GRAMOPHONES

Sun (Auckland), Volume II, Issue 380, 14 June 1928, Page 14

GRAMOPHONES

There has been a remarkable revival of interest in the harpsichord family of instruments which preceded the piano, and in the records made on this instrument the music of the period, which was written for it, or the clavier, has been chosen. Violet GordonWoodhouse has iplayed for recording purposes on this instrument before, but scarcely with the same success as she presents the three movements of Bach’s “Italian Concerto” and the same composer’s “Polonaise,” “March,” and “Musette.” These are all contained on two discs, which are remarkable for the clarity and the artistry displayed by the performers. There is something fascinating in this old-time music of composer and instrument.

Conducting the Royal Philharmonic Orchestra, Bruno Walter gives an interesting recording of “A Midsummer Night’s Dream —Nocturne” (Mendelssohn) and “The Meistersingers—Prelude, Act 3” (Wagner). (Columbia L 1651). In two interesting contrasts in tone-colouring and orchestral texture, Bruno Walter has taken full advantage to demonstrate his versatility. The Nocturne is delightful. He has breathed a wonderful vitality into the fairy-like and fanciful combination, and if its colours are not rich they have a delicacy and subtlety that is far more difficult of achievement than gaudier effects. * * *

The works of the ultra-modern composers for the orchestra have been very sparingly recorded for the gramophone. The His Master’s Voice Company, however, in pursuit of their commendable policy of breaking fresh ground from time to time, have issued this month an excellent record by the London Symphony Orchestra, conducted by Mr. Albert Coates, of a March and Scherzo and Waltz Scherzo from Prokofieft’s “Love of the Three Oranges.” This comparatively recent work is still unfamiliar to a considerable section of the musical public. * * *

The famous Sheffield Choir can now be heard in “Strike the Lyre” (Cooke), “The Sea Hath its Pearls” (Pinsuti), and “A Secret” (Coward). The choir is conducted by Sir Henry Coward (Columbia 9159.) Those who confess to a liking for 19th century part songs will, be delighted with the Sheffield Choir, and also with the pleasant tonal reproduction. Pinsuti’s lovely piece is well known to choral bodies, and “Strike the Lyre” shows us some remarkably clear ensemble singing. “A Secret” is a leg-pull whose humour is not too subtle or deep, and is provided with an excellent setting.

Two rousing songs by Percy Hemming (baritone) are “Off to Philadelphia” (Haynes) and “Chorus, Gentlemen” (Lohr), H.M.V. 8.2509. Percy Hemmin has sung two very famous ballads for this record. Both are in the cheerful, manly style that mark the kind of English ballad that is always sung by men. “Off to Philadelphia” is particularly successful, though from its own viewpoint “Chorus, Gentlemen” is no less. Percy Hemming sings them particularly well. * * * Two new Friedman numbers are

“Scherzo in E Minor” (Mendelssohn), and “Elle Danse” (Friedman). (Columbia D 1558.) The Scherzo is one of the wildest and gayest things that Mendelssohn wrote, but it is not a mere exhibition of piano pyrotechnics. It is soundly built and full of fine phrasing, and this is the first impression one gets in hearing Friedman play it. In “Elle Danse” Friedman gives us on© of his own delicious trifles; a sparkling thing that could have no other title. It is a breathing picture, not so much of a girl dancing, but of the girl, the only girl, dancing for our special delight. This intimacy is one of Friedman’s great characteristics. He appeals to each one of us individually. The “Gramophone” magazine recently conducted a competition for the best selections, by popular vote, of the new electrical recordings. Here are the first 15:—

Temple Church Choir, “Hear My Prayer” (H.M.V. C. 1329.) Schubert, “Trio in B Flat” (H.M.V. D.B. 947/50). Beethoven (“Fifth Symphony”) (H.M.V. D. 1150/3). Chaliapin, “Farewell and Death of Boris” (H.M.V. D.B. 934). Schubert, “Unfinished Symphony” (H.M.V. C. 1294/6). Chopin, Twenty-four Preludes—Cortot (H.M.V. D. 957/60). Pagliacci, Complete Opera by 8.X.0.C. (Col. 4347/58). Beethoven, “Violin Concerto”—Kreisler (H.M.V. D.B. 990/5). Wagner, “Rienzi Overture” (H.M.V. D. 1226/7). Mendelssohn. “Violin Concerto —Kreisler (H.M.V. D.B. 997-1,000). Elizabeth Schumann, “Morgan and Standchen” (H.M.V. D.B. 1010).

Tchaikovsky, “Pathetique Symphony” (H.M.V. D. 1190/4). - Elgar, “Enigma Variations” (H.M.V. D. 1154/7). Havdn, “Trio in G Major” (H.M.V. D.A. 895/6). Dvorak. “New World Symphony” jCH.M.V. D. 1250/4)., __

Totii dal Monte’s “Mad Scene” from “Lucia,’ which replaces D.B. 712 in the old H.M.V. list, is now numbered D.B. 1015 (in two parts, 12in), and embodies an immense improvement in the vocal as well as the mechanical sense (says a critic). Obviously, the singer rejoices in her new-born feeling of freedom (they all do, more or less), and one remarks at once the ease and serenity with which she attacks the “Splendon le sacre faci.” Her voice has greater roundness in addition to an increased sonority and power. The new “atmosphere” will not escape your notice any more than the wonderful silent surface, which you paradoxically find conspicuous because of the absence of all scraping. The vocalisation is worthy of Toti dal Monte at her best.

Two excellent recordings are those of the x “Toreador Song” from “Carmen” (Bizet) and “Prologue” from “Pagliacci” (Leoncavallo). Sung by Riccardo Stracciari, baritone. (Col. 7355.) Of the many recordings of the

“Toreador Song,” preference still goes to Stracciari’s if only for the infectious virility of his vocalism. With him, it is not enough to sing the part; he must live it, and one does not have to worry, as with so many songs in a foreign language, as to whether it is a dirge, a love-song, or a hymn of hate. Stracciari’s histrionic powers put the issue beyond all doubt. But there is even more to admire in his technique —the roundness and openness of his tone, and the warmth of colour that he can always conjure up.

The series of grand operatic selections played by Creatore’s band is enriched this month by the addition of “Traviata,” which begins with the in troduction to the last act, followed by the second part of the prelude to the opera. The last section is based on the opening chorus in the first act. The second part consists of the chorus from the third act, the scene in which Alfredo denounces Violetta. The recording is magnificent. (H.M.V. EB. 21).

“When the Sergeant Major’s on Parade” and “The Company Sergeant Major” is sung by Harold Williams, baritone. (Columbia 4159.) Williams has excellent vocal qualifications for the offices of the sergeant major. His is a fine big voice and he knows how to give these rousing ballads the infectious touch of joviality. Of course, the real “Sar-majcr” is a hard-bitten regular of the Home army, but old diggers will remember the type, and others can easily picture him from hearing the disc. They say he won the war, and Harold Williams sings as though he thought so too.

An excellent disc is provided this month by Dusolina Giannini (soprano) in “Vissi d’arte, Vissi d’amore” from “Tosca” (Puccini), and “Voi lo Sapete, O Mamma” from “Cavalleria Rusticana.” Giannini is a great soprano by virtue of two things; her excep-