GRAMOPHONES

Sun (Auckland), Volume II, Issue 410, 19 July 1928, Page 16

GRAMOPHONES

The brilliant virtuosity of Rachmaninoff is strikingly shown, in his latest recording for' which is issued with the July list. This time the famous Russian pianist plays one of his own adaptations of Kreisler’s “Liebesfreud,” an old Viennese melody which Kreisler has brought to light. Around this theme Rachmaninoff has evolved an attractive pianoforte piece, which he plays with exceptional brilliancy. The reproduction has been well done. (H.M.V., D.A. 786).

Two fine hymns recorded by Columbia are “Jesus Shall Reign’’ and “Jerusalem,” sung by the 8.8. C. Choir in Christ Church, Westminster. (Columbia 4364.) This is exactly how William Blake’s poem “Jerusalem” should be sung; its severe simplicity and grandeur makes it almost a second National Anthem, and it requires rather the pomp and circumstance of a choir than the fervour of a solo voice. And by recording it in a church, with an organ accompaniment, Columbia have given it a rousing sonority. On the reverse side is a hymn to the well-known “Rimmington” tune, and the two make a fine combination.

Excerpts from national songs of Ireland and Scotland sung by the Victor Mixed Chorus is a happy idea just put into execution by H.M.V. Although the songs chosen are mostly of the popular variety they are given with such delightful freshness and spirit that they do not seem the least bit hackneyed. To those atracted by racial instincts to either country the record will of course be very popular. But even to a mere Englishman, who is not supposed to understand the great attachment the Scottish and the Irish have for the music of their native soil, it will prove an enjoyable record, if only for the manner in which the songs have been presented. Irish and the Scottish will of course be enthusiastic over it. (H.M.V.E.B. 23).

Two duets from “Otello” (Verdi) and “Witness Yonder Marble Heaven,” are sung by Frank Mullings (tenor) and Harold Williams (baritone). (Columbia L 1604.) Mullings is one of the veterans of the English concert and operatic stage, but shows repeatedly that he is “not dead yet.” His vocal powers are unimpaired, and to those are added in increasing measure the mellowness and finish that only experience can give. His Othello for the 8.N.0.C. is still spoken of as one of the finest performances ever seen. Harold Williams, the great Australian baritone, makes him a worthy partner. He carries everything off with a fine air of assurance, and is remarkably distinct in his enunciation. The two are well matched and produce a really fine record. The words are in English.

Through frequent attendances at concerts and students’ recitals we may now have become a litle tired of hearing Liszt's “Hungarian Rhaphody, No. tj.” Those of ns who have would be well advised to secure the H.M.V. recording of this work played by Mischa Levitski, if only to be strictly fair to Liszt, who nowadays is rarely ever hear at his best. Levitski gives a spirited performance, and his technique, of course, is superb. A fine sonorous tone is coupled with astounding volume, and the result is both pleasing and satisfying. It is more than likely that Levitski will visit New Zealand next year. The number is D 1383. One is thankful to find that in the spate of symphonies and quartets issued for the recent Beethoven Centennial Celebrations, that the composer’s overtures have not been neglected, for they form an important part of his work. The Coriolan Overture is delightfully simple and yet strong, and covers a wider range of moods than is usual in the single works of the great composer. This is played for Columbia (L 1848) by the Amsterdam Concertgebouu Orchestra, conducted by William Mengelberg. The recording is superb. One is accustomed by now to the almost perfect resemblance between the actual work and its record, but nevertheless this record startles one with its sonority and wealth of tone, and with the fidelity with which it preserves the true balance between the instruments. Mengelberg s interpretation is deeply and finely conceived, and makes a worthy companion to his recording of the “Egmont” Overture, recently published.

Mr. John Barbirolli, In addition to his operatic and concert work, is known in the gramophone world and has conducted orchestras in several record-making enterprises. He has just signed a contract with the Gramophone Co., Ltd., to produce a series of classical “His Master’s Voice” records, from the works of Mozart, Haydn, Bach, Purcell, etc., with his own chamber orchestra. These will include Haydn’s “London” Symphony (No. 2 in D), Mozart’s Serenade (“Eine Kleine Nacbtmusik”), and the overture to “II Seraglio.”