GRAMOPHONES

Sun (Auckland), Volume II, Issue 464, 20 September 1928, Page 16

GRAMOPHONES

The list of “His Master’s Voice” records issued to commemorate the Schubert Centenary has already reached imposing proportions. In addition to an even then rich treasury of Schubert’s music was issued recently the famous “Great” C Minor Symphony by the London Symphony Orchestra and Dr. Leo Blech. Now is to come shortly the “Death and the Maiden” quartet played by the Budapest String Quartet. These records, it is said, are especially notable for their astonishing vigorous reproduction, marking a new advance in the technique of reproducing the playing of a string quartet. The “Quartet in D Minor” is one of the most remarkable of Schubert’s compositions. It was written in 1826, but accounts differ as to whether it was ever performed during Schubert’s lifetime. Grove says it was and that Schubert revised the finale by shortening it very considerably after hearing his friends’ criticisms. The work is written in a large mould, and in view of the fact that its composition was contemporary with some of the last group of Beethoven quartets one can only marvel that Schubert, who was comparatively immature —especially as regards technique—should have written such an extraordinary work. When we have tlig delightful Schubert bracket record by John McCormack. You would have to go a long way to hear “Who is Sylvia?” sung with such charm and beauty of tone. A feature of additional interest is the inclusion of “Die Liebe Hat Gelogen” on the reverse side, a beautiful little song that is not so- well known as it deserves.

“Le Cygne” (Saint-Saens) and “Salut d’Amour” (Elgar) are organ solos by G. T. Pattman (Columbia 02512). Pattman can always be relied upon to provide good fare, and this month his offering is no exception to the rule. The melodious “Salut d’Amour” sounds truly what it is—one of Elgar’s gems—instead of a hackneyed tune. The tone is rich and sonorous and Pattman’s registration exceptionally clear.

The popularity of Mr. John Goss’s “Sea Chanties” is well established. He will give us still a further addition to the series. His latest record, in which he is accompanied by the Cathedral Male Voice Quartet, has exactly the same gusto and heartiness that makes all his performances so pleasing. Two of the songs—there are four on the record —“Blow the Man Down,” “Tom’s Gone to Hilo,” “Lowlands” and “Highland Laddie”—are not quite in the same category, but the record has an irresistible atmosphere of the open air. These will be here shortly.

A new Maria Kurenko record contains “Musetta’s Waltz Song” (Puccini), and “Connais tu le Pays?” from Mignon. Soprano. (Columbia 03573) This disc provides two exceedingly pleasant numbers and serves as a further introduction to this fine soprano’s amazing clarity and flexi-

bility of voice. Further records of this talented singer’s voice are sure to be welcomed by everyone who appreciates personality as well as technique in vocal accomplishment. In both number the recording is as perfect as the rendition.

Two good pieces by Mark Hambourg in this month’s issue are Schumann’s “Traumerei” and Dvorak’s “Humoresque.” Both have been recorded by the famous pianist for H.M.V., and are on the one record, 82G85. Both are well-known pieces, but in the hands of a master such as Hambourg they are always beautiful. Hambourg does them full justice and the recording is excellent.

Living in a state of poverty in Vienna has been found a grandnephew of the famous composer, Franz Schubert. He was discovered by a Viennese newspaper, who promptly carried the news to the Columbia Centenary Committee. His name is Ignaz Stuppock, and he is the son of Schubert’s favourite niece, the Theresa who nursed him during his final illness. As all the world knows, Schubert’s worldly possessions after his death barely amounted to fifty shillings, and there is something of irony in the fact in his centenary year, when the whole world is celebrating his divine gifts of melody, there should be brought to light a descendant in such extremes. The Columbia Committee, it is pleasing to note, made prompt and adequate provision for Ignaz Stuppock, and have ensured that his few remaining years will be passed in comfort.

The following list of H.M.V. electrical process of re-recordings of favourite numbers of popular artists is of interest: Beniamino Gigli (tenor) — Mefistofele, “Dai campi, dai prati,” and “Giunto sul passo estremo” (Boito), D.A.883. Peter Dawson (baritone) —“Follow Me ’Ome” (Ward Higgs), and “Thou’rt Passing Hence” (Sullivan), C 1427. Cedric Sharpe (’cellist) —"Melody in F” (Rubinstein), and “Simple Aveu” (ThomePopper), 82614. Royal Opera Orchestra, Covent Garden —“Berceuse” and “Praeludium” (Jarnefeldt), 82618.

