Gramophones

Sun (Auckland), Volume 1, Issue 2, 24 March 1927, Page 14

Gramophones

Miniature concerts electrically recorded by the Zonophone Company are proving a welcome innovation. The programmes comprise tip-top vaudeville shows by first-class American artists. Concerted numbers, vocal and instrumental solos, monologues and humorous items given on recent issues make for pleasing and well varied entertainments. In a double sided recording of Liszt's “Hungarian Rhapsody No. 2,” made at the Queen’s Hall, Mark Hambourg’s playing is reproduced with wonderful force and clarity. The most popular and perhaps the most representative of the Rhapsodies, Num ber 2 is a very exhilarating work. Accorded a truly masterful handling by the great pianist, it is indeed a record worth a place in any collection. Sousa’s fine band has lately been responsible for some very fine recordings. The latter is well up to the standard set by “King Cotton,” which was considered to mark the highwater achievement of band recording to date. E.A.96 is a bracket presenting the famous “Washington Post” march and “El Capitan,” both Sousa’s own compositions. With the return of Heifetz this year solos by this renowned violinist already in big defnand, will be eagerly sought after. In recent H.M.V. issues [ 13 Debussy’s waltz “La Plus que Lente,” “Minuets Nos. 1 and 2,” Bach’s “Sonata No. 6” and “The Little Windmill” (Couperin). The rich sensuous quality in the Debussy item is beautifully handled, while the unaccompanied Bach number is also a brilliant offering. To students of the pianoforte a Chopin bracket by Backhaus, recorded by His Master’s Voice, will prove a welcome and very instructive addition to the record cabinet. The record comprises “Prelude in C Major,” “Study m C. Major," '’chromatic Study in A Minor,” “Revolutionary Study,” and Study in P Major.” The manner in which the Chopin techmcalities are handled by Backhaus as well as the very agreeable interpretations of the various Chopin moods presented, cannot help but prove an inspiration to all students of the art. Sibelius’s symphonic poem “Finlandia” always commands attention when given an authoritative reading, as is done by Sir Landon Ronald and the Royal Albert Orchestra. This because of its strangely foreign character and intense national sentiment. Heralded by trombones, the effect of the military theme is heightened by the clearness of drums and triangles This number has lately been almost a. standard number with Mew Zealand orchestras and bands. The first of a series to be made “Marche Hongroise” (Berlioz) and’ "Marche Militaire” .(Schubert), have 1

- been made for H.M.V. b£ the Royal Opera Orchestra, Covent Garden under the direction of Eugene Goossens, ofie of the finest orchestral bodies in j England. Berlioz was so enamoured i of the Rakoezky March, the national song of Hungary, that he introduced it into his opera The Damnation of Faust.” His arrangement is a brilliant one both from the point of view of orchestration and by reason of the extraordinary manner in which the excitement of the finale is built up. Berlioz used to say that his audience never heard the last chords on account of the applause. That is a disadvantage the gramophone can rectify. Schubert’s equally famous “Marche Militaire”forms a most melodious and appropriate companion. * * * Marcel Dupre, who Is considered by many to be one of the greatest of living organ virtuosi, has recently* given his first recording. The work he has chosen, Cesar Franck’s “Piece Heroique, is a work of a composer who was himseif a great organist. Unlike many of Franck’s works, it is designed on heroic martial lines: a majestic little tone poem with the echo of marching reet The recording is excellent and the famous organ in Queen’s Hall is superbly reproduced. Two old favourites of the distinct Dawson type recently issued by H.M.V. are “The Deathless Army” and “Trooper Johnny Ludlow.” Although regularly heard on the concert platform both numbers wear ex-| ceptionally well and' through Peter Dawson are invested with almost a new lease of life. In two selections from grand opera, “O Star of Eve” (Tannhauser”) and “Even Bravest Heart” (Faust”) Dawson demonstrates his wonderful versatility in convincing fashion. The Wagner melody is most expressively rendered and is eloquent of the sadness which Elizabeth’s lover, Wolfram, feels as he sees her pining away for love of the absent Tannhauser. “Even Bravest Heart is specially appropriate for this famous air was inserted in Faust by Gounod specially for Sir Charles Santis and Dawson is one of his most famous pupils. In view of the projected tour of the by Mr * Joseph Hislop. pos- £ Krand opera, two duets in which he sings with Apollo Granforte, a? Jh , pa F ticul arly appropriate at the present time. The duets are

from “La Boheme” and “La Forza del Destino-,” and are doubly interesting by reason of the contrast provided and also because of the two great artists who have collaborated in their production. The latter is typical of grand opera, and is in Verdi’s most dramatic vein, all the characters save the thorns being stabbed or otherwise disposed of | before the opera concludes. The iuet from the final act of “La Boheme." Ah, Mimi, you will nev*r come /arX j to Me,” is in very pleasing contrastThe plaintive but very melodious duet between the forsaken lovers, Marcel and Rudolph, is particularly effective and is one of the best Puccini interpretations heard for some time. The recent and remarkably successful Covent Garden recital of Mozart’s music drama “Lon Giovanni” renders a delightful rec o i d made by Evelyn Scotney doubly interesting. The arias > recorded by the soprano, “Ungrateful for, ouch Love” and “Ah, say not to Me,” .re sung in the opera by Lonna Elvira, Lon Giovanni's much deserted wife, and Lonna Anna* a maiden whose father had been by Lon Giovanni in a duel. Elvira complains of her cruel desertion in a lovely little air of delicate plaintive* ness. Donna Anna’s feelings are sterner stuff, however, and in the gre&s aria she tells her somewhat colour* less.lover, Don Ottavio, that she wM have no talk of love until her fathers death is avenged. Both arias ur 3 splendidly sung by Evelyn Scotneb who proves in singing them that she has not only a fine voice, but an excellent conception of the sure and delicately balanced style so necessary the rendering of Mozart’s airs. * * * If Gilbert and Sullivan enthusiast 8 the world over could be approached a consensus of opinion as to the nio st popular of the works of these famous collaborators, it is doubtful even then if finality could be obtained. Even ® not awarded first choice, it is certain that “The Gondoliers” would not t# wanting for a host of admirers. Sulli’ van’s dainty and very expressive music has brought this opera into great popularity in Xew Zealand, and there is nj doubt that a selection by the band 01 the Coldstream Guards recently Jj* corded for H.M.V., will find a ready sale. The selection is played in appropriately vivacious manner ana will be very acceptable to enthusiast®* even those possessing a album of Gilbert and Sullivan opera s -