Music from the Disc

Evening Post, Volume CX, Issue 71, 20 September 1930, Page 27

Music from the Disc

Wonderful Overture,

Tho overture to "The Plying Dutehmnn," which is superbly recorded by tho New York Philharmonic Orchestra under Mendelberg, is really a tone poem giving in a condensed form the story of the opera. It opens with a mighty storm, and underneath the rushing violins is heard the "curse" motive, first on the horns and then, the trombones. For a moment the tempest dies down to an angry mutter, but it soon returns with redoubled fury. A new theme is now heard, founded on a phrase of the "Senta" motive—the motive of redemption. This alternates with the "curse" theme for a while, and soon leads into a fragment of the sailors' chorus, played by the wood-wind. Still the storm rages, and works up to : a terrific enunciation of tho "-curse" motive by the brass, and then, when the end seems to come with the evil powers triumphant, the hurlyburly is suddenly stilled, and there emerges the motive of redemption, bringing the overture to a peaceful close on a note of confident aspiration. The orchestration is marvellous, and a particularly beautiful effect may bo observed just after the triumphal theme when the harp "comes through" the mass of sound, accompanying a passage for the wood-wind, like the sun suddenly breaking through a' stormy sky. (H.M.V., D 1056.) A Tchaikovsky Piano Concerto. This month's Columbia symphony programme includes a concerto —Tchaikovsky's B flat minor, played by Solomon arid the Halle Orchestra. This work is not, as the Columbia catalogue infers, Tchaikovsky's only piano concerto. It was the first of four —three being in the conventional pattern, and one a Phantasy Concerto in two movements. The composer submitted this work to his piano-playing eclectic comrade, Nicholas Rubinstein, who heartily damned it from start to finish. This wounded Tchaikovsky so nearly that he published it without a single alteration and re-dedicated it to the German, Yon Bulow, who, in turn, was fulsome in his praises of the work that his keyboard rival had so roundly denounced. The work can hardly be called proI found. In tho second movement, sentimental, perhaps. On the whole, it is melodramatic rather than epic or heroic. A trifle garish; possibly even a trifle vulgar. But these qualities are something, of-a recommendation in the eyes of the average music-lover. We all love a few purple patches and a leaven of blood and thundor to lighten the dough of classic profoundly. And in this work we got it—a wealth of high-spots enlivening a really interesting work. Nothing really highbrow and nothing entirely commonplace. Solomon plays magnificently. (Columbia LOX 25-28.) Mozart Dances. ■ German dances, played by the Berlin State Orchestra,; which is one of the best of its kind in the world, and is conducted by Dr. Leonard Birsch, are full of interest. Steinbach's arrangement of these' Mozart airs is picturesque and yet full of the quaint dignity oi those Mozartian days when tho fiddled orchestral minuets and dainty distinctive gavottes set Viennese life to music. 'Hero and there the inevitable and welcome well-known rofrains of such favourites, as, the Puppeiifee, the doll-ballet catch ..with their incomparable melody the strings of memory. These two sides are well worth hearing. (H.M.V.J D 1624.) . • : Two Modern Salon Songs. Hero is a. newcomer to the ranks of recording voices—a baritone called the Hon. W. Brownlow. On a teninch dark blue he sings "I Pitch My Lonely Caravan at Night," a song by Eric Coaties, and "I Look Into Your Garden," by another musician of similar calibre, Haydn Wood. These are pleasant songs very pleasingly sung. So well sung, in fact, that another record from the Hon. W. Brownlow will be looked for with pleasurable anticipation. There are a lot of lieder yet to be recorded—in English. (Columbia DO 118.) Liszt's Twelfth Rhapsody. In Liszt's Twelfth Hungarian Rhapsory1 Arthur de Greef, the famous Belgian pianist, contributes one of the best piano discs made. In the impressive and majestic strains of the beginning of the slow, section de Greef displays enormous power and virility. The brilliancy of his performance of the first section ''friszka" is also capital, and compares very favourably with that of any famous pianist. The recording is of tremendous volnnio, and the piano tone is excellent, with an utter absence of blurred notes. (H.M.V., D 1003.) Vocal 00ms from "Patience." This Columbia series of vocal gems from the Savoy Operas must be enjoying huge" popularity. Gems from "Patience" is the latest disc to be released,' and the Columbia Light Opera Company are well up to their usual excellent form. The numbers introduced in this pot-pourri are "A Silver Churn," " Prithee, , P.retty Maiden," "Love is a Plaintive Song," Chorus of Maidens- from Act 1, '' When I First Put This Uniform On," "I Hoar the Soft Note," "It's Clear that Medieval Act," "Silvered is the Raven Hair," and "The Soldiers of our Queen." What more could one want? (Columbia DOX 32.) Beethoven's Appassionata. - One of Beethoven's best-known and most popular sonatas, the "Appassionata" (in 3? Minor, op 57), has been re-recorded by Harold Bauer. So far Bauer has not made many records, but his performance in the Brahms Pianoforte Quintet in F Minor, with the Flonzaley Quartet, was greatly admired. Tho "Appassionata" was composed at tho same time as the C Major Sonata, op. 53 ("Waldstein'')Harold Bauer's interpretation is notable for its breath and nobility, whilst the piano reproduction is excellent. The sonata is recorded in complete form in four parts. (H.M.V., D 81293). Robert Easton, Robert Easton is known too well to need any recommendation here. The most unpretentious song in his hands becomes charged- with a certain significance and an undeniable charm. In "The Tune that the Bosun Played" and "The Leader of the Town Brans Band" wo hear Robert Easton in his most jovial manner, and he makes capital fun from both of these breezy songs. (Columbia'DO 119.) Young English Baritone. A record of Arthur Fear, the young English baritone, who this year secured an engagement at Covent Garden, in the "Page" song1 from "Falstaff" is worth having. Mr. Fear has the ideal Falstaff voice. On the other side of the disc is "Woo Thou Thy Snowflake," from Sullivan's "Ivanhoe." The second aria is, a more declamatory numbor, but there is no unsteadiness in the voice. The dramatic quality is good. (H.M.V., 83123). Musical Comedy Successes.

