GRAMOPHONES

Sun (Auckland), Volume I, Issue 244, 5 January 1928, Page 14

GRAMOPHONES

Another grand organ masterpiece by R. Arnold Greir, who has already established Zonophone organ recordings as equal to the finest obtainable, is the “Intermezzo.” Miss Mavis Shellshear provides a graceful harp accompaniment to each piece. A record that will satisfy the keenest critics. Also contains on the reverse side Schubert’s “Serenade” (Zonophone 2928). • ♦ * Comes the glad news, says a London paper, that three new electric Julia Culp records are already listed in the German H.M.V. catalogue. In them Madame Culp sings “Der Tod und das Madchen” and “Der Lindenbaum” of Schubert, “Der Nussbaum” and “Du Bist wie eine Blume” of Schumann, “Feldeinsamkeit” of Brahms and “Verborgenheit" of Hugo Wolf; a very handsome contribution. Make a note of these.

Elgar’s “The Starlight Express,” a delighttul fantastic play by Algernon Blackwood, was mounted some years ago at the Kingsway Theatre in London. A recorded group of songs from “The Starlight Express” comprises four 12in discs (H.M.V. D. 455-8), rqost of them sung by the late Charles Mott, an excellent baritone and an artist whose premature death in the Great War aroused widespread regret. His singing of the “Organ-Grinder’s Songs” acquires a double pathos, so full is it of tenderness, repose, and sustained charm. Such gems as No. 1, “To the Children”; No. 2, “BlueEyed Fairy,” with its graceful waltz measures; and No. 4, “The Curfew Song,” wistful, expressive, deeper in feeling—all these are far too good to be lost.

The “Gramophone” magazine recently instituted a competition for best selections from the new electrical process of recording. Among the winning numbers the following H.M.V. discs had a big following: Orchestral.—Wagner, “Rienzi” overture; J. Strauss. “Fledermaus” overture; Weber, “Oberon” overture; Elgar, “Enigma Variations”; Beethoven. “Fifth Symphony”; Elgar, “Second Symphony”; Beethoven, “Violin Concerto” (Kreisler); Beethoven, “Emperor Concerto” (Backhaus); Weber, “Der Freischutz” overture; Thomas, “Mignon” overture; Mozart, “Cosi fan Tutte” overture; J. Strauss, “Tales from Vienna . Woods” and “Blue Danube”; Mendelssohn, “Violin Concerto in E Minor” (Kreisler); Wagner, “Magic Fire Muric”; Wagner, “Prelude to Act III” (“Meistersinger”); Wagner, prelude to “Tristan and Isolde.”

Chamber Music and Instrumental.— Schubert, “Trio in B Flat”; Beethoven, “Third Rasoumovsky Quartet”; Beethoven, “Quartet in B Flat” (Op. 18, No. 6); Chopin, “Twenty-four Preludes”; Bach, “Toccata” and “Fugue” (Cunningham); Delius, “’Cello Sonata”; “Piano Quintet.”

Vocal and Choral.—Elizabeth Schumann, “Morgen” and “Standchen”; Temple Church Choir, “Hear My Prayer”; “Pilgrims’ Chorus” from “Tannhauser”; Alfred Kipnls, “Wotan’s Farewell”; Peter Dawson, “The Floral Dance”; Hislop and Granforte, “Solenne in quest’ ora”; Bori and Schipa, “Death of Mimi”; Elizabeth Schumann, “Voi che sapete” and “Batti, batti”; Schipa, “Fantaisie aux divins mensongs” and “Pour quoi me reveiller?”; Ponselle and Martinelli “Aida Finale”; St. John's Choir, Cambridge “Have Mercy” (Byrd); Anne Thursheld, “Clair de Lune" and L heure exquise.”

‘ Nightingales” and “Dawn in an Old English Garden,” recorded in the open by His Master’s Voice in the garden of Miss Beatrice Hamson's family home at Oxted, Surrey (82469). This is truly one of the most wonderful ever made. It is not hard to realise why it constitutes a technical triumph ,of the highest order, for the difficulties encountered—such as tracking the birds down without frightening them away, and then, having approached the bird, of recording while it continues to sing—will be obvious. Yet results have been obtained by the use of the His Master’s Voice mobile recording outfit which are genuinely amazing; the more so in that no artificial agencies enter into the making of the record, which represents exactly what occurred. Perhaps the most astonishing of these records is that of “Dawn in an Old World Garden,” in which can be heard the myriad bird-voices which herald the beginning of another day surely the loveliest symphony in the world.

Reginald Foort has an exceptional faculty for the choice of melodious pieces. His choice is, indeed, infallible, and, since he is so completely familiar with the resources of his instrument, it is not surprising that his many admirers should automatically take the attractiveness of his records for granted. The first two parts of the tuneful “Ballet Egyptien” form excellent subjects for the Wurlitzer organ. (H.M.V.. 82477 J

Two fine piano numbers, played by Sergi Rachmaninoff, pianoforte, are “Sarabande” (Bach) and “Impromptu in A Flat, Op. 90, No. 4” (Schubert). (H.M.V., D.B.1016). Rachmaninoff’s fame as a composer needs no mention here, but it is not so widely known that in him we have, also, one of the greatest pianists of the day. His playing is characterised by delicacy and a highly individual neatness of execution. Such delightful playing is well suited to the music as that he

has given us for this record. Bach requires a nimbleness of touch just such as this. If it be imagined that M. Rachmaninoff’s playing is peculiar for its adroitness alone, the Schubert piece will reveal the error. Behind all he does is the sense of a great artist. Sufficient evidence of this will be found in the beautiful phrasing of the lefthand melody in the Schubert Impromptu. This melody was, incidentally, one of the loveliest of those borrowed for the operetta “Lilac Time.”

