Bright and Sprightly Lad!” For Lovers of “Boheme.” National Symphony Orchestra, in “La Boheme, Fantasia” (Puccini). H.M.V., EB2V. Melodies from this beautiful and touching opera, set Tor the whole Symphony Orchestra. Youth, love, ambition, tragedy, enshrined in music of almost incomparable sweetness. An epitome of a lovely work splendidly recorded. Temple Oh arch Choir Recaro*. choir of the Temple Church, soloists Masters E. Lough and, l R. Mallet, in “I Waited for the Lord”—“O Come, Everyone that Thirsteth” (Mendelssohn). Fresh stocks of this disc arc now to hand. In these two Mendelssohn anthems, Ernest Lough, the sensational boy soprano, shares the solo parts with another boy chorister. The performance is a splendid example of what church choir singing should be. If you haven't compared the new “Re-entrant” “His Master’s Voice” gramophone with the earlier-type instruments you can’t have the remotest conception of the startling difference between them. AH the notes of the musical scale now have full value. The local H.M.V. agents, Messrs. Ellery Gilbert, Ltd., have landed three beauti ful models of “Re-entrant” instruments and are pleased to demonstrate them at all times. Best Piano Record To my mind, the finest piano record extant—from the reproduction point of view—is that issued of the Liszt “Hungarian Rhapsody No. 2,” played by Alfred Cortot. The recording is magnificent—it has power and volume in an astonishing degree, but, withal, is never blatant. Cortot’s interpretation has a sparkling brilliancy. New Zonophone Gems. That sound bass Mr Foster Richardson gives us extracts from Airs Wood-forde-Finden’s “A Lover in Damascus.” There is a “puzzle record” of tunes by the Black Diamonds Band and two songs by Air Clarkson Rose, a comedian who “comes through” well and ;i dance record—two foxtrots from “Hit the Deck”—are other Zonophone items.

Three Black-Bottom Tunes 'Two stomps are the distinctive feature of the new records sent out by His Master’s Voice. One “Thick Lip,” is a jolly tune with unusual effects, and has another very good blackbottom on the reverse side called “Harmony Blues,” I* th recorded by Bennie Moten’s Kansas City Orchestra. The other stomp, “Go, Joe, Go,” shares a record with a lively fox-trot, “Take Your Finger out of Your Mouth,” Phil Napoleon and his orchestra playing for both. COLUMBIA “The Messiah.” “Messiah” (Handel). Orchestra 8.8. C. Choir, Dora Labette, Muriel Brunskill, Hubert Eisdell and Harold Williams, conducted by Sir ’Thomas Beecham. Columbia L2OlB-2035. One is left a little breathless after playing the whole of the music here recorded, which amounts as near as makes no odds to the full “Messiah.” It is so vast an undertaking that une can hardly dismiss it with a sentence Or two. There is unmistakable evidence of months of intensive rehearsal, of deep thought and splendid organisation. London papers were unanimous in their praise of Sir Thomas Beecham’s performance at Queen’s Hall, and what we know of Columbia recording assures us that these discs are worthy of the same praise. Sir Walford Davies used to say that the “Messiah” had two kinds of admirers —those who put up with the music because it was religious, and those who tolerated the religion because it. was musical. Beecham’s version should please them both. It has lire and inspiration, and it has a sincere reverence. It contains glorious things, white hot from the imagination of genius. There are airs and passages never to be heard without emotion—notably “1 Know that My Redeemer Liveth” and “He was Despised”— an air sung with true feeling. The solosits have scored great personal triumphs—notably Harold Williams, whom 1 have never heard in better voice— and Muriel Brunskill. The choir is magnificent. Beecham’s nervous energy sets them off at tremendous pace, but they never falter, and their outbursts are thrilling. If 1 have any quarrel at all it is with the tone of the orchestra, and that sounds to me the 1 fault of the acoustics of the hall where the records were made.

