GRAMOPHONES

Sun (Auckland), Volume I, Issue 168, 6 October 1927, Page 16

GRAMOPHONES

“Trumpet Tunes and Ayre” (H. Purcell) and “Concerto in G Minor” (Handel), played by Dr. Henry Ley, introduces yet another famous organist to the ranks of the great organists recording exclusively for “His Master’s Voice.” Both the pieces which Dr. Ley has chosen for first first record are decidedly attractive. Whether it be the hearty tunes of Handel’s “Concerto” or the “Trumpet Tunes and Ayre” of Purcell, the same artistry comes into play.

“Ah., si ben mio” (from II Trovatore Verdi) and “Flower Song” (from Carmen—Bizet), have been sung by Arno Ido • Lindi, tenor, for Columbia,. The successes of the great Swedish tenor, • Lindi, at Covent Garden in the last two seasons have lent additional interest to his . newest recordings. Lindi, who is still a comparatively young man, is at his very best in dramatic music. He manages here to infuse an intensity into his singing which heightens the effect of what is one of the best tenor voices to be heard to-day. Fine and powerful, with a faultless breath control, his voice seems thoroughly at ease in everything he sings, whatever demands are made upon it. In the “Flower Song” he is extraordinarily colourful and rich. A very powerful record of a great tenor.

“Star of Love” (Tannhauser” —Wagner) and “The Prize Song” (“Meistersingers”—Wagner) are played by Pablo Casals (’cello) for H.M.V. Casal’s playing has that peculiar magnetism born of perfection. He holds our attention completely by his marvellously smooth tone and immaculate phrasing. For this record he has chosen two arrangements of Wagner’s most famous melodies, which lend themselves to exquisite treatment by the ’cello.

Two old favourites, “O Whistle and I’ll Come to You, My Lad,” and “Caller Herrin’ ” (traditional), have been sung by Madame Evelyn Scotney. (H.M.V. E 450). Evelyn Scotney gives a very sprightly performance of the delightful “O Whistle and I’ll Come to You, My Lad.” As a contrast one could not have desired a more completely different type of song than the wistful “Caller Herrin.’ ”

A welcome Elizabeth Schumann recording for H.M.V. is “Deh! Vieni non Tardar” (“O come, do not delay”) from Mozart’s “Marriage of Figaro” a.nd “L’Amero Sano Costante” (“I will love him, and be true”), from Mozart’s “11 Re Pastore.” Elizabeth Schumann is known best, perhaps, for her renderings of Schubert, Strauss and Mozart—and is particularly happy with the lastmentioned. For her record she has chos€in two of the most popular airs in the whole Mozartian repertoire. One of these, Deh! Vieni non Tardar”— comes f rom the amusing garden scene in “Figaro,” and is recorded with the recitative. The other—“L’Amero Sano Costante”—is taken from “II Re Pastore,” an early opera of Mozart, which is now practically forgotten, except for this charming air. A feature of the number is the violin obbligato, which I continues into the elaborate cadenza *at the end. It is a magnificent record.

Norman Allin is heard in lighter mood in “Off to Philadelphia” and “A West Country Courtin’’* (Columbia). This is lighter fare than usual from this great British basso, who usually shines with particular brightness In the operatic firmament, but it is none the less an adequate vehicle for his rich fine voice. Out of his wide public there are sure to be numbers who will welcome this kind of song. There is something very jolly about his rendering of “Off to Philadelphia,” and a nice touch of sly humour in his enunciation of the newer song. Much has already been written of the splendid set of Chopin “Preludes” played for H.M.V. by Alfred Cortot, the famous pianist. Here is a delightful little interpretation, written when the records were issued: “It has been said, and not without truth, that, had we nothing of Chopin’s other than the preludes, we should still possess a complete epitome of his art. None can listen to them, at any rate, without learning a great deal about what Chopin stands for in piano music; they will learn, also, more than a little about Cortot’s approach to Chopin, and this apart from the verbal “interpretations” he has seen fit to supply for them. Some of these are apt enough. “Beside a tomb” well befits the Prelude in E minor; after all, was it not played at the composer’s funeral service? In the so-called “Raindrop” Prelude, Mr. Cortot sees a young mother rocking her child —a nightmare—a scaffold waiting for her son—and so forth. Niecks saw a procession of monks chanting lugubriously. A purely musical imagination might see in the music a little adventure of the note A flat. However, we can please ourselves in this connection; the great thing is that we have the music, that Cortot is a fine pianist in it, and that the recording has an uncommonly high degree of tonal fidelity. There is an ideal Christmas present here for a gramophonist. • * * Two gems from “Turandot,” “Tu che di gel sei cinta” (“Thou who art surrounded by ice”) (Act 3) and “Signore ascolta” (“Listen, Lord”) (Act 1), (sung in Italian), are sung for H.M.V. by Rosina Torri. In this record is introduced a new artist of exceptional gifts and a new work. When Puccini died he left his last opera “Turandot” almost completed, and it was an easy matter to put the finishing touches to the score in accordance with the master’s directions. But Toscanini’s insistence on a very high level of production delayed the appearance of the piece and it was not till April, 1926, that the audience at La Scala Opera House, Milan, had an opportunity of judging it. Its success was decisive ' and immediate, and now it bids fair to take its place beside those other masterpieces, “La Boheme.“ “Tosca,” and “Madame Butterfly.” This year “Turandot” was successfully produced at Covent Garden. Puccini’s gift for original melody and rich orchestration lasted to the end as these two affecting airs bear witness. He makes the highest demands on the vocal and interpretative gifts of the singer, it is true, but when we have Rosina Torri to render the voice part and our new electric recording to do justice to the orchestral background the effect of the music is overwhelming. * * * j Two dainty violin numbers, “Dancing i Doll” (Poldini) and “Souvenir” (Drdla) are played by Renee Chemet (violin), for H.M.V. Renee Chemet’s brilliant playing and fine tone are always delightful to listen to. Her new record is very pleasing, combining the melodious “Souvenir,” by Drdla, with the admirable suggestion of mechanical dancing in Poldini’s well-known “Puppee Valsante.”