Music from the Disc

Evening Post, Volume CIX, Issue 45, 22 February 1930, Page 25

Music from the Disc

Lovely English Songs, In a few years' time gramophoiu lovers should have from the young bass baritone, Stuart Robertson, a colleotioi: of English Bongs which will not easilj be surpassed. Robertson is a carefu' singer. This does not mean that ho is slipshod, but his songs are full of buoyancy and spirit, and in his latest record ho is assisted by a merry chorus. They make rollicking numbers of "Polly Woolly Doodle," "The Mermaid," "Little Brown Jug," and "Tho Three Crows." Tho chorus of "Crows" especially is very cleverly done. (H.M.V., B3082.) "La Boheine" Complete Recording. Tho latest in series of full-length operas is Puccini's ever-popular "La Boheme," a regular feature of almost every opera season. It records well — exceptionally well. The whole of the dramatic action is apparent. Puccini's cjear-cut characterisation helps one enormously to follow the plot, and with each album Columbia present a free English version of the text written by Comptou Mackenzie. Of course, we miss something of the spectacular second act, but it is surprising how little we lose of the other three. The fourth act in particular leaves one completely satisfied—-everything essential to the opera is splendidly retained. The performance is a fine one. Columbia made an admirable choice in casting * Rosctta Pampanini for tho frail and consumptive little seamstress, Mimi. Her sweet and restrained voice is ideal for the part, and she is in addition a very fine actress. Luigi Marini makes a fine Eodolfo, too, with his powerful voice and histronic powers. These two make the lovo that springs up between them an altogether reasonable condition; the love is a tender passion, and not something of high operatic heroics. They win our sympathy from first to last. Excellent too are Luba Mirella as the vulgar, noisy, hard little Musetta, and Tancredi Pasero as Colline. Listeners will find, too, that all tho smaller parts are well filled. The whole cast is capable, experienced, and well up to scratch as far as vocal requirements are concerned. (Columbia 9846-58.) Beautiful Tone. Miseha Levitzki gives a spirited and musicianly interpretation of Beethoven's "Ecossaise." His staccato touch is brilliant, and there is the same resonant grand piano tone that characterise Levitzki Js Sixth Rhapsody. By . way of contrast, there is a delicate sonata by Scarlatti on tho other side. (H.M.V., E537.) Choruses from Verdi. The Concerted Finale from Act 11. of "Aida" and tho Concerted Finale- from Act 111. of "La Traviata" make up a fine record. Not only do we hear the famous La Scala Chorus of Milan, but also such a brilliant principal as Eva Turner, supported by a fine Italian cast. Eva Turner, ono of tho few English singers who have taken Italy by storm, shows tremendous power and fine declamatory abilities, and works up to the climaxes with a real thrill. Wagner Flayed by Band. Despito the difficulties' attendant upon recording music of the character of the overture to "The Fly ing Dutchman," the Zonophono Company have made a surprisingly good job of it. The overture is played by the National Military -. Band, which enteijs,,-iyith much zest into Wagner's tempestuous music, though they are just as earnest, if with a different objective, when the calm is roached. The,, woodwind is beautifully tender in tho apotheosis on tho redemption motif. Two airs from Thomas's opera "Hamlet" deserve to be much oftener sung, though the work, as a whole, as an adaptation of Shakespeare, is an unworthy one. Tho airs are "Like a Lovely Flower" and f'O Wine, Dispel the Heavy Sorrow," the former of which refers to Ophelia's tragic cud, and iv the latter_air Hamlet enjoins the players "in the play within tho play" to make merry. Tho singer is the Australian baritone, John Brownlee, who is finely dramatic in both. (H.M.V., DIGS 4). Negro Melodies. A representative selection of negro melodies by the lato Steptien Foster have been grouped on two records by Nat Shilkret and the Salon Group (orchestra and chorus). The plaintive beauties of such old favourites as "King do Banjo," "Do Camptown Races," "Oh! Lemuel," "Nelly Bly," "Old Black Joe," and "My Old Kentucky Home," are revealed to the full. Shilkret has for long been an admirer of Foster's music, and he has put his best into these records. The sympathetic tones of the orchestra and tho voices are exquisitely blended, and here at least justice has been done to a composer who- to the shamo of American music lovers was allowed