GRAMOPHONES

Sun (Auckland), Volume I, Issue 304, 15 March 1928, Page 16

GRAMOPHONES

“Australia’s greatest tenor,” as Mr. Alfred O’Shea is now described, is heard to advantage in a Columbia recording of “Liebestraume” (Liszt), and “Ombra Mai Fu” (Largo), (Handel), Columbia, 04102. Liszt’s “Liebestraume” (“Dream of Love”), genarlly heard as a pianoforte solo, has now been arranged for voice by G. Dechelette, and is recorded in vocal form sung by Alfred O’Shea. O’Shea sings it with delightful sympathy. Though such a distortion of a work’s original form may strike some as an act of vandalism, O’Shea’s conviction and sincerity justify it; however, he is far better in Handel’s famous Largo, which he approaches with a dignity and restraint that only half conceal the mighty reserves of power behind his voice. A fine recording. A record by Hina Spani (soprano), in “Ballo in Maschera,” “Ma Dali’ Arido” (Verdi), and “Trovatore” “Tacea la Notte” (Verdi), is particularly interesting in view of the fact that she will be one of the principal sopranos during the J. C. Williamson, Ltd., grand opera season. She has recently been heard in the duet from “Pagliacci,” with Granforte (D. 8.1046). Her superb voice and dramatic singing are admirably reproduced in the cemetery scene from “Ballo in Maschera” and the lovely and melodious Cavatina from the first act of “Trovatore.” A remarkably fine record. — H.M.V. D. 8.1045. * * * The Tunes of England, Columbia 02521. ‘The Rose,” English selection, in two parts. Played by the Band of H.M. Grenadier Guards. The latest record by the Grenadier Guards Band is the well-known selection of English Airs, arranged by Mr. Myddleton and known as “The Rose.” This we can cordially recommend to every class of gramophile. It is composed of the airs that, everybody knows and nobody ever tires of, strung together in a most workmanlike fashion. The record kicks ofl! with “Here’s a Health,” and introduces “Fine Old Englishmen,” “Lass of Richmond Hill,” “Banks of Allan Water,” “Isle of Beauty,” on the first side; and on the reverse, “Old Fowler,” “Sally in Our Alley,” “Drink to Me Only,” “Haste to the Wedding,” “Sir Roger de Coverley,” and “The Farmer’s Boy.” The capable conductor, Lieutenant Miller, makes utmost use of his musicians in solo and ensemble alike.

Maori music is always popular, and the latest recording by the Mayfair Orchestra, conducted by Alfred Hill, in his “Lake Music” (from “Maori Cantata”) and “Waiata Maori,” should be keenly sought after. The release of “Waiata Poi” and the lovely Maori lament “Tangi,” played by the Mayfair Orchestra, conducted by Alfred Hill (E.A.166), met with a conspicuous success. Now once more, under the composer’s direction, the Mayfair Orchestra gives a fine rendering of two striking works by one who has made a life study of Maori music.—H.M.V. E.A.266. A new departure has been made by the Gramophone Company (“His Master’s Voice”) by the issue of a number of recordings made in Germany in connection with the German branch of their business. A preliminary selection of such records have been issued this month, and it is proposed to issue further batches from time to time. While we are already more or less familiar with the best German orchestras through the gramophone, it is interesting to have examples played by a combination not so well known in England—namely, ,z>ie members of the Staatskapelle, of Berlin. On two double-sided records this fine orchestra gives excellent renderings of the overture to “Tannhauser,” and on the fourth side the chorus of the State Opera, Berlin, sing the Pilgrim’s Chorus from the third act of the same opera. Equally good are two other records made by the same orchestra containing the overture to Weber's Oberon and the popular Prelude to Der Fledermaus of Johann Straus.

