GRAMOPHONES

Sun (Auckland), Volume II, Issue 327, 12 April 1928, Page 14

GRAMOPHONES

There are two things that will always ensure a big following for Peter Dawson. One is the peculiar suitability of his voice, or rather his production, for recording purposes and the other is the Dawson personality. Whatever this popular bass-baritone sings he appears to be thoroughly acquainted with what he is about. His latest H.M.V. recording is of Cowen’s “Onaway, Awake, Beloved” and “Turn Ye to Me,” an old Scottish song arranged by Lawson. After the hackneyed versions one hears his interpretation of the former comes as a refreshing surprise. He gives it with the zest of an impetuous lover, and all the world loves a lover. “Turn Ye to Me,” is a Scottish song with an easy flowing placid air and provides a nice contrast. Altogether it is a record well worth hearing. H.M.V. 8.2561. The famous “Kreutzer” sonata, “Kreutzer Sonata in A Major” (Beethoven, op. 47). Played by Albeit Sammons (violin), and William Murdoch (pianoforte). Columbia LISB488. (Five records in album, with descriptive notes.) This famous sonata, for ever one of the most treasured of the master’s works, is interesting in that it marks a decisive stage in Beethoven’s career. “I have not been satisfied with my works so far. From today I mean to take a new path.” The “Kreutzer.” was published soon after this, and it unmistakably shows the turning over of a new leaf in the history of Beethoven’s musical development. Its characteristic beauty and almost furious energy make it unique among works of this class. Sammons and Murdoch show again liow perfectly they “pair.” Murdoch’s handling of the adagio which opens the work is masterly, and gives a foretaste of the sincerity and technical brilliance that he displays throughout.

Of a splendid list of H.M.V. recordings released this month the palm must undoubtedly go to the violinist Isolde Mengers for his excellent interpretation of Bach’s “Air on the G String” and Sarasate’s arrangement of Chopin’s “Nocturne in E Flat,” Op. 9, No. 2. In both numbers the broad, firm tone of the true virtuoso is will in evidence, but the peculiar haunting quality of the Bach number must win it greater appreciation. The recording is particularly fine, the ethereal beauty of this performer’s pianissimo passages being retained with delightful reality. The Nocturne also receives excellent treatment, brilliant technical qualities being revealed in the brilliant cadenza near the conclusion. This is ■a record which no gramophone enthusiast should be without.

Jacques Thibaud, violinist, in “Waltz in A Flat,” Op. 39, No. 15 (Brahms), and “La Fill© aux cheveux de lin” (Debussy), H.M.V. D.A. 866, provides a splendid record. Debussy’s “Maid With the Flaxen Hair” is a naive and charming little tune. The contrast between it and Brahms waltz, which occupies the reverse side of the record, is typical of the vastly different outlook of the two composers. It is a contrast of nationality; the evanescent and ethereal quality of Debussy against the solid romanticism of the German Both are played with the exquisite delicacy and polish that has made Thibaud one of the acknowledged artists of the day.

Ezio Pinza (bass), sings two fine operatic numbers in “Ninna Nanna,” from “Mignon,” and “Le L’ambour,” from “Le Caid” (Thomas). H.M.V. D.B. 1086. The “Berceuse” from Thomas’s “Mignon” is known to most as the opening melody of the beautiful overture to the opera, recently released on a “His Master’s Voice” record, D 1246. Thomas’s “Caid” is no longer performed, but the vigorous aria has survived the opera Pinza, who now is one of the principal basses at the New York Metropolitan Opera, sings with great vocal richness and expression.

Two fine waltzes, by the International Concert Orchestra, are “Spring, Bea-utiful Spring” (Paul Lincke), and “Wiener Blut (“Viennese Blood”), (Strauss), Zonophone EFI3. Two lovely and melodious waltzes pervaded by typically captivating Viennese charm. “Wiener Blut” is by Johann Strauss, the greatest waltz composer the world has ever known. Paul Lincke, who wrote the beautiful melody of “Spring, Beautiful Spring,” achieved a great reputation as a composer of light operas. Both waltzes are splendidly played by the International Concert Orchestra, and are magnificently recorded with extraordinary richness and depth.

