RECORDED MUSIC

Wanganui Chronicle, Volume 74, Issue 150, 27 June 1931, Page 7 (Supplement)

RECORDED MUSIC

THIS WEEK'S RECORDINGS Opera on the Organ Two of tho most popular airs from all opera, tho “Intermezzo” from Caval leria Rusticana, and tho “Barcarolle'’ from “Tales of Hoffman,” are beautifully played on the famous organ of Central Hall, Westminster, by Arthur Alcaic. No one has done more than Aleale in recent years to make organ music popular, and his midday recitals in London attract large audiences. He is a wonderful artist. Be is content to let the music speak for itself. The intensity of the chief melody of the “Intermezzo” is effectively brought out, and the beautiful climax is particularly poignant and dramatic. All the sweetness of the organ is heard in the “Barcarolle.” Here the music depicts a gondola gliding down a Venetian canal, and the musical colouring is entrancing. (H.M.V., 83627). Now “The Gondoliers” Although the Columbia abridged “Mikado” was only announced a month ago, it has already run into five large editions —a sure proof of its having taken the public fancy. Now Columbia issue “The Gondoliers’’ iu the same form, i.e., six double-sided records of fifteen solo and concerted numbers, with the printed words of the lyrics, all put up in a special portfolio. “The Gondoliers” is a happy choice, since it runs “Tho Aiikado” very close in popularity. Thu portfolio embraces all the best-known favourites, including “Take a Pair of Sparkling Eyes,” “No Possible Doubt Whatever.” “A. Regular Royal Queen” and “Dance a Cachucha” (to mention but four), and they have been sung with all the true Gilbert and Sulivan atmosphere preserved. The Columbia Light Opera Company, who did such splendid work in “The Aiikado,” have again been entrusted with the work, and in addition we have such favourites as Nellie Walker, William Hesel tine, Sophie Rowlands, Joan Cross and George Portland—a truly brilliant company for a 28s work! The conductorship is in the hands of Joseph Batten. (Columbia DO 329—D0 334). “Soul of Modern Spain” Don Isaac Albeniz (1860-1909) was the great court pianist of his time, ami his compositions have been called “the soul of modern Spain.” His works are ranked with those of Debussy and Ravel as among the most interesting of the modern school of impressionists. He made a special study of the folk music of Spain, and folk characteristics are very pronounced in all his music. He is regarded as the pioneer in the modern renaissance of Spanish music.

and an excellent example of his style is his famous pianoforte suite “Iberia,” from which “Fete-Dieu a Seville” has been taken and orchestrated by Leopold Stokowski, the brilliant conductor of tho Philadelphia Symphony Orchestra. Stokowski’s arrangement has now been recorded under his baton

by the Philadelphians and with their usual flair for colourful music they present it in the richest of hues. As the title suggests the work depicts a religious festival day in Seville. As with almost all Spanish music it is strong in rhythm. A number of .folk melodies are masterfully woven into the main theme and are skilfully brought out by the orchestra. The performance is almost uncanny in its precision—there is no better disciplined orchestra, but the conductor also displays wonderful imaginative insight into the music he has so ably arranged. Thp orchestra] tone is always realistic. (H.AI.V., D 1888). Squire Octet in Strauss Waltzes Afemories of Johann Strauss (arr. P. Willoughby); played by the J. H. Squire Celeste Octet on Columbia DOX 161. Here we have a pastiche of Straussian tunefulness that could not but have charmed the genial Johann, could he have heard it. The composer of “The Blue Danube” died in 1899, but his melodics will live for ever. The players are the famous J. H. Squire Celeste Octet, and never have they given a more delightful or successful record. Such a record, embracing as it does no less than six delicious Strauss melodies (including “Blue 1 Danube” and “Tales From the Vienna Woods”), played with al the finish of accomplishI ed musicians mid faultlessly recorded, | cannot but have immense popularity. ! Afagnificent Singing The melodious “Love Duet,” which is sung by Otcllo and Desdemona at the end of the first act of Verdi’s opera, “Otcllo,” has been recorded by Alargarct Sheridan and Renato Zoneili, who have been prominently identified with this opera. This duel, is the great finale of the act. Desdemona and Otcllo have at last, been left alone, and they sing the duct to magnificently descriptive music. The words have been taken mid adapted from Otcllo’s speech before the senate in the. original drama, but the musical setting, with its soft melodies and lovely accompaniment, has greatly enhanced the poetic value. One notes the use of the tremolo of the strings and harp arpeggios. Beginning quietly with Desdemona’s confession of how she .fell in love with tho Moor, the duct rises to an impassioned climax. At the end is heard the “kiss motif” which is heard later in the last act in Otcllo’s death scene. Both soprano and tenor bring out the dramatic aspect of the scene realistically. Their voices blond admirably and are nicely balanced with the beautiful instrumental background which is provided by tho La Scala Orchestra. The whole performance is most convincing. (H.AI.V., D 81395). Thrilling Don Cossacks Record (1) Two <)ld Wedding Songs (arr. Grctchaninov); (2‘) Aljosehu’s Song from ‘Dobrynja .\ikii it isch ’ (Grctchaninov); sung in Russian by the Don Cossack Choir ou Columbia DOX 15s. A new Don Cossack sensation! The mere announcement is sufficient for ’ those who look forward regularly to the issues of this amazing choir. Their new record on Columbia has its special t interest, like tiie others. “Two Old ( Wedding Songs” (Zwei Alt<* Rochzeit t sliederi are both quaint and exciting ‘ No actual story is at hand of these folk j songs, but it is easy to picture a town ( with its crier calling forth to all of ' Ilw welding to come, the ensuing ex- s citemonl. 11,. blessings of the brother| i

