GRAMOPHONES

Sun (Auckland), Volume II, Issue 428, 9 August 1928, Page 14

GRAMOPHONES

A Liszt arrangement of Mendelssohn’s “On Wings of Song” and Liszt’s “Rakoczy March,” provide two fine contrasts for Mark Hambourg, whose recording of them is catalogued in the August list issued by H.M.V. The Liszt pianoforte version of the Hungarian National March is a fine, showy affair, and Hambourg does full justice to this brilliant setting. The Mendelssohn air, a beautiful, naunting melody of which one never tirss, is also handled with Mark Hambourg’s consummate artistry. (H.M.V. 1439.)

Dvorak’s Finest Symphony, “The New World,” is played by Sir Hamilton Harty, conducting the Haile Orchestra. (Columbia 04029-34.) Dvorak’s melodious symphony is brilliantly handled by what a London critic declares to be “the soundest orchestra in the country.” This recording shows the rich fruits of careful, consistent and long-continued work under a wise and balanced conductor. The wood-wind has a bright and engaging polish, and the wind chorus is not easily to be beaten for well bound, sound, sweet playing. The strings are charmingly mellow. Altogether, one feels that the work and f he Interpreters are as happily met as one could wish, and this must bs classed as one of the most successful recordings of the year.

Master E. Lough, the boy soprano, whose singing in the recording of “Hear My Prayer” has made that record justly famous, gives another excellent performance in “I Know That My Redeemer Liveth,” from “The Messiah.” The remarkable purity of the soprano’s tone, and the very appealing quality of the voice, is heard to excellent advantage in this record. This is the second solo record by this artist, the ethereal quality cf whose voice will constantly gain him admirers. The soloist is accompanied by Mr. G. Thalben Ball, organlsr. and director of the choir of the Temple Church, London. (H.M.V. B2C5(?)

From Puccini’s last opera, “Turandot,” Signore Ascolta, and “Morte Di Liu,” have been sung by Maria Zamboni, soprano (Columbia D 1572), and Nessun Donna” and “Non Piangere Liu,” sung by Francesco Merli, tenor (Columbia D 1571). The musical excitement of the year has been the Covent Garden and European production of the posthumous Puccini opera, “Turandot,” which is composed rouud a Chinese setting. Puccini went to great lengths to make his Chinese atmosphere ring true. The result, as these records show, is delightful. It is worthy to rank with the best of his operas. More authentic than “Madame Butterfly,” it has the same happy tunefulness, the same sincerity in its pathos. These two records are by the original Covent Garden artists, the creators of the different parts. Maria Zamboni has a singularly sweet soprano, and a fine sense of the dramatic, especially in the exquisite "Death of Liu.”

One of the best of the H.M.V. August recording is D.B. 1115, which contains two duets from “Carmen,” sung by Fanny Heldy and Fernand Ansseau. This is the first record by this dramatic soprano to be issued in New Zealand, and for that auspicious occasion she could not have chosen a better partner than Fernand Ansseau. The voices, although powerful, blend quite well. Individually they possess that striking tone so desirable in such an essentially colourful opera as “Carmen.” The second part, “Qui sait de quel Demon,” is given in declamatory style in complete contrast to the simplicity of the “Parle-moi de ma mere” (Speak to Me of My Mother) number on part one. A fine orchestral accompaniment enhances the record.

“Largo” (Handel) and “Danzas Espanolas, No. 5” (Granados), are ’cello solos by Gaspar Cassado. (Columbia 04075.) It is in its way a rare thrill to hear the first records of an artist hailed as a genius almost overnight. Columbia offers this treat in the shape of a record by Gaspar Cassado. England took this Spanish ’cellist to its heart on his first recital, given under the baton of his master, Pablo Casals. The Spanish dance has the refreshing qualities of restraint and a sense of proportion, and on the other side Handel’s glorious “Largo” is no less felicitously dealt with. How perfectly he brings out its sylvan character! This is a record to play again and again. Recording is well nigh perfect.

Those who perhaps have tired of Galli-Curei’s “vocal gymnastics” will find their interest in this remarkable soprano revived after hearing her latest recording which is included in the August issue. Although Benedict’s, “The Gipsy and the Bird,” with flute obbligato, is in the soprano’s usual style, the other number, Arditti’s "Parla Valse” (in Italian), displays the beautiful limpid quality of the famous prima donna’s voice as one would often like to hear it—in song, and not in vocal exercises. If not the best record made by Galli-Curci to date, it is certainly one of the most pleasing.

