RECORDED MUSIC

Wanganui Chronicle, Volume 71, Issue 291, 8 December 1928, Page 17 (Supplement)

RECORDED MUSIC

THE WEEK’S NEW RECORDS COLUMBIA A Further Fine Stracciari Re-recording. (.1) Otello— -“Credo” (Verdi); (2) “Idcale ” (Tosti). Sung I»y R icca rdo Stracciari, baritone. Columbia 04176. The Othello aria is a splendid piece of work—perhaps <he finest recording of the “Credo” yet made. Both from orchestra and vocal point of view—or rather, hearing—it is a vastly improved presentation, and when you consider the excellence of the pre-electric disc, this is indeed saying a good deal. The reverse side gives us Tosti’s melodious “Idcale”— a rather unusual pairing, nowadays, but as Verdi and Tosti wore close friends when living, they will perhaps now in another sphere appreciate the compliment to each other! From the Ketelbey Album. “In a Monastery Garden” (in two parts) (Albert W. Ketelbey). Played by special concert orchestra, conducted by the composer. Columbia 02(588. One of the important November releases is the Albert W. Ketelbey album. It comprises seven of his finest works, on a total of eight discs. This wellknown number under review is the first item. It is certainly a brilliant performance—one that does credit to the composer’s genius—both as a writer and as a conductor of orchestral music. In short, it is Ketelbey’s most favoured work, in the most attractive presentation wo have yet hoard. In a Persian Market. “In a Persian Market” (in two parts). A. W. Ketelbey and Concert Orchestra. Columbia 02689. The. second item in the Ketelbey album is that colourful Oriental phantasy, “In a Persian Market.” This number also is a rendering full of unusual features and intriguing orchestral variety. The composer has certainly laboured with his ensemble to make this the finest “Persian Market” record yet. Ami recording does every justice to this special effort. The Mandolin Band of Leghorn. (1) “Stephanie Gavotte” (Czibulka); (2) “Toma a Surricnto” (de Curtis). Played by the Circolo Mandolinistico Guiseppc Verdi of Leghorn. Columbia 01210. In spite of its fearsome name, this brilliant ensemble accomplishes the most delightful concerted mandolin numbers in the world. The playing of these 65 performers, their technique, the variety of their musical effects and the purity of their massed tone are alike amazing. Czibulka’s happy “gavotte” is played with a spiritedness that is sheer enjoyment. The reverse side gives us a stirring rendering of one of Italy’s national airs. The 8.8-C. Choir. (1) “A Few More Years Shall Roll” (Bonner and Hayne); (2) “Stand Up, Stand Up For Jesus” (Sankey-Moody). The 8.8. C. Choir, conducted by Stanford Robinson. Columbia 01211. The British Broadcasting Company’s Choir has made a very fine record indeed in these two well-known sacred numbers. The first is unaccompanied and the choir respond with admirable balance and precision to the baton of that favourite choral expert, Stanford Robinson. The second hymn is spirited and sincere singing, this time accompanied by W. G. Webber at the organ Chanson Hindcue. (1) 4 ‘Chanson Ilindoue” (Rimsky- - Korsakov); (2) “Reigen” (Popper). Played by W. 11. Squire, ’cello. Columbia 03607. Yet another of Squire’s fine re-record-ings. His song of India is a brilliant piece of playing, the tone of his wonderful instrument being caught to perfection. “Reigen” (No. 4 of Popper’s “Im Walde” Suite) is a sympathetic interpretation, and serves further to display Squire’s masterly technique. J. H. Squire Celeste Octet. (1) “I Love the Moon” (Rubens); (2) “Two Eyes of Grey” (McGeoch). Played by the J. R. Squire Celeste Octet. Columbia 01213. This disc replaces pre-electric 3691 — and to considerable advantage. The liquid notes of the celeste provide some very beautiful passages in McGeoch’s well-known air, and the general tone of this famous ensemble in both numbers. is beyond reproach. The Squire Octet. 1 is always worth listening to and this disc should bring two very pleasurable items into very many homes. A Wagner Favourite Re-recorded. “The Meistersingers” Selection (Wagner). Played by the Regimental Band of H.M. Grenadier Guards. Columbia 02697. The Meistersingers of Nurcmburg was one of Wagner’s favourite operas —melodious, full of splendid harmonies, and understandable by everyone. The selection made for this record is a

