Recorded Music

Waikato Times, Volume 102, Issue 17131, 18 June 1927, Page 18 (Supplement)

Recorded Music

Zlmballst. i pH-!'; “Persian Song” (Glinka) —"Waltz in G Flat” (Chopin). • Zimbalist makes a very welcome reappearance on our lists, after a considerable absence, lie is one of the famous group of pupils of Professor Leopold Auer, a group of which, to-day, nearly monopolises the list of great violin virtuosi. Zimbalist possesses every attribute we should expect in an Auer pupil, rich sensuous tone and phenomenal agility, in addition to the purely personal gift of unusual interpretative intelligence. His triumphant progress through Europe after his debut in Petrograd just before the war is possibly remembered by many, though he has for some years past resided in America. Both the pieces he has played for this record are decidedly piquant, particularly, perhaps, because it is less familiar, the “Persian Song" of Glinka. Glinka, one of the founders of the Russian School Music, was (like most of his fellow countrymen) always strongly attracted by the music of the East, and it Is possible that this is an authentic Persian melody. Its languorous chromaticism and its curious cadences are decidedly attractive. As a contrast, the more sophisticated brilliance of Chopin’s “G Flat Waltz” Is very effective. De Reszke Singers. “Travlln’ to de Grave" (negro spiritual), an*. W. Reddisn, “ *Tls Me, 0 Lord” (negro spiritual), arr. N. Curtis Burtin. ' The two spirituals which tho De Reszke Singers have given us on this record are excellent examples of their kind, and, contrary to what might be expected, are enhanced by their arrangement in four part harmony. “ ’Tis Me 0 Lord” is especially delightful. "Lady Be Good.” “Lady Be Good” (selection), medley. Jack Hylton’s Orchestra. The approaching premiere in Wellington of the sparkling musical comedy “Lady Be Good,” to be presented by the J. C. Williamson “No No Nanette” Company, now in the south, should make these records of topical interest. The playing by the orchestra is first rate, while me recording is excellent. Peter Dawson In Opera. “0 Star of Eve” (Wolfram’s Song from “Tannhauser") —“Even Bravest Heart" (Valentine’s Song from “Faust”). Sung by Peter Dawson. “O Star of Eve” is one of Wagner’s most famous melodies: expressive eloquently of the sadness which Elizabeth’s lover Wolfram feels as he sees her pining away for love of the absent Tannhauser.

LATEST RELEASES.

The Savoy Orpheans. "Turned Up” (selection) —“Wild Flower” (Scbclim). Savoy Orpheans. Two bright selections from popular musical comedies of the revue type, played with brilliant spirit apd finish by 'the favourite Savoy Orpheans. A first-rate disc. A Great Concerto. “ Concerto in B Flat Minor,” for the pianoforte— Tcharkovsky, played by Mark Hamburg and the Royal Albert Hall Orchestra under Sir London Ronald. , , After several hearings of this excellent piece of recording, one is not inclined to sense one’s original opinion. It is a great concerto. For the benefit of those who make a hobby of analysing this class of music the following notes are appended: — The Concerto falls into three movements: The First Movement is an Allegro, the main portion of which is preceded by a lengthy introduction of grandiose nature, which occupies side one complete. The subject matter is clearly defined: the principal theme, which is of a jerky nature, is given out by the pianoforte (at the beginning of side 2); the second theme is of a contrasting nature, gentle and pensive. In the simple and songlike Second Movement (Andantino) there is a gay and wholly unexpected little “scherzo”-like middle section. The. tempo suddenly ohanges (beginning of Side 6) and the strings play a piquant little tune which Tchaikovsky borrowed from a French chansonette, "11 faut s’amuser, danser et rire,” which the famous Lola Artot, of whom Tchaikovsky had been so enamored, used to sing. We are only given a fleeting taste, however, and a short cadenza-like passage brings back the tempo and theme of the opening. The third movement is perhaps the most vigorous and exciting. It is cast in the form of some wild Cossack dance. The principal tune Is heard first from the pianoforte, and as soon as It is announced the full orchestra thunders it out. The whole movement has a great deal of national colouring and forms a magnificent finale to the work. It is no doubt owing to the finale that the Concerto Is sometimes given the popular* name “The Russian." “ Bye, Bye, Blackbird.” “ Bye, Bye, Blackbird ” —** Behind the Clouds ” —Gene Austin. “ Bye, Bye, Blackbird ’’ will probably rank in jazz history—if there should ever be found a courageous mortal prepared to write one—with “ Barny Google,” “ Yes, we have no Bananas,” and other haunting effervesences of the writers of popular ditties. Here we have the amusing Gene Austin in a vaudeville version of this song hit. “ Behind the Clouds,” on the reverse side, is a catchy companion number.