THE GRAMOPHONE.

Shannon News, 7 May 1929, Page 4

THE GRAMOPHONE.

Tchaikovsky's Great Fifth Symphony,

"Symphony No. sin E Minor" ./(Tchaikovsky). Played by the Coiicertgebok Orchestra conducted by William Mengelltefg. Columbia 0422804234.

Written m one of Tchaikovsky's happiest years, his fifth symphony has little or nothing of the morbid pessimism of the "Pathetic" (his sixth and last). The second movement is of unforgettable beauty, and the third is a waltz as light and charming as that in the Nut-Cracker Suite. Mengelberg's interpretation is a truly gre-.it one, and the Concertgebouw Orchestra plays with all the refinement or the stark strength that the score demands. A most convincing reproduction—perhaps the finest Columbia orchestral recording yet produced. Scottish Ballads. (1) "The Standard on the Braes O'Mar"; (2) "Duncan Gray." Sung by Elder Cunningham (with Orchestra). • Columbia 0-386. The troublous love affair of Duncan Gray has never before been sung and reproduced 'with such vim and dry appreciative humour Hearing these two songs makes us realise that it takes a" really' fine Scots vocalist to make a proper success of Scottish ballaels. And such undoubtedly is Elder Cunningham. Corinne" Rider-Kelsey. (1) "By the Waters of Minnetonka" (Lieurance); (2) "At Dawning" (Cadman). Sung by Corinne -RiderKelsey. Columbia 03625. This recording must have come posthaste direct from America, as it has not yet been released in England. Madame Corinne Rider-Kelsey ha 3 a voice of great beauty, of extraordinary range and expressiveness, £<nd m hov "rendition of these populai ballads she infused the :igU sentiment am. atmosphere. . Paul Whiteman and his Orchestra. (1) "Where is the Song of Songs for Me" (Fox-trot); (2) "Just a Sweetheart'* (Fox-trot). Played a Paul Whiteman and his Orchestra. Columbia 07015. , . ~ , It must not be forgotten that Paul Whiteman, although lie is the accepted King of Jazz, is first and foremost h musician. His arrangements of these sparkling: fox-trots are' marked with delightfully even tempo, in spite -t clever and unusual instrumentation. Both this record and the number below should prove two of Paul Whiteman's largest successes. A Fine' Fox-trot—Waltz Coupling. (1) "Blue Night" (Fox-trot);, (2 > "Chiquita" (Waltz). Played by Paul Whiteman and hir. Orchestra. Columbia 07006. ■There have been innumerable records of "Chiquita," but it is doubtful whether amongst this galaxy of recordings, the excellence of Paul Whiteman's version, is even nearly approached. It is doubtful even if any other waltz record equals it in steady tempo and perfect rhythm. ' The fox-trot coupling on the reverse is equally fine in its own class, and recording of both numbers is beyond reproach. "Lohengrin" Prelude.

Practically, as Mr Haweis, the "fidling parson," observed long ago, the whole of Wagner's "Lohengrin" is in the masterly Prelude. The descent of the Knight of the Swan from the jasper shrines of the sacred palace, his holy mission to rescue Elsa from falseaccusers—lib' high and chivalric love—his dignified trouble at being urged by her to revere his name—the darker scones of the treachery by which Elsa is goaded t) press her fatal inquiry—the magnificent Climax of the first acr. he sense of weird mydtery /that hai.gs about the appearance and reappearance of the swan, and the final of 'the Holy Grail—allegory of heavenly devotion stooping to light up human love, and dashed with earth's bitterness in the attempt; to those who understand the pathos, delicacy, and full intensity of tihe " Liohengrim" Prelude, this, and more, will become as vivid as life and tmotion can make it. The ttlaying of this Prelude by., thy Philadelphia Symphony Orchestra tempt-; one to say—in the words of the song—"l'm off to Philadelphia in the Morning." There is not.a flaw or a fumble and the ensemble is rich and sumptuous in its tone 1 . (H.M.V, D 1465). Chaliapin the Great.

Chaliapin also pays tribute to Schubert. He has recorded those two mystic sonjrs and the Maiden," and "The Wraith." both in Kussian, bir both, being suited to his tsmperament, are given with a wonderful sense of artistic values. He is finely accompanied by an orchestra under Eugene Goossens. How gloriously the big voice comes through in "Death and the Maiden." Youth bargaining with Pcath. The perfoimance is tense with sdramatic power and magnificently given. "The Wraith" is also realistically rendered. "Schubert's songs" says ft'ehutter, "next to Beethoven's sonatas represent the completion of modern musical art." (H.M.V., DB1184). 'Melodious Overture. Flotow's opera "Marta" teems with melody. Tho best-known airs are "The Last Rose of Summer," "M'appari" and the sprightly "Spinning Quartet," and these are included in the charming overture, which has been called by Gobbe "a steady flow of light and graceful melody.'' Few works have such freshness and vivacity and merry interpretation is given by the Berlin

State Opera Orchestra, un!der( Viebig. The conductor has caught up the Frerch Opera Comique style, and .the orchestia- responds with obvious enjoyment. (101. V., C 1506). Dame Clara Butt. (1) "The Fold'V (2) "Were You There?" (Negro Spiritual). Sung by Dame Clara Butt, Contralto. Columbia 09006. A vast public is always eagerly waiting for a new record by Dame Clara Butt, and this month* she has produced what will undoubtedly be ranked as a classic. She proves once again that she has the greatest contralto voice of our time, and is splendidly recorded in two songs of universal appeal. "The Fold" is one, of the most attractive melodies written by the famous 'cellist W. H. Squire, and it is paired with that best of all negro spirituals, "Were You There!" Apart from the glorious- vocalism, Clara Butt gives evidence that hexartistry and understanding are as great as ever. Alferd O'Shefa.

(1) "The Old Eefrain" (2) "Lilies of Lorraine. Sung by Alfred O'Shea. Columbia 03614. Alfred O'Shea's lovely voice, with which New Zealanders are well acquainted throifeh |Jiis brilliant recitals here, is heard to admirable advantage in these bea'utiful ballads. There can be little doubt that this is the sort of music that suits him best. His recitals and his last few records stamp him as one of the greatest ballad singeis of our time. "The Old Refrain" is sung with great'tenderness, and the lovely soft passages malo one realize his wonderful versatility. The reverse side is superbly sung. The enunciation of both tongs and the reproduction throughout are marvellously clear.