GRAMOPHONES

Sun (Auckland), Volume II, Issue 518, 22 November 1928, Page 14

GRAMOPHONES

As a prodigy of eleven years of age. Erica (or, as the name is sometimes spelt “Erika) Morihi played a Mozart violin concerto under the conductorship o f the magnetic Nikisch. Much catgut has passed under her bow since then; her playing has broadened, deepened and matured until now she has some claim to be reregarded as among the world’s few female fiddlers of genius. Those who appreciate the joy of something done supremely well will value her first electrical record (H.M.V., D1J197). She has been compared with Heifetz, but be the comparison as it may, her treatment of the Air from Goldmark’s A minor Concerto, as also of the second Slavonic Dance of Dvorak, leaves little to be desired.

Suggia is another woman string player of superlative moi'it; indeed, it is doubtful whether we possess a ’cellist who may be said definitely to be her superior. To that haunting old Jewish melody, “Kol Nidrei,” as treated by Max Bruch, she brings a rightful expressiveness and rich tone (H.M.V., DB1083).

“Menuett” (Haydn) and ‘"Chanson Yillageoise, No. 2” (Popper), played on the cello by Caspar Cassado (Col. 03595), are two excellent numbers. This great Spanish cellist plays with exquisite refinement and finished style Haydn’s delightful minuet, originally transposed for the violin by Burmester, and after evidently used by Moffat as basis for his cello version. On the reverse side Cassado plays Popper’s melodious "Chanson Villageoise” (“Country Dance”), a composition favoured by all cellists, and in this case exceptionally finely played.

Two Bransby Williams Monologues are “The Difference” (Kelly and Longstaffe) and “Not Old” (Julius Day). (Columbia 0117 S). Here we have another re-recording of two prime favourites. Bransby Williams is undoubtedly an artist —inimitable in his own sphere, and his popularity in spite of passing years goes on as strong as ever. The new process has of course improved the gramophone enunciation enormously.

‘Andante Religiose” (Thome) and “Melodie” (Gluck-Squire) are played by W. H. Squire, ‘cellist. (Columbia 04159). This is a re-recording of Columbia’s old disc, L 1477. His replaying of these old favourites is as flawless as ever, and the electrical process now gives it added enchantment. Thome’s “Andante” Is a easterly piece of work, and a double accompaniment is played on piano and organ. The Gluck “Melodie” is of course Squire’s happy transcription of the air for violincello playing. Another disc that remaking has vastly improved. * * » Hambourg is nothing if not a very fine Chopin artist. The H.M.V. December list contains an excellent Chopin bracket by this artist, comprising “Waltz in G Flat,” Op, 70, No. 1; “Waltz in D Flat," Op. 4, No. 1; “Polonaise in B Flat Major,” Op 71, No. 2. Hambourg has a delicate and very expressive touch, comined with virtuoso brilliancy which enables him to ripple those telling Chopin notes off the piano with delightful abandon —like coloured dewdrops shaken from a fragrant Mark Han.bourg bough. He is recorded with remarkable clarity. One side is devoted to the polonaise, which is played with the same brilliance as the bracket on the reverse side. (C 1451). „ * * * “La Boheme” (Puccini), Mi Chiamano Mimi; and “11 Bacio” (Arditi), are sung in Italian by Maria Kurenko, soprano. Col. 04135. Maria Kurenko’s rendition of “II Bacio” is a perfect attainment, characterised by brilliance, expressiveness, and a compelling reality—perfected art by one of the greatest singers of the day. Another splendid record to add to this artist's growing repertoire. * Jfc £ Alfred O’Shea now sings for us “Little Town in the Ould County Do*n” and “Macushla” (Col. 03586); “When Song is Sweet” and “My Desire” (Col. 03587). All those who heard him in person will agree that as a ballad singer, Alfred O’Shea has few, if any, equals. He sings these new recordings tvith unadorned simplicity, yet suffusing that beauty and charm that is the magic of the visionary rather than of the auditory—cer-. tainly no finer rendition could be desired. A very appropriate Christmas at-