Among the instrumental recording achievements of the past year have been some remarkably fine expositions of the new st3 r le. The succeeding records of Cortot’s performance of Chopin’s wonderful Twenty-four Preludes gave a remarkable illustration of how much more true, and delightful the piano sounds on the gramophone with the new recording. Equally remarkable were several new recordings of pipe organ music. Among the newest of these is a pair of pretty things on a small record by Arthur Meale, playing on the magnificent instrument in Westminster Hall. They are “Twilight Melody” and “Marche Festive.” You want a fairly large gramophone to make the best of the fine pedal notes and their reverberations among the great spaces of the hall, but the writer played them with quite good results upon a small portable instrument. The effect of the absence of scratch was as wonderful as in the vocal records. It enabled one to enjoy the softest^stops. A beautiful trio, Haydn’s trio in G Major, is played by Alfred Cortot (pianoforte), Jacques Thibaud (violin) and Pablo Casals (violoncello). These two records are so fine, so superbly recorded, that praise seems an empty shadow. (D.A.895-896.) The performers, Cortot, Thibaud and Casala. are individually virtuosi of the highest rank, and it is a wonderful thing that they should combine their artistry in a common cause to form this trio. It is an exceptional performance magnificently reproduced. The “Trio in G Major” of Haydn is a delicious little work. It is full of sprightly melody and shows everywhere the polish and sparkle which we should expect from one of th© most alert brains of the eighteenth century. Haydn was an incurable optimist, and his sincerity shines through all his work. The “Finale” is particularly fine, being written in the dashing style of the Hungarian gipsy music that Liszt was later to immortalise by his imitations. The performance has elan —and an exquisite tenderness where appropriate—which will make these two little records as deservedly popular as the great; Schubert “B Flat Trio,” recorded bv the same group of artists not long ago. (Records D. 8.947 to D. 8.950.)

The problem of finding the right sort of! Christmas present has been solved for many people this year by the speech made by the Prince of Wales at the Remembrance Festival on Armistice Day which is being issued on a “His Master’s Voice” gramophone record. The Gramophone Company are handing the profits to the British Legion, and consequently the giver of a record will be not only presenting his friend with, an interesting memento of a historic occasion, but also helping those who served their country in its hour of need. Another Remembrance Festival record that will be issued simultaneously is one containing wartime choruses sung by the 10,000 exservice men and women in the Royal Albert Hall immediately before the Prince’s address. * * * From Alfred O’Shea we are given “Parted” (Tosti) and “I Hear You Calling Me.” (Columbia 04024). The more one hears of Alfred O’Shea the stronger is the conviction that he is by far the most important male singer that Australia has ever produced. In Tosti’s melodious song, “Parted,” the lyric quality of his voice is beautifully reproduced, and his wonderful enunciation makes th© record a joy to listen to. Besides the piano, this song is accompanied by a violin obbligato by Mowat Carter, which blends very harmoniously with O’Shea’s expressive singing. “I Hear You Calling Me” is an old favourite which he sings with sympathy and feeling, and also with that fineness of finish which is the hallmark of an artistic vocalist. Another great grand opera concerted number on Columbia this month features Eva Turner as its soprano—the well-known finale to the second act of Verdi’s “Aida.” In this the King has just freed the Ethiopian prisoners and bestowed the hand of his daughter Amneris on the victorious general Radames. Aida sees Radames lost to her for ever, Radames is distracted by his love for Aida, Amneris rejoices that she has beaten her rival and obtained the man she loves, and the defeated King of Ethiopia whispers to his daughter Aida of his plans and hopes for amending his country’s fate. All these conflicting emotions Verdi handles in impressive fashion, and the act concludes with a stirring chorus, “Glory to Egypt.” On the reverse side, the finale from Act 3 of “La Traviata” leads out of the scene where Violetta has given up Alfred at the request of her father. Later the two meet at a. ball and Alfred in a rage accuses her of deserting him for another lover. Violetta faints, and on recovering protests her love for Alfred. The record begins here, and it will be noticed how wonderfully effective is the gradual crescendo beginning with the weak accents of the barely recovered Violetta to the tense emotion of the close. In both these numbers the electric recording has retained in a remarkable way the “bigness” of the scenes, and Eva Turner’s voice comes out magnificently. Columbia (03512). * * * A delightful work is given by the Virtuoso String Quartette in DebussyV “Quartette in G Minor” (Op. 10), and Mendelssohn’s “Quartette in E Flat” (Op. 44). Debussy’s “String Quartette in G Minor” is one of the most fascinating quartettes ever written. It is a work containing beautiful melodies, piquant rhythms, and interesting and attractive harmonies. The “Quartette” was written soon after the famous little tone-poem, the “Prelude a L’Apres-midi d’un Faune,” following that work in 1893. Debussy has enormously widened the possibilities of the “classical” string quartette and added fresh and brilliant colours to the palette of the worker in this medium. When it was first produced, Debussy’s “Quartette” was considered very daring and novel —as well it might, for at that time the harmonic scheme of which Debussy made use was unusual. The “Quartette” follows roughly the lines of the classical quartette, but Debussy never allows himself to be bounded by the form or restricted in expression. The Virtuoso Quartette have played the work magnificently, and theirs may be considered an important contribution to recorded chamber music. These records are sufficient to prove that in the Virtuoso Quartette we have a British quartette worthy of comparison with the finest of Continental organisations. A handsome and durable album is presented with each set of records. It contains an interesting note and analy - tical guide to the appreciation of the work. H.M.V. DIOSS-1061. * * * Two lovely aubadSs, “Aubade in G Minor” and “Aubade in D Minor” (Lalo) are recorded by Sir Henry Wood conducting the Queen’s Hall Orchestra for Columbia (L 1531). Edouard Lalo was born in 1823, took the Prix de Rome in 1847, produced a number of musical works, devoted his latter energies to the composing of operas, was covered with honours and hailed by his age as the greatest genius, etc., and then died in 1892 and was forgotten. At least, we have forgotten the bulk of his work, but a few fragments serve to remind us of a composer extraordinarily rich in thematic invention and a master of orchestration. These Aubades surely suggest that here is a composer who deserves a better fate. That in G Minor is deliciously fragrant and sweet, and the D Minor, after a somewhat abrupt opening, mellows into a captivating tune. An Aubade Is, of course, a morning song, as opppsed to the Serenade, an evening song.

