RECORDED MUSIC

Evening Star, Issue 20056, 22 December 1928, Page 15

RECORDED MUSIC

[By Ebato/1

JANUARY H.M.V.’S. VOCAL.

For sheer beauty and brilliance in execution it would bo difficult to find the equal of Amelita Galli-Curci. Her latest showy displays are Prpch’s ; Air and ‘Variations’ and ‘LaFauvette ' (tho Warbler), from Gretry’S' ‘ Zemire et Azor.’ There is little .to distinguish these from any of her recent excursions in to.the'realms-of vocal acrobatics, and, as usual, the ever-faith fill flutist chases her merrily mp aiid down the scale Flute obligatos are inseparably associated with Galli-Ciirci’s singing., ialliCnrci evidently appreciates their worth in setting off her volte. She transforms a simple-air.into..ail exceedingly florid one, and. Creates technical, difficulties merely to demonstrate her case in surmounting them... However, these two airs aro sung with the spprano’s usual brilliance, and , will bp welcomed by all Galli-Curci enthusiasts! Lawrence ’i'ibbett, the famous young American , baritone, who scored such a remarkable success with his iccording of the ‘ Piigliacci ’ prologue, lias departed from the operatic fields to sing two familiar old airs, ‘ Drink to Mo Only With Thino Eyes ’ and ‘Believe Me if All Those Endearing young Charms.’ He possesses an exceptionally lino baritone voice, of rich quality throughout its wide range, and sings in a pleasant, 'straightforward'fashion. These beautiful old airs are sung wirii considerable feeling and finesse. Nevertheless, after the operatic songs, they strike ono as not being paiticului >v suitable for Tibbett. Peter Dawson has added two' more songs to liis already staggering repertoire in the shape of ‘Drake’s Drain ’ and ‘ Outward Bound,’ two air;, from Stanford’s ‘ Songs of the Sea.’ They aro sung in typical Dawson stylo. What further recommendation is necessary? The songs are. recorded in their oiginal form, with voice, male chorus, and orchestra. The Stanford setting of ‘Drake’s Drum’ is not the familiar one, as most people will imagine. . ORCHESTRAL. An extremely polished performance of Kreisler’s ‘Liebesleid’ is given by tho San Francisco Symphony Orchestra,' under the celebrated conductor, Alfred Hertz. Ou the reverse are Moszkowski’s tuneful' ‘ Serenade ’ and ‘ Aubadc,’ by Auber. This orchestra is a first-class organisation, and is comparable with the famous Philadelphia Symphony Orchestra as one of the great combinations in America. • These three pieces are all distinctly melodious,, and are played with great charm. The string work is especially, fine, clean, and lull of beauty in tone. The Mos?.kowski air is daintily played. The oicliesbral volume in the ‘ Liebesleid ’ ( is imposing, and yet a fine balance is preserved and a very rich tonal effect, sustained. The Berlin State Opera Orchestra is in excellent form in ‘ The "Beautiful Galathea,’the familiar Von Suppe overture. This melodious piece is accorded vivid treatment, and tho performance goes with an attractive swing. This record is on plum, which is unusual for the Berlin State Opera Orchestra. However, Ernst Viebig conducts on this occasion, and he is apparently a grade lower than Dr Leo Blech, who has conducted the previous issues. This record is well worth the price, for the overture is excellently played. INSTRUMENTAL. B’ritz Kreisler and Hugo Kreisler arc associated in very spirited interpretations of the famous violinist’s own compositions, ‘ Marche Miniature Viennoise’ and ‘Syncopation.’ Hugo, who is a ’cellist of considerable ability, is rather ■ overshadowed by bis move famous brother, but in this record gives striking evidence of his artistry. Tho two combine with fine effect in what may be taken as authoritative versions of these pieces. They both play with a great deal of dash and virility and clear, full and incisive tone. As the title indicates, ‘ Syncopation ’ is a rather unorthodox little piece, lively and spirited. The ’cello plays more of an obbligato in each piece, and provides a sound background to the violin. For the third time Alfred Cortot has recorded the Liszt arrangement of the ‘Rigoletto ’ quartet. This paraphrase came out first on a 12in single side, with Weber’s ‘ Invitation to the Waltz ’ on the reverse, then as a doubled-sided lOin, and now it has been issued as a double-sided 12in. While the later recordings may have the benefits'of the new process, tile reason for the third distinct reproduction is not quite clear. Perhaps the idea is to have an uncut version of the quartet. However, this record is fully up to. the usual Cortot standard. Liszt’s pianoforte complexities present no difficulties to Cortot, who plays with iindirainished .brilliance and skill.

Dr Prendergast, playing on the organ of the Winchester Cathedral, attains 'conspicuous success in the reproduction of Wesley’s ‘Larghetto in F Sharp Minor ’ and the ‘ Offertoire Sur Deux Noels.’ by Guihuant. His registration us effective, and lie'brings out all the sonority and richness that one naturally associates with that magnificent' Instrument, the organ. There is fib doubt that a vast improvement has been effected, in organ recordings, as these two pieces illustrate. , At the' same time, however, perfection is still a long way off. ANSWER TO CORRESPONDENT. ‘ Student ’ writes in connection with the reproduction of the new electrical records. I would refer him to the August issue of ‘ The Sound Wave.’ from which the letter was extracted. An excellent reply to the original letter is published in that magazine. A NEW GRAAIOPHONE DEVELOP- ’ ; MKNT An invention which should, to some extent revolutionise the modern. gramophone world has recently been completed by Mr J. Stone, of Dunedin, after several years of exhaustive investigation. It is in the form of a radio-gramophone, and .is .called the “ Eloctrovox.” An electro-magnetic pick-up is substituted for the’ordinary gramophone sound 'box’. This : very sensitive instrument’, instead of creating sound, generates a very minute quantity of electrical energy which is impressed on to special amplifying valves. The power to operate the amplifier is taken from The ordinary house supply, and is stepped up and converted into direct current. No batteries of any description are used. After the music, in the, form -of electrical energy, has been amplified it.is reproduced .from a special type of loud speaker which readily responds to all frequencies, from the highest to the lowest equally. No particular notes are therefore reproduced, to the. exclusion of others. In short, the •“ Electrorex ” is capable of faithfully reproducing all . musical sounds. ' The reproductions of, any records onthis instrument are nothing short of.

amazing. Undoubtedly : it is as near the real thing as it is possible to obtain with mechanical means. One can distinctly hear all the instruments of both band and'orchestra, and also obtain a more faithful reproduction of the proper sound and quality of the orchestra as regards string, reeds, brass, and percussion instruments. The volume of sound (which is really staggering) can be regulated to suit the size of the room in which it is played, and surface ndiso is practically eliminated. With eyes closed one would be quite prepared to swear that the performer was actually in the same room. ■ The instrument has been demonstrated to nearly all the leading musicians of the city, and they are unanimous in proclaiming it-to be an amazing invention. 1 •