GRAMOPHONES

Sun (Auckland), Volume II, Issue 506, 8 November 1928, Page 14

GRAMOPHONES

One of the best of the H.M.V. November releases in lighter vein is a bracket by the famous Piccadilly Light Orchestra led by De Groot. The numbers are de Sylva Brown’s catchy air “Together” and Dvorak's “Songs My Mother Taught Me.” The excellent tonal quality inspired by De Groot is again apparent, particularly in the “Together” number. This has a very fine infectious lilt which should quickly ensure its popularity on the dance floor. (82662).

“There is a Tavern in the Town” and “The Lincolnshire Poacher,” are sung by the Sheffield Orpheus Male Voice Choir, with piano. Columbia 0X1'75. These two traditional airs are so well known as to require no introductory praise. Not so the singing of them, however. Both of these old songs are sung with a stirring sincerity that is delightful to hear, and the exaggerated pathos in “For remember that the best of friends must part” is quaint to the point of laughter. As usual, diction is faultless and the balance of parts perfection—thanks again to Columbia electrical recording.

The repertoire of Zenatello Giovanni includes more than 60 operas. He has sung in the principal opera houses of Italy, South America, and the United States, and for six consecutive seasons has been the principal lyric tenor at Covent Garden. We hear his great voice swell above the big orchestra and chorus in the dramatic scene at the opening of Act I of Verdi’s “Otello.” A fierce storm is raging, and the watchers on the quay exclaim upon the danger of the vessel, but the harbour is safely reached and Otello is joyously received by the crowd. The orchestral accompaniment realistically depicts the fury of the elements. On the other side the tenor sings with Apollo Granforte the famous duet, “Si, pel ciel marmose guiro.” lago fans the flames of Otello’s rage higher and higher, until in a terrific outburst of fury Otello seizes lago, hurls him to the ground, and threatens to kill him should his accusations against Desdemona prove false. There is a dramatic duet when lago pledges his aid to Otello. (H.M.V.. DB1007.)

G. Arangi-Lombai'di (soprano with the Melba-Williamson Opera) sings “Voi lo Sapete,” from “Cavalleria Rusticana,” and “O cieli azzurri,” from “Aida.” (Columbia 03518.) Here is a further recording this week of Pietro, Mascagni’s “Voi lo Sapete,” and it is interesting to contrast this rendering with that of Lina Scavizzi. Signorina Lombardi is the dramatic soprano of the opera company now in New South Wales, and undoubtedly possesses a superb operatic voice. The “Aida” aria is artistically sung and provides easily the best recording of this solo heard for a very long time

It is the “Shadow Song” from Meyerbeer’s “Dinorah” that keeps the work alive, according to a famous commentator of opera. The famous passage is so graceful and appealing that it has been one of the great numbers r>f sopranos from the days of Jenny Lind. It was the famous “Shadow Song” which set the seal to the fame of Galli-Curci in Chicago in 1918, and it is little wonder that her exquisite record of the aria has proved most popular. Graphically does she portray the demented Dinorali; wandering through the woods in moonlight, seeing her shadow flit before her. She hails it as a friend, and, to waltz music, bids it dance and play in the moonlight, while she sings of her love for the absent Hoel. Here is laid bare the wonderful art of the bel canto school. (H.M.V. DASI 7.)

Bringing a breath, of the salt spray with him John Goss provides a treat for lovers of quartet singing with two typical sea chanties, “Blow the Man Down” and “Tom’s Gone to Hilo.” The artistry of Goss’s work is very evident in these numbers in which he gains his effects without ever obtruding himself upon the quartet. In pleasing contrast are a bracket of Scottish songs, “Lowlands” and “Highland Laddie.” These are four fine numbers. (H.M.V. 82695).

Francesco Merli is another tenor who made a great hit in Australia. His singing of the scene from “Otello” on this disc will explain his instant success with the Australian public. He is a tenor who delights in robust arias, and he carries them through with a gusto that is most captivating. The “Otello” air proves that in really dramatic vein he is at his best. “Ora e per sempre addio”—“Otello” (Verdi). Columbia 03520.