A selection from the “Desert Song” is played by the National Symphony Orchestra. (Zonophone, 2924). This is London’s latest musical success, and a happy selection of its best airs has been collected on this record. The orchestra of course is a first-class one, as those who purchased the “Poet and Peasant” overture, issued recently, will readily admit. The National Symphony Orchestra is now a regular feature in the Zonophone lists, and is providing records to which lovers of orchestral music can look forward to with great interest.

During the past few years New Zealand has heard many of the “big” pianists on the concert platform, but nevertheless Backhaus still retains his big holcl on the country. After hearing his latest recording for His Master’s Voice (D.B. 1033) the reason is not hard to find. He* plays Schubert’s popular “Moments Musical,” Schumann’s “Traumeswirren” and

Chopin’s “Berceuse.” They constitute splendid variety. That melodious little fragment. “Moments Musical,” is exquisitely played and with all the delicacy of the Backhaus touch. On the same side he also exploits his virtuosity in Schumann's “Traumeswirren” (“Dream Visions”). The dreamy “Berceuse” of Chopin also receives excellent treatment.

The famous Brahms symphony, “No. 4 in E Minor,” Op. 9S, is played by the London Symphony Orchestra, conducted by Hermann Abendroth. Controversy must always rage around the four £reat Symphonies of Brahms. The great German composer withheld his hand from the Symphony for many years, and his first Symphony did not appear until he had reached a full maturity of expression. His Symphonies (four in all) are remarkable works, each a masterpiece in its way; and the Fourth Symphony comes as a fitting crown to the little group. Bralims was indifferent to what we nowadays call “popular appeal”; he wrote the best that was in him, but it was a matter of no consequence to him if it had not the elements necessary for an immediate popular success. But though Brahms demands something of his listener, acquaintance with his works reveals such beauties as are rarely found elsewhere. But the Fourth Symphony is far from being a forbidding work. It contains a great deal that is supremely beautiful, but it contains so much that its contents are not completely discovered at the 1 first hearing, but continue to reveal themselves even in fresh aspects, upon j each further performance.

A fine organ disc by Reginald GossCustard, F.R-C.0., at the organ of the Kingsway Hall, London, contains “Ini' termezzo in D Flat” (Hollins) and | "Solemn Melody” (Walford Davies), H.M.V., C 1305. Walford Davies’s “Solemn Melody” should require little introduction to the majority of listeners. Hollins’s little “Intermezzo in D Flat” is, on the other hand, not so familiar; it is a charming little piece, very tuneful and delicate. Reginald Goss-Custard has enhanced its fragile beauty by his brilliant choice of stops (“registration.”)

“Overture Solonelle, 1812,” and (on last side) “Chant sans Paroles” (Tschaikovsky) is played by Sir Henry Wood, conducting the New Queen’s Hall Orchestra. Columbia LI <64-66. How much more effectively the new process does the ‘‘1812” than the old. One can almost hear those cannon and smell the powder, so much of the realism comes through that we missed before. The good old row comes off Al. The musically exprienced are apt to dismiss it with a kindly smile for forgotten enthusiasms, but there is much in it that everyone can admire, and if it was worth the time of so great an artist as Sir Henry Wood to record it, it is certainly worth anyone’s while to listen to his version. The brass tone is very exciting, and all the thrilling “effects” are exceedingly well managed.

Mention was made recently of a new iemple church choir disc containing some lovely singing by the boy soprano, Master Lough. In another Temple Churcch choir disc which should not be overlooked, from the fact that in this instance the choir itself is well in the limelight, the boy is merely one of the trebles in a truly exquisite ensemble. “O Filiae et Filii” and “King of Glory,” the two pieces recorded, are both essentially choral numbers, and the performance by the choir certainly seems to justify their reputation as being the finest church choir of the present day. The hymn “O Filiae et Filii’ is an ancient Easter carol which has been sung in the Round Church of the Temple on festival occasions from time immemorial, and is recorded with the musical arrangement of Mr. G. Tlmlben Ball, the temple organist. The “King of Glory” was composed by Sir Walford Davies, who was himself organist at the Temple Church for more than a quarter of a century, specially for the services in this historic building..