to die in poverty. (H.M.V., C 1657 and JEB42). Sir Henry Wood and the "1812." ' Few overtures have so captured tho popular imagination as the broad and hearty "1812" Overturo Solenello by Tchaikowsky. Its chief merit is its uuderstandability. Its dramatic meanings are written in.heavy ink and well underlined. We can follow tho skirmishes, the French attack, the retreat, the jubilation of tho Russians, as clearly as ever any million dollar production gave it on the screen. And Sir Henry Wood tells tho story just as plainly. He reserves all his subtlety for the fiendish technical difficulties of the orchestration, and achieves thereby a clarity and perspective that are quite new to the piece. The tone is crisp and triumphant, mellow and lofty by turns; and, save for a slight emphasis on the strings, and even this may be a deliberate ' device. to tone down the brass, is extremely well balanced, Recording stands up well to the clanging outburst at the end. (Columbia, 02949----51.) Outstanding Soprano Record. Rosa Ponsello has made the most satisfying recording of tho famous Cavatina, "Casta Diva," from Bellini's opera "Norma," since Patti. But Ponsclle has tho advantages of a big orchestra accompaniment and chorus and the improved recording process. Very few sopranos of the past have recorded this aria, chiefly owing to tho difficulty of interpretation.' Rosa Ponsolle gives a. very dramatic and oxpressivc reading of tho part, jusr. such as we might '..avo expected from her. But what is most notable is her artistic restraint and the beautiful mezza-voce, which sho uses with wonderful effect. The great soprano is auspiciously assisted by the chorus of the Metropolitan Opera House in Ne*v York, and the recording admirably brings out the high artistic standard of the performance. H.M.V., DB 1280.) Two Extracts from "Paust." Who does not know the warm music of Gounod's "Faust"? Most of us are accustomed to hear those old diehards, "Tho Soldiers' Chorus" and "When All Was Young," and it is a treat to hear Molajoli, who conducts tho Milan Symphony*l Orchestra, givers two other melodious excerpts. The first in the "Valsc," a dainty, rippling tune from tho Fair Scene ("Kermesse") in Act 11. On tho other sido is the "Prelude," a spiritual and contemplative introduction to the opera, which iutro-

dueea the melodious song, "Even Bray: est Hearts May Swell." Cay. Molajoli conducts with finesse and vigour, ss" lending the music that homely, common--011 sense touch which is one of the special Qv attractions of Gounod. (Columbia, , v , 05009.) Rare Contralto. Perhaps receiving more adequate treatment than on any previous occasion, Tosti's "Parted" now receives a somewhat belated roproductiou considering its hold on the public. The singer is Essie Acldaud, a contralto who has a rich timbre suited to that type of song, which, helped by, commendable diction, is mado very impressive.- Mis 3 Ackland's other song, "Down tho Vale," by Moir, is also made a big number, because of the singer's treatment. The organ accompaniments are eminent]v suited to the big, rounded voice. (H.M.V., C 1702). Martinelli. Casals Plays Wagner Airs. The numerous admirers of Pablo Casals, perhaps the greatest violinist in the world, will be pleasi with his record of Walther's "Prize Song" from Wagner's "Mastersingers of Nurnberg." The deep and sonorous 'cello notes are faithfully reproduced with admirable roundness. On the reverse side Casals plays "0 Star of Eve," the baritone aria from "Tannhauser," another Wagner work. Here again the glorious melcly is made ethereal by the beautiful notes of the instrument. (H.M.V., DB 1012.) Colourful Music* The Philadelphia Symphony Orchestra, directed by its illustrious conductor, Leopold Stokowski, has recorded two items from Bizet's "Carmen." All the recordings by this wonderful orchestra are so splendid that no matter what it plays, the performance is sure to be of outstanding merit. In the "Soldiers Changing Guard," a little episode from tho first act, the trumpet has come out with exceptional brilliance and realism, the echo of tho hall in which the recording has been done being clearly heard. The "March of the Smugglers" is from the beginning of the third act and precede? the card scone. As ever, the precision of attack and discipline of tho members of the orchestra are superb. (H.M.V., D 1618.) Galli-Curci. Amelita Galli-Curei has recorded by the electrical process Bishop's "Home, Sweet Home." On tho reverse side is Moore's "Last Rose of Summer," which is sung in tho second act of IMotow's opera, "Martha." As