GRAMOPHONES

Sun (Auckland), Volume I, Issue 268, 2 February 1928, Page 16

GRAMOPHONES

Verdi’s “Otello” is one of the composer’s greatest achievements. Gramophone libraries of the more fastidious taste should not lack at least a few of the gems from this magnificent opera. The splendid “Ave Maria” number has been sung both by Dame Nellie Melba (DM118), and Margaret Sheridan (DB981). Of these two the writer prefers the latter, for the fullthroated, warm vitality of the singer’s art —a fine record this. In the “Mio Sigfiore” duet scene, we have a fine recording from Zenatello and Noto, with its bracket, “Ora e per sempre” (D 8953), while Zentella has also been associated with Madame Spani in “Grando Nariavi” and “Verga la Morte” (C 1006).

A classical pot-pourri is provided by Columbia (02523) with “Classica,” a selection in'two parts, organ solo by Quentin M. Maclean. This record is chiefly remarkable for the resonance and beauty of the Compton organ, which is perfectly recorded. Mr. Maclean knows how to make the most of his instrument, and at times one can hardly credit the fact that this is a single organ, and not a battery of them,

or even an orchestra. The “Classica” selection is a medley of familiar excerpts from the great composers, among which may be recognised the “Toreador Song” (Bizet), “Spring Song” (Mendelssohn), “Prelude” (Rachmaninoff), “Gavotte” from “Mignon” (Thome), “William Tell Overture” (Rossini),- a Chopin “Nocturne,” BrahnVs “Hungarian Dance,” Handel's “Largo,” and the 2nd “Hungarian Rhapsody” (Liszt).

Mendelssohn’s well-known but somewhat hackneyed “Spring Song” had a great vogue in the earlier days of gramophone recording. Since the recording companies have essayed more ambitious works it has been left more or less in the background. Well played and recorded, however, it is always a pleasing and melodious item for an evening’s home programme. This reference is prompted by a letter from a correspondent, who asks for a recent recording. Of theste there were three from His Master’s Voice during 19-7 Mark Hambourg (82433), the Florentine Quartette (82404), and the Instrumental Trio (C 1113). Another Spring Song” much in favour among organists Is Hollins’s, which Dr. Goss-Custard has recorded for H.M.V. (C 1316).

A happy combination is “Hungarian Rhapsody" No. 1 (Liszt), played by the J. H. Squire Celeste Octet (Col. 02520). Liszt had such a liking for this moving tune that, after he had written the Hungarian Fantasia he recast it in the form of this Khapsody. Perhaps the most striking section is the opening one, based on a stately old Hungarian tune and given out with grand chords, but the brilliant finale is most exhilarating and vividly reminds us that Liszt in his day had a more devoted and loyal following than any other musician. Perhaps it is part of the penalty of too much popularity while he was alive that he should become overneglected after his death, but even today his supremacy :in dexterity of technique is acknowledged. The Squire Celeste Octet plays the Rhapsody with virile strength. Recently they toured Italy with greatest success, which one can readily attribute to the exceptional skill with which they arringe their music to suit the personnel of the Octet. A splendid record.

Mr. Peter Dawson has been a faithful contributor to H.M.V. record list during 1927. This satisfying bass baritone never demands too much of his listeners, neither too high-brow nor too low-brow, but in his pleasing style, with remarkably good enunciation, enlivens those musical moments when our desire is for easy enjoyment. In his 1927 list we have the following brackets, all characteristic of this widely popular singer, and all of high average merit as musical compositions: “The Deathless Army"— “Trooper Johnny Ludlow” (C.L275); “Even Bravest Hearts” (Valentine’s song from “Faust”) —Wagner’s “O Star of Eve,” from “Tannhauser” (C 1267); “The Fiddler of Dooney”— “Molly of Donegal” (B 2139); “Floral Dance” (Moss) and Allitzen’s “The Lute Player” (C 1313); “House of Mine” —“Wood Magic” (B 2154); “Oh, Could 'I But Express in Song”— “Sincerity” (82425); “Pride of Tipperary”—“Simon the Cellarer” (82324): and the “Prologue” from “Pagliacei” (in English), ‘on disc C 968. two parts.

