Music from the Disc

Evening Post, Volume CIX, Issue 39, 15 February 1930, Page 24

Music from the Disc

Powerful Baritone. The Italian baritone, Bcnvonuta Franci, lias perhaps tlie most powerful voice on the gramophone. But this enormous voice never loses its resonance : and beautiful timbre. Tho glorious sweep of the big sustained notes reminds ono of a robust tenor like Caruso or Murtiuolli. Yet there is never a suspicion of shouting, and the big organ is astonishingly flexible and under perfect control. Franci in two arias from Ponchielli's "La Gioconda" displays artistic feeling and thoughtful study. His dramatic powers are well illustrated in a declamatory aria "O Monumento" (0 Mighty Alouuinent) from tho first act. It is a soliloquy by Barnabas, a spy of the Inquisition, who has learnt of the elopement of the wife of tho chief of the Inquisition with. Erzo, a one-timo nobleman who is now a sailor. The second aria is from the second act. Barnabas, disguised as a fisherman in order to spy on Erzo, approaches a boat and sings with the crew a merry fisherman's song, Franci is .supported by the full chorus and orchestra of La Scala Opera House, Milan, and the ensembles come through with a clearness that makes them realistic. (H.M.V., DB 1117.) Debussy Opera. Towards the end of the last century Debussy wrote on opera, "Pelleas and Melisande," which, though received at the time with the usual hostile questioning of the public, delighted tho greatest musicians of the day. One and all expected that as he had found an art-form so obviously suited to him, ho would continue to create fresh masterpieces. But no, "Pelleas" remained his sole opera. From that day to this it has pleasured a growing public. Columbia now offers it in abbreviated form on six 12-inch discs. A group of famous French singers form tho east, and it may safely bo predicted that the quality of their singing, so completely foreign and unfamiliar to ears accustomed only to tho English, Italian, and occasionally German methods, will come as a complete' and delightful surprise. The sense of poetry is not absent from, a single note. The flesh and blood singers uphold, the fugitive dream-like atmosphere "with great credit. Even the pedestrian passages abound, in charm. Particular praise must bo given to the unfailing purity of the voices and to the delicately exact enuinciation. The opera is given on six 12-inch records in, an album. (Columbia,o2B6s-66.) Latest Dance Music. The output of records made from songs associated with talking pictures is now enormous, and it is difficult to keep track of everything that comes to hand. Most of these songs have been made into dance numbers as well and for the benefit of those who. desire something tuneful to guide their steps the following discs have' been culled from this month's, H.M.V. parcel: "One Sweet Kiss," fox-trot with vocal refrain, and "Now I'm in Love," foxtrot, with vocal refrain, played by .Gus Arnheim and his orchestra (EA6O4); "Lovable and Sweet," fox-trot with vocal refrain, played by Gus Arnheim and his orchestra, and "My Dream Memory," fox-trot with vocal refrain, played by the All Star Orchestra (EA608); "True Blue Lou," fox-trot with vocal refrain, played by Ben Pollock and his Park Central Orchestra, and "The Flippity Flop," fox-trot •with vocal refrain, played by CoonSanders Orchestra (EA610); "Ain't Misbehavin'," fox-trot with vocal refrain, played by Leo Beisman and his orchestra, and "My Head is Bluer Than Jour Eyes," waltz with vocal Tefrain, played by the Troubadours (EA6I2). " i New 'Cellist. Favourite pupil of Pablo Casals, the greatest 'cellist of the day, Gaspar Cassado has already in a brief public career scored triumphs in London, on the Continent, in his native Spain, and is even now winning the unstinted praise of the New York critics. If we examine his latest' offering, a pairing of "Melodic" by Tehaikowsky with a "Song Without 'Words" by Mendelssohn, we can discover what bring the raptures to the critics. A smooth, mellow, singing tone; a subtlety of phrasing that charges the music with heartfelt meaning; a play of light and shade like the modulated voice of a great actor. There is a career of greatness in store for this warm young genius. (Columbia 04288.) ' 'Hold Everything." > The musical comedy "Hold Everything" is enjoying a 1 long ruu of success on Broadway, New York, and is already b' 'ed as one of tho attractions for. this year in New Zealand. Its best feature, according to criticisms, is the bright and attractive, music. There is life and colour in the chief songs and dances, and those have been made into attractive records by H.M.V. Jack Hylton and his orchestra arc well to the fore with two records of fox T trots —"You're the Cream in My Coffee" and "To Know You is to Love You" (85650), and "Don't Hold Everything" and "Everybody Loves You" (85651), which have lilting vocal refrains. Jesse Crawford on tho Wurlitzer organ imparts somo clever varia- • tiona into "You're tho Cream in My Coffee" and "My Sin" (EA6OI). The Light Opera Company sings tho vocal gems on' one side of EB4I and gems from "Whoopee" on the other. They get every ounce of sparkle out of the melodious music.

