RECORDED MUSIC

Manawatu Standard, Volume XLV, Issue 122, 27 April 1925, Page 12

RECORDED MUSIC

I THE. WEEK’S NEW RECORDS. The May lists of new records include several noteworthy ami attraeiive recordings. First, and foremost —to orchestral tastes, at any rate —is the complete recording bv the Itoyal Albert Mall Orchestra of Schubert’s famous “Cnfini.shed Symphony.” It. is a haunting piece of work, with its ever-recurring fragment of melody which, catching the ear shortly after the introductory bars, returns again and again to delight one. The opening movement of the “Unfinished” takes up three sides, the first containing the exposition (with its mysterious lir.sl, subject on ’cellos and basses, and its familiar but ever beautiful second subject), and most, of the repeat, while the second side completes the repeat and deals with tin- development, and the third is occupied with recapitulation and coda. The andante is again divided into three parts. Tho lirs! gives that marvellously peaceful tune which is the key-note of the movement and the wonderful passage where the solo cluriiief ud\ mrsires among strange harmonies above a throbbing string accompaniment. and finishes with the climax that, follows that passage. The second soon takes one back to the first theme and finishes towards the conclusion of the recapitulation. The third completes the movement and contains those two lovely changes of key which with the prodigality of genius Schubert threw in right at tho end.

l.cila. Mognno is a delightful contralto — ouo might almost describe her voice as of the mezzo quality—and she invariably records well. Her new bracket is Frank Bridge's “Isabel” and T. O. Roberta's

“ ’Tiviih in the Merry Month of May.” The latter will make an immediate appeal to all but the most, blase; ‘‘lsabel” (the spelling has been altered since the song was first pub'ished) grows oil one more slowly. Rut after hearing it a few times it. is difficult to disagree with the critic who described it as one ot the best ballads in existence. Leila Mega no sings both with complete understanding of the meaning of the music.

Two good songs from Peter Dawson this month —“The Road Across the Sea” (Rowcii), and “The Curtain Falls”) (d'llardelot). “The Road Across the Sea” is a worthy companion to the many oilier fine songs about the sea that we have had from Mr Dawson. “When the Curtain Falls” finds him in a rather softer mood; but. though the nature of the appeal is different die song itself is just as attractive as the other and the singer nukes the most of the climax at the end. Maria Rattistiui (baritone) is admittedly one of tho finest exponents of tho art of operatic singing. Ilis singing of “Urna fatale del mio destino” (Verdi’s “Forza del Destino”), and “Eri tu die macehiavi quell’ auima” (Verdi's “Un Hallo in Maschera”), which comprise his latest bracket, is superb. Verdi’s great dramatic gifts in opera writing appear at their best in “Eli tu,” the great song in which Renato, beguiled into believing his wife faithless, gives vent to his feelings in a storm of anger, and then, his mood changing siuL denly. looks regretfully buck on the picture of iiis lost happiness. Thu air from “La Forza del Destino” is hardly less powerful and contains in addition some florid vocal passages that give us a glimpse of another aspect of Battistini’s art. A fine new cello bracket —this time from (juilhermina Suggij. who made her gramophone debut last year. Her bracket includes Popper’s “Tinantolla in G. Major,” and a llumnre.ske (Sinigaglia). The music is charming with its vivacious lilt, and sparkling gaiety (this applies to tho “llumoroske” us well as the “Tarantella”); but- apart from these qualities it gives the fullest possible scope for the display of the capacities of the player and her chosen instrument. The lower notes of tho 'cello we know and its beautiful tenor register (though this seldom sounds quite so beautiful as’ it does here); but it takes a Sttggia to lift it info the alto or even the extreme treble tunefully and easily. A bracket from Mark Ilambourg is always welcome—bo invariably records well, and, wind is rarer, his playing has personality. Ilis latest is Leonard Rorwiek's adaptation for the pianoforte of Dchrussy’s celebrated orchestral fantasy. “The Afternoon of a Faun.”