Edwin German’s “Gipsy Suite.” is played by the Plaza Theatre Orchestra, conducted by Frank Tours, Columbia 02537-8. The titles of the movements in Sir Edward German s delightful suite are (1) “The Valse” (Lonely Life), (2) “Allegro” (The Dance), (3) “Menuetto” (Love Duet;, (4) Tarantella (The Revel). The music is in this famous composer’s deftest manner, and the orchestra, as well as the writer, gets the scent of the theatre over to us—that cool whiff of the world “behind” that the curtain sends us as it goes up. The playing is good and solid (the wood-wind being almost stodgy) and the strings have a fine ample tone, especially in the Waltz. The Plaza Theatre Orchestra tackles the agreeable music in holiday fashion, but though it takes it easily and makes it sound as free and spontaneous as its composer’s intention, it shows no lack of capability.

“She’s Mine” and “Napoleon,” are humorous monologues by Billy Bennett. A really funny record is so scarce that one likes to pass the tip on when discovering something unusually good. Billy Bennett, is a great humorist and his whimsical personality loses little or nothing in the recording. A trifle broad in parts, and never too subtle to be effective, he sets out not to tickle us with a feather but to force a laugh out of us with a sledge-hammer. His soubriquet, “The Man Who Made the Queen Laugh,” has almost become a title. Unlike a good many other humorists, he sounds every word distinctly.

MUNICIPAL CONCERT

INSTRUMENTAL AND VOCAL There was a fair attendance at the Town Hall last evening, when for the weekly municipal concert a choice and diversified programme was provided by Mr. Maughan Barnett, city organist, Miss Isobel Langlands, violin: Mrs. De Berg, vocalist: and Mr. Leo Whittaker, accompanist. Items by Mr. Maughan Barnett included “Concerto in F” (Handel —air by Gluck), the Schubert-Liszt “Serenade”; Bach’s “Prelude and Fugue in D”; Boccherini’s “Minuet,” “Gothique Suite” (Boellmann), “Wild Rose” (Bendel), and a fantasia on Gounod’s “Faust.” An interesting selection, splendidly played, was received with marked appreciation. Violin solos contributed by Miss Langlands, and including Grieg’s “Allegretto,” “Variations on a theme of Corella” (Tartini-Kreisler), and a Chopin-Kreisler “Mazurka in A Minor,” were also well received, and extra numbers demanded.

* The vocalist was Mrs. De Berg, who was warmly applauded for her opening number, “Cry of Rachel” (Salte), and also Cam’s “Spring Sang a Song.” Mr. Leo Whittaker made a very efficient accompanist.

DOUGLAS FAIRBANKS

WILL BE SEEN IN “THE GAUCHO”

In Douglas Fairbanks’ new picture, “Douglas Fairbanks as The Gaucho,” which is shortly to be released in New Zealand, he has the most dashing part he has ever played. A gaucho is a picturesque nineteenth century character little heard of except in South America.

The scenes of Doug’s plays have been veering southward; France, England, Arabia, Spain the Antilles—now the Pampas. Th 9 story has no definite locality, but is laid in the regions at large, making no pretence at historical accuracy, but using the picturesque environment as a background for romance. “Douglas Fairbanks as The Gaucho” is a tale of treasure, combat, intrigue and love, concerning the adventures of a bandit who crossed the Cordilleras with his riders to seize a city grown rich from the offerings of pilgrims to the sacred shrine. For the first time the star has two leading women, one a wild madcap, the other a saintly character. The production has a conflict of love interests, said to be much stronger than in any previous Fairbanks picture. Under the instruction of real gauchos from Argentine, Fairbanks has become an adept with the boleodo.ras, which he uses in the pictures as one of his many striking feats of prowess. William Pitt of political fame, gained for himself the name of “the great commoner:” Douglas Fairbanks of pictorial fame, seems to be earning the title of “the great internationalist.” In the choice of a South Americarr locale for his Gaucho, one is reminded that “The Three Musketeers,” was French; “Robin Hood” English: “Don Q” Spanish: “The Thief of Bagdad” Arabian; and “The Black Pirate” of the Antilles. Perhaps Iceland or Japan may be Doug’s next -choice.

“Wings,” Paramount’s epic of the air, is now in its seventh month at the Criterion Theatre, New York. “Wings” recently reached ita iOOth performance at the theatre.