From Verdi’s “Otello,” Columbia have recorded “Brindisi” and “II Sogno,” sung by Ricardo Stracciari, baritone. (Columbia X 332.) Here are two excellent songs from “Otello,” sung by Stracciari in the role of lago. The “Brindisi,” or Drinking Song, is pitched on a rising crescendo of emotion and is strikingly weird in effect. “II Sogno” comes into the duet with Otello where lago first poisons the Moor’s mind against his lieutenant Cassio, and is the relation of a pretended dream in which Cassio reveals his love for Desdemona. Stracciari’s glorious baritone is heard to great advantage in both songs. He lives the part he sings with extraordinary subtlety, and even in these two short songs shows a wealth of versatility.

From “La Boheme —Mimi e una civ- j etta” (Puccini), and “La Favorita —j Una vergine un angiol di Dio” (Doni-‘ zetti), a new and important tenor is being introduced by His Master’s Voice. Antonio Cortis was born at Denia, in the province of Valencia, in Spain. He studied violin and composition at Madrid, and is proud of the fact that he studied singing by himself. After his debut in 1915, in “Tosca” (in Barcelona), he sang for several years in Italy. Later he appeared in South America, and was one of the leading tenors of the Chicago Civic Opera Company in 1924-25. Apart from having a beautiful voice. Cortis possesses youth, fervour, and a dramatic instinct, which have earned him well-deserved applause.—H.M.V. D.A.757. A fascinating masterpiece is the ‘“Forellen Quintet (The Trout)”. Schubert. five records in art album, Columbia L 1698-1.702. This remarkable work takes its name from the Fourth Movement, which is built up of a set of variations of Schubert’s well-known song, “The Trout.” Schubert is a composer of lyrics without peer in the realms of music, and the quintet is chiefly remarkable for a series of beautiful song-like melodies that run through it. This makes it at once one of the most easily understood and refreshingly delightful of his works. It is peculiarly rich in melodic themes. The beauty and variety of the themes, the classical structure of the whole, and the artistically balanced playing which graces this performance, make this work an inexhaustible source of delight. A notable feature of “The Trout” is the way it illustrates Schubert’s fondness for a prominent bass part, excellently undertaken by Claud Hobday. Altogether a set of records that every gramophone lover should strive to possess.

Chopin’s most popular ballads, “Ballade in A Flat, Op. 47” (HJLV. D 1370), is played by Benno Moisewitsch. Of Chopin’s four magnificeit ballades, the third, in A flat, Op. 47, is perhaps, the most popular. It is based on a ballad in verse by Adam Mickiewicz, Poland’s greatest poet, whose works frequently inspired Chopin’s fertile imagination. In romantic conception and brilliancy It stands out as a gem of exceptional value. By the way, in connection with the pianist’s recent visit to Ne* Zealand, several of his new record in?-, not previously listed, were issued. These include:—Dl2Bo “Grilien” (Schumann), and “Polonaise in B Flat, Op. 71, No. 2” (Chopin). E 475“Hunting Song” (Songs Without Words, Op. 19. No. 3”) (Mendelssohn!, “The Dawn” (Adagio) (“Songs Without Words,” Op. 53, No. 22” (Mendelssohn ).

A thrilling choir record is that containing the tw*o anthems, “Hosanna W the Son of David” (Orlando Gibbons and “O Lord, the Maker of All Things” (William Mundy). (Columbia 4211.) Orlando Gibbons, who died in 1626, after a distinguished career as organist at Westminster Abbey. Is generally held to be the gTeateat of the English Church musicians, anc this is undoubtedly one of the bee: examples of his work. Every voice thunders out the triumphant “Hosanna,” and after a beautiful!? serene quiet section, a splendid climai Is reached in the concluding phrase: Mundy lived in the reign of Henry the Eighth. Indeed, this anthem has oftea been ascribed to that much-marriet King, but its whole style is that o* Mundy. It is a beautiful example o. English Church.

Toti Dal Monte, whose M <4 bo art' and Sydney triumphs with tbe JWilliamson Grand Opera Compart have further established her as a fretfavourite with Australian audiences has added another magnificent recorc to the memorable number al rea v made for “His Master's Voice.' - ’ sings two arias which had not “V previously recorded. The delightaria from “The Daughter of the Re.ment” will prove new to most heart and the Cavatina, “Regnava no • enzio” (“Silence O’er All") l* a ** dious gem of rare beauty, and is rendered with great feeling, admirers will be delighted with T exceptionally fine record. 1 D 1040.)

(1) “Adagio from Organ JoccaU (Bach-Siloti) and (2) “An°»» are two fine ’cello solos by • Sal a. Columbia 9103. One o for ways find a warm word of P the artist who takes the . .jasi out some fragments of , music that have not become over-repetition, and usually tn derings are worth listening to. efel has rediscovered two charming r t from Bach, which he P las_ * . gad wealth of feeling and expression this is consequently a record _ c f particularly recommend to io Bach. Recording is being an unusually rea } ls ' nt her reduction of the 'cello, and a. minder of the debt we owe to recording.