happy fantasia of the most popular airs, and on tbo second side the cornet provides a lovely excerpt from Waithcr’s “Prize Song.’’ A half tone needle is all that is required to provide almost full band volume in a fairly large room —a real triumph of electrical recording through the Columbia process. Two Alfred Hill Songs. (1) “Song of the Locust ” (A. Hill); (2) “Waiata Maori” (A. Hill). Sung by Ernest McKinlay, tenor. Columbia 01061. Two New Zealand songs sung by New Zealand’s finest tenor. Dunedin may indeed be proud of introducing Ernest McKinlay to the world. Hig voice is fresh and resonant, cultured and yet, unforced. His rendering of Maori songs—both traditional airs and those by Alfred Hijl have now made him world-famous. A keen student of Hill’s music, his interpretations are easily the finest yet heard, and in both the numbers listed above his splendid voice and his keen insight into the spirit of Hill’s music may be fully appreciated. Recording on both sides is magnificent. • ~ i HIS MASTER’S VOICE A Wonderful Quintet. Alfred Cortot and the International String Quartet (Mangcot-Pccker-How-ard-Withcrs), in Cesar Franck’s “Quintet in F Minor.” D.B. 10991102, four discs, in album. The “Quintet” recorded here was written in 1879 and. is one of the earliest of the composer’s “big” w’orks. It is a beautiful work, and like much of Franck’s music contains many passages that arc of great spiritual appeal. The “cyclic” method of treating the leading themes, which Franck used with such effect in later works (the “Symphony,” for example), is here in evidence. By it Franck has contrived to give an impression of binding unity and consequently of great strength. It entails the use of the principal themes of preceding movements in those that follow, thus creating a curious and sometimes dramatic “echo” effect. Brilliant Violinist in Two Serenades. Renee Chomet (violin), in “Serenades” by Picrnc and Toselli. Two melodious and captivating sere nados played with exquisite refinement and charm by Renee Chomet, the talented and brilliant French violinist, who at the present time is fulfilling numerous important engagements in Europe. (H.M.V. D.A.955). Finn Instrumental Sextet. The Victor Olof Sextet (instrumental). in three Macdowell numbers: “To a Wild. Rose,” “In Autumn.” “To a Water Lily.” Tbo grace and charm with which this famous instrumental combination plays are too well known to be emphasised here. The record it has made of “To a Wild Rose” and of “To a Water Lily” is of such quality that, once you have heard it, you will agree that it is scarcely in need of any recommendation. (H.M.V. 8.2690.) Mark Hambourg Presents Chopin. "Mark Hambourg (pianoforte), in Chopin’s “Polonaise hi B Flat Major” (Op. 71, No. 2), “Waltz in G Flat” (Op. 70, No. 1), “Waltz in D Flat” (Op. 64, No. 1). Mark Hambourg has played throe of Chopin’s most popular pianoforte pieces for this record. It is surely excellent measure for one record to have, besides the gay little “G Flat Waltz,” the “Minute” waltz and the prancing “B Flat Polonaise.” “Prancing” is really the only term which can convey in any way the astonishing fire and dash of this “Polonaise.” In the great pianist’s hands it goes with all its accustomed fire and any amount of dash. The record is an astonishing example of clear, sonorous pianoforte reproduction, (H.M.V. C-1451). Famous “Faust” Ballet Music. Royal Opera Orchestra, Covent Garden, in “Faust” ballet music (Gounod). The ballet music, which is usually omitted owing to the length of the opera, is from the fifth act. Mephisto conjures up visions of beautiful women. No. 1 is a waltz (“Les Nubiennes”), No. 2 “Adagio” played by the strings, i No. 3 “Danse Antique” (“Allegretto”), No. 4 “Variations of Cleopatre.” No. 5 “Leg Troyenncs,” a lovely melody sung by all the strings, with harp accompaniment, No. 6 “Variations due Miroir, ” No. 7 14 Danse de Phyrne,” is a riotous bacchanalc. The§c two excellent records should not be missed. (H.M.V. C. 1462-3). Chicago Symphony Orchestra. i Chicago Symphony Orchestra, in “Xerxes,” Largo (Handel) and “Slavonic Dance No. J in G Minor” (Dvorak). The Chicago Symphony is one of the finest orchestras in America (and that is saying a great deal, for the Symphony orchestras of Ameridt include the best in the world). Its conductor, Frederick Stock, occupies a position in Chicago similar to that by Sir Landon Ronald in London. (H.M-V. D. 1432). Star Numbers from “Tosca.” Browning Mummery (tenor) in Puccini’s “Tosca,” “Recondita Armonia, ” and “E Lucevan le Stelle. ’* Puccini’s opera, “La Tosca,” contains several exceptionally fine airs; the best known of all being that from the last act (“E Lucevan 1c Stelle”— When the Stars Were Shining). It has long been a favourite vehicle for the great tenors of the day to display their vocal attainments; but few, even ; the greatest, have made a finer record than that Browning Mummery has I made. (H.M.V. B-2724). Two Delightful Songs. Mavis Bennett (soprano) in “Pretty Mocking Bird” (Bishop) and “Down Vauxhall Way” (Oliver). Mavis Bennett sings two very different, but equally delightful songs. “Pretty Mocking Bird” is a concertair witli some exceedingly brilliant passages for voice and flute. “Down Vauxhall Way” forms an attractive contrast of simplicity and gaiety. (H.M.V. C. 1377). A Good Tenor Song Disc. | John Turner (tenor) in “Pluck this Little Flower” (Landon Ronald) and “Love is Mine” (Gartner). John Turner possesses tlu) faculty of being able to convince hig hearers of the sentiments of his songs. This quality, coupled with his unusually fine voice, should make his records amongst the most popular issued. (H.M.V. 8.2638),

