GRAMOPHONES

Sun (Auckland), Volume II, Issue 512, 15 November 1928, Page 16

GRAMOPHONES

Backhaus is on piano players in t] He plays the class

e of the greatest le world at present, 2 studies of Chopin exactly as they should be played. He shows us in H.M.V. D. 8.1132-4 their means and purpose, explains them, makes us realise that if we practise them with this model performance in mind, we shall make Backhaus genuine progress in piano playing. These are not delightfully difficult short piano pieces, but studies written by a great pianistcomposer. Backhaus plays more Chopin on D. 8.1131, the “Waltz in E Flat,” and the “Berceuse.” The waltz is brilliantly played. The “Twelve Studies” are not recorded in order, but are grouped as far as possible according to the key in which they are written. An important point from the purchaser’s point of view is the provision of an album for the records; as the “Studies” occupy only three records, and it is not economically practical to supply a free album for only three records. The fourth record of the popular “E Flat Waltz” and the “Berceuse” is included in the set of records to make it possible for the purchaser, if he wishes, to have an album to range alongside that of the Preludes.

Louis Graveure sings excellently “The Bandolero” (Stuart) and “The Yeoman’s Wedding Song (Poniatowski and Hayes). (Columbia 02662). With consummate skill and heart-filling satis faction, Louis Graveure translates alike the greatest operatic arias or the simple English ballads. His voice is vibrant and rich, full of colour, and pure arid powerful as the finest tones of a lyric tenor. The two songs on this disc are sung with characteristic vigour and real artistic merit.

The flute is the most agile of all the wind instruments and can be played with great rapidity and clarity. The higher notes, which are the better known, are rather expressionless, but the lower ones have a beautiful rich quality which at times approximates to that of the softer notes of the trumpet. A beautiful example of the use of the middle and lower ranges of notes is to be found in the opening bars of “L’Apres-midi d’un Faune,” and an illustration of the wonderful agility of the flute is provided in a short trifle by Rimsky-Korsakov called “The Flight of the Bumble Bee” (H.M.V.).

“Trio No. 1 in B flat” (Schubert Op. 99), as played by Yelly d’Aranyi (violin), Felix Salmond (’cello), and Myra Hess (piano), parts 1-8 (Columbia 04138-41), is a new rendering of Schubert’s lovely trio. Columbia has secured two new artists —Yelly d’Aranyi and Myra Hess. Both combine with that master of the ’cello, Felix Salmond, in producing possibly the most notable recording of this melodious work to date. From the opening allegro moderato to the final allegro vivace, the work is handled in true keeping with the spirit of Schubert’s writing. It is to be hoped that these three brilliant players will be heard again together! __

Tastes differ, of course. This, however, is a very good estimate of the best of the late Caruso’s records: (1) D.A.102, “Di tu se fedele” and “Questa o quella”; (2) D.A.103, “O sole mio” and “’a vucchella”; (3) D.A.117, “Come un bel di” and “O Lola, ch’ai di latti”; (4) D. 8.111, “Vesti la giubba” and “No, pagliaccio non son”; (5) D. 8.122, “Testa adorata” and “Io non ho ehe una povera stanzetta”; (6) D. 8.142, “Santa Lucia” and “Core ’ngrato”; (7) D.K.103, “Ave Maria” and ’’Blegie”; f 8) D.K.104, “Si vous l’aviez compris” and “Lex deux serenades”; (9) 'D.8.112, “Ah si, ben mio” and “O tu ch in seno”; (10) D.8.69G, “Cielo e mar and Lolita”; (11) D. 8.129 “Spirto gentil” and “Ideale”; (12), D. 8.126, “Parmi veder le lagrime” and “Una furtiva lagrima.”

In these days of heated arguments about the relative value of “jazz,” the very term “dance music” has fallen rather into bad odour. But nevertheless “dance music” still includes such lovely old things as the Strauss waltzes. Rachmaninoff plays the Strauss-Tausig waltz, “Man lebt nur einmal” (“One Lives but Once”) H.M.V. D. 8.1140. What could be better! The Taussig transcription is full worthy of Strauss’s immortal waltz, and as for Rachmaninoff, it is no wonder that he has been named

"the Grand Duke” of all pianists. His performance of the waltz is all one expects it to be; particularly some incredible octave passages toward the end make one gasp.