n the past, her husband, Homer Samuels, accompanies her on the piano. On another 10-inch record Amelita Galli-Curci sings two duets from Verdi's "Rigoletto," with the late Giuseppe- de Luca, accompanied by the Metropolitan Opera House Orchestra, conducted by Giuseppe Setti. The first "Ah Veglia o donna," in which Rigoletto takes leave of his daughter, is from the second act. Both voices blend very well indeed, and de Luca sings his part with great precision. "Piangi fanciulla" is from the third act. (H.M.V., DA 1011 and 1028.) Fine Tchaikowsky Record. Tchaikowsky, more than most composers, calls for brilliancy and colour, and it would be difficult to find an instance when he was better in these respects than in the record of- his ','Capriccio Italien," played by. the Berlin Statoi; Opera .Orchestra, ; ,r. under Leo Blech. There is also an unusual opulence in tho matter of power, though it never degenerates into mero noise. This is one of tho best orchestral records of the last few mouths. The work was composed on Tchaikowsky's return to Russia after a visit to Florence and is a series of vivid impressions of the composer's stay in Italy. Never has Tchaikowsky been in a happier mood. (H.M.V. D 1593). Beethoven's "Appassionata." Harold Bauer's two records of Beethoven's "Appassionata" Sonata are' highly successful. It bears out what Holland writes of the music: "A union of unrestrained passion and rigid logic." It is-.indeed a matter for gratification that Bauer plays in a straightforward way without any subjective interpolations, and thus we have a well-recorded, vigorous masculine rendering. Played so, it has an astonishing freshness and vitality. In fact Bauer's interpretation is characterised by pregnant and vital rhythm. Tho insistence placed by tho pianist upon intelligence wither than upon emotion constitutes a welcome change from the hecticsensationalism indulged iv by many well-known players. The dazzling spirit of exhilaration displayed in the last movement makes the hackneyed music seem positively unfamiliar. "The recording of the piano tone is remarkably successful, and even the rapid passages of the opening allegro are very clear with every note defined. Tho admirable variety of the tone, an element seldom present in mechanical piano transmissions, is even more striking than its realism. It appears to special advantage in tho subtleties of tho andanto con moto. Altogether the work is played as formerly one hoped it would be. (H.M.V. DB 1293-94). 1 One of tho month's most attractive records is a .pairing of violin solos by Albert Sandier. -The molodics aro from tho fertilo pen of A. W. Ketelboy, who accompanies the violinist on tho piano and shows us sound musicianship in his playing as in his writing. "Algerian Seeno" is an artistic impression with the simple and charming theme given chiefly to the fiddle. It is only once interrupted by a vague "tom-tom" in the piano bass. The sweetly solemn "Phantom Melody" makes a very worthy coupling, for which all lovers of straightforward music will find admiration. Albert Sandier plays with a steadiness and feeling that appeal to tho senses—his top notes are effortlessly obtained. The composer himself, in providing the accompaniment, interprets it with an enchantment that is really distinctive. (Columbia 05006). Brahms is rather high flying for tho J. H. Squire Octet,, but they bring it off in two of his Hungarian Dunces • —Nos. 8 and 6—very neatly. The dances rank with Liszt Rhapsodies as authoritative essays on the spirited rhythms of the Hungarian gipsy folk. The Octet puts any amount of "go" into them, and while they are not concerned with overcharging them with meaning they rip out the gay tunes in a straightforward, highly satisfactory style. (Columbia 01751). A month or two back many were delighted with the first record of Trevor Schofield, a boy soprano. • His second record is every bit as good. "Pierrot at the Dance" is a. lightly swaying ditty that is especially pleasing. "A Song of Long Ago," one that is a charming reminder of "There's No Place Like Homo," and both are sung with the ease and clarity and expressive sympathy which have placed Master Schofield among our foremost boy sopranos. (Columbia 01750). There will be a wide market for the new Layton-Johnstone record. So familiar are most with their inimitable stylo that little remains to say except that they are singing "The World is Yours and Mine," tho theme song from "Mother's Boy" and "Dream Mother." The vocalism and harmonising is Very attractive and sympathetic. (Columbia 01744).