GRAMOPHONES

Sun (Auckland), Volume II, Issue 356, 17 May 1928, Page 14

GRAMOPHONES

Madame Culp is a splendid interpreter of Schumann. Unlike the modern German lieder singer, she finds the spiritual depth of the composer beyond the mere fringe of romanticism. She feels the sweetness of its poetry where others only imagine a saccharine sentiment. Listen to her reading of “Nun hast du mir den ersten.” Such understanding of Schumann’s nobility may never be heard again if the modern German lieder singers have their way. She sings for H.M.V. In Frank Bridge (states a writer) we boast one of the most versatile of living musicians; ono of the most modest and most capable: one who excels in every branch of his art that he chooses to handle, and not least of all that of the song-writer. His style is modern without being aggressively so, and pleasurable because it connotes a constant eye to beauty. It is paying him a high compliment to declare that his songs are on a level with his chamber compositions. Conspicuous among them is “Love went a-rid-ing,” a strain of joyous, triumphant melody with a piano accompaniment that requires skill —one representing the “Love” and the other the “Riding.” The former is expressed by Tudor Davies (H.M.V. E 414). By the way, a good 'song by Coleridge-Taylor, “Thou art risen, my beloved,” has a capital interpreter in Tudor Davies (H.M.V. E 414).

Dr. W. G. Alcock’s record (H.M.V. 82466) may be heartily recommended to those whose music room is not too large, and who enjoy the organ in an intimate mood (says a review). Neither his own composition “Toccotina,” nor “Canzona” (Guilmant) is the least sensational, but both are full of charm, and the playing exactly suits them—restrained, but always interesting. The registration is especially admirable in its moderation and variety. The organ used is Dr. Alcock’s own instrument in Salisbury Cathedral, and has some singularly beautiful soft solo stops.

A de Pachmann favourite is a new record of “Rigoletto Paraphrase” (Ver-di-Lizst), “Waltz in G Flat” (Chopin), and “Ecossaise in D Flat (Chopin). (Columbia L 1103). The beauty of new

electric recording should not blind us to the fact that many rare treasures are left to us from 7 pre-electric days. Paehmann for example, has recorded some exquisite things for Columbia, and one of the best of them is the sparkling and melodious Rigoletto Paraphrase. His touch is something to

gasp at, so perfect and so debonair. On the reverse are two lovely Chopin fragments, of which the waltz is an especial favourite. Other pianists have greater depth and understanding, but for brilliance of technique Pachmann is and always will be incomparable. Two noticeable grand opera stars with the J. C. VTlliamson Company now in Australia are Angelo Minghetti (tenor) and Apollo Granforte (baritone). Each has recorded for His Master’s Voice. The. former is a comparative stranger to H.M.V. listeners, as he has but recently made his debut in the studios, but he is well worth hearing in the two “Rigoletto” numbers, “Questa o Quella” and “La Donna e Mobile” (Verdi), (D.A.800), the favourite “Boheme” number, “Che Gelida Manina” (Puccini), and, with Luella Parkin, the duet scena from “Rigoletto,” “El il Sol Dell’ Anima (D. 8.952). Granforte has a large list of grand opera gems—“ Largo al Factotum” (“Barber of Seville”) and “O Lisbona” (Donizetti’s “Don Sebastiano” (D. 8.834); “O Monumento!” (Ponchielli’s “Gioconda” and “Credo in un Dio Crudel” (Verdi’s “Otello”), (D. 8.835); “Pari Siamo” and “Cortigiani vi Razza” (Verdi’s “Rigoletto” (D. 8.836); II Pagliacci “Prologue” (D. 8.1044); and two concert numbers, “La Paloma” and “Alma Llaneri” (D.A.699).

Edna Thomas, soprano, gives us “Kentucky Babe,” and “Street Cries of New Orleans” (Columbia 4196.) Edna Thomas built a devoted public for herself during her tour of New Zealand, and her records so faithfully reproduce the charm and artistry of her voice that they are sure of a warm welcome. Very unusual is her “Street Cries of New Orleans” —a record that reminds us of the French origins of this Yankee city. In both numbers Miss Thomas shows not only a most pleasing voice but also the rare power to act with it. The brilliant Szigeti, a great violinist, plays “Minuet in G Major” (Beethoven) and “Corcovado, “Saudades do Brazil” (Milhaud). (Columbia D 1527.) In Szigeti we have obviously one of the few really great violinists who strike out for themselves. A master violinist, he has been described as doing difficult and beautiful things as though it were simply his nature to do so. He plays with great warmth and power, making the exquisite Beethoven Minuet in particular a thing of stark loveliness. It shows his rare grace of style, while the Milhaud Corcovado reveals a rhythmical dexteMty and genius that is almost bewildering in its ease and freedom.

Barbarinis Minuet,” pianoforte solo Jai ? . Cherniavsky; “Allegretto” (Bochenni), cello solo by Antoni Sala, (Columbia 0533). There are mainthousands w r ho delighted in the plaving of the Cherniavsky Trio in this country, and who will welcome Jan Chemiavsky’s interpretation on the piano of Barbarini’s Minuet now offered for the first time. His tone is brilliant in the extreme. Coupled with this is a cello solo by Antoni Sala, most beautifully played, with great depth and exquisite tone.

