Music from the Disc

Evening Post, Volume CXII, Issue 57, 4 September 1926, Page 24

Music from the Disc

A correspondent' in a Home paper gives what appears to be a very valuable tip on the important subject of cleaning' and preserving records. This is to "dress" them with a mixture of some good oil, such as "3 in one," with a touch of white vinegar and a very little water, the proportions being two parts of oil to one,' combined, of vinegar and water. This is a comparatively quick drying application, and should be sparingly used.. Apply with a soft cloth or brush, rubbing well into the grooves. Dry off all superfluous oil, then play the record 'once or twice — preferably with a fibre needle, which will absorb some of the oil in the grooves. Play them again next day, when the needle (steel this time, if such is used habitually) will bring out the black greasy material loosened by the dressing. It is important to dry the record as much as possible when using this method. Probably as widely known in the country of its origin as any orchestra now playing for recording purposes, the Halle Orchestra, conducted since 1921 by Sir Hamilton Harty, has been des-. cribed by no less a musical authority than Sir Thomas Bcecham as the best orchestra in England.' Opinions will differ, since there aroso many first-class instruments combinations known and admired, per the magic disc, all over the world. But where there ,is unusual beauty of strings, wood-wind playing of a very high order, good percussion and quite acceptable, if not outstanding, brass, there is bound to bo more than an average number of successful records produced. Add the fine musical knowledge and intellect of the wielder of the baton, and the value of such a conductor as Harty enhances that of the men he leads and disciplines. This orchestra has given gramophonists a fine range of instrumental classics. Prominent among these is the couductor's arrangement of Handel's famous and beautiful ■'' Water Music Suite,'' Dvorak's ten-part symphony "from the New World," Debussy's prelude "L'Apres midi dune faune," Wagner's "Siegfried's Death March," several Strauss works, and Berlioz's wonderful and powerful "Koman1 Carnival." In everything he attempts Sir Hamilton pays such infinite attention to detail that Halle Orchestra records are always worthy the closest and most critical study one can give them. Edgar Coyle has always recorded well, and his pleasing baritone and diction are at times a real pleasure to hear. He does not always display attention to rhythmic continuity, and* sometimes sings without a great deal of sensitiveness, but few vocalists are perfect, and Coyle has certainly - many more vocal virtues than defects. ■ His latest records include "Earl Bristol's Parewell" and "Now is My Chloris," two old songs newly arranged by C. A. Lidgey. The "Chloris" song is much the livelier and more exciting of the two. A second Coyle record gives two more of Quitter's settings of Shakespeare's songs, ".Take, Oh Take Those Lips Away" and "Hoy Ho, the Wind and the Rain." The first is whimsical and melodiousj but Coyle shows up better in "Hey Ho.". One of the finest chamber music issues produced this year—and this may be said without the least exaggeration —is the set of four records of Schubert's "Death and the Maiden." quartette, played by tho London String Quartette. In many respects it is as outstanding as the Chopin Sonata for pianoforte produced a little while before, and, even more fascinating than the same composer's "The Trout "quintette. 'Lovely as Schubert's music is, it is the recording that helps enormously to place the "Maiden" quartette in the front rank of chamber musio productions. ' All four of its movements are masterly examples of artistic treatment. There is the broad firmly moving first movement, the solemn and stately andante, founded on phrases of the song from which the quartette gets its name, and the very -graceful and, ingenious Scherzo. Memorable above all is the powerful last movement which drives home the wonderful realty of to-day's recording system. recording system. This is the first complete rendering, although the Loner combination has previously done parts of it. The exposition contains the first and second subjects, the last a ,beautifully rhythmic melody in the major, above a triple accompaniment. The development and part of the' recapitulation take up side two of the first record; side three has a code which gives the deferred restatement of the original theme, and sidj four holds the very delicious slow movement, the theme of "Death and the Maiden," with variations for first violin with triplet accompaniment, solo for 'cello, and a more vigorous version of the principal tune. Then follow variations in the major and in the minor, with a solo for second violin, 'cello and violin successively. Following the Scherzo and trio, three important themes form the lovely and more Jively finale. These are records that would benefit every good amateur musician or listener. Even if only secured for the sake of the pleasure they confer, they are- full of music they confer, to pass over—the sort that makes one wish, at the time, that jazz and syncopated music were indictable offences! Grease and acid are constantly being exuded by .the fingers, and neither are beneficial to gramophone records. Should any part of the playing surface be touched by the fingers, and the marks riot thoroughly cleaned before the records are put away, every finger print will produce a roughening of the surface. It is not difficult to handle records by the edges alone. This will do much to prolong their life, and with such care as this generally extended to them, records may last in perfect condition for years. j ",The Student Prince" is to-day one of the most successful theatre productions in London, being a romantic story in light opera form, modelled.on that great earlier success, "Old Heidelburg." Its chorus of ,60 " Students" have sung with astonishing success for recording purposes, and the "Vocal Gems" number will come as a delightful eye-opener to may who, perhaps having missed the Don Cossacks' record, or those of the Sheffield Choir, aTe a bit dubious as to the value and realism of records of concerted singing. Here we have style, balance, rhythm, and quality, plus abundant volume, thisreeord comprising several of the most tiuccessful pieces in the play. The "Drinking Song" and the "Marching Song" alone earmark this disc as one worth having, and help to make it one of the most massed voice productions that has reached this country for a long time. Several records have now been based on big London theatre successes, and the recent production of "Mercenary Mary" and "Betty, in Mayfair" must be familiar to many. To these is now recently added their "Kid Boots" orchestral selections, taken from, the airs that are helping to make that musical comedy, a "hit" at London's Winter Garden Theatre. This record embraces eleven song or dance tunes, some of thorn very melodious, others full of j "pep" and gaiety. I The fine carolling quality of Tito Schipa's tenor voice makes his record- . ing of De Falla's Spanish "Jota," and Huarte's "Madrigal Espagnol" f m genuine success. De Falla is the •jomposer of the "music of that most delightful of ballets, -"The Three Corvneredi Hat,'? .The, •'■'■Jata Jr '-'- which

