RECORDED MUSIC

Wanganui Chronicle, Volume 73, Issue 81, 5 April 1930, Page 22 (Supplement)

RECORDED MUSIC

THE WEEK’S NEW RECORDS COLUMBIA Cesar Franck’s Only Symphony Symphony in D Minor (Franck). Philippe Gaubert conducting the Orchestra de la Socicte des Concerts du Conservatoire, Paris. The obstinate popularity of Franck’s Symphony seems puzzling to the critics, but the public knows what R likes, and will continue to find an overplus of merits, even while its faults seem painfully obvious to the more learned. It. is significant that a widespread vote in New Y’ork, among typical concert-goers, placed this as the most popular of all Symphonies. Philippe Gaubert gives a capital, straightforward performance. He ably avoids the danger of over-expressive-ness, which would ruin the work, and allows Franck to speak for himself. The general level of the tone and balance throughout is high. Especially good is the brass in the first movement; the cor anglais solo in the slow movement has great beauty, and Gaubert admirably realises the delicate whispering string section that supplies the scherzo element The Symphony fills eleven sides, the remaining space being appropriately given to a pleasant piece by one of Franck’s pupils. Henri Duparc—‘‘To the Stars.” Old “Gaiety” Tunes (1) Ivan Caryll Memories; (2) Paul Rubens Memories. Vocal Gems sung by the Columbia Light Opera Company. (Columbia 05038). The run of musical comedies that made the name of the London “Gaiety” Theatre at the beginning of this century, contained many delightful songs that are still remembered, and many that are worth remembering. 'l’lie songs, written by Monckton, Ivan Caryll, ami Paul Rubens, had their own infectious tunefulness, and arc the last relics of the bygone days when England wrote her own light music, before she turned the job over to the Yankees. Anyone hearing these delightful tunes will agree that we have lost a lot by the change. Flotsam and Jetsam Again (1) The Modern Diver; (2) P. C. Lamb. Duets by Mr Flotsam and Mr Jetsam. (Columbia 01774). These two original songsters, who write ami compose as well as sing their own material, are in happy vein again with the jolly ditty about P.C. Lamb, father of thirteen little lambs, who controls the traffic jams in London, and expects to do the same with the queue outside the Pearly Gates in the Hereafter. Jetsam’s marvellous voice holds us as spellbound as ever. Has anyone ever reached so low, and yet kept his musical head above water?

A “New Method” Dance Record (I) Mucking About the Garden; (2) Get Up Nice’ and Early. Jack Payne and the BB.C. Dance Orchestra. (Columbia 01765). A real “ top-notchcr’’ among dance records, with an all-star cast. Leslie Sarony sings the vocal choruses very attractively, while there is some amusing patter by Tommy Handley, the famous clown who made his name over the air with 2LO London. “Get Up Nice and Early” has a catchy little tune that promises to be all the rage. Light Orchestra I (J) Second Serenata (Toselli); (2) | Tarantellc for Flute and Clarinet (Saint-Sacns). Played by H. G. Amers and the Eastbourne Municipal Orchestra. (Columbia 05033). Two delightfully written tunes by famous composers, played by an orchestra which has a brilliant reputation for its wood-wind playing. The Saint-Saens “Tarantellc’’ is an cspcc-! ially appealing tunc, captivating in itsj enchanting simplicity. The reproduc-l tion is startlingly vivid. A Boy Soprano Sings Well (1) Nymphs and Shepherds (Purcell); (2) Should He Upbraid? (Shakespeare and Bishop). Sung by John Bonner, boy soprano. Columbia 02988). These delightful songs go back to the only days when England was really a force to bo reckoned with in the musical world. Purcell was perhaps our greatest composer, and his fame rests largely on a multitude of songs of which “Nymphs and Shepherds” is one of the more famous. Slight though it may be, it is as a whole flawless as a jewel. Sir Henry Bishop sets Shakespeare’s exquisite lyric, “Should He Upbraid?” to music as fragrant, and both songs form an admirable vehicle for the sweet purity of young John Bonner : s voice. Latest Popular Music Columbia 01885 —My Life is Love, and Farewell. Two of the most attractive songs from “The Maid of the Mountains,” and sung by Gladys Moncricff. ’Phis is the musical comedy in which Miss Moncrieff scored her biggest success. Columbia 05057 —Selection from “The Gold Diggers of Broadwaj.” 'l'he Regal Cinema Orchestra make a real “peppy” hit with this tuncy music. 'l'he songs introduced include Tiptoe Thru the Tulips, Painting the Clouds with Sunshine, Go to Bed. etc. Regal G 20617 —Victory —Tone Poem. Regal G 20618 —Torchlight—March, and Firefly—Trombone Solo. Two magnificent band records, played with stirring tone and swing by the Carlisle St. Stophen’s Brass Band, winners of the recent Brass Band Contest. Regal G 20590 —Your Mother and Mine (from the ‘‘Hollywood Revue”), and A Happy-go-Lueky Song. Two catchy songs by Charles Hamp. Regal G2U6IU —March Medley, and Waltz Medley. Brilliant mouth-organ solo by P. C. Spouse. The first introduced “King Cotton,” Liberty Ball, and Toddy Bears’ Picnic. The second includes AVhile London Sleeps, The Sidewalks of Now I’ork. Two Little Girls in Blue, Daisy Bell, and Auld Lang Syne. HIS MASTER’S VOICE i Joseph Hislop 9 Reappears Joseph Hislop (tenor), in the Wagnerian numbers, “Morning was Gleaming” (“The Mastersingers”) and “In Distant Lands’’ (“Lohengrin”), H.M.V. D8L35.1. In these, t\yo of the greatest numbers from two of the best-known and most popular of the “Vagucrian Operas,” Hislop has ample scope in which to display his wonderful vocalisation. Thcv will serve not only as

a reminder of his highly successful Australian tour, but will also enable those who did not hear him to enjoy this fine artist.