Manuel Hemingway (bass) who sings “Friend o’ Mine” and “Shipmates o’ Mine” (Sanderson) for H.M.V., has a fine bass of outstanding quality. The two ballads which he has sung for this record are both famous and popular. He achieves just the right degree of bluff heartiness in “Shipmates o’ Mine.” H.M.V., 82573.

Violin enthusiasts should not miss Alfredo Rode (violin), in “Zigeunerweisen” (Sarasate) and Variations on “A Carnival of Venice” (arr. Rode). H.M.V., CI3BO. Alfredo Rode is an extradordinary performer. He plays these very brilliant and effective pieces with an abandon and at a speed which makes you overlook the fact that they are first and foremost vortuoso pieces of extreme difficulty. The tone in the haunting “Gipsy Melodies” (Zigeunerweisen) is very broad and full, while the various violin-acrobatics which have to be performed for its proper performance are executed with such e &se that (unless, of course, you are a violinist yourself) you would never know how difficult they were. This brilliant artist, who has been revealed to the musical word by “His Master’s Voice,” is sure to go far. The new Temple Choir disc contains “I Waited for the Lord” and “O Come, Everyone that Thirsteth” (Elijah). This new Temple Church Choir record is likely to prove as popular as the first. Certainly for sweet tone it would be hard to beat. The quartet from “Elijah” is preceded by Elijah’s recitative, “I Go On My Way,” which actually, of course, comes a little earlier in the work. The alto part of “O Come” is apparently taken by a boy (not even that rarity, a natural boy alto), and is necessarily rather weak in the ensemble, where, in fact, the balance is altogether far from perfect. The many people who regard “I Waited for the Lord” as the ideal church music will be delighted with this record. H.M.V., C 1398. It will be of particular interest to many on account of the fact that “Elijah” is being sung by the Auckland Choral Society (H.M.V., CI39S). Jospeh Hislop (tenor), has recorded “Salut, demeure chaste,” from “Faust” (Gounod) and “Pourquoi me reveiller,” from “Werther” (Massenet). H.M.V., D. 8.944. The opening of “Salut, demeure” (minus the recitative) is the loveliest example of mezza voice that has been heard from a British tenor since the palmy days of Edward Lloyd. The whole air is supremely well sung, and the high C at the end is magnificent. The selection, “Ossian’s Song,” from Massenet’s “W'erther” (Act III) is one of the most touching pages in an opera that suffers more from its dull libretto than its music, a good deal of which can be thoroughly enjoyed. Jean de Reszke once sang this “Pourquoi me reveiller” divinely, and its melancholy charm is abundantly realised in the present instance, thanks to Joseph Hislop’s reposeful method and fine tone, supported by the graceful arpeggiando accompaniment of an excellent harpist. The entire record is mechanically perfect.

A new Marek Weber recording is “Wine, Women and Song,” waltz (J. Strauss) and “Moonlight on the Alster” waltz (Fetras). H.M.V., C 1407. How* haunting the Strauss waltzes are! They are gay and have a swinging lilt, but, nevertheless, they have just a shade of wistfulness about them. Marek Weber and his orchestra play these two delightful waltzes with an obvious love for their beauty. Weber seems to caress every phrase of “Wine, Women and Song,” and to send it on its way laughing and sparkling.

A long way ahead of all other duets heard lately is one by Aileen Stanley and Johnny Marvin in “Under the Moon” (H.M.V., 82565), which is as w*ell sung as it could be. On the other side Vaughn de Leath sings “Sing Me a Baby Song.” Johnny Marvin (H.M.V., 82529), in “Here Comes Fatina,” is heard at his best, and we have Gene Austin on the other side singing a belated “Muddy Water.”

Debussy’s masterpiece, “Prelude a L’apres-midi d’un Faune,” is lent all colour by Paul Klenau conducting the Royal Philharmonic Orchestra. (Columbia L 1772.) Of this fine work it may safely be said that no recording so clear and full of colour has been given us before. For the student who can listen with S£pre in hand it is an admirable production, as also for the man who knows and loves the work. Others, while delighting in the play of colour and motif, will need to use some imagination to get the background of the music, too feel the lazy heat-haze in which it should be wrapped, to get the effect of the languorous grace in which the creature dreams and muses of his nymphs and goddesses. This is quite the best essay in recording a delicate and therefore dangerous piece that w*e have yet had.

At the termination of the Co vent Garden season, His Master’s Voice determined to try a very* interesting experiment. and on the Saturday afternoon following the final performance of “Carmen” Covent Garden was organised as a studio and the chorus, orchestra and conductor (M. Bellezza), who had performed ip “Carmen” on the previous night in the Opera House, were engaged. The result is an interesting set of “Carmen” records that have the very atmosphere °f the Opera House and a brilliant rendition that clearly shows the recent performances and rehearsals which had taken place. The opening chorus and the lovely “cigarette” chorus sung bv the girls coming out of the factory, are from the first act. The “Smugglers’” Chorus is from the third act and the famous march from the last act of the opera. (H.M.V. C 1422.).