Marie Bremner, a very talented soprano, sings with orchestra "If I'm Dreaming" from "Sally," and "Coo" from "Tho Country Girl." Much of

the winning persona-lity tliat she gets across tiie footlights is wonderfully captured in. these two recordings. Hearing thin dfeg pra© .does jiot w_nii"

dor that Marie Breniner created a furoro in "The Desert Song," "-I he Belle of New York," and "The Country Girl." (Columbia DO 102.) Realistic Wagner. Operatic selections—especially of the chorus work —are so rarely completely satisfactory that the Royal | Choral Society's-performance of the two "Meistersinger" chorales deserve exceptional praise. .For once the balance which is usually reserved tor audiences at. a performance has been transferred to .the gramophone, with | the result that for once at least oneis able to realise the glorious beauties of Wagner's choral writing away from the concert hall and the theatre. (H.M.V., 83122). ;•■■■■; ! "The Old Sow." . • . j Those who saw Hie--.English talkie, "Under the Greenwood Tree," will not soon forget "The Old Sow." . Tins traditional descriptive ballad is. sung) by the Gotham Comedy Quartet— the same singers who appeared in 'the talkie. Even •if badly sung, this number would be funny, but sung by.the Gotham Quartet it is indescribably delicious. On the reverse 'is: a piece in similar vein, "King Arthur," which sheds a new light on'the private, life of this venerable monarch. A record no oiie should miss. (Columbia DO 116.) .'.'/. Scene from Wagner.., : ,-... Since the advent, of the : electrical process.of recording with its enormous improvement in. orchestral reproduction, Wagner's operas have received'a good deal ,of attention, and quite rightly, for the rich orchestral back-, ground stands out now with:. astonishing realism. Two of the best-known Wagnerian singers, Gota. Ljungberg, the sweet-voiced Swedish soprano, and Walter Widdop, Britain ;s • leading dramatic tenor, both of whom are well remembered for their prominent participation in the selected passages from "Valkyrie" and "Twilight of the Gods," which were.issued last year by His Master's Voice, figure in an iuir. portant recording of the scene between Sundry- and Parsifal in Klingsor's magic garden (act 2) from Wagner's "Parsifal." With the exception" of one item, this scene was omitted from the "Parsifal set issued some time ago, and the dramatic interest is sustained throughout by the keen and tense interpretation by Ljungberg and Widdop. The scene is recorded in four parts, and magnificent orchestral support-is-giveir by-the- London Sym : phony Orchestra conducted by Albert Coates. (H.M.V., D 1651-53). The Maestros Vocal Quintet. The irony of names! Thai, wellknown and charming trifle,1 "Passing By," seems fated never to live up to its title by really passing by and out of sight. With the regularity of clockwork 'there appears each month a new recorded version. The song seems to pass'by on a sort of j endless belt. And, after all, why shouldn't it! It is a classic in its class, and_ in its new arrangement is wholly delightful. |It is not, by the way, "an old ElizaIbethan song," in spite of the name Purcell. The song does not date back more than a dozen or so years, and in spite of that is by no means unworthy of Herrick's poem. A Venetian song by Tosti