RECORDED MUSIC

Wanganui Chronicle, Volume 71, Issue 261, 3 November 1928, Page 21 (Supplement)

RECORDED MUSIC

THE WEEK’S NEW RECORDS HIS MASTER’S VOICE Backliaus Presents Chopin Studios Twelve studies, Op. 10 (Chopin), as follows: D.B. 1132 —No. .1, in C Major; No. 7, in C Major; No, 2 in A Minor; No. 3, in £ Major; D.B. 1133 —No. 8, in F Major; No. 4 in C Sharp Minor; No. •”». in G Flat Major; No. (5, in E Flat Minor; DB. 1134 —No. 10, in A Flat Major; No. 9, in F Minor; No. 11, in E Elat Major; No. 12, in C Minor; D.B. 1131, Berceuse, Op. 57, and Waltz in E hint. Recorded by Wilhelm Back hause for 11.M.V. This splendid set of records should make a worthy companion to the now famous set of Preludes of the same composer, which Mr Cortet recorded but a short time ago. (Records DB 957 to DB 960). The studies which comprise Opus 10 were published in Paris in July, 1833, as Douze Etudes. The twelfth was written in 1831, and was said to be inspired by the news of the capture of War.-aw by the Russians—for this reason it is known as the “Revolutionary Study.” Chopin’s interests were entirely Polish, and he has given us a picture of tragic despair at hearing the news, in this remarkable study. Ccr tain of the studies stand out from the rest. Niccks, the famous biographer ol Chopin, prefers the third, the sixth and the twelfth. Me know Chopin’s own opinion of the Third Study; he told a Iricnd that he considered it the most beautiful melody lie had ever written. It certainly comes near to eclipsing anything tu be found elsewhere in h>s writings. The fifth, in G Flat, is the well-known Black Keys study; it is so called because the right hand play* only on the “black keys” of the keyboard. Two Splendid Operatic Ensembles. 1— Galli-Curci, Homer, Gigli, De Luca, Pinza, and Bada (vocal sextet), in “Lucia di Lammermoor,” “Chi mi frena” (Donizetti). 2 Gahi-Curci, Homer, Gigli, and De Luca (vocal quartet), in “Rigoletto,” “Deila figlia dell’ aiuorc” (Verdi). Both the sextet from “Lucia” and tne equally famous quartet from “Rigoletto” rank amongst the greatest and best loved passages in Italian opera. The reproduction afforded is on the same high level as the singing. The sextet comes at one of the most tense moments in “Lucia.” The voices enter one by one, and a great climax is reached, in which Lucy’s despairing voice is heard rising high above the others. The quartet from “Rigoletto” is sung in a situation no less tense, though the nature of it is rather different. Many critics consider that this quartet represents a high-water mark in Italian operatic ensemble music.— H.M.V. DQ 102.

The Berlin Philharmonic 11.M.V. DL365 —Overture, “Carnaval Romain” (Berlioz). Under Dr. Leo Blech the orchestra gives a thrilling performance of Beiliuz “Carnaval Romain” overture, a work constructed from the music from the “Carnival” scene from the ill-fat-ed opera, “Benvenuto Cellini.” Beethoven’s ‘ ‘ Coriolan. ’ ’ London Symphony Orchestra, conK?U'<.‘d by Pablo Casals, in “Coriolan” overture (Beethoven). Beethoven based his “Coriolan” overture on a drama by a German poet, JI. J. Von Collin. Written in a simple movement, the overture opens witn an unison in the string followed by a sharply sounded chord by the full firstra. The music, now dramatic and heroic, now soft and appealing, is one of the most successful manifesto tions of Beethoven’s genius.—H.M.V.. D 1409). A Fine De Groot Disc. De Groot and the Piccadilly Orchestra, in “Together” (D e Sylva), and “Songs My Mother Taught Ale” (Dvorak). De Groot captivates vou from the first note. This record of “Together” will be welcomed warmly, for it has been eagerly awaited. As many know, De Groot discovered this piece in America during his triumphal* tour there; he recognised at once its possibilities.—H.M.V., 82662. Opera S*ars in Five Duets Beniamino Gigli and Giuseppe de Luca, in (a) “i Pescatori di Perle” (The Pearl Fishers) Del Tcinpio al Jimitar (In the Depths of the Temple), Bizet. (B) “La Gioconda”—Enzo Grimaldo, principe di Santafior (Enzo Grimaldo, Prince of Santafior), Ponchielli. “The Pearl Fishers” contains many very beautiful melodies, and the duet which Gigli and de Luca sing I ere is one of the finest passages. From the “Pearl Fishers” to the “blood and thunder” of “La Gioconda” is a far cry. In this duet the villain recognises the hero, who is in disguise a sailor, and coming up 4 o him soft I v addresses him by his real title. “Irinec of Santatior.” Both Gigli ami the magnificent-voiced de Luca are reproduced wonderfully. H.M.V. D.B. Jl5O. McCormack Re-recordings. John McCormack (tenor), hi “Mother Mach rec” (Ball) and “1 Hear You Calling Ale” (Marshall). The great Irish tenor could scarcely have made a more welcome record than this. “] Hear You Calling Me” first became widely known by his efforts. Ir. finds an incomparable exponent in John McCormack. (11.M.V., D.A. 958). A Dobut in “Turandot.” Lotte Schoene (soprano) and the