Frank Crumit, tho American comedian, who achieved a wide success with his renderings of "Abdul Abulbul Amir" and "Tho Gay Caballero," has added another popular number to his list, "Mountains Ain't No Place for Bad Meu." The clover intonation of the- voice is very ■ effective. On tho other side there is a catchy number, "A High Silk Hat and a Walking Cane," which should also be very acceptable to Crumit's admirers. (H.M.V., EASS6.) Nocturnes of Debussy. Among the new rccuids are two that music lovers will hail with delight—two Debussy "Nocturnes," "Fetes" and "Images," played with lapidarian cunning by Phillipe Gauberte and tho Orchestra do la Societe dcs Concerts dv Conservatoire of Paris. The music is entrancingly atmospheric. It sparkles with starlight and fairy lamps, the silvery edge of moonlight, the soft rotundity of clouds, fleeting" dreams, and the spiritual essence of fun rather than its corporate body. Debussy is concerned with dreams and visions and fancies rather than with solid realities, and nobody knew better how to transform those into poetic music. It is almost hard to believe that the orchestra has the same strings, brass and wood wind that play Beethoven. Gaubert guides them with a fairy wand in his hand, and even those who are in doubt about the modern musical structure will recognise the dreamy fancies of the m;'d in the soft chords. (Columbia 02865-66.) Celeste Octet. The keynote of all performances by the J. H. Squire Celeste Octet is "Satisfaction." Nobody would claim that they rise to the heights, but they certainly never fall' below a very high workmanlike standard. Unpretentious and sincere versions of good music, truo in meaning and melodious and agreeable in harmony, are their stock-in-trade. That,is why a pojmlar welcome is assured for their new coupling of the familiar old "Londonderry Air" and Ward's "The Chorister's Dream." One can safely give the Squire Octet a good tune and rely on themto make the best of it. That is sufficient recommendation for most of us. And they always record exceptionally well. Having recorded for so long and so often, they have obviously acquired a few "tricks of the trade" which mndo a distinct difference. (Columbia 01508.) Johann Strauss the Second, a son of the immortal Waltz King, wrote "Tales from the Vienna Woods." Bruno Walter, the famous German conductor, gives a glowing (account of it. With what good-humour some of those deftlyturned woodwind passages suggest the adventures of romantic Vienna. Musicians will delight in Walter's musicianly handling of his tempo, and the velvet glove that guides all the exuberance. (Columbia 04359.) Welcome Ee-recordings. The re-recordings of "Jeux d'Eau" by Eavel and Ehapsody in. E Flat (Brahms) by Benno Moiseiwitsch. are equally welcome. The Eavel show piece was ( a popular number on Moiseiwitsch's programmes when ho toured New Zealand about a year ago. He interprets with beautiful tone colourings the romanticism of Brahms. The reproduction in both cases is very clear, (H.M.V., D 1648.) Two world-popular tunes in. the Introduefjfou to Act 3 of Wagner's "Lohengrin" and an orchestral version of tho famous Prelude iv C Sharp Minor by Rachmaninoff, will be found on a disc by Sir Henry Wood and the New Queen's Hall Orchestra. This record has now been transferred to the popular-priced section. The economist will be pleased to compare tho old preelectric disc of 10s with the much better version at 6s. Sir Honry makes the most in the Lohengrin of one of the few really great melodies that Wagner wrote, and arranged the Eachmaninoff to invest it with a rich overplus , of effort. (Columbia 02967.)

There is just a tinge of melancholy in Grieg's violin sonata in - C minor. The concluding allegio animato has tho air of the famous landscape "Under Winter Sunshine." Perhaps the most authoritativo and most poetic reading of the work so far given is that by Fritz Kreisler and Sergei Eachmaninoff. The eminent violinist's tone is perhaps at its'loveliest.in the elegiac first movement (not for nothing is tho koy that of C minor.) But one could go far for phrasing of such perfection as that with which tho pianist states the themo of tho Allegretto alia Bomanza. The whole performance is remarkable for its balance and glowing expression. (H.M.V., D.)

