RECORDED MUSIC

Evening Star, Issue 19794, 18 February 1928, Page 15

RECORDED MUSIC

[By Erato.] THE CHERNIAVSKY TRIO. At tlie moment the musical event of the in New Zealand is the presence of the three very remarkable brothers who make up the Cherniavsky Trio— Leo (the violinist), Jan (the pianist), and Mischel (the ’cellist). And great music they are giving us. -heir playing takes us back to the Reformation period, when the ability to take a hand in an instrumental quartet was as ecessary to a man as the ability to play bridge and tennis are to-day. Comparatively young, the Chermavskys are yet old hands at the game. As far back as 1901 they began their tours as' a trio, and five years later they were still young enough to be -ifed as infant prodigies in London; oven on their second visit to the metropolis, in 1912, they were spoken of as “ remarkable youngsters.” Now their art is fully developed, and shows that they have amply fulfilled alike the promise of childhood and boyhood. As a trio they must be judged, but / is worth while to consider their individual merits, for each of them could have commanded fame as a soloist_ at his particular instrument. SamtSaens, the great French composer, considered Mifichcl’s rendering of his magnificent ‘ Concerto in A Minor ’ to be perfect, and prophesied a golden future for him. Leo was playing in public at the age of six, and created a sensation with his playing, too. Even at that tender ago his clear tone and exceptional technique were remarked on. Jan. the pianist, perfected his brilliant technique under the famous master, Leschotizky, who numbers Friedman among his pupils. And yet, strikingly individual though they are as artists, their sympathy and understanding as a trio are greater still. From early childhood they have practised and performed together, and it is not too much to say that there are no musicians alive to-day who combine together so perfectly. This great trio records exclusively for Columbia, and some very notable records they have produced. The hunter after sensationalism and musical fireworks will be disappointed; but whoever cares for purity of tone, perfection of harmony, and a soundlywrought exposition will find these qualities in, for example, Rizter’s 1 La Seronata ’ and the Scherzo from Beethoven’s Trio, No 7, in B Flat, that is coupled with it. Nor could one wish for a lovelier reading of the famous Peer Gynt Suite, mellifuously tuneful and full of spirit. The trio has made fourteen records in all, and every single one is delightful. A COMPLETE ‘MESSIAH’ RECORD. The Columbia Company has made 'a valuable addition to its Mastenvorks series by recording ‘ The Messiah ’ practically in complete form (says the London ‘Times’). The work occupies eighteen double-sided discs, which are c Rained in two special albums. A useful feature is the provision of the words of the recitatives, arias, and choruses, but the recording is generally so clear that reference to these is not often necessary. Sir Thomas Beecham is the conductor, and the ch il parts are sung by the British Broadcasting Corporation Choir, with, the assistance of Miss Dora Labbette, Miss Muriel Brunskill, Mr Hubert xasdoll, and Mr Harold Williams as soloists. Miss Nellie Walker also takes part in the two quartets towards the close of the work. The accompaniment is played by an orchestra and on the organ of the Central Hall, Westminster, in which the recording took place. The advance mads in the recording of choral music for the gramophone has been very great during the past year, but seldom have the possibilities of the electrical process been demonstrated so conclusively as in this remarkable series of records. ‘ The Messiah ’ has long been regarded as the favorite oratorio of the British people, and its continued popularity is proved by the large audiences which assemble whenever it is performed. It will now be possible for many thousands to enjoy a rendering in their own homes, which in many respects is fully able to bear comparison with an actual performance in the concert hall. The 8.8.C._ Choir, on the whole, gives an exceedingly good account of itself. There is a clarity and balance in its singing which is not always achieved by large masses of voices on the gramophone. In such choruses as ‘Lift Up Your Heads,’ ‘His Yoke is Easy,’ and ‘Ho Trustee! in God’ the effcct*is particularly fine. The honors among the soloists fall to Miss Labbette and Mr Eisdell, whoso singing of such arias as ‘How Beautiful Are the Fee tv! and ‘Every Valley’ is very delightful. Miss Brunskill, though she sings well, does not record quite so successfully as the other two soloists. The orchestra, whose name, by the way, is not stated, contributes much to "the success of these records. Its response to Sir Thomas Beecham’s direction is nowhere more marked than in the overture, and throughout the orchestral tone particularly of the strings, is very good indeed. AN EXCELLENT PERFORMANCE. (1) ‘ Sextet from Lucia di Lammermoor ’ (Donizetti), (2) ‘La Sonnambula—D’un pensiero-’ (Bellini). Sung by Maria Gentile, Dine Borgioli, etc., and La Scala Chorus of Milan. This is the first electrical recording of the great sextet from 1 Lucia,’ and an amazing performance it is. All these big operatic ensembles issued by Col-' umbia lately are thrillingly clear and decisive, and open up a new joy for the gramophilo. The dramatic Act 2 from ‘ Lucia ’ is a powerful scene offering tremendous vocal opportunities, and serves to introduce a wonderful soprano in Maria Gentile. In fact, it might give us more of her; in the famous ‘ D’un pensiero ’ on the other side, taken from Bellini’s opera ‘La Sonmimbula,’ she dominates ihe singing with her rich and warm soprano, while the sextet is a trifle flat and unbalanced because she is not given sufficient prominence. None the less, it is a superb record, and the best of its sort we have yet heard. A THRILLING BASS. (1) ‘The Song of the Flea’ (Moussorgski), (2) ‘Drinking’ (traditional). Sung by Gapiton Zaporojetz, bass. Russia breeds phenomenal bass voices, and here is one of them. Zaporojetz is to make his first appearance in England this, season,• and leaps straightaway into the highest rank, for he will appear in the international celebrity concerts. He is said to compare not unfavorably with Chaliapin; on this record, by singing the Moussorgski favorite, he challenges direct comparison. It sounds to me, at this first hearing, as if his voice may be as fine as Chaliapin’s. He has a very big, full, rich tone, which makes fine effort in these two tones. In the ‘ Song of the Flea ’ his laughs are also magnificent. His leisurely style is most intriguing. ‘Drinking’ is the song we all know, but with much difference. Is it originally Russian, after all P This version has an authentic sound. Notice the lusifious case with which the singer drops down to the extraordinarily low notes in this song. THE SHEFFIELD CHOIR. (1) ‘The Radiant Morn Hath Passed Away’ (Woodward), (2) ‘0 Taste and See How Gracious the Lord Is ’ (Goss). Sir Henry Coward conducting the Sheffield Choir. These two anthems, provided they are sung by a competent choir, offer little scope for criticism. Such scope as there is for good singing

