RECORDED MUSIC

Hawke's Bay Tribune, Volume XVII, 26 November 1927, Page 15

RECORDED MUSIC

New Productions THE PROMISE OF GOOD THINGS. The December His Master’s Voice records, wlicih will be available nert week, make a very attractive list. In addition, there is to be a special Christmas issue of good things appropriate to the season. ♦ ♦ * ♦ A FINE NEW JERITZA DISC. “Herodiade,” Il est doux, il est bon (He is kind, He is good), in French (Massanet) —“Jeanne d’Arc,” Adieu, forets (Farewell, ye Forests), in French (Tchaikovsky). Sung by Maria Jeritza, soprano. H.M.V. DB 1041. For this fine recird Madame Jeritza has chosen two surpassingly beautiful airs. The first comes from Massenet’s opera, “Herondiade,” and is sung by Salome herself. The vreed of meekness and love preached by the Prophet has rached Salome’s heart and moved her deeply. The air on the reverse side of the record comes from an opera of Tchaikovsky’s which is practically unknown. The remarkable gift for melody Tchiakovsky shows us at every ♦ ♦ * ♦ GERHARDT, STAR OF LIEDER SINGING. “Vor dem Fenster" (At the Window), turn is well displayed here. Op. 14, No. 1 (Brahms) —“Dio Forelle" (The Trout) (Schubert) Elena Gerhardt, soprano. H.M.V. DAB3S. Schubert’s “Die Forelle" is one of the few songs about fish that a fisherman will be willin gto sing; and he has a right to speak, for he is usually has a right to speak, for he is equally famous as vocalist and as fisheman. This wonderful song, which tells of the ardent trout fisher on the river bank for whom the ogling maiden on the bridge angles in vain. The opening figurein the piano may be taken to suggest the rush of the rising trout, while the fresh and exquisite melody sings of the carefree delight of the fisherman rejoicing in the open air and his favourite sport. The well-known Brahms song, without being too serious, strikes, a rather deeper vein. * * * * PHILADELPHIA SYMPHONY ORCHESTRA. “ Rienzi,” Overture (three parts) — "Twilight of the Gods” (Wagner). Philadelphia Symphony Orchestra, under Stokowski. H.M.V., ED3—4. Leopold Stokowski and'the Philadelphia Orchestra of over one hundred players have made a fine electrical recording of the overture to Wagner’s first successful opera, “Rienzi." The opening theme of Rienzi’s prayer, played by the lower strings, reveals a quality and richness that, snrely. brings something ne wto recorded music. In the in-spring concluding scene of the ‘Twilight of the Gods,” Brunnhilde has leaped into the funeral pyre of the slain Siegfried. The tottering majesty of the Walhalla motive, the floating song of the maidens, the curse of Alberich, die out beneath the pure and exalted strains of Wagner’s greatest motive, the “Redemption of the World by Love.” ♦ * ♦ * BASS STAR IN POPULAR NUMBERS, “Les Rameaux” (“The Paints"), (in French), Faure—“o Salutaris Hostia” (in Latin), Luce—Marsel Journet (bass). Marcel Journet, the famous bass who has been so long a favourite both at Covent Garden and the Metropolitan Opera, New York, here gives us two most attractive songs of a popular character which should have a wide appeal. * « * * A NEW TENOR DISC FROM SCHipA "Lakme,” Fantaisie aux divins mensonges (Idle Fancies) (sung in French) (Delibes)—“Werther,” Pourquoi me reseller, (Ossian’s Song) (sung in French), (Massenet) —Tito Schipa, tenor. H.M.V., D.A. 870. Schipa makes his appeal through a delicacy and restraint not always found in Italian tenors, together with a decidedly individual and beautful voice. He has made a fine record of the lovely “Pourquoi me reveiller?" and also of the seldom heard excerpt from “ Lakme.” * « « * A DELIGHTFUL OVERTURE. State Opera Orchestra, Berlin, conducted by Dr. Leo Blech, in “Mignon” Overture (Thomas).—H.M.V'., D. 1246. The overture to “Mignon” is constructed from the principal melodies of the opera, an dforms, therefore, a kind of Pot-pourri This elertrical recording is said to be one of the finest examples of orchestral reproductino yet issued; a fact which, coupled with the melodiousness of the music and the bril, liant performance, promises a great popularity for the record. ♦ ♦ * * MAREK WEBER AND HIS MASTER’S VOICE. » “Tales From the Vienna Woods,” (Strauss).—Marek Weber's Orchestra. H.M.V., B. 2406 This is Marek Weber’s first “His Master’s Voice” record to be issued in New Zealand, but there is little necessity to "introduce” such a famous player or his orchestra. Weber and his orchestra have a European reputation second to none in the performance of Ihigt music, and his rendering of this lovely old waltz gives an excellent idea of his peculiar powers. ♦ ♦ ♦ ♦ TWO FINE SONGS. Browning Mummery (tenor) in "My Lovely Celia” (arr. Lane Wilson), and "The Love Lily” (Thompson).— H.M.V.. B. 2464. Browning Mummery, an Australian by birth, is one of the finest operatic tenors of the day. For once, however, he has given us two ballads, but the opportunity to display his superb voice is there, ami he makes a fine thing el them. j