Frieda Leider, the great dramatic soprano, who has been acclaimed by London, Berlin, Bayreuth, Milan and South America, and who has taken a prominent part in the big Wagnerian recordings, recently issued her first solo which includes "Or sai chi Ionore" from the -first act of Mozart's "Don Giovanni," sung very dramatically and with intense passion. The recording is enhanced by the fine acoustic effect, which adds a vivid touch of realism. On the reverse side is a beautiful classic aria "Ah! si la liberate," probably the first and only recording from Gluck's "Armide." (H.M.V., D 1547.)

The "Aida" complete set issued by H.M.V. introduces in the name part Dusolina Giannini, who recently charmed all who heard her with her beautiful, full soprano voice. Her rich organ records very successfully, and

both in "Eitorna vincitor" and in "0 patria mia" she phrases very artistically, whilst she does not lack dramatic fire in the poignant scenes with Amneris and her father. Irene Ming-hini-Cattaneo as the Princess reveals a magnificent voice, and sings very forcefully, her work being throughout of a very high standard. Auroliano Portilo, tho well-known tenor, is well cast as Kadames, and lie sings with feeling and vigour. Giovanni Inghilleri, a new baritone, creates the right atmosphere as Amonasro, tho captive Ethiopian King. Luigi Manfrini, a basso with a superb voice, is a richvoiced Eamfis. The ensemble numbers, such as tho march, or tho trio from the Nile scene, are splendidly sung and recorded, the singing of the La Scala Chorus being notably line. Some of the finest records.of tho set arc the Temple sceno (Act 1), the [great finaJo of Act 2, tho AmnorisKadames duet, and tho subsequent judgment scene (both sung with passionate intensity by Minghini-Cat-taii'eo), and tho final duet, "O terra addio." The orchestral accompaniment by tho La Scala Orchestra, conducted by Saba.jno, is rich and full, yet does not drown the voices. Tho set is issued in two albums, with complete English text. (H.M.V., D 1595-1013.) Harold AVilliams, the most popular of Australian baritones, shows a marked improvement in his latest record. His material is well chosen. The Toreador's Song and "Heart Bowed Down," from Balfe's Opera, "The Bohemian Girl." The first he gives with manly vigour and strong sentiment, holding his magnificent power well in reserve. He makes a fine contrast with his second number, and in both has the excellent support of a rousing chorus (the 8.8.C.) and orchestra. (Columbia 05001.)

The recording of the actual performance at the Berlin State Opera House of the finale of Act lIL of Bichard Strauss's opera "The Bose Cavalier" i< a fine achievement. This opera, was chosen last season for tho gala performance at Covent Garden and a special production ijras also staged in New York. Its lyri? beauty is unchallenged. In tho recording the atmosphere of the theatre has been successfully caught, and the singing is uniformly good. The timbres of the voices of the trio blend welt, and the high soprano gives some very beautiful singing indeed. The' orchestral background adorns the scene. (H.M.V., D 1629.)

Not Eton alone but Britons all over tho world are stirred by the flowing melody and manly words of the "Boating Song," and few will remain unmoved by the stirring version of Baymond Newell. His latest disc pairs with this with the old traditional song "I Married a Wife," a character study excellently carried out. Mr. Newell, well known on tho London stage, with the support of a really fine chorus. (Columbia 01749.)

Albert Coatos is a rhythmical conductor with a quick appreciation of instrumental dexterity and colour. He, is able to bring out the brilliancy of any instrumental group his baton alights upon, but never does ho imperil the homogeneity of the orchestral texture. This is-a feature of the recovering of "Eine Faust Overture," chronologically the first of the great works of Eiehard Wagner. It is a work of tremendous power, and Coates's rendering has every tonal quality. The music is based on a passage from Goethe's "Faust," which discusses the inevitability of external forces and the desire for Death as against Life '' a thing unblest." Wagne's themes possess all conceivable dramatic aptness and the work unfolds itself according to a plan of continuous movement, logical and inevitable. Every time wo listen to Wagner thcro is no diminution of our wonder at the man's power, resource and certainty of touch. H.M.V., D 163.)