COLUMBIA

Shannon News, 29 October 1929, Page 3

COLUMBIA

How Szigeti Would Like to Make Records. Szigeti lias been talking to the “Gramophone’’ about recording. Although he is only 37 years old, this brilliant violinist made his first record over 20 years ago. He is still trying to buy them back!

“I like recouling,” he says. “My nerves in the studio are about the same as they tire on a concert platform. Electrical recording is a great step forward. I think that its great advantage is that it will in time obviate the laboratory atmosphere. As improvements are effected I think the real atmosphere of the concert hall will be captured. Records are sometimes too “perfect” mechanically. In making the records perfection is so striven for, and so many tests made before one is satisfied, that often the spontaneity, emotion and excitement which arc so essentially a part of the music, have disappeared. “Recently I have been making records of the Brahms Concerto with Sir Hamilton Harty in Manchester. It occupies nine sides and took the best part of three mornings to make. We finished an hour before our schedule time. I suggested to Ilarty that we should make some “luxury” records. By that I meant that we should go straight through the work with the barest pauses after each side. When the various “test” records were sent to me for approval I noticed that nearly all those I chose were the “luxurv” ones.

“Indeed my idea of a studio Utopia is a place where gramophone records are taken like snapshots. I imagine myself surrounded by a battalion of recording machines, one of which will surely ’give the p/erlledt result; one machine perhaps making a test while one is keeping a permanent record of that test. -The number of machines employed would eliminate the present unnerving waits between sides.” An Organ Masterpiece.

Cesar Franck, the great Franeo-Bel-gian organist, left behind him many great works for that instrument, but few with such immediate and lasting appeal a 3 the “Piece Heroique. ” Pattman records it on the organ of the Liberal Jewish Synagogue, London. He has a fine sense of massing his tone, his phrasing being .particularly sensitive to .meanings, and his registration is impressively thought out. This great work cannot be too familiar with musiclovers. (Columbia 9207). Johann Strauss the Tlurd.

Waltzes were not the only worthwhile compositions of the first of the John Strauss. The Waltz King’s grandson—Johann Strauss the Third — has produced a lovely series of his grandfather’s works for the gramophone. The famous “Eadetzky March” has all the brilliance of orchestration and the typical Viennese tunefulness that we expect from a Strauss, while' the agreeable End poetic “Yokes of Spring” on the reverse side shows him in more pensive - mood. (Columbia 02585), A "Popular Light Orchestra,

There is not a capital in Europe that does not know anci love Jean Lensen’s Orchestra, which specialises in the lighter works of the lesser masters. Lensen has a pretty taste in tunes, and onje can always be sure that he will dish up a captivating melody in dainty style. His playing of Blaauw’s “The Clock is Playing” is deft and full of character. The pairing is the melodious “Chanson Bohemienne” by Boldi. A World-Famous Australian Pianist. There is always room for a fresh Chopin record, especially when ijt comes from the keyboard of so distinguished a Chopin expert as William Murdoch. Murdoch, who is now touring Australia with Harold Williams, pail's a Waltz in F Major with an Etude in A Flat. His sensitive touch makes the most of' these brilliant favourites. (Columbia 01034). A Master Recording by Friedman. Friedman/s playing of Grieg’s PianoConcerto in A Minor leaves one with a breathless feeling at having been present at some great event. His visitr hcre a year or two ago prepared us for the boldness-of his tone, his dazzling execution and for the moments of slice’’ poetry into which he can so readily slip. Bu; in this recording he reveals a force of intellect that somewhat aw r es us. He handles Grieg’s thunders and lightning,i with the ease of an accustomed Jove. Who would not be thrilled by that tremendous opening—the crescendo roll of drums and the mighty piano chords that spring from it? But greater proof of Friedman’s services is' the facility which he sustains the power, passion .and the lofty poetry to the last note. This is Friedman’s best work so far. (Columbia 0270205).