most excellent. reproduction of the tone is to be heard in Hence Chciriet’s latest bracket —a "Madrigalo” from Siinonotte’s works, and an arrangement for her instrument of a Haydn “iVlenuett.” i'lorcnce Austral’s new bracket, one from “Cavnlleriu Rustic-ana” and the Cither from Wagner’s “Flying Dutchman,” ought to find many admirers. The fir.->l, •‘.Mother, \ou Know the Story,” is sung by Santuzza to tlie mother of Tnrridu, her lover. Tnrridu, having betrayed Santuzza, has forsaken her for Lola, the wife of a neighbour, and the desolate girl pours out tlie story of her grief and her despair. ‘‘Serna’s Ballad” (‘‘A Ship the Host less Ocean Sweeps”) is one of . the finest things in all Wagner’s early work. Scuta tells the girls who surround her the story of the Flying Dutchman, the theme heard at the beginning on the orchestra and immediately afterwards in the vocal part being that of the curse which overshadows him, while the beautiful melody that appears a little later denotes his one hope, of redemption—that a woman shall bo found who will he faithful tc. him till death itself. A second verse follows, at the end of which Scntft breaks out in an impassioned cry. As frequently remarked, good humorous records ore scarce. There is nothing wrong, however, with the two which come from John Henry and Ben Lawes. The former has a diverting description of 1 an ascent in an aeroplane—‘"John Henry’s ] Aeroplane” (in two parts), in which tlie I roar of the propeller adds a realistic touch. Ben Lawes gives us a laughable account of a baby's christening, in two parts. Kctelbv’s “Bells Across the Meadow,”

and Howard Carr’s intermezzo, “The Crystal Gazer,” are two not very highbrow and rather pleasing orchestral numbers by the Lyric Theatre Orchestra. Two "excellent military hand numbers from the band of the Royal Air Force— Raid's “The Happy Warrior” and Rusi’s “Faithful and Bold” march. Previous issues by this band have been noted for the excellence of both playing and interpretation, and in these two thoroughly typical hand pieces the musicians have done excellent work.

Lovers of Offenbach’s merry and tuneful overture to “Orphee aux F.nfers” will welcome a characteristic selection of recorded features of the opera itself, this time by De Groot’s orchestra. This is brightly played and excellently recorded. The much-discussed recorded version of Dr. Vaughan Williams’s old English opera “Hugh, the Drover,” has now reached New Zealand, and in the opinion oi tlie writer j tustilies all that has been said of of it, both musically and gramophonically. The opera has been recorded on five 12incli double discs, in lone and temper the opera is a little reminiscent of Guy s “Beggar Opera,” but unlike that quaint Old World production it lias tho advantage of modern conception and orchestration. The songs and choruses are typically English and are really delightful. The recording was done by the principal artists of the British National Opera Company’s original production. The story of the work lias already been told to readers of these notes.

Two line songs of Caruso’s later and best periods—“Noche Feliz.” (sung in Spanish) and “Tu, ea min Chaigne” (sung in Neapolitan). Both are folk songs, which Caruso always sang really well. One of the best tenor records the writer has heard for a very long time is Fernand Aussau's “Mo Confianci en toi S’est Bien Moutreo” and “Ah ! Respirons” (from Wagner’s “Lohengrin.”) These are sung in French, so the story of the numbers may not be amiss Both numbers are from Act 111. Lohengrin and Elsa, lett alone in the bridal chamber, break into a passionate duet. The strength of the Knight depends on the secret of his name being preserved inviolate. Elsa has sworn to ask no question about it, hut she cannot understand why her husband lias exacted such a promise and now that they aro alone her curiosity begins to get the better of her discretion. At first Lohengrin evades the difficulty; he turns to tho window and in the beautiful “Ah ! respirons” (Ah! let us breutho the scent of Cowers”)

he brings the talk gently back to his love for Elsa. But she is persistent, and in “Ma coiiliance en toi” (“My trust in thee”) ho sounds a solemn note of warning. Then, taking her in his arms, he beseeches lit r to trust him and to believe, at least, that the secret he guards is no shameful one. llis appeal is fruitless, and Elsa’s fatal curiosity precipitates the tragedy. With all respect, it is rather a relief to get Chaliapina away from hits beloved Russian folk-songs and back to something of a more cosmopolitan appeal. In Ins latest bracket be gives the numbers from “Faust” —“Vous qui faites I’Endormie,” with chorus and orchestra, and “Le Veuu d'Or," each sung in French. A splendid bracket. “Le Ycau d’Or” (“The Golden Gall”) is sung by Mephistophcles during Act II to the group of men sitting outside the imi. As might be expected of such a character, the song has a synienl ring, and is, in effect, a long jeer at the weakness of humanity an evidenced in its worship of gold and the good things of this world. “Rous qui I’Endormie” is the famous Serenade that Mephistophcles sings to his guitar in Act IV. He stands before the window of Marguerite (betrayed and abandoned by Faust) and clothes his sneers in this form.

Tastes differ, of course, but to the writer Weber’s music always appeals by its marvellous tone-colours and fluent melody of bis latest bracket Tudor Ducies finely sings the composer’s “Through the Forest” (from “Der Froisohutz”) and “Oh, to the Glorious Sight” (from “Obcron”).