“The Song- of the Flea” (Moussorgski) and “Drinking” (Traditional) is sung by Capiton Zaporojetz, a mighty Russian bass. (Columbia 04025). Nothing more emphatically sets the seal on the reputation of a living artist than to appear in the International Celebrity Subscription Concerts that are held in the more important centres of Great Britain. None but the very greatest artists are thus honoured, and this season sees a new addition to their ranks in Capiton Zaporojetz, a Russian bass with a great European reputation. On his first Columbia records he sings two familiar numbers, “Drinking” and “The Song of the Flea.” Notice the extraordinary sonority of the low notes in “Drinking,” and the ease with which the singer drops down to them. That Zaporojetz is not only a singer but a true character actor is shown by his rendering of Moussorgski’s fantastic and highly effective “Song of the Flea.” The unholy chuckles are quite Satanic, and though the language is Russian, he conveys the spirit of the words is unmistakable fashion. It is a mighty record of tremendous power, and every note comes through with a richness of depth that betokens Zaporojetz for a master among the basses of the world. * * * From the point of view of the general public, the most important item on the latest H.M.V. list is the record by the Temple Church Choir. The first record made by them, Mendelssohn’s “Hear My Prayer,” created the biggest sensation in gramophone history. A second beautiful performance was issued in September. The anthems chosen for this third record are again from Mendelssohn, “I Waited for the Lord,” and “O Come, Everyone That Thirsteth,” and in these Master Lough shares the solo parts with another boy chorister, Master T. Mallett. The performance is a splendid example of what church choir should be. John McCormack is in his best vein in “Lilies of Lorraine” (Grey-Connor), and “A Rose for Every Heart” (Cadman). H.M.V., D.A. 881. John McCormack is so great an artist that he can traverse the whole gamut of musical styles from the simplest ballad to the most dramatic operatic aria and yet be equally at home in whatever it may be that he sings. The secret is, presumably, that he is sincere in everything he does. For this record he sings two simple little ballads as aftectingly and as charmingly as one could wish: the new electrical recording reveals his beautiful voice excellently. * * * Robert Radford (bass), in “Blow, Blow Thou Winter Wind” (Sergeant) and “Erl King” (Schubert), provides two welcome records. Robert Radford s magnificent voice is admirably suited in two fine songs. The “Erl King,” one of Schubert’s greatest and most dramatic songs, inspired Liszt to make the well-known piano transcription. “Blow, Blow, Thou Winter Wind” is also a favourite song throughout the British Empire, and the popular basso does full justice to the music. E. 1276.