“Cavalleria Rusticana” (Mascagni) (1) Intermezzo: (2) “Siciliana,” played by the Circolo Mandolinistico Guiseppe Verdi of Leghorn, should be one of the most popular records recently issued. The Mandoline Band is strange to British countries, but*, very familiar in Italy. Here we have the most celebrated of them—a company of 65 performers, who produce striking effects in tone and fullnes of body. The solidity of tone achieved is largely a matter of numbers, but much is due to balance, for they have a good proportion of the lower toned mandolas and guitars to give body to the middle and bass parts. The strumming, brightly-coloured tone is well suited to the tuneful excerpts from “Cavalleria” that they have chosen —the famous Intermezzo and the pleasantly harmouious “Siciliana.”

It is possible that the unique merits of Beethoven’s remarkable “Quartette No. 6” (Op. 18), recorded for H.M.V. by the Virtuoso String Quartette on four discs (Dl2O6 —1209), may have escaped attention in the rush of good things for which 1927 has been noted. The six quartettes included in Op. 18 represent Beethoven’s first published attempts at this most difficult form of composition. His success was complete, as the example before us amply demonstrates. For the most part, certainly its style is that of the composer’s so-called “first period” and in it we frequently see Beethoven as the brilliant pupil of Haydn. But while ho shows, particularly in the first movement, how completely he has assimilated what earlier masters had to teach him, yet the Scherzo, and still more the brief fourth movement, give promise of developments quite outside Haydn’s philosophy, realms of feeling which it was given to Beethoven alone to open up to us. On the eighth side of this set of records is a delightful arrangement for string quartette of Schubert s ever fresh “Moment MusiLCaL” ~

With each new hearing, the excellence of the new H.M.V. “Mikado,” recorded under the electrical process by the artists of the D’Oyley Carte, Gilbert and Sullivan Opera Company, becomes more markedly impressive. The writer has enjoyed this set more than any other operatic renderings previously heard, and can vouch for the salient virtues of the achievement—a sound performance by orchestra, principals and chorus, a standard of merit, in fact, wonderfully clear enumeration all through, and fine recording. The opera may be purchased as a whole or in parts, but so essential does each disc appear to the complete enjoyment of all that it may be doubted whether lovers of Gilbert and Sullivan opera will be satisfied with the “Mikado” in selected pieces.' * * * Beethoven’s favourite Fifth Symphony, a very fine complete set of which was recently recorded by the new H.M.V. electrical process, represents a definite attempt to break away from the conventional 18th century “symphony.’* Beethoven felt that the various separate movements should be connected in thought; and that the whole work should be an organic whole. We find, therefore, in this symphony, a definite connection of ideas between the First Movement, the Third and the Finale; while the Fourth Movement grows naturally and without break from the Third Movement. The famous opening phrase of four notes, with which the First Movement begins, dominates the whole work as its nucleus. About this little phrase Beethoven is said to have remarked, “Thus fate knocks on the door, 1 ’ and the saying gives us an idea of the obsession which this phrase became with him. * * * the celebrated London musical critic, once said of Fernand Ausseau, the Belgian tenor, that his voice had all the subtle quality of a very fine violin. You may judge for yourself the truth of that remark by hearing the famous singer in two rapturous H.M.V. numbers from Gounod’s “Romeo and Juliet”—the “Cavatina,” and the “Salut Tombeau”—two excerpts from a remarkable opera that display all the artistry of interpretation and vocal superlativeness of Ausseau’s singing .(D.B. 951). * * • There is coming a further light contribution by Jack Smith, the “Whispering Baritone”—“Possibly” and “The Birth of the Blues.” Gene Austin sings “My Idea of -Heaven,” while on

the reverse side of the same disc is “Voom Voom” by the “Four Aristocrats.” Ernest Hastings has amusing skits on “The Roast Beef of Old England” and “There’s Nothing Over Sixpence in the Store.” * * •

