GRAMOPHONES

Sun (Auckland), Volume II, Issue 494, 25 October 1928, Page 16

GRAMOPHONES

Toti Dal (soprano), in “Lucia di Lammermoor,” “Splendon le Saere Faci,” and “Spargi D’Amaro Pianto,” from Donizetti’s “Lucia di Lammermoor,” gives an excellent performance. Toti Dal Monte, who has just concluded her very successful appearances in grand opera in Melbourne and Sydney, has made a remarkably fine electrical re-recording of the mad scene from Donizetti’s “Lucia di Lammermoor’.’ (in two parts), giving a most brilliant display of her dazzling; technique and beautiful voice. (H.M.V. DB1Q15).

* * * L’Arlesienne—“Adagietto” (Bizet) and “Serenade” (Pierne) are ’cello solos by Felix Salmond. Columbia 03578. Felix Salmond has a worldwide reputation as a solo ’cellist of the first rank. A feature of the recording in the deservedly popular “Serenade,” by Pierne, is the brilliant tone colour of the ’cello—in the companion piece, the artist certainly makes the most of bis opportunities, playing with ..‘rent brilliancy and giving ample illustration of bis technical ability. 4 4. ’ Records of Ralph Vaughan Williams are Hugh the Drover—“ The Fair,” part 1, and “The Fair,” part 2 (H.M.V. D. 922); “The Love Duet” and “The Challenge and The Fight” (H.M.V., D. 924); “May Morning,” and “Mary Sets Hugh Free” (H.M.V., D 925). All 6s 6d each. If we set Elgar and Vaughan Williams side by side we see nationalism in music mirrored in two personalities in two entirely different ways. We remember that out of England Elgar is regarded rather as a British institution. We notice more than ever the imperial ring to the Elgarian idiom. And though in a sense Elgar is the greater, we feel that the music of Vaughan Williams springs out of the very soil of England—as purely English as the folk tunes he loves so much, which have moulded his musical thought to so great an extent. There is no counterpart in his work to that side of Elgar’s which can only be regarded as musical journalese. Vaughan Williams is one of the younger English school. Born in the Cotswold in 1872, he was at school at Charterhouse, a B.Mus. of Cambridge, and a student of the Royal College of Music both before and after the University, during the regime of Parry and Stanford. He had three years as a church organist after the Royal College, a not insignificant factor in his later life.

“Melodie” (Gluck-Xireisler) and “Jota” (De Falla), violin solos by Yelly d’Ar-myi (Columbia 03582), are two very enjoyable numbers. Yelly d’Aranyi, the violin discovery cf the current American season, is a grandniece of the virtuoso Joachim, and a pupil of the celebrated Hubay. In this record is revealed genius and attainment of a very high order—the violinist portraying a fine sense of the spirit of both subjects. An exquisite record.

Commemorative of the Eucharistic Congress in Sydney are “Hail! Queen of Heaven,” “Faith of Our Fathers” (Col. 01228), “Ave Verum,” “Ave Maria” (Col. 01229), “Inclina ad me,” “Veni Creator” (Col. 01231)., St. Ethelreda Catholic Church, Ely Place, London. Specially recorded in London, these three discs are commemorative of the 29th International Eucharistic Congress at Sydney, 1928. All those who are following the Congressional proceedings will find especial interest in these records. Crisp, resonant choir music—rich organ tones—almost the very atmosphere of the Church itself is caught in these splendidly recorded numbers, .

There have been added to “The Gramophone Library” two volumes of “Operatic Translations” by N. F. V. Little, issued by the “Gramophone” Company (H.M.V.). As “Opera at Home” does not contain the full details and “words” of each song or aria and as, of course, the records themselves cannot do this ’ act of grace, these two small volumes, issued at 2s each, act as a kind of supplement and are of great use therefore. Mr. Little has had a most intensely difficult- task in making his translations of the texts of the various songs and arias from operas in the general repertory. Anyone who has tried his hand at song translation will realise this. Mr. Little uses the German, Italian and French languages—l mean that he translates these into English —and in order to avoid confusion his translations are little more than word-for-Word translations and, as his preface says, he has avoided paraphrases as much as possible, “and with a rigid sacrifice of all attempts to substitute brilliance for accuracy.”

Two songs of Rimsky-Korsakov are “Song of India” and “Coq. d’Or,” sung by Maria Kurenko, soprano. (Col. 03574.) Maria Kurenko, the brilliant Russian soprano, who is at present in the United States, reveals in her execution of these Rimsky-Korsakov compositions, extraordinary vocal technique allied to lovely flute-like quality. The “Song of India” gives opportunity for some impressive singing, and shows off the beautiful mellowness of the singer’s voice.

“Minuet” (Paderewski) and “Aloha Oe” (Hawaiian Air), xylophone and marimba solos by Rudy Starita (Col. 01143) are two well-known and in this case well-played numbers. The haunting slow tones of the Marimba just suit the famous “Aloha Oe,” while the delicious Minuet simply ripples under the xylophone hammer—and Rudy Starita plays them with a master hand.

“Aloha Oe Blues” (fox trot) and “On the Shores of Honolulu” (waltz) are played by the Moana Orchestra (Col. 01015). The issue of new Hawaiian titles is always an event of interest—here are two worthy additions to the recent list of new releases. The electric recording is responsible for remarkably brilliant reproduction.