Schipa has sung . for* this record, is one of the composer's "Seven Characteristic Songs." :A "Jota" is a dance of Spanish origin, and, like many I dances of other countries, it is. usually accompanied by singing. The accompaniment (which is here supplied by an orchestra) is brilliant and colourful, and the vocal arablesques of the singer are of an intense beauty, which most music, lovers will find exceptionally . attractive. Schipa performs an incredibly high mezza voce "turn" at the very end of this record. Huarte's "Spanish Madrigal" is of a simpler nature, but in its way it is no less attractive. . Here again the orchestra gives a brilliant and colourful support to the singer. Schipa once more proves himself to be one of the world's few really great lyric tenors, whilst the recording (by the latest process) is exceptionally fine. Donizetti's music is full of charm and melody. As instance, take the two tenor arias from "Lucia di Lam* mermoor"—"Tombs of My Father," and "Now Thy Flight to Heaven Winging"—just recorded delightfully by Gigli. Donizstti's "Lucia di Lanimermoor" is apt to be labelled a prima donna opera, but those who do so overlook the beautiful music given to Edgar, the unfortunate lover of Lucy. Gilgi sings those two excerpts from the final scene of the opera with intense feeling, and he has made a superb record. Full details of the situation in the opera when these, airs are sung will be found in " Opera at Home" (obtainable from your dealer). It is astonishing how Peter Dawson holds the appreciation of the gramophone public. ..■ Merit, of course—he is a first-class recording artist. . His latest contributions are Sanderson's "The Glory of the Sea," to which is bracketed "The Border Ballard" (Cowen). Both these songs are of that fine, robust order in which this singer excels. The "Border, Ballad" is an invigorating song of sturdy sentiment, to which Sanderson's rollicking "Glory of the Sea r' is a fitting complement. Unaccompanied choral music, when well done, is a sheer delight. An ex-' ample is the Leeds Festival Chorus's singing of Arnold Bax's "Mater Ora Filium," the last side of the two double discs of which "is given to Purcell's truly delightful "Soul of the World" (St. Cecilia's 'Day). These records are the first ever made of the Leeds Festival Choir .at its full strength.of some 250 voices. When the choir came to London recently to give the first London performance of Hoist's " Choral Symphony^' the opportunity was seized of recording the choir. Accordingly the choir was conveyed, upon its arrival; to a well-known London;. church by means of some ten buses. It was in this church that the records were made by experts. The piece chosen — Arnold Bax's "Mater Ora Filium"— is a wonderful example of modern choral writing, and one of the finest choral compositions produced during the last twenty-five years. It is based upon an old carol found in manuscript in the library of Balliol College, Oxford. It is a difficult piece to sing, and the harmonies are at times complex, but the Leeds Festival is a virtuoso choir, and surmounts any difficulties very easily. There are moments of extreme beauty at which an emotional fervour of exceptional intensity is reached; some of the climaxes are thrilling. The superb "Amen",(which occurs at the finish of the first side and which is heard again in expanded form at the end of the work) achieves a remarkable effect of pious exaltation. Mr. Albert Coates, who was the conductor at the Leeds Festival of 1925, has achieved a great success in his conducting of this piece —he has realised the beauty of the work completely. As a contrast to the modern idiom of Bax's work, the second aide of the second record contains a short anthem by Purcell, the clarity of which affords the choir yet another opportunity for , exhibiting its virtuosity. : At last a real grand organ record, with the real organ ■ effects—Herbert Dawson's "Allelulia" (Palestrina), "All People That on Earth Do Dwell" (Old Hundredth), "Christ the Lord is Risen To-day" (Sir George Elvey), and two numbers by H. J. Gauntlet. The grand organ is one of the most inspiring instruments. This bright attractive arrangement of well-Rnown Easter melodies is likely to have a warm welcome. It certainly deserves it; the record reproduces faithfully the exact tone of the organ in the most wonderful manner; e,ven the "pedal" notes roll out clearly^ in their ponderous richness. The' organ is tho famous one installed in the Kingsway Hall. Hawaiian music, well conceived, well played, and well recorded, is really worth while for gramophonistß. This is apropos of an excellent disc by the Hilo Hawaiian Orchestra—"Hawaiian Love;" waltz, and "Beautiful Gown,** fox trot. These are two unusual records, played by a soft-toned Hawaiian Orchestra—really an artist-orchestra with strings and the like, employing Hawaiian effects. The waltz is smoothrunning, and easily danced to; the fox trot is unusual in that it has a rhythm in soft, musical Hawaiian, absolutely without rauconaness. The record will round out your collection of dance numbers with: something quite out of the ordinary. They are beautifully played. The September records have arrived. The budget this time is not a big one, but there are some bright features.