Wurlitzer organ music is represented on the H.M.V. list this month by Reginald Foort in “A Brown Bird Singing” (Haydn Wood) and “Schon Rosmarin” (Kreisler). Reginald Foort appears to be as nearly infallible as is humanly possible. His records seem always to be the most pleasing, novel, and charming imaginable. His new record is an example of this. He has given an exceptionally piquant performance of Kreisler’s famous waltz tune, “Schon Rosmarin” (82664). Then we have Jesse Crawford, with Schubert’s “Serenade” and Todti’s “Somewhere a Voice is Calling” (E.A.325), two favourite melodies capably played.

Two Balfe airs by the Squire Octet are “Killarney” (Balfe) and “Come Into the Garden Maud” (Balfe). (Columbia 01103). Here are two very very old friends, but the freshness of their settings prove that in capable hands these two airs are by no means hackneyed. The unusual quality of the Celeste’s stringed notes invite even several replayings of this same record. Those who are not familiar with this instrument’s particular charm should make a point of hearing this disc.

Bass gems from opera are Marcel Journet (bass), in “La Boheme” — “Vecchie zimmara” (Puccini), and “Marta”—“Chi mi dira” (Flotow). The famous French basso’s fine voice is heard to admirable advantage in Colline’s song to the old coat, from the last adt of “Boheme,” and in the “Drinking Song” from “Martha.” (H.M.V., D.A.771).

“Symphony No. 7 in C. Major” (Schubert), by the London Symphony Orchestra, conducted by D. Leo Blecli. (H.M.V. D 1390—1395) is a monumental work. It was written in 1828, during the last few months of Schubert’s life. After Schubert had completed the “Symphony” he submitted it to the Vienna Music Society (Musik-Verein), but when it came to be rehearsed it was found to be ■ “too long and difficult.” Ten years after Schubert died the manuscript of the symphony was discovered by Robert Schumann (the composer). He immediately had it copied out and sent the copy to Mendelssohn, who was at that time conducting the Gewandhaus Concerts. Mendelssohn introduced it at one of the last concerts of the season, with great success. In the next season (1839-40) he had it performed with great success no less than three times. The symphony is admittedly a long one, but as Schumann said it is of “Heavenly length” and it would be a strange listener indeed who found it hang heavily on him. ' Its length is entirely discounted by the intense feeling of spontaneity, and the neverfailing beauty and novelty. Schubert's melodies are Strewn through the work as lavishly as they are in any of his works.

A popular Tchaikowsky movement--Quartet in D —“ Andante Cantabiie” (Tchaikowsky) is played by the Lener String Quartet. (Columbia L 1803.) Ask what is the most popular piece of Tchaikowsky and, after the Nutcracker Suite, nine people out of ten would name this haunting Andante Cantabiie from the Quartet in D, which proves that most of us love a good tune. The famous Lener Quartet, playing with perfect understanding of the piece and of each other, produce a lovely “singing” tone that seems to come so easily, but which is so difficult for a quartet to produce. The playing is lovely all through, and has the benefit tff almost faultless recording.

In His Master’s Voice recent successful recordings of Wagnerian opera have just been supplemented by a set of discs on which have been im* pressed the o em numbers from “T ristran and Isolde.” The Berlin State Opera House Orchestra and the Symphony Orchestra between them supply the prelude. The Florence Austral-Trenton combination are responsible for “Isolde’s Narrative and “Isolde’s Curse.” Florence Anstral sings the “Introduction to Act 2. With Tudor Davies she is associated in the “Love Duet,” and these two also present the scena, “The Lovers Drin* the Potion,” with chorus. The “Introduction to Act 3” and “Isolde’s Love Death” is played by the Royal Albert Hall Orchestra. * * * A new piano solo by William Murdoch is “Etude in A Flat” (Chopin/ and “Waltz in F Major” ( Chopin J* (Columbia 01054.) Murdoch, who n ways plays with rare sympathy feeling, here demonstrates h is technical ability. His touch is ating—by turns tender and care f sl ?r emphatic and fiery. His tempo is 1 maculate, and the brilliance of his to well up to the highest standards. Li all Columbia piano records this enjoys the best of reproduction-