GRAMOPHONES

Sun (Auckland), Volume II, Issue 316, 29 March 1928, Page 16

GRAMOPHONES

Among recent H.M.V. organ issues undoubtedly some very fine work is displayed—both in playing and recording—in Dr. Harld Darke’s performance on the organ of St. Michael’s Church, Cornhill, where his recitals have long been famous, of the allegro cantabile movement from Widor's "Fifth Organ Symphony,’’ and Saint-Saens’s “Fantasia in E.” The other organ record is by Reginald Gcss-Custard, and contains Lemare’s “Madrigal" and Wolstenholmes "Romanza.”

“Life or Death” (Coleridge-Taylor) and "You Lovely Thing,” are sung by Alfred O’Shea, tenor (Columbia 03509). Alfred O’Shea shows once again that his highly artistic singing fully entitles him to the reputation that he has earned of being "Australia's greatest tenor.” The appealing quality of his voice, never better shown than in these two ballads, makes the simplest trifle in his hands a thing of intimate interest. He shows sound judgment, too, in his choice of material. “Life and Death’ is one of the best of the many beautiful songs composed by Coleridge-Tay-lor. In the companion, "You Lovely Thing,” the smoothness of O’Shea’s singing is quite admirable, and his phrasing highly artistic.

An important orchestral record is that by the London Symphony Orchestra, the “Huldigungs March,” a striking work by Wagner at his zenith. The performance is made specially important by the fact that it was conducted by Siegfried Wagner, the composer’s son. The New Light Symphony Orchestra, by the way, has recorded Liszt’s "Liebestraume No. 3,” and Rubinstein's "Rammennoi-Ostroif.”

From a famous wireless orchestra, the with Percy Pitt conducting wo are given "Les Millions d’ Arloquin” (Drigo) and “Minuet” (Boccherini). Columbia 9092. Next to their versatility their one outstanding quality is an unconquerable cheerfulness. They owe this to their famous conductor, Percy Pitt, who was controlling the great Covent Garden Orchestra for so long and with such conspicuous success. All his renderings have a sort of authentic ring about them. He appeals to you directly, because, in his own words, he "likes a good, simple melody,” and makes sure that his audience doesn’t miss the beauty of it. Maybe he over-empha-sises the pizzicato in the Drigo Serenade, but his tone is always crisp and his phrasing energetic, and he makes the frolicsome Boccherini "Minuet” a thing of whimsical light-heartedness.

Every true musicrlover will welcome the harpsichord records by Violet Gordon-Woodhouse, and especially as these happen to be her first records by the “His Master’s Voice” electrical process. They consist of two 12-inch records, and contain the three movements °f Bach’s “Italian Concerto,” and the same composer’s “Polonaise,” “March” and “Musette.’ The artistry of the performance, the dexterity of the playing, and the clarity of the recording are said to be of exceptional merit.

Waltzes by the famous son of a famous father are “Thousand and One Nights” (Johann Strauss) and “Freuet Elicit des Lebens” (Johann Strauss) (Columbia 02526) are presented by Johann Strauss, conducting the Symphony Orchestra. If, as is expected, the graceful waltz returns to its onetime favour, surely the beautiful playing of these classic examples of old Johann Strauss, by the orchestra under the baton of his son, the last Strauss of that name, will achieve it. The younger Strauss conducts his father's famous waltz tunes with the utmost charm and sensibility, his orchestration, if not “clever” in the misused sense of the word, being exactly suited to the music. The “Thousand and One Nights” is a particularly fragrant favourite, being perhaps next favourite to the historic “Blue Danube.” A great record.

There are some really worth-while H.M.V. dance records: Waltzes, “That Saxophone Waltz” (Paul Whiteman), “The More I See of Molly O’More” (Sylvians), “Supplication” and “Russian Lullaby” (Savoy Orpheans); fortrots, “Rose of Dear Old England” and ‘“Safe In Tour Arms” (Savoy Havana), “Little Jack Horner” and “O Baby, Don’t We Get Along” (Sylvians), “There’s a Little White House” and “A Tree in the Park” (Jack Hylton), and “Song of the Wanderer” (Paul Whiteman): Spanish one-step, “The Bandy Bandolero” (Sylvians).

For the Wagnerite, Columbia offer “Siegfried’s Death March” (Gotterdammerung), in two parts. Sir Hamilton Harty conducting the Haile Orchestra; L 1552. In the whole literature of music there are few works more expressive of pqjgnant and majestic grief than this famous Death March, and, certainly nothing so typical of Wagner in his most elevated moments. It has the stark grandeur of towering cliffs. Separately, and then most cunningly blended, one hears the deep “Wodin” motive on the lower brasses, the “Siegfried” motive on the middle brass, and the “Brunhilde” motive on the strings, each not only developing the story but also adding thematic richness to the music. It was in this interweaving of themes and counterpoint that Wagner so immeasurably excelled, and this Death March is perhaps the finest example in all his works. Sir Hamilton Harty conducts his famous orchestra with extraordinary understanding and subtlety. There are few conductors who can resist the temptation to emphasise the noisiness of Wagner; Harty is one of the few, and his interpretation is thereby given an almost spiritual significance. It is not that he does not make full use of his percussion instruments, but that he handles them with rare discretion. He is exceedingly well-served by the recording, which brings out all the delicacy of the strings, to which this solemn composition owes so much. A truly great recording.