’NEATH THE NEEDLE

Nelson Evening Mail, Volume LXIV, 17 January 1931, Page 4

’NEATH THE NEEDLE

The Singer’s Art Exquisite sensibility to every shado of meaning marks Richard Crooks s singing of two of Wagner’s finest tenor arias, “The Prize Song,” from “The Masters ingers,” and “The Narrative’ from “Lohengrin.” The beautiful poise of the singer’s art, the fine economy of means, both in technique and expression, whereby intensity is achieved and held without effort —these are some of the qualities which give Crooks the high place he has attained in the world of song. “The Prize Song” is truly a wor.ulerful piece of lyric music in which the melody flows on without a break, ami Crooks sings it with a fervency which works up to a great climax; He nukes a noble aria of the “Narativc,’ ’ami his wide range of vocal colour deepens the impression. In both arias the beautiful orchestral settings arc beautifully played, and the instrumental tone is always sympathetic with the voice.

Boosey Ballads A number of the Boosey ballads, which were tremeudously popular a few years ago, are pleasantly revived by .Tack Hylton and his orchestra. They are cleverly grouped on to a 12inch record, and the orchestra is supported by a party of vocalists, who enter into the spirit of the songs. The selections include “.Drake Goes West,’ “I Hear You Calling Me,” “Father O’Flynn,” “Gleaner’s Slumber Song,” “Glorious Devon,” “Kerry Dance,” “My Ain Folk,” “When You Come Home,” “Until,” and “Yeoman’s Wedding.” Hylton has treated these old tunes in a novel and interesting way without losing any of their charm.

Cortot in Schumann The French pianist, Alfred Cortot, has recorded the “Etudes Symphoniques” of Schumann complete, playing in addition to the numbers that make the work we usually hear the five variations published posthumously. He has introduced the latter by ones or twos at various stages of the performance, contriving thereby an effective sequence. Cortot’s truly romantic and genuinely Scliumannesque response to the music comes out excellently in tho reproduction, which is sensitive, full of pianistic detail, and of superior quality. I have just one wish —that there had been a little more bite in the opening upward rush of the Finale. The sudden flash of this into the major key that comes at the close and that never fails after many hearings to make its thrilling effect is, however, properly arresting. The real vivacity of Cortot’s delicate staccato work, the fine energy transmitted in the playing of the big chordal movements, the full realisation of the rhapsodic style, and the delicate lyrical quality of the lovely slow variation that immediately precedes the Finale (this is very cunningly handled for recordings) call for special mention. Glorious Singing The “Improvise” from Giordano’s popular opera, “Andrea Chenier,” gives the Italian tenor, Renato Zanelli, whoso “Otello” records have created wide interest, scope for glorious singing, and he is supported by La Scala Orchestra under Carlo Sabajno. In the aria Chenier, the poet, has been called upon to improvise, and he complies with this very famous and beautiful air. Love is his theme, but gradually his mind returns to what is uppermost in Iris heart, and by the time he has reached the climax ho is condemning the aristocrats and their cruel and haughty treatment. The companion number is another aria from the same opera. Chenier has been arrested, and lie knows full well that ho has been betrayed. In this aria he cries out bitterly against the injustice that has been done to him. The singing throughout is vividly dramatic.

Stirring Marches Two stirring marches, '‘Swastika March” (Klolir) and “Entry of the Boyards” (Halvorsen), are played with snap and verve by the Coldstream Guards Band. This band, under its great conductor, Captain Evans, records very vividly, and these two marches are as good as anything it has done. Both pieces have a distinct musical value as well as an irresistible rhythm, and one can well imagine the inspiration they would be to a regiment on a long march.

Poetry, Grace and Humour A four-part recording gives Bach’s second Suite in B Minor, done by Frederick Stock and the Chicago Symphony Orchestra. This is an excellent performance well recorded. The string ensemble is very clean and crisp all through, and the flute* is well played. The breadth and vigour of the overture and the poetry, grace,-and humour of the six short movements that follow sum up for us the whole of Bach on his secular instrumental side. The overture occupies the first disc, so those who wish to purchase by instalments can do so quite conveniently, Beethoven Sonata '

A noted Beethoven exponent, Frederic Lamond, is heard in the . piano Sonata in A Flat, Opus 2(3. It is better known as the Funeral March Sonata, because of the' funeral character of the third moyement. Beethoven’s piano sonatas, perhaps more clearly than any other branch of his musical creations, reveal the trend of his musical career, and the one selected by the Scottish pianist for treatment is one which provides an important link in the chain of that development. The treble passages, in the first and last movements, are particularly crisp, while Lamond sees to it that the dignity of those movements is fully upheld. In the Marcia Funebre he is impressive without giving way to sentimentalism.