is used to the full by the Sheffield Choir. Diction is exceptionally clear, and the singing is fine, sonorous, and powerful. It is probably a consequence of tho precision of the singing that such an effect of solidity is obtained in both pianos and fortes. The great choral conductor Sir Henry Coward has obviously taken! great pains to make this a really notable recording. FOUR LYRICS FROM GENE AUSTIN. In two discs (H.M.V. E.A.207 and 20S) Gene Austin, gives us ‘ One Sweet Letter From You ’_ (Clare-Brown), ‘ Yesterday ’ (with violin, ’cello, and piano), ‘Forgive Me,’ and ‘Some Day, Sweetheart’ (Abel Baer at the piano). Gene Austin has attained enormous popularity. The above four numbers are certain to prove successful, the enunciation being particularly clear and fine. GEMS FROM ‘THE GONDOLIERS.’ Zonophone Light Opera Company in vocal gems from ‘ Tho Gondoliers.’ This is another superb record containing vocal gems from one of the most popular and melodious Gilbert and Sullivan operas (A.325)._ A worthy companion to the already issued vocal gems from ‘ lolanthe ’ (A. 312), ‘Pinafore’ (A. 317), and ‘Yeoman of the Guard’ (A. 321). This record contains all the favorite melodies which have helped to make ‘The Gondoliers’ such a,lasting success. The singing and recording are truly fine.