is paired with it. (Columbia DO 117.) ' '' ;'.V Latest Zonophones. ; •• There are several outstanding numbers in tlio September Zonophono catalogue. The English 'cellist, Bram Maslin, contributes Van Bierue's famous "Broken Melody" and the Hebrew Saen's "Samson and Delilah," is deep and rich, and stands out beautifully against, the orchestral background. (A 385.) The lovely "Softly Awakes My 'Heart," frornj .SaintSaen's "Samson ann Delilah," is given a memorable rendering by the English contralto, Esther Coleman, who not only has a great voice, but a sense of the dramatic. Her other number is Cow.en's "Promise of Life." ((A380.) Two cornet solos by Sylvester Ahola, "The Lost Chord" (Sullivan), and "The Better Land" (Cowen), ring out crisply and clearly. These old favourites have never been better done. There is an orchestral accompaniment. (A 387.) Two scntinicntaj ballads, "Most of All I Want Your Love" and "Let Mo Call Yon Sweetheart," aro artistically and sympathetically sung. by Maurice J. Gunsky, a light tenor. (5355.) Once again Foster Richardson, and'Ms big bass voice are well to the fore. He makes a virile number of "When the SergeantMajor's on Parade," and also has plenty of scope for fine singing in, "Every Step Towards Killarney." (5540.) A novel accompaniment has boon-provided for the duet "Sing Hallelujah" by Vernpn Dalhart and Adelync Wood, whoso., voices blend very sweetly. On the other side of the disc Vernon ■ Dalhart sings' "Elov.en . oent Cotton," a quaint composition Iwith an unusual accompaniment. (BE204;) The Carter Family of vocalists, who have made several popular records, this month give two most pleasing songs, "Anchored iuLove" and "I Havo No O,no to Love Me" (But the Sailor n the Deep Blue Sea), with guitar and auto-harp accompaniment. (EE205.) Clarkson Rose is at his merriest in two "hits" of the day, "Give Yourself a Pat on the Back" and "WhatCan You Do Without Money." Rose is one of the greatest of living comedians, and he is at his best in this record. (5554.) The Green brothers' Marimba Orchestra is well to the for© with two colourful pieces/"A Bunch of Epses," a Spanish march,, and a pretty . waltz, "Wedding of-the.; Winds." (EE203.) Two old favourites, "In the Shadows" (Finek) and ?'Sweet Adeline (Armstrong) aro given a timely revival by the Zon-ophone Salon Orchestra, and all their charm is retained. (5551.) The International Novelty Quartet should continue its successful run with "The Skaters, "a waltz by Waldteufel, and a quaint number, "Teddy Boars' Picnic." The Arcadians. Dance Orchestra plays "Melody Divine," a waltz from the film "The. .Careless Age," and "Evening Shadows," a i'oxt-trot. (5538.) ""■ ' Two Musical Parodies. Here is record, quite out of tho ordinary. Herbert Hughes, a 'modern English composer, .has taken a scries of nursery rhymes and elaborated them after the styles of various composers. Two of. .-,these, "Simple Simon" and "There Was a Crooked Man," are bracketed on one side of Columbia DOS 33.' They are sung by the London Male Voice Octet, and for those who claim the slightest familiarity. with .. ther better known "classics" these irwo parodies will provide any amount of fun. On the reverse is "The Keys of Heaven," sung by the same Octet, the solo being taken by a male alto. (Colivmbia DOX 33.)