Taking the performance “ by and large,” however, it is a grand achievement, entirely successful, and the finest thing that has yet been offered to gramophone lovers. AlPred O’Shea (1) “Kathleen Mavouroen ”; (2) “Oft in th' N'idy Night.” Sung by Alfred O’Shea, tenor. Col. 04009. O’Shea, whose coming visit to this country in a week or two is eagerly awaited, has recorded many beautiful things for Columbia, but none* so acceptable as his Irish Ballads. He singg I the old favourite “Kathleen Mavour■i.een” with great charm. This Aus- • tralian tenor has a really beautiful i \ oice which he uses with great taste. | On the reverse side is a pleasing old j ballad “Oft in the Stilly Night,” sung ' \ ery expressively ami with great symj pathy. Lionel Tertis. (1) “Slavonic Dance Theme” (Dvorak-Kreisler); (2) “Melodrame” (Guirand). Viola solos by Lionel Tertis. Columbia 04064. Tertis is playing better than ever, and offers a most desirable coupling in the latest Columbia list. The Dvorak piece is full of colour, and is boldly pktyed. His phrasing is beautifully expressive, and the tonal quality rich and deep beyond words. His reading of Guirand’s lovely “Melodrame” ig more subtle, but should make many new friends for this unfamiliar piece. Tertis has qualities that force us to take an interest in whatever he happens to be playing. An Agreeable Combination (1) “On the Wings of Song” (Mendelssohn); (2) “Ave Maria” (BachGounod). Played by the J. H. Squire Celeste Octet. Columbia 02569. The popular J. H. Squire Octet give their best in two fine numbers by Mendelssohn and Bach. Both numbers il-

lustrate the secret of this orchestra’s success—their ability to arrange good music to suit their own combination. The Mendelssohn is a trifle sugary; very pleasing on a first hearing, but one that should not be played too often. They are much more subtle in the familiar Bach-Gounod piece. The Squire Octet has just finished a very successful tour of Italy, and this record is ample evidence that they have thoroughly deserved their success. A Fine Australian Singer

(1) “Beware of the Maidens”; (2) “Come Let’s Be Merry.” Sung by Oliver King, bass-baritone. Columbia 0886.

Oliver King’s namo is new to me, hut he is credited with some fine sing-’-.g in Australia, notably with Joseph Hislop, tho famous tenor, in “The Mes-

siah” in Sydney and Melbourne. He has a manly delivery, and he sings these two pleasant ballads in attractive style; but though there is a great deal to be enjoyed in this record —notably his wide range —he must make a closer study of breath control before he completely satisfies. Recording is very clear. Grand Opera Choruses

(1) “Humming Chorus” —Madame Butterfly (Puccini); (2) “Festa e pane” —La Gioconda (Ponchiello). Sung by La Scala Chorus, of Milan. Columbia 03523.

Here is an excellent specimen of up-to-date recording. It is wonderful how the electric process enhances the resonance of the bouchc-ferroco tone in the chorus from “Madame Butterfly.” The effect is, if anything,' louder than Puccini intended, because it eliminates that of distance, but most people will agree that a record can stand this faultIt is a clever and imaginative bit of suggestion. On the other hand, nothing could be better than the brightness and vigour shown in the opening chorus from “La Gioconda” on the reverse side.

Jan Chemiavsky. (1) “Barbarini’s Minuet’’: Pianoforte solo by Jan Chemiavsky; (2) “Allegretto” (Boccherini). ’Cello solo by Antoni Sala. Columbia 0883.

Accustomed as we arc to ascrubing the beauty of the Chemiavsky Trio’s playing to the perfection of their ensemble, it is a revelation to hear, on the solo records, how remarkable is each of these artists as an individual player. Jan Chemiavsky gives us Barbarini’s Minuet (arranged by Harold Bauer), with a brilliance of execution ami warmth of tone quite out of the ordinary. On the. reverse another fine artist, Antoni Sala, plays up to his usual high standard in a lovely ’cello solo. Decidedly a worth-while record. e