A Mozart Symphony. Royal Opera Orchestra, Covcnt Garden, in Mozart’s “.Symphony in G , Minor. ” Mozart’s “G Minor Symphony” was his fortieth, and the second of the group of three which were the last he , wrote. It is one of the most popular ] works of its kind; for many years the | most popular of his symphonies (though ; that, position nowadays is being disputed by the E flat and C major symphonies). Tunes go tripping across the pages of the symphony in the most delightful care-free manner; they remain orderly, but their birth and their adventures always have a true air of spontaneity. (H.M.V., C. 1347-9). McCormack Sings for ChristmasJohn ’McCormack (tenor), in “Adcste Fidcles” (“O Coinc All Ye Faithful”) and “The Palms” (Faure). John McCormack has made a very appropriate

record for Christmas in Adcste FideJos” (“O Come All Ye Faithful”). It is an exceptionally line record in every sense; the mixed choir makes a magnificent background for McCor mack’s voice. As for John McCormack’s voice itself —does that require any introduction when he stands as the i most popular living tenor in the l.tiv I lish-speaking world? (H.M.V. D.B. 984). Appealing Tenor Numbers. Leonard Gowings (tenor), in “Murmuring Breezes’’ (Jensen), and “.loce lyn, Angels Guard Thee” (Godard). Leonard Gowings has a very appealing voice, and it is scarcely to be wondered at that many enthusiasts claim that ho is one of the finest living lyric tenors. His record of these two popular songs is most artistic, and in every way to be recommended. An attractive feature is Marjorie Hayward’s violin obhliKiito tn tbe “Angel’s Serenade.” (H.M.V, C.l IH).