Fresh supplies of the famous "Wembley Tattoo," by the band of the Coldstream Guards, assisted by the First Battalion Band of the Grenadier Guards, are to hand. TMb set (two double discs) had a tremendous furore in England—so much so that the first stocks which arrived in New Zealand disappeared in a day, so to Bpeak. But you must still get in early. Good 'cello records are none so plentiful that one can afford: to pass one by when it comes along. This introduces Cedric Sharpe's bracket, "Aye Maria" (BachV3ounod) and "La Cinquantaine" (Gabriel.Marie). Gounod's "Aye Maria" should hardly require an introduction at this time of day. It finds effective foil in Marie's jolly little "La Cinquantaine" (which, by the way, may be known to some by its "Angliee" title, "The Golden Wedding").- Both pieces have afforded Cedric Sharpe an opportunity to exhibit his prowess as a 'cellist; in the one with fine legato phrasing, in the other, with the staccato bowing which demands such precision and firmness of wrist. The record reproduces the rich 'cello tone with remarkable fidelity. . In England Morlais Morgan has been hailed as possessing the ideal gramophone voice. Certainly he has rich tone,. good style, and -an enunciation which seems too good to be tr\ie. Everyword is as clear as crystal. His new. record i comprises two popular songs, "Trooper Johnny Ludlow" and""Arise, O Sun." The first has surely seldom been as well sung; the second is an attractive trifle, given distinction by Morgan's fine voice. One of the. best of British 'cellists, C. Warwick Evans, is still making records. His latest issues are all attractive, and include such universal favourites as the Bach-Gounod "Aye Maria," Handel's "Largo in F," and "Believe Me If All Those Endearing Young Charms.", Bracketed with these attractive ■ titles are Sammartini's "Grave," from his sonata for 'cello and piano, and the "Aye Verum" of Mozart, in J. C. Squire's arrangement. Ethel Hobday plays the accompaniments finely. v ' . • All pianists know Debussy's "Fille aux Cheveux de Lin," and Moschetto and his orchestra have just issued an admirable arrangement of it. The delicate, sensitive music is played with characteristic attention to detail, and all those nuances in which Moschetto delights. The reverse.side bears a contrasting number, "Chanson et Danse" (Serrano), with curious rhythms and attractive melody. The recording is fully up to standard. Still another humorous record of distinction comes to hand. Here are two numbers of the famous Nip and Nunky series, given by .those two originals, Lupino Lane and Wallace Lane. "A Lesson In Perseverance" and "He Never Told a Lie," in which two lectures to a small boy on the themes of George Washington and Bruce and the Spider are used to provide many laughs. The small boy is nearer to life, and says more irritatingly amusing things than any. of his stage smallboy predecessors. You will enjoy the way in which he turns the jest against Nunky. ' The return of William James as pianist with Toti Dal Monte revived interest in his Australian bush songs, and supplies of these, are available. Malcolm, M'Eachern has been recorded in four' of the six songs which the Australian composer has written, and the result i» well worth while. "Comrades of Mine," "The Land of Who Knows Wheret" "The Bush Night Song," and above all, "The Stock Eider's Song," have freshness and vigour, and the robust M'Eachern gives them their full dramatic value. This is some.of the best music from the land of the wattle.' Stanley Chappie's playing of the accompaniments is an added strength. . . ■ Kitty Beidy, bright star of the London musical comedy stage, is the latest to be heard in a Gershwin number. This is the lilting "Little Jazz Bird," from the popular "Lady, Be Good," and is recognisably Gershwin at his brightest. The companion number is "Just a Cottage Small" (Hanley), for which big success is now predicted in Australia. The clear voice of the soprano makes the-record a good one. Whenever recorded, chamber music is discussed the name of the London String Quartette is mentioned. And since Albert Sammons was. for long its leader this is no wonder. This fine band of musicians is now recording many complete works. The Third Quartette (op. 64) of Haydn, the Second from Opus 52 of Brahms, and the B Flat (No. 6 in Opus 18) of Beethoven, are among recent issues. All are splendidly played- .;,'-.■