RECORDED MUSIC.

Waikato Times, Volume 99, Issue 16470, 11 April 1925, Page 14 (Supplement)

RECORDED MUSIC.

THE WEEK’S RECORDS. One must be in the right frame of mind to appreciate Neapolitan songs (remarks a contributor to “The Gramophone”). A generous emotional atmosphere is necessary, and there must 1)0 no sham highbrow present, to mutter “sobstuff” when Gigli sings “Tu soia” or Caruso “Pcrchc?” The Ncaploitan canzone has as many admirable qualities as the British folksong that wc all feel so safe in admiring. If is like that brilliant flower colled Tigridia that blooms intensely l'or half an hour or so, and dies —it expresses with equal intensily an emotion that does not, that could not, last longer than the few minutes the song takes to sing.

Continuing, he says that Gigli s “Surdato innamurato," Dc Luca’s "Nuttata ’c senlimento,” and de Gogorza’s “Comme se canta a Napule," arc all splendid records, and all have something good on the other side. John McCormack’s “Carme” has had a great success with the Italians who have heard it, though they regret that with his perfect pronunciation of Italian he does not attempt to sing it in dialect. Tita lluffo’s great voice is heard in "Maria Mari," a very popular song over here, and “Torna a Surriento,” which everybody knows.

Amongst the recorded Neapolitan folk songs may he mentioned “ ’A vucchella,” which means “little mouth, is written by Gabriele d’Annunzio, and is all in charming diminutives, simply asking for a little kiss from that little mouth that is like a little rose, a little faded In “Ciclo turchino” the singer praises the sea under the sun, the moon, and the stars—hut what is the good of it all?—Rosina won’t make up her mind. "Luna d’estate, a melodious Tosli song and “Yicnc su mar,” which is no other than Two lovely black eyes” Unlink'd, arc not particularly Neapolitan, but both are in Caruso’s best manner, and the latter lias "Pimpinclla” on the oilier side.

Selections from comio operas one has never seen are rarely of great interest, but Lchar’s charming tunes go far to 1711 up 'the deficiency, rho second side contains a luscious waltz Had he chosen, this composer might have proved a serious rival to PuccinL Two nice little restaurant pieces make up Miss Hayward’s contribution; this record is just the thing for you when you arc drinking your coffee.

I find it hard to forgive Walter Glynnc for “Easter Flowers,” which is quite one of the sloppiest songs I have ever heard. The oilier side, “The slighted swain.” is delightful. Both arc well sung. “Cargoes” is a fine poem, and makes a stirring song in Martin Shaw’s selling, and Peter Dawson’s really magniilccnt voice docs it full jujstice. I like bis clover characterisation in the last verse. The reverse is a frank balladrsetting of a wellknown poem. If you like American comedians Brooke John's record will greatly intrigue you, having sung a while, he then banjoes, ending by a little more singing. And It really is rather attractive.

A correspondent expressing his gratitude for the complete version of "Madame Butterfly" in English, says in an open letter to the H.M.V. people. "Carry on with the good work with •Tales of Hoffman.’ ” (Hear, hear.) St. Margaret’s Church was filled to overflowing recently for the first performance in London of Byrd’s "Croat Service,” by Dr. Whittaker’s Newcastle Bach Choir. Parts of this line example of the Elizabethan composer’s work has been recorded. A member of the audience at the above recital says: “I cannot avoid the feeling that Byrd was working in shackles this in spite of many great beauties in yae score. Compare the ‘Gloria’ from ‘Nunc Dimittis) (E. 291) of this service with any of the Latin Church music recorded (E. 290, E. 305). The ‘Great Service’ is, though contrapuntal or polyphonic in treatment, unpleasantly square and syllabic. This was the condition imposed on Byrd by the Reformers. The beautiful freedom of his Latin music gives way to a suspicion of the Anglical chant idiom —a rigid thing compared to the Gregorian.”

Mr. Percy Scholes, the well-known London musical critic and author, writing of the decently recorded “Till Eulensplegcl’s Merry Pranks” (Strauss), Orchestra,says’: "It is usual and I think also just, to say that of all the tone poems of Strauss, “Till Eulensipicgel’s Merry Pranks’ is the best. To begin with, it is nearly all good music. To follow it is nearly all excellent characterisation. ‘Till Eulcnspiegel’ is scored 'for a large orchestra. 3 flutes and piccolo, 3 oboes and cor Anglias, small clarinet, 2 normal clarinets and bass clarinet, 3 bassoons and double bassoon, 4 horns (and another ad lib). 3 trumpets, and another 3 ad lib.), 3 trombones, bass tuba, kettledrums, triangle, cymbals, big drum, small drum and big rattle, 10 each of first and second violins, 12 eacli of violas and ’cellos, and 8 double basses. I will not swear that all these instruments in just these proportions were present in the recording rooms when .this production was made but it is a faithful and effective reproduction, nevertheless, and indeed, I recommend it as one of the most enjoyable ercchslral records at present available.”