Excellent singing is given by Michaele Fleta with “Celeste Aida” (Aida and Verdi), “Una Vergine” (“La Favourita,” and “Donazetti). (H.M.V. D.B. 1053). A new record by Fleta is always welcomed. This fine electrical recording gives us some remarkable singing. Especially worthy of notice are some fine effects, in which the voice shades delicately from a fortissimo to the veriest thread of tone—a difficult art in which Fleta is preeminent.

For the children a very good entertainment is provided with “The Rainbow Fairy” (B. Grey). Recorded for His Master’s Voice by Charles Penrose. (82364 —2366). The selections include “Jack and Molly and the Rainbow Fairy,” vocalist Sydney Coltham, with pianoforte accompaniment; “The Tale of Tippity Witshet,’’ vocalist Sydney Coltham, with orchestral accompaniment; “The Land of Nod,” vocalist Sydney Coltham; “The Pirates’ Island.” An excellent present, for the children, this delightful set. The children, Molly and Jack, have been kept in by the rain. They are disappointed but suddenly they noticed that the rain had stopped and the sun had begun to shine. Of course, there was a lovely rainbow, and the end of it was in their garden. What happened then, and the wonderful adventures and sights that they saw, you will find in the record. They do all sorts of lovely things.

St. John’s College Chapel Choir, Cambridge, with string quartet accompaniment, in “Have Mercy Upon Me, O God” (Byrd), (H.M.V.), 82448, are splendidly recorded. These two records give us a very clear impression of the traditional style of church music as preserved at the two greatest universities in the world. Two rousing male voice songs. “March of the Men of Harlech,” and “Song of the Marching Men,” are accorded good treatment by the Orpheus Male Choir. A powerful choir record of two well-known titles. There is a quality and strength about this combination which should build them a fine following among phonograph enthusiasts. (Zonophone 2910).

The British Gramophone Company (His Master’s Voice) has made an innovation by having some of their recordings made in Germany. The factory in that country has made great progress, and some of the records are of outstanding merit. The Berlin State Opera House Orchestra is not unknown in England; it recentl5 r made an excellent record of the “Mignon” Overture, not an easy task by any means (H.M.V. D. 1246). The Berlin Orchestra, which is undoubtedly one of the best in the world, gives a very fine interpretation. Yet another good disc from this orchestra is its rendering of “Der Frieschutz” Overt Lire for H.M.V. Again the balance, clarity and brilliance of the performance is outstanding, specially in the fine swinging finale (H.M.V. D. 1249).

Mr. Harry Goss-Custard (on the organ of the Liverpool Cathedral), in “La Nuit” (Karg-Elert) and “Evening Song” (Bairstow). —H.M.V.—provides a splendid recording. This truly fine disc adequately reproduces what is one of the largest (and most up-to-date) organs in England. The organ of the Liverpool Cathedral was only recently “dedicated,” and its erection and general modernity of construction caused considerable public interest. It is said to be the second largest organ in the world, and it is particularly massive and imposing. From such a huge organ it naturally might be expected that records of unusual merit might be forthcoming, and, indeed, such is the case. The pieces chosen are ideal for demonsrating the wonderful possibilities of the organ, and they are played magnificently by Harry Goss-Custard, the famous organist. * * *

An impressive bracket is provided by Gota Ljunberg (soprano), with violin, harp and organ accompaniment, in Gounod’s “Ave Maria” (violin Obb, Isolde Menges), and “Cesar Franck’s “Panis Angelicus.” (H.M.V., D3i)62.) Madame Ljunberg has chosen to givs us for this record two simple pieces of semi-devotional character. Gounod’s “Ave Maria” is, as most people will know, a meditation, based upon a prelude by Bach. The “Panis Angelicus” is one of the loveliest melodies it is possible to imagine. The reproduction of the voice, as it trails its languishing phrases across the rich tapestried background provided by the organ, pianoforte and ’cello, is astonishingly vivid.

A Celebrated Symphony.—“ Symphony No. 5 in E Minoj*” (Dvorak, Op. 95), is played by the Albert Hall Orchestra, under Sir Landon Ronald. (H.M.V. D 1250 Dvorak’s Fifth Symphony—best known as the “New World Symphony,” from the inscription at the head of the score —was written during the composer’s stay in the United States as Director of the National Conservatory of New York. It is believed to show the considerable influence exerted upon Dvorak by the very beautiful folk melodies of the North American Indians and of the “Spirituals” of the negro population. Whether this may be or no is a point still hotly debated. For the general music-loving public the intrinsic beauty of the work is sufficient, and it has in a comparatively short time achieved a popularity shared by very few symphonic works. Melody, and beautiful melody at that, plays a very prominent part, and it is a feature of Sir Landon Ronald’s fine interpretation that the melodic line is brought out in full beauty, though, at the same time, the heroic nature is never suppressed. * * * The Light Opera Company, in gems from “The Vagabond King” and “Lady Luck” (H.M.V., C 1346), is decidedly entertaining. These are splendidly sung and recorded vocal gems from comic operas, which have made a great success in London. Particular interest centres in Friml’s “Vagabond King,” because it will be produced in Australia early in 1928.