One of the big musical events of next year will be the visit of Dusolina Giannini, the American soprano, whose successes in Europe, England, and her own country on the operatic stage and the concert platform have been phenomenal. Some of her loveliest achievements have been in the domain of pure lyric song-—in simple legato melodies of the type where the utmost correctness of intonation is the first demand on the artist. Examples of this are shown in her record which embraces “Cielto Lindo,” a Mexican folk song, and “Cormela,” a SpanishCalifornian folk ,song. These are sung in their fascinating rhythm with simplicity and dignity. (H.M.V., DA 839.)

A good dual record (03552) contains two good numbers by Lomanto and Scavizzi. Lomanto sings “II Sogno,’’ from Massenet’s “Manon,” and Scavizzi “Tacea le notte placida,” from “Trovatore” (Verdi). The beautiful tenor aria, “The Dream,’’ is wonderfully beautiful as sung by Signor Lomanto. This brilliant tenor, it will be remembered, created a furore in Sydney for his artistic singing of opera. The reverse side gives us another song by Scavizzi. Her interpretation of “How Peaceful is the Night” is a sublime piece oi art. The accompanying orchestra in both pieces also deserves credit for the richness and crispness of its playing.

It may surprise music lovers in this country to know that harpsichord recitals are most popular in Eurone and America. This instrument has" a charming silvery tone that has not been replaced by the piano, and it brings out the works of some of the great composers, who used it extensively, with a beauty not known to the piano. Violet Gordon Woodhouse, who has recorded several harpsichord numbers, plays with a musical finish and poetic feeling. There is a stamp of the artist in her recording of “Sonata in D Major’’ (Scarlatti), and “First English Suite” (Bach), which is coupled with “Harmonious Blacksmith” (Handel). (H.M.V., E 204 and D 645.)

With the possible exception of “Scots Wha Hae” there is no more stirring Scottish song than “MacGregor's Gathering” (Lee), and Joseph Hislop’s interpretation is fully alive to the stirring theme of defiance. His big tenor voice gives power to the climaxes, and adequate expression of beautiful change of tempo. In contrast, he sings on the reverse side. “Bonnie Wee Thing” (Fox), a song of lyric beauty. (H.M.V., DA749).

Something quite away from the ordinary run is a bracket of Australian Bush Songs by James and recorded by Peter Dawson. These have been released with the November issue. Although these have been published for several years they are not generally known, with the exception perhaps of “The Stockrider’s Song” and

“Comrades of Mine,” which have been sung at Auckland concerts by Mr. Frank Sutherland. On the reverse side are “Bush Silence,” “Bush Night Song,” and “Land of Who Knows Where.” The two first are expressive little numbers, and they are excellently sung bjr Peter Dawson. An Australian himself, Peter Dawson has had little difficulty in catching the right spirit. (H.M.V. C 1428).

“Das Wandern” and “Der Leiermann” (Schubert), are sung by Sir George Henschel, baritone. Col. 03594. These two titles are a valuable contribution to the Schubert Centenary records, for Sir George Henschel is one of the : neatest “lieder” singers of Europe, and the fact that he is seldom to be neard in public now adds even greater value to them. They are astonishing in their vitality and realism, and his interpretations set a very high standard for other singers. The songs are well contrasted and a remarkable feature is the variety the singer infuses into his treatment. A vocal record that does unusual credit to the electrical recording.

Vibrant and living, with a full yet sweet volume, Schubert’s “C Major Symphony” is one long stream of melody. The London Symphony Orchestra, conducted by Dr. Leo Blech, brings out the wonderful modulations with musical artistry. The recording is exceptionally good, too; the volume is rounded, clear; and the whole work has been beautifully reproduced. Altogether, it is a highly effective and brilliant rendering. (H.M.V. D 13901395.)

From “Lohengrin.” the Finale, Act 1, and “King’s Prayer,” in English (Wagner) is sung by Miriam Licette, Muriel Brunskil], Frank Mullings, Kinglsley Lark, Thorpe Bates and grand opera chorus, with orchestra conducted by Sir Hamilton Hartv. Columbia 02592. Here is, indeed, an English ensemble that has really entered into the spirit of Wagner. Both scenes are brilliantly sung and played, and come as a most interesting contrast to the Bayreuth Wagner Festival music recorded almost a year ago. This disc again makes us realise the tremendous advance in choral reproduction that Columbia’s microphone process has achieved.