The recent grand opera season has given a decided fillip to the demand for good recordings from the more popular works presented. Probably the most enjoyable of all the Verdi operas is “Rigoletto,”* by reason of the wonderful melodies which characterise the work. An excellent “Rigoletto” series is that which has been arranged by the His Master’s Voice Company, and due for release with the October list. This includes the sparkling “Questa o Quella,” recorded by Caruso (DAIO2), Montenelli (DA--285), McCormack (DA49B), Minghetti (DA800), Schipa (DABBS), and Silva (DA79B). There are three recordings of the monologue, “Pari Siamo,” by De Gorgoza (D 8323), Ruffo (DB--402), and Granforte (D 8836). From Ruffo and Magrini (D 8175) we have the scene “Deh! Non Parlare!” which De Lucia and Huguet (DB36S) gives us the celebrated “Love Scene” (“E II Sol DelFanima”). There are also recordings of the same scene by GalliCurci and Schipa (DA646), and Minghetti and Paikin (D 8952). “Caro Nome” has been almost exhaustively recorded by Galli-Curci (D 8257), Melba (D 8346), Sembrich (D 8431), Tetrazinni (D 8346), Talley (D 8431), Dal Monte (DB830), Scotney (D 1024), and Castles (84503). So you may take your choice. From the same galaxy of talent we have seven gems from Act 11. and three from Act 111. The list is fully catalogued, and should certainly be inspected, for from the various records available a representative set of this favourite opera may be selected.

Alexander Kipnis. the celebrated basso, is now exclusive to Columbia. His wonderful singing in the vocal records of the Bayreuth Festival, recently issued by Columbia, have created unprecedented interest. He invests the part of Mephistopheles with a diablerie of a most realistic degree, and in his treatment of the “Calf of Gold” displays gaiety of a very sinister description. “Le Veau d’or” and Mephistophele’s “Serenade,” from Gounod’s “Faust” (Columbia (.3583). ... Amongst coming discs the following have been cordially reviewed in London:— Miss Margaret Sheridan, the Irish soprano, has taken two of the most beautiful of all Irish songs for her record this month. “Come Back to Erin,’’ and “Believe Me if all Those .Endearing Young Charms” have rarely been sung better. Her tremolo is a little too pronounced at times for my personal liking. H.M.V. DA9OG). Esther Coleman’s recording of “The Lost Chord” is good, and her rendering of “Abide With Me” (Liddle) very dramatic. Miss Coleman has a beautiful contralto voice, which is heard to excellent effect on this record (Zono. A 337). John McCormack made “I Hear You Calling Me” famous years ago. He has just made a new recording, and an excellent one it is. On the reverse, the evergreen “Mother Maehree” is also sung in his inimitable style. (H.M.V. DA9SB). ... Paul Whiteman and his orchestra are heard in “La Paloma” and "La Golondrina,” (Col. 07501). The latest Paul >v hiteman recor, s are already the sensation of New Zealand. He has never been in better form. The record under review tackles two Continental favourites with a dapper adroitness that conceals an astonishing executive skill. Notice the solo passages for banjo, piano, saxophone, etc. Each one of these instrumentalists might figure as a star and yet is content to contribute a small part to the perfect Whiteman ensemble. These are two really fine tunes. _ -

The recording of Jesse Crawford performances on the Wurlitzer orgy has a most satisfying volume. One has the impression that the granphone has been converted into ai organ, and one feels the fidelity of th lower notes. Two numbers, Seta bert’s “Serenade” and “Somewhere: Voice is Calling,” are exceller suited to the instrument. (H.MI EA 325.) From “The Student Prince” a recorded “Deep In My Hart, Dear’ and “Memories,” sung by James Lidr and Elsie Gergely, with orchestra ui chorus from Empire Theatre, Sydnr (Col. 02511). “The Student Prince"’* one of the few musical shows of recer years that is likely to remain perm*: ent. The quality of the music plains why. It has an endless fitness of invention, and these are tv of the most engaging numbers, : tractively sung and pleasingly orcta: trated. James Liddy has an c fected style and very good entuia tion. * * • The notable feature of modern Bn ish music is the superb choral wrtel —unequalled by any other country a the world, and the Philharmonic (founder C. Kennedy Scott gives ns tv. representative pieces from this *■- derful school of musicians. These i“Evening Hymn” (Gardiner) “Psalm 148” (Holst), often call* “Easter Hymn.” The conductors handling of the big choir is master, and the record is important for its t. reproduction of the splendid sing--The contrasting passages in “Evening Hymn” are finely record(H.M.V., D 1304.) * * * An attractive orchestral suite is :: ! “Petite Suite de Concert” (Colentf' Taylor), played by the New Hall Orchestra (Columbia 02w>Though too sound to be dismisses - “pretty-pretty,” this “Petite S®' abounds in dainty rhythms and ca - melodies. It has more than a toof society salon about it, being - rather than deep, and neat ra_ than ambitious. The same can _. of the playing. There are noiv ; edges, and the careful bandU*S please even the most fastidio Leopold Stokowski is °“® greatest masters of that most ps most sensitive and most d'fflcu ‘ cal instrument, the symphony - tra, with its hundred or mo vidual wills. His achievements become part of the history and it is pleasing to lea '"” ... h* man, who has gained wor l?".. tai-. as the conductor of the Philip ! Philharmonic Orchestra, was England and received his “V training there. So great has . popularity of this is now entirely self-support' l *-’ ~, pension fund for the P erao tra gi been established. The orch.„-c?: pioneer in the field of electr - ing, and it has given us records that represent its hig of development. (H.M.V J A Beethoven quartet, ’L buying, is the “Quartet in yrj (Beethoven), played by u tne String Quartet. Columbia, It was Mendelssohn who s this quartet was the most b “Beethovenish” of all \ works. Carl Reismann, York critic, adds that it is « thoroughly “Beethovenish o Lener Quartet’s records. their enormous skill, and the , j; ensemble astounds us; but analysis the Lener Q ual ?? r quality, greatest of all in tn Quartet, is a deep insight thoven’s mind. Only the haps, is a little too neu