HIS MASTER'S VOICE.

Shannon News, 31 December 1929, Page 3

HIS MASTER'S VOICE.

Beethoven's "Seventh." There are no finer instrumental records extant than "the five discs of Beethoven's Seventh Symphony played by the Philadelphia Symphony Orchestra. ~ In. mass and in detail this is a triumph . of clarity, delicacy, balance, and gradation. "The tone of the orchestra is magnificent, and it is magnificently recorded. The performance gives one a full realisation of the - eorrectness of Wagner's label of this symphony as the apotheosis of a To Wagner those great stairs in the introduction soaring up and beyond humanity, that happy poignancy in the middle section of the allegretto, the mirth that pervades the scherzo, and that Olympian game which is the finale, were divine. The phrasing by the orchestra is delightful and the string tone is a sheer joy. The rhythmical lilt of ths finale is irresistible'. (H.M.V., D 1639-40-41-42-43).' Famous Contralto Arias. Eeferring to the aria "Che faro senza Euridicc" (I have lost my Euridice), from "Orfeo and JEuridice," Clement and Larousse in their "Operatic Dictionary" wrote: "All forms of language have been exhausted to praise the stupor of grief, the passion, the despair expressed in this divine number.'' No better example of ths true effectiveness of simplicity could ' : be found in the realm of opera than this inspired lament, and sung by Maria Olczewsku with a sincerity no one can question. He'r voice is rich in quality, and her delivery artistic and expressive. On the other side of the record is a beautiful rendering of Handel's cele- v , bratcd "Largo." The flowing melody ' suits the singer well, and she is supported by a splendid orchestra under \ the Covent Garden conductor, John Barbirolli (H.M.V. D 1490). ' 1