or parent, and the shouts of joy after the ceremony. The operatic item on the ’ reverse i.s also quite exciting. • Songs of Scotland All the virility of the Scottish bal- ■ lad, “March of the Cameron Men,” is brought out by a Scottish baritone, I Gordon Alunro. He enters into the ■ spirit of this stirring song, and from his graphic singing one can easily det pict the march of the famous clan. 1 Munro, who is a newcomer to the gramo- >' phone, has a strong manly baritone • voice, which is ideally suited to this ‘ typo of song. On the same record he ■ also sings “Loch Lomond,” and again 1 there is a fine realisation of the mean- > ing of both words and music. Munro ’ makes one realise why these songs have 1 endeared themselves to the hearts of thousands—one might say millions. The • pianoforte accompaniment is always in ’ sympathv with the vocalist. (H.AI.V., ■ 83582). ‘ i Columbia Dance Numbers : The best of a large bunch of foxtrots and waltzes are listed hereunder. All are finely played and vividly recorded—setting a very high standard ■ for all recorded dance music. Ray Starita’s pairing is a foxtrot and a waltz, “Songs I Heard at Al other's Knee” and “Down tho Lane to Home, Sweet Home” (Columbia DO 323). The Buckingham String players give up a couple of waltzes, “’Tis 1, Aly so It” (based on the “Londonderry Air”) and “Forget-me-not.” These are charmingly lyrical (Columbia DO 334). “Veil Yoi! Mr Cohen” is a onestep played by Jack Payne and his 8.8. C. Dance Orchestra. It is coupled with another item of Hebrew flavour, the foxtrot “What’s the Alatter. Abie?” A Convival Regal Medley A popular record reminiscent of the old days is a vocal medley by the Jolly Old Fellows in “Drinking Songs.” This record contains all the old traditional melodies such as “Drinking,” “Here’s

a Health Unto Bis Alajesty,” “Pour Out the Rhine Wine,” “There is a Tavern,” “Come, Landlord, Fill the Flowing Bowl,” “Here’s to the Alaiden,” “Little Brown Jug,” “The Alore We are Together.” For a rollicking, cheerful record crammed full of spirited singing, this Regal record is; exceptional value. The number is Regal ; 20951. Theme Songs from Recent Films A rumour goes about that except for Paramount, there is a distinct failing off in the output of talkie songs. Some say, “cheers! ” and some “alas! ” —but the fact remains that these themes are as popular as ever. “To-morrow is Another Day,” from the film “Big Boy,” is given by Layton and Johnstone on Columbia DO 328, and by Ted Wallace and his Campus Boys on Columbia DO 327 “Alaybe It’s Love,” from the talkie of the same name is given in its foxtrot version by Bert Lown and his Hotel Baltimore Orchestra. Paired with this is the foxtrot “I’ll bo Blue, Just Thinking of You” (Columbia DO 269). Gil Dech and his Orchestra give us a selection of the most, popular tunes from “Atonte Carlo” on Columbia DO 24.8 —splendidly played; and Van Phil lips comes to light with a pair of the “Munti*” foxtrot songs ou Columbia DO 259. These are “Always iu Allj Ways” and “Beyond the Blue Hori-I zo n. ” The Famous “Electric Girl” One of the must fascinating orches Hal recordings that have been put through on any make is the “Electric Girl” recorded on Regal 20937. This title is bracketed with the well-known “Rendezvous” Intermezzo, and both sides are played by the Regal Salon Orchestra, under the baton of Gil Dech. 'fhere is no doubt that this record should be in the eelleetion <>f ever} j record buyer.