Bransby Williams is one of the bestknown of London’s contemporary monologue artists. That there are excellent H.M.V. recordings of his most popular platform numbers is a fact not so well known as it should be. Among these may be mentioned “Devil-May-Care,” and a scene between Micawber and Uriah Heep, from “David Copperfield,” on disc C 501; “Scrooge’s Awakening,” from Christmas Carol,” and “Sydney Carton’s Farewell,” from “A Tale of Two. Cities” (C 500). While on this subject, one might also mention quite an amusing sketch by Tom Clare, “Cohen Rings Up His Tailor” (C 617), to which is coupled an inimitable item from George Robey. “And That’s That.” Another whimsical number comes from Norman Long, a droll humorist, who presents “The Good Little Boy and the Bad Little Boy,” coupled with an irresistible number, “Under the Bazunka Tree” (82454).

A correspondent expresses regret that the Backhaus contributions to recorded music seem to be so few in comparison with the output of musicians of more or less equal rank. There is no musical or recording reason that would explain the comparative limited output of records bearing the name of this famous pianoforte virtuoso. He plays divinely and records admirably. The correspondent referred to mentions three discs only, but there are more than that, and all new process recordings. We have his much admired “Chromatic Study in A Minor” (Chopin), to which are coupled five delightful studies from the same composer—his “Prelude in C Major,” Qp--28, No. 1. the “Revolutionary Study,” and the “Studies” in C major (Op. 10, No. 7), C major (Op. 10, No. 1), and F major (H.M.V.. D 8928). Then there are Beethoven’s “Emperor Concerto,” played with the Royal Albert Hall Orchestra (four records, H.M.V., Dll9B- - the Liszt “Rhapsody No. 2,” and a delightful bracket, “Waldesrauschen” (Liszt), and Chopin’s “Waltz in D Flat” (Op. 64, No. 1), on H.M.V. disc No. D 8929.

There have been some very attractive reproductions from the ’cellists during the recording year which has just closed. Of these two principal artists have been Pablo Casals, the greatest of contemporary ’cellists, and Cedric Sharpe, one of the best-known of British artists. The Casals contributions have been comparatively few, for it was only last year that he was added to the H.M.V. list of recording artists. He has given us the follow-

ing brackets: “Prize Song” (“The Maestersingers”)—“Star of Eve” (Tannhauser), on H.M.V. DB.1012; Rubenstein’s “Melody in F” —-Schumann’s

“Traumerei” (DA 833), and, of course, there was his notable association with Cortot and the band in the great Schubert “Trio.” From Sharpe we have had several pleasing items: “Chanson Louis Xlll.”—“Harlequin and Columbine,” and Couperni’s "Pavane” (B 2413); “Gentle Maiden”—Palmgren’s “Rococo” (B 2291); and two minuets from Beethoven and Pierne (82390).

A notable instrumental record in the coming H.M.V. list is the allegro vivace movement from Widor’s Symphony No. 5* which is splendidly played by Mr. G. D. Cunningham on the organ of St. Margaret’s Church, Westminster. The Gramophone Company, in pursuance of their policy of maintaining variety both in respect of the instruments and the organists appearing in their list of organ music, have this month added a new name to that list, namely, Dr. W. G. Alcock, who plays Guilmants’ “Canzona” and his own

“Toccatina” on the fine organ of Salisbury Cathedral. Marcel Dupre has also recorded on the Queen’s Hall organ two of his own compositions, a Prelude and Fugue in G minor. * * «

Every true music lover will welcome the harpsichord records of Violet Gor-don-Woodhouse when they arrive. They consist of two 12-inch records, and contain the three movements of Bach’s “Italian Concerto” and the same composer’s “Polonaise,” “March” : *id “Musette.” The artistry of the performance, the dexterity of the playing and the clarity of the recording _are of exceptional merit. .. .