Rachmaninoff and the Philadelphians Sergei Rachmaninoff (pianoforte) and the Philadelphia Symphony Orchestra (conductor, Leopold Stokowski), in “Concerto No. 2 in C Minor, Op. 18” (Rachmaninoff)—H.M.V. D'B 1333—1337. This is the first, time that a composer has recorded the solo part in a concerto of his own composition and the Philadelphia Symphony Orchestra’s first recording of a concerto. Rachmaninoff’s Second Concerto (in C Minor) was composed in 1900. first played by the composer himself in Moscow in 1901 and published a year later. Since its first hearing, it has been a great favourite with music lovers throughout the world. Its fine broad melodies, of which there are many, hold the listener’s attention from the outset. Moreover, the pianoforte part is a very satisfying one, both to listener and performer, and the work is orchestrated wirh consummate cleverness throughout. The playing of the Philadelphia Symphony Orchestra is as perfect as in their previous records. A Lovely Kreisler Bracket Fritz Kreisler (violin), in “Souvenir” (Drdla), and “Old Folks at Home” (’Way Down Upon de Swannee River)—H.M.V. DA975. Kreisler stands to-day as the greatest living violinist by reaso of hi superb sensitiveness to melody. Listen to the way in which he fondles the wistful melody of .Drdla’s “Souvenir and the equally famous one of “Old Folks at Home” and you will recognise at once the great artist that he is. Two Lovely Songs Essie Ackland (contralto) in “Mclisandc in the Wood” (Goetz) and “Time’s Garden” (Thomas) —H.M.V. 83128. Essie Ackland’s gorgeous contralto voice, and sincere, unaffected style, have made her one of the most popular English singers. The songs she has chosen for this record arc particularly attractive, so that it deserves a place in every collection. The “Leonora” Overture Vienna Philharmonic Orchestra, in “Leonora Overture, No. 3’’ (Beethoven)—H.M.V , D 1614. Never has a composer lavished more care on a work than did Beethoven on his one and only opera. “Fidelio. ” As the result of his endeavours to produce the ideal overture for his opera wc have no fewer than three Leonora overtures, of which this, No. 3, is indubitably the finest. It is the one which is always used for performances of the opera; the others are heard only at orchestral concerts. The overture is to all intents and purposes an epitome of the story of the Opera and in it Beethoven employs phrases, taken from the opera. A Virtuoso’s Debut Josef Lhe\i’in<‘ (pianoforte), in Blue Danube Waltz (Concert Arabesques by Hchulz-Evler) (Strauss). H.M.V. DF .1201. “He has every shade of tone at his command, and a particularly grateful feature of his playing is that even in his biggest fortissimi the tone remains musical.” So wrote Ernest. Newman afte/r hearing Josef Lhe- inne last No veniber. This great artist, who records exclusively for His Master’s \ oicc, makes his gramophone debut in SchulzEvler’s insuperably dazzling arrangement of the “Blue Danube Waltz. There is no lover either of Strauss’ glorious tune or the pianoforte who can afford to deny himself this treat. The Latest Violin Prodigy Master Yehudi Menuhin (violin), in Scottish Pastorale, Op. 130, No_ 2 (Saens); “To Deuni”— Prayer (Handel). H.M.V. D 81284. Here are two further examples of Yehudi Menuhin’s playing, which reveal such quality of tone and technique that fully justify the. enthusiasm with which his recordings were rcFine Baritone Songs Arthur Fear (baritone), in “Woo Thou Thy Snowflake” (“Ivanhoe”) (Sullivan); “The Page Song” (“Falstaff”) (Verdi). H.M.V. 83123. “Falstaff” is at once one of the greatest and most amazing operas ever written. Unquestionably Italy’s greatest contribution to the operatic stage it was composed by Verdi in his eightieth year. Yet it overflows with a schoolboy’s sense of run, its score is one of the most masterly ever penned, and it shares with “Othello,” which preceded it by six years, the distinction of being the only entirely satis factory operatic version of Shakespeare. Arthur Fear, who first achieved fame by his amazingly clever characterisation and singing of “talstaff” at a student’s performance, gives a mellow and luscious reading of this joyous masterpiece.

Another Good Opera Selection Marek Weber and his orchestra. in

“Cavalleria Rusticana” selection (Alascagni). H.AI V. C 1736. The “Pagliacci” selection presented recently by Alarek Weber was a phenomenal achievement, both musically and technically. Hearing the “Cavalleria” selection, you will agree that it is fully up to the standard of its successful predecessor. Arthur Meale at the Organ Arthur Aleale (organ), in Montague Ewing’s “Yellow Sand:;'’ and “ 'Neath the Desert Aloon.” H.AI.V. 83112. It would be impossible to find organ records of wider appeal. These, melodious sides of magnificently recorded organ playing should have their place in every collection. “Are you positive, sir,” he demanded “that the prisoner is the man who stole your car?” “Well,” answered the witness, “I was until you cross-examined me. Now I’m not sure whether I ever had a car at all.” ’ “What a poor young man needs is a thrifty, economical wife.” “Oh, no; what a poor young man needs is a rich, liberal wife!”