Recorded Music

Waikato Times, Volume 107, Issue 17982, 29 March 1930, Page 6 (Supplement)

Recorded Music

Another Dawson Couplet. ' Peter Dawson (bass-baritone), — Edward Germann’s “Rolling- Down to Rio” is about his best song, and as Peter Dawson is at least as well known all I need to say is that he is as effective as one expects; The orchestral accompaniment is a decided gain. Ball’s “Till the Sands or the Desert Grow Cold” Dawson keeps firmly in hand. Another Tribute to “Les Preludes.” London Symphony Orchestra, conducted by Coates, in “Les Preludes” (Liszt)-.- —I need not do more than mention that the theme or thesis of this symphonic poem is that which Lamartine set forth—life as a series of preludes to the “unknown song” which begins with death, writes a London critio. Love begins it, storms break in and destroy its happy illusions. Then the bruised in spirit seeks refuge in pastoral peace; but when the trumpet sounds for battle he rushes forth, to “find himself," as the phrase runs, in action. This is a full-blooded performance which would, I feel,, have delighted the composer. Everything is well blended and seasoned, without excessive sentimentalisation. .The music itself supplies enough of that clement. The second side, at the beginning, gives an excellent example of that in Liszt # which musicians almost unanimously find weak and tawdry-—■ the Moody-and-Sankeyish tune.. The storm on the'last part of this side is good melodrama. Liszt was born for the kinema, and should be a new power on the “talkies." Composer Plays. It Is not often that one has the opportunity of hearing a composer play his own music. Rachmaninoff and Kreisler are two that give authoritative interpretations of their own works, but for the most part the composers themselves keep in the background. Thus of special interest is Cyril Scott’s playing of his two pianoforte pieces, “Dance Negre” and “Rainbow Trout.” Both these works are known to students of modern pianoforte music, and have been played by artists in .New Zealand. Cyril Scott belongs to the modern school of harmony, but he i's not an extremist. Ilis music is full of colour, but his technique is not allowed to become subservient to ex-

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travagant harmonies. His colouring is introduced with rare artistic insight. Scott is also a fine pianist—in fact, he is one of England’s foremost solo players—and this also adds interest to the record. Puccini Duets. A superb record is made of the duet in the second act of Puccini’s “Manon Lescaut,” between Manon and Dos Grieux, where the latter finds Manon is rcconsiled, and sings with her an impassioned love duet into which Puccini has put considerable beauty as well as passionate ardour. Margaret Sheridan and Aureliano Pcrtile- sing this music splendidly; they sing it expressively and agreeably, and do not enter into the sor.t of competition one hears sometimes. The orchestra of La Scala, Milan, is capitally recorded. “Henry Vlil.” Dances.

Genman’s “Henry VIII.” Dances are well recorded on one ten-inch disc by Malcolm Sargent and the New Symphony Orchestra. The two lively dances are on the same side of the disc. These are based on folk tunes, and Dr. Sargent has been careful to maintain the beautiful melodic line, which is their chief charm. Some of the effect of this favourite suite is obtained by the quietness of the “Shepherd’s Dance” as middle number. “Oboron” Overture. The exquisite overture from Weber’s fairy opera “Oberon,” played by the Berlin State Opera Orchestra under Dr. Leo Blech, is one of the gems of the month. The keynote of this work is the fairy king’s horn call, followed always by a fluttering passage for wood-wind. Weber was one of the first to discover the magic of the horn, and simple as this phrase is—merely three successive notes—it has a poetic force that at once conjures up a vision of the supernatural realm. If the horn represents Oberon, then the tender melody that follows, and is first heard as a clarionet solo, surely typifies Titania, the fairy queen. In contrast with this, a brilliant melody with a strongly marked march-like rhythm is also heard, and the overture concludes with a vigorous coda. The overture is played with deftness and balance and the ersipness and delicacy of Weber convey unalloyed pleasure.