Berlin State Opera Orchestra, in “Tur-1 S'.ndot” —Signore, ascolta! (Milord,I Listen), and Tu che di gel sei cinta (Thou Who in Ice art Girt) (Puccini). An interesting first record by a young and charming German soprano, who is making a name for herself in Europe. She sings very appealingly the two arias sung by Liu, the slave, who kills herself to save Prince Calat’. 11-M.V. E 503. La Scala’s Favourite Tenor. Aureliano I’crtilc (tenor) and La Scala Orchestra, in “1 Gagliacei”— Vesti la glubba (Leoncavallo), and “Andrea Chenier” —Un di all assurro spazio guardai prof undo” (Giordano), Aureliano Fertile, the favourite, La Scala tenor, sings with dramatic intensity the “Sob” song from “I’agliatci.” The beautiful improvisation from the first act of “Andrea Chenier” gives him an excellent opportunity io display his magnificent ringing voice. The recording is excep - tional in volume and clearness. 11-AI.V. D.B. 11.18. Gems from “Cannon.” 1. Fernand Ansscau (tenor), in “Canui'n’’ —La flour quo tu in’«iva‘s jet.ee (The Flower You Flung to Ale). (Bizet). 2. Ansscau and Marcel Journet (bass), iu “Carmen” —Jc suis Escamiilo (I am Escamillo), Bizet. Fernand Ansscau, the renowned Belgian tenor, sings with great warmth tne “Flower Song” from “Carmen.” On the reverse side he is joined by Alarcel Journet in the duet from the third act of “Carmen” and which culminates in a duel between Don Jose and Escamillo. H.AI.V., D.B. 11)98. Paris Star in “Thais” Fanny Hcldy (soprano), in “Thais” —O Messenger de Dieu. 2- Fanny lleldy and Alarcel Journet in “Thais ’ —Baigue d'eaumes mains et mes levies (Massenet). Fanny lleldy, assisted by Alarcel Journet, sings delightfully Hie charming oasis uuet (frum tne third act), one of the most melodious excerpts iu Alassenet s opera. Ou the reverse side the popular star of the Paris Grand Opera sings with utter simplicity “O Messager de Dieu.” IL.M.V., D.A. 940. COLUMBIA Addition to the Schubert “MasterWorks.” “Trio No. 1 in B flat (Schubert Op. 99). Played by Icily d’Aranyi (violin); Febx Salmond (’cello); Myra Hess (piano); parts 1 to 8. Columbia 04138-41. In this new rendering of Schubert’s lovely trio, Columbia have secured two new artists —Yelly d’Aranyi and Myra iLess. Both combine with that master of the ’cello, Felix Salmond, in producing possibly the most notable rccoiding oi this melodious work to date. From the opening allegro moderate to the final allegro vivace, the work is handled in true keeping with the spirit of Schubert’s writing. It is to be hoped that these three brilliant players will be heard again together. Viola as Solo Instrument. “Sonata in A Major (Mozart, arr. Tertis). Played by Lionel Tertis, viola, with piano. Columbia 04156. Comparatively few people arc aware of the beauty of the viola as a solo instrument; and indeed it is seldom heard now outside its limited score in orchestral and chamber music. Lionel Tertis is, of course, a splendid artist, but lie will surprise many people with the. exquisitely vibrant timbre of his instrument. Lovely in the extreme is this arrangement of Mozart’s little sonata, and th c original scope loses nothing in Tertis’ transcription for viola and piano.