The Schubert “Sonatina in G Minor” as played by Isolde Menges (violin) and de Greef (at the piano), breathes a cheerful, happy air that is so spontaneous that it would be hard to refrain from responding to its cheerful gaiety. It is virtually a wealth of happy-sounding melodies and if all the people (and there are quite a number) who believe a Sonata or Sonatina is just a dreary five-finger exercise, could only hear this little work there is no doubt whether they would be “conTerted” or not. H.M.V.

I was tremendously impressed, says a writer in “The Gramophone,” by Maria Olczewska in the “Habanera” from "Carmen,” and “Printemps qui commence.” My own opinion is that this gives the most realistic operatic effect we have had up 4o date. It has the same quality as that magnificent record from Germany of Berlioz, “Roman Carnival.” Another record of “Carmen” —the lovely duet between Don Jose and Michaela, sung by Ausseau and Fanny Heldy—was a most welcome addition to our repertory. I have never liked Ansseau so well, and a French soprano makes all the difference.

“Giggling Gertie” and “Dirty Hands’ Dirty Face,” are two bright numbers sung by Vaughin de Leath, comic vocalist. (Columbia 01200). Vaughn de Leath’s reputation as a comedienne is growing rapidly, and her splendid records are procuring her a following overseas that should make her fortune if she was ever to tour. Both these items are really entertaining and should further augment this artiste’s repute as a comedienne of the very highest order.

Readers thirsting for the best record of this, £iat, or the other are always with us. Here is a recent questioner who wants to know the best recordings of the following: “Celeste Aida,” “Humoreske” (Dvorak) as violin solo, “O Paradise,” “Non piu andrai,” “Invitation to the Waltz,” orchestral, “Barcarolle” (“Tales of Hoffman”); and here is the reply: Martinelli, H.M.V., D 8979; Kreisler, H.M.V., DB 1091; Caruso, H.M.V., DB117; Battistini, H.M.V., D 8736; Philadelphia Symphony Orchestra, H.M.V., D 1285; Gluck and Homer, H.M.V., DA453, or Bori and Tibbett, H.M.V., DA9I2.

“There Ought to be a Law Against That” and “Sunshine,” are sung by Little Jack Little with piano accompaniment. (Columbia 011332). Little Jack Little has gained legion admirers —his style is melodious and unforced, and there is no question but that the result is art, In both senses of the word. Particularly does he excel in sentimental ballads. In the two items under review, Little Jack Little is at his best.

A living picture of Squadron-Com-mander Kingsford Smith’s and FlightLieutenant Ulm’s voices—their inspiring messages to their fellow Australians, is now available in every home throughout the Commonwealth. These two intrepid aviators, by means of an electrical recording apparatus—the only one of its type in Australia have had the pleasure of making the following records:—“The Trans-Pacific Flight of the Southern Cross; Part 1' Kingsford Smith’s Story, and Part 2, C. T. P. Ulm’s Story.” The Columbia Gramophone Company of Homebush, Sydney, had the honour of recording these two wonderful, realistic stories of an epoch-making flight. Here is an opportunity to secure a souvenir of their own voices. Each speech is a spontaneous expression of their experiences on the Trans-Pacific flight. * • * , A v ery interesting record contains The Gipsy Baron” Selection (Johann Strauss), played by Johann Strauss ™£.„^ ympllony ° rch estra. (Columbia 02673). On this delightful disc Johann Strauss the Third, gives us a tuneful selection from his grandfather’s operetta “The Gipsy Baron.” The music is not infrequently heard even to-day and it is a striking reminder (as was the polka last month) that the Waltz King was capable of producing melody of another kind than that set in waltz time.

Derek Oldham and his charmit: wife, Winnie Melville, have been de lighting huge audiences in “T! Vagabond King.” They have ahead made son' fine records of music froi this play, nd now Derek Oldham la: turned for a moment from light open to ballads. He sings them chaminfl: and the record has done a miraculous thing maintaining that delightf freshness that is a characteristic of h: performances.

One of the new H.M.V. records is selling like hot cakes, bf *• accounts, is Frank Crumit’s “Soaf 1 the Prune” (E.A.366), as quaint in >■ way as this whimsical artist’s rcce“Abdul” scream. _