Recorded Music

Waikato Times, Volume 108, Issue 18159, 25 October 1930, Page 18 (Supplement)

Recorded Music

| Volll D’Aranyl. Here is another front-rank tiddler I —probably the finest woman violinist ! alive—playing delectable tit-bits, j Bearing in mind our mood of thank- , fulness, we rejoice that her choice of . items is as free from hackneydom as iis Zimbalist’s. An arrangement of i Delibes’ “Passepied" is paired with a Tango by that fine Spanish composer Albeniz. Miss d’Aranyi’s playing is magnificent. “Maid of the Mountains,” This potpourri will recall old times and happy memories for most of us. No one should miiss hearing this and the foregoing two discs. Playing, recording and music are alike splendid. This “Maid” selection comprises the following:—Part 1, “Baldasarre’s Theme,” "Live for To-day,” “Dirty Work," "Husbands and Wives,” “F’arewell,” “A Paradise for Two”; Part 2, “A Bachelor Gay," “My Life is Love,” “New Moon, Brooch Melody,” “Farewell.” Another Zlmbalist Record. We are still waiting for a good, solid major work from Efrem Zimba11st, and he continues to tantalise us with sugary morsels. However, as morsels go, this month’s bracket is beyond reproach and served in a manner that should please the most exacting. His choice is Suk’s “Burleska,” and his own arrangement of Glinka’s “Persian Song.” When we sigh rather for a concerto or a Beethoven romance, we can be glad, at least, in our hearts, that we have not been offered a “Song of India” or another “Caprice Viennois.” We do well to count our blessings before we coirfplain. Levitzki’s Art. A very welcome addition to the growing list of Chopin’s works available to records is that of the Third Scherzo in C Sharp Minor, op. 39, played by Mischa Levitzki. Of the four Scherzos only the second in B flat Minor, op. .31, had been so far recorded (by Moiseiwitsch), The C Sharp Minor Scherzo was dedicated to his favourite pupil, Gutman, and it is very original, forceful, impulsive, and whimsical, requiring prodigious strength. It is probable that in composing it, Chopin had in mind his pupil, who possessed great power. The principal subject in octaves is very vigorous and energetic, and is contrasted with the impressive chorale in D. Flat, followed by delicate arpeggio passages of surpassing loveliness. The coda is extremely fast and brilliant. Levitzki plays very well, and he always does, but substantially and without letting h'imself go. The recording is excellent, the Scherzo occupying two sides of a twelve-inch record.

LATEST RELEASES.

"The Merry Widow.” Lehar’s perennial operetta is the source of the next selections by the London Theatre Orchestra. The music sounds as fresh and gay as it did when it took Vienna and London by storm. The collection includes: Part 1, Opening. Chorus; Act 2, “Villa,” “A Dutiful Wife,” “Ball Music”; from finale, Act 1. Part 2: “The Cavalier," “Romance, “Love in My Heart,” “Maxim’s,” “The Merry Widow” waltz, “I Love You So”; from finale, Act 1; from Finale, Act 3. Dramatic Scena from Grand Opera. Chorus and orchestra of the State Opera House, Berlin, in “The Hunguenots”—Benediction of the Poignards. This gem from Meyerbeer’s famous opera is superbly recorded —the wealth and body of tone of the great chorus and orchestra of the State Opera House, Berlin, have been completely captured by the recording microphone, so that one has the impression of being “among those present at the performance.” Paul Robeson. Paul Robeson, in “Hail de Crown” and “Exhortation.” t The art of Paul Robeson is not just that of the ordinary ed singer. It is even more than the fusion of the art of a great singer and a •'-'''i.. When )•" sings authentic spirituals we are listening to tiie vuu,y —oj \w.iu, nju.-vi and melow—of a race, and in it the religious fervour and mental outlook of a' great people. Gigli At His Best. Beniamino Gigli (tenor), in “ L’Africana ” —O, Pafadisol (Meyerbeer); “Marta”—M’appari (Flotow). The great Italian tenor has made an excellent record of two of the most tuneful operatic excerpts. His fine voice is admirably suited to music of this description, and he has ample opportunity of displaying his histrionic ability as well as his great vocalisation. Alfred O’Shea’s Records. It is not often that a tenor of O'Shea’s calibre unbends to sing theme songs, and in the bracket of three records released this month theme song enthusiasts have a profusion of fine singing to choose from. First of all, • there is that brilliant song success, “It Happened in Monterey” (from “King of Jazz”), paired with “Song o’ My Heart." On another record is bracketed “I Feel You Near Me” and “A Pair of Blue Eyes” (from “Song o’ My Heart”) ; and on a third he sings “The Rose of Tralee” and “Ireland, Mother Ireland,” also from “Song o’ My Heart.” O’Shea was in splendid voice when he made these records.