Sir Henry Coward and Sheffield Choir(1) “Ag Pants the Hart” (Spohr); (2) “Break Forth Into Joy” (Barn by). Sir Henry Coward conducting the Sheffield Choir. Columbia 02664. The solo in thc first number is taken by Aliss Helen Talbot, who possesses an excellent voice. 'The part singing is splendidly balanced and is a delight fill example of crisp attack, clear con certcd articulation and musicianly phrasing. Nothing quite so good a.> this choral recording has been heard since “1 am Alpha and Omega” was sung by thc same choir. We hope some day to hoar this body do Bach’s eightpart motet, “Sing ye to the Lord.” If they ever do it, judging by the disc under review, it will be wm-.h going far to hear. Lina Scavizzi. (1) Uavalleria Rusticann--“ Voi ’0 sapetc 0 mamma’’ (Mascagni); (2) La, Tosca—“Vissi d’artc” (Puccini). Sung by Lina Scavizzi. soprano. Columbia 03540. Lina Scavizzi is without doubt tile finest interpreter of the title roles in “Tosca” and “Alanon Descant” that thc world lias yet scon. In these two arias above, her glorious voice may be hear*! at its richest. The Mascagni air is excellently sung, and in Tosca’s “prayer” the rich beauties of her voice are fairly to be - ivellod m. Scavizzi has not. only unusual natural ability but. also a culture that is complete in knowledge and application. Felix Salmond. (1) “To a Wild Rose” (McDowell); (2) “Berceuse de Jocelyn” (Godard). Played by Felix Salmond (violin-’cel-lo). Columbia 0359.1. Here are another two items this week from the how of Felix Salmond. These solo pieces, comparatively simple as they are, demonstrate that he is a virtuoso whether he plays iu solo or trio. He is, in fact, the leading as well as the most popular -’cellist, in America to-day. Whether he will continue in the United States is a moot point, for

he has been invited to head the ’cello department of the Berlin “lloehsehule,” a Conservatory of Music second to none in Europe. Two Now Ketelbcy Pieces. (1) “By the Blue Hawaiian Waters;” (2) “Jungle Drums” — Patrol. Flayed by the band of H.M. Grenadier Guards. Columbia 02671. Columbia arc first again with the first two fully scored renderings of Al bert W. Ketelbcy’s two now works. The Hawaiian tone picture is of course founded on the native musical idiom and introduces the spirit of the Hula [*uid Karaka dances, and also the dance of the Betrothal Ceremony. The “Jungle Drums” is sufficiently barbaric to appeal to the sense of everyone. With admirable restraint Kctelbey manages to keep actual drum music out of the score. The awesome rhythm of the march is obtained I thiougli clever phrasing in thc heavy ?eeds and brass basses. Sheffield Male Voice Choir. (I) “There is a Tavern in tn 3 Town;” (’-) “The Lincolnshire Poacher.” Fung by thc Sheflicld Orpin us Male Voice Choir, with piano. Columbia 01175. These two traditional airs are ;-o well known as to require no inDoductoiy praise. Not so the singing of them, however. Both of these ol<l song'' are sung with a stirring sincerity that is delightful to hear, and the exaggerated pathos in “For remember that the best of friends must part” is quaint to the point of laughter. As usual, diction is faultless and the balance of parts perfection —thanks again to Columbia electrical recording. Massomt’s “The Dream.” (1) Manon —“Il Sogno” (Massenet). Sung by Enzo de Muro Lomanto, tenor(2) 11 Trovatore —“Tacea le notte placida” (Verdi). By Lina Scavizzi, soprano. Columbia 1)3552. The beautiful tenor aria, ‘ Iho Drcam,” is wonderfully beautiful as sung bv Signor Lomanto. This tenor, it. will be remembered, is at present ia Sydney, and his artistic singing ut

opera there is causing a furore. The reverse side gives us another song by Lina Scavizzi, also at the moment in Australia, and her interpretation of “How Peaceful is the Night.” is a sublime piece of art. The accompanying orchestra in both pieces also deserves credit for the richness and crispness of its nl tying. Signorina Arangi-Lombardi. (1) Cavallcria Rusticana —“Voi lo Sapetc” (Mascagni); (2) Aida—“O cioli azzurri” (Verdi). Sung by G. Arangi-Lombardi, soprano. Columbia 03518. Here is a further recording this week of Pietro Mascagni’s “Voi lo Sapetc,” and it is interesting to contrast this rendering with that of Lina Scavizzi reviewed al ovc. Signorina Lombardi is the dramatic soprano of the Opera Company now in New South Wales, and undoubtedly possesses a superb ojH'ratic voice. Thc “Aida” aria, is artistically sung and provides easily the best recording of this solo heard for a vc«y long time.

Britain has now become the world’s workshop for aircraft, ships, and locomotives. Coal should vary according to the geographical situation of the consumer. Thus, Hampstead, which stands high, can burn a denser coal than Westniins er, winch lies lower and is more shut vonteen cafes run by Scarborough Corporation in its parks an dopen air spaces have had a turnover this year of nearly £25,000. They are all controlled bv one woman, who is a voluntary worker.

Of the new motor-cars sold in Britain nearly 70 per cent, are of the saloon type. Thn annual returns of the British Registrar-General show that the marriage. rate is tin* highest for five years, inluding a York'hire increase of more than 11 per cent., <in<l that, the birthrate is the lowest yet recorded. The Old Hall. Lincoln's Inn, has boon taken down and is being rebuilt with every stone carefully put. back in its original position. \Yh"n finished, the hail will appear exactly as it was in the days of Henry VIIT.