GRAMOPHONE REVIEWS

Evening Post, Volume CXI, Issue 32, 7 February 1931, Page 23

GRAMOPHONE REVIEWS

Fine Choral Record. In these days of wider appreciation, the sacred music' that onco bored or frightened most of us has become a popular '' buy,'' provided it is musically worth the money. A new record by the Westbourne Choir certainly fulfils this condition. The titles are "O Thou that Hearcst Prayer," by Sir Walford Da vies, and "Kyrie Eleison,'' by Sir George H«nschel. They are sung by unaccompanied voices, conducted by A. M. Henderson, and recorded in the Westbourne Church, G'asgow. The difference in type will interest —4he devout, sturdy Davies piece being a plain man's praise of his Maker; the Henschel, an equally devout but more intellectual pattern in voice parts. Both have a fine singleness of purpose, and impress with their strength. (Columbia 05069.) Mark Hambourg, : The famous pianist, Mark Hambourg, is at his best in Chopin's "Nocturnes" in I 1 (op. 55), and Schumann's Novelette in F. The Chopin piece is a model of dual melody, lusciously yot not sentimentally ornamented. In spite of its familiarity, Hambourg makes it sound fresh from the forge. His performance of Schumann is proud, forceful playing, in which the composer is vitalised with an instantaneous touch, a rhythm plastic as poetry, and where fascination of touch is not the main need, the grandeur of harmony. Every note is made to mean something. (H.M.V. E1921.) "Peer Gynt" Suites. The music that Grieg wrote for Ibsen's play "Peer Gynt 1' whirled this frail Scandinavian composer into fame nearly fifty years ago. To-day his "Peer Gynt" music is still as universally popular as it ever was. Brilliant recordings of the eight pieces that make up the two Suites are played by the N.Q.H. Light Orchestra under Schneevoight. On Columbia 02629 are "■Morning" and "Ase's Death"; on Columbia 02630 are "Anitra's Dance" and "In the Hall of the Mountain King." On Columbia 02631 are "Ingrid's Lament after her 'Wedding Eve" and the Arabian Dance; while Solveig's Song and "The Bcturn of Peer Gynt" are paired on Columbia 02632. These records are never likely to be bettered, and the first two particularly should be in every collection. "Lily of KiUarney." The Light Opera Company, which has now a long list of successful recordings of vocal "gems" from famous musical works, adds to its reputation this month with the vocal gems from Benedict's light opera, "The Lily of Killarney," in which John M'Cormack scored one of his finest stage successes. The opera abounds in lyric melodies, which remind one at times of "The Bohemian Girl." The calibre of the voices in both solos and choruses is uniformly excellent. Among the numbers selected are "Andante" from overture, the duet "The Moon Hath Eaiscd her Lamp Above," "I'm Alone," "It's a Charming Girl I Love," "Cruiskeen Lawn," "Eily Mavourneen," "Colleen Bawn," aud Finale of Act 11. Several of these songs are well known to those who have not heard opera, for the airs have been popular concert platform items for years. (H.M.V. C 2000.) Brilliant Hungarian Dances. Among tho shorter works of Brahms few have attained the popularity of the Hungarian Dances, of which Numbers 5 and G are perhaps the best known. Now we have a splendid pairing of these two by Sir Hamilton Harty and the Halle Orchestra. An essential feature of all the Hungarian Dances is the abrupt change from grave melancholy (lassen) to wild merriment (friska), involving many changes of time and tonality .and a peculiar richness of harmony. In No. 5 Harty handles with the understanding of an artist the change from the slow sensuous opening to the gayer theme. No. 6i9 characterised by astonishing variety of melody, rhythm and harmony, and every shifting mood is handled with the certainty of a master. (Columbia 01677.) Wagner Overture. ( Dr. Leo Blech, one of Germany's leading conductors, figures with the Berlin State Opera Orchestra in a splendid recording of the overture to Wagner's "Mastersingers of Nurnberg." The majestic and pompous opening strains announcing the march of the mastersiagers are always impressive, and at the end of the overture Wagner has very ingenuously welded three motives with imposing harmonic effect. In 1861, seven years before the first performance of the opera, Wagner wrote: "My wish to apply myself to some easier and speedier work is supported by the consideration of the difficulties with^which I have to contend in getting my serious works performed, and I believe it is a happy thought to put in hand the execution of an earlier idea for a popular operatic comedy. The opera is called 'The Mastersingers of Nurnberg,' and the subject is extremely full of humour. Tho style of poetry and music shall be thoroughly popular, and I am right in forecasting it as one of my most original and popular works." (H.M.V. D 1314.) Ketelbey Tone Picture. In his new tone-poem "In a Camp of the Ancient Britons" the composer seeks to convey the reflections of a present-day visitor to the ruin of the camp. The bygone life is conjnred up before his eyes. In succession he sees the aacred grove .of..tho Druids; he hears the invocation of the Priests before battle; the Ancient Britons march past him to the war, and the advance of tho Boinan Legions opens out to his memory's eye. The music goes on to describe the battle and the retreat of the Britons, and then fades, into the present day, and becomes a seaside band in a popular air. This is descriptive music ■at its best and most vivid. Ketelbey himself conducts his own orchestra in the work, which records keenly and brilliantly. (Columbia 05074.) • Dance Records. There are several most attractive dance records in the February H.M.V. catalogue, und the following have been selected for their tunefulness and rhythm:—"Beyond the Blue Horizon" (fox-trot), and "Always in All Ways" (fox-trot), bbth from the film "Monte Carlo," and played by George Olson's orchestra (EABH); "Little White Lies" (fox-trot), playod by Waring's Pennsylvanians, and "Dancing with Tears in My Eyes" (waltz), played by Nat Shilkret and his orchestra (EA--812); "Dixiana" (fox-trot), and "Mr. and Mrs. Sippi" (fox-trot), both from tho film "Dixiana" and played by Nat Shilkret and his orchestra (EA799); "Bewarp of Love" (fox-trot), from the film "Women Everywhere," and "Good-bye to All That" (fox-trot), played by Ambrose and his orchestra (EA811); "You Took Advantage of Me" (fox-trot), from the film "Leatherneckers," played by Paul Whiteman and his orchestra, and "Moonlight on the Colorado" (waltz), playod by Nat Shilkret and his orchestra (BA816); "Ou a Little Street in Honolulu" (waltz), and "All Through the Night" waltz), played by Hilo Hawaiian Orchestra (EABI7). In each item there is a vocal refrain.