A NEW HEIFETZ. » Jascha Heifetz, in («) La Fille aux Chevenx de Lin (Debussy—(b) Scherzo—lmpromptu (Grieg—Achron), La Plus Que Lente—Waltz (Debussy). H.M.V., DB 1049. “La Fille aux Cheveux de Lin" (“The Maiden with the Flaxen Hair"), one of Debussy's most ethereal and dreamy works, beautifully transposed for the violin by Hartman, was one of Heifetz’ most appreciated encores during his recent concert tour of Australia and New Zealand. The bright animated Scherzo by Grieg presents a striking contrast. Debussy’s delightful waltz, “La Plus Que Lente,” with its elusive and fragile atmosphere, is admirably played by Heifetz. ♦ ♦ ♦ ♦ A DE GREEF CONCERTO, “Concerto in A Minor” (Opp. 16— Grieg)—played by Albert de Greet and the Royal Albert Hall Orchestra. H.M.V., D 1237—1240. De Greef was a close personal friend of the great Norwegian composer, and his interpretation may be considered authoritative to a degree. It it particularly fortunate, therefore, that he should record this very attractive work. ♦ ♦ ♦ ♦ TWO KINDS OF FINE ORGANS. Reginald Foort, on the organ of the New Gallery Cinema. London, in Ketelby's “Sanctuary of the Heart" and “In a Chinese Temple Garden." The record made on the Wurlitr.ee organ of the New Gallery Cinema organ by Reginald Foort have become very popular. The very wide range of quaint “effects" which can be obtained have made the records some of the most popolar on our list. The new record (H.M.V., C 1330), of two familiar descriptive pieces will attract a large number of people. Arthur Meale on the organ of thi Central Hall, Westminster, London, in “Vesper Song” (Meale)—“Fountain Melody” (Meale). H.M.V.. 82450. Arthur Meale’s intimate knowledge of the manner in which to make organ music truly popular is masterly. It would be difficult to find a more delightful record—to play, shall we say, at evening as the long shadows i-omC slowly creeping over the lawn? ♦ ' ♦ ♦ ♦ 1 THE “JEWEL SONG." , Mavis Bennett (soprano), in the “Jewel Song” from “Faust," and I ell Acqua’s “La Villanelle." H.M.V. C 1338. Mavis Bennett requires no introduce tion, but it is always a pleasure to announce a new record by thsi attractive young singer. ♦ ♦ ♦ ♦ TWO ROLLICKING SONGS. Percy Hemming (baritone), in “AJI the Fun of the Fair” (“Songs of the Fair”) (Easthope Martin) and Lohr's “Nelson's Gone A-sailing.” Percy Heming’s fine sonorons voice catches the very spirit of these two bluff and hearty songs. * * ♦ ♦ GEMS FROM FAMOUS OPERAS. Light Opera Company in vocal gems from the “Waltz Dream” and the “Merry Widow.” H.M.V, EBI2. These will be much enjoyed. Of their kind, Strauss’s “Waltz Dream” and Lehar’s “Merry Widow” are two of the finest and most successful light operas ever staged. They are full of melodious and haunting airs. The recording, too, is excellent.