The November H.M.V. list includes some good dance numbers. Paul Whiteman’s orchestra presents two good fox-trots, with the usual vocal choruses, “I’m Winging Home,” and “When You’re With Somebody Else” (EA346). The Troubadours give us two waltzes, “Cielto Lindo,” and “La Golondrina” (“The Swallow”), two numbers which should be very popular in view of the increasing vogue of the waltz (EA349). Ted Weems's orchestra presents the fox-trots, “Nothin’ On My Mind,” and “He’s Tall and Dark and Handsome” (EA347). Coupled with the Troubadours, who give us the waltz, “Ah! Sweet Mystery of Life,” from “Naughty Marietta,” Nat Shilkret’s orchestra presents “The Bells of St. Mary’s” as a good swinging foxtrot (EA345). The latter, in “Just a Little M ay from Home” (fox-trot), are coupled with Waning’s Pennsylvanians in the fox-trot “Hello Montreal” (EA352). Another good waltz disk is EA349, with the Troubadours and the Tem Weems Orchestra respectively, in “Beloved” and “Dream River,” two captivating waltzes.

Boccherini’s “Minuet ’ is one of those numbers that always makes an instantaneous impression and which strangely enough, never appears to lose its delightful piquancy. Those who attended the Pavlova season in 1926 will perhaps remember the very fine dance by Novikoff to this number when it was exquisitely played. A splendid reproduction is now giTen by the Olof Sextet, who play it with dt lightful clarity and expression. On the other side is Cyril Scott’s “Cherry Ripe.” which, although hardly as

melodious as the “Minuet,” is also pleasing. (H.M.V. 826971.

Joseph Szigeti is heard this month in “Largo” (Veracini-Jorti) and “Slavonic Dance in G Minor” (Dvorak Kreisler). Columbia, 041 X. Rumour places Szigeti nearer and nearer toward the leadership of all living violinists. He has been the great find of the American season and the critics cannot praise him too highly. His very flexible tone is slender, full of life and in tensity, his rhythm is as explosive as his line is free and broad, and he convinces completely because his statements are made without effort. All these things are in evidence on this fine record.

Undoubtedly one of the gems of the older pianoforte recordings habeen made by Cortot, who gives us “Paraphrase de Concert” (Liszt), an

adaptation of tbt famous quartet from “Rigoletto. and “Invitation to the Mfaltz” (Well er>. Cortot is the greatest of the French pianistsHis style is bril liant. clear, and »'• all times poetic, and his conscious control of tone is a resource achieve: by few pianists. ‘

dazzling, almost mercurial quality one number being contrasted sombre, almost orchestrally disk buted colours in another. I know o. no record that excels this in t° n quality. (H.M.V., DB168.)

“Am Meet” and “Der LindenbauE (Schubert), are sung in German? Alexander Kipnis, bass. (Col. 041 > Alexander Kipnis, the Russian basso possesses one of the greatest Vo ' before the public. In securing Columbia acquired an artist of very first rank, who first figured the Good Friday music from tf “Parsifal” Bayreuth records. “ cently he made a successful recor ' two excerpts from “Faust” and n he gives a further proof of his satility in two lovely Schubert so s : “Am Meer.” as the title impbeß- - song of the sea. "The Lin ' Tree” is one of Schubert’s finest s and in Kipnis we find an ideal m preter with a voice of superb Q u

Massenet’s fine opera, T based on Anatole Frances “ n „ romance of the monk and the “ tesan, has some very fine musical bers, many of which have a vogue on the concert platform. possible to obtain from the -b recordings a sound and repf** e glimpse of the opera in the rs titles; "Ahime! Fanciullo (Act), Ruffo, DA354; “V od V?js4 (“Ecco Dunque”), Ruffo ' Pait gi “M’hitehili,” DA437; “Qb 1 ,! , j t io! Severe?” Edvina. DA447; (violin), Chemet. D 84.2, k gjjs 235, Kreisler, D 8319: “Ah. _g... Seule” (Act II.), Dew>s ; “L - Amour Est une '' ertu ’._ i - lie' DA447; “D’Acqua Aspergun III.), Battistini-Janui, VB2 } b ' M - “T* d’Sau,” Heldy-Ansseau, IMS* ■ 34 ;: Souvient-il” (finale), Farrar, njeli.' Lewis, DBS10; “A Messager de Fanny Heldy, DA94O.