mosphere is conveyed by John McCormack in the “Adeste Fideles” and “The Palms” (Faure), which he records for the H.M.V. December list. McCormack's splendid quality and artistry enables him to sung the Christmas hymn with convincing appeal. The chorus in both numbers, which is sung by the Trinity Choir, is very fine. (H.M.V., DB9S4). i 'kill ole novelties are “Chiquita” (Wayne and Gilbert) and “That’s My Weakness Now” (Green and Stept), played by Ukulele Ike. (Columbia ; 01265). In an age when almost any- - one can strum something or other on , a Hawaiian guitar it is not easy to gain fame with a ukulele. But Cliff Edwards, better known as Ukulele Ike, has accomplished this feat. There is a cheerful freshness about these two recordings that comes like spring weather after a season of whining hula-hula lullabies. “That’s My Weakness Now” is perhaps the better of the two items. * * *= The more »one hears of Dusolina Giannini, the more one looks forward to her New Zealand visit, a treat which E. J. Gravestock has promised us. She has a voice of exceptionally pure quality, wide colouring, and flexible range, and, furthermore, artistic perception. The H.M.V. people are exploiting this singer a good deal lately, and this month they continue the good work with another fine record, which contains “Carmena Waltz” (Lane Wilson) and “My Mother” (Marsden). The numbers verge more on the popular than usual with this artist, who nevertheless makes them very enjoyable. (H.M.V., DA93B). • * * Sascha Jacobsen plays “From the Canebrake” and “Midnight Bells” delightfully. His training and his studies, his remarkable initial concert success, and his instant acceptance as a great violinist are all incidents in the American career of Sascha Jacobsen, probably the first great master of the violin who achieved fame without stepping outside the bounds of his own country. He has recently made another fine series of exclusiv records for Columbia, of. which these two are of the finest. * * * For their “Magic Flue” overture, the H.M.V. Company has called on the Berlin State Opera . Orchestra, conducted by Dr. Leo Blech, who gives a sparkling interpretation of Mozart’s brilliant work. The score of Mozart’s last opera was begun only a few months before his death on December 5, 1791, and a day or two before the production the composed discovered that he had forgotten to write an overture. It is said that he wrote it in a few hours. The limpid beauty of the main theme is beautifully handled by this talented German combination, and the brilliant climax is handled with splendid animation. (H.M.V. E 464). “To A Wild Rose” (McDowell), and “Berceuse de Jocelyn” (Godard), are played by Felix Salmond (violoncello). (Columbia 03591.) Here are another : two items this week from the bow of . Felix Salmond. These solo pieces, comparatively simple as they are, demonstrate . that he is a virtuoso j whether he plays in solo or trio. He is, in fact, the leading as well as the , most popular ’cellist in America to- ■ day. Whether he will continue in the ' United States is a moot point, for he has been invited to head the ’cello de--1 partment of the Berlin “Hochsehule,” a Conservatory of Music second to none in Europe. * * * De Groot and the Piccadilly Orchestra can always be relied upon to provide something interesting, and for December they will not disappoint their numerous admirers. Their latest is “Lolita” (Ferrete-Beissier) and “If I Only Had You” (Davies). “Lolita,” a dainty little piece with an intriguing Spanish flavouring, will find instant popularity. Both performances have that unmistakable Groot finish. (H.M.V. 82713). * * * From “Cavalleria Rusticana,” Columbia gives us “Voi lo sapete o mamma” (Mascagni), and from “La Tosca, “Vissi d’arte” (Puccini). Both are sung by Lina Scavizzi, soprano. (Columbia 03540). Lina Scavizzi is without doubt the finest interpreter of the title roles in “Tosca” and “Manon Lescaut” that the world has yet seen. In these two arias above, her glorious voice may be heard at its richest. The Mascagni air is excellently sung, and in Tosca’s “prayer” the rich beauties of her voice are fairly to be revelled in. Scavizzi has not only unusual natural ability, but also a culture that is complete in knowledge and application. * * * That exquisite melody, Handel’s “Largo,” occupies pride of place in the H.M.V. orchestral numbers for December sent us for review. It is played by the Chicago Symphony Orchestra, conducted by Frederick Stock, and really excellent treatment is accorded, it. This, indeed, is “musique cathedralesque.” It would be difficult to imagine a better setting for it than Westminster, where Handel’s sublime music could roll out ] in tone-waves over the Poet’s Corner, where England buried him. The precise organ tones of the bass, the pure quality of the strings, and the delightful freshness of the interpretation, make it a record well worth uossessing. In addition, there is a delightful performance of Dvorak’s “Slavonic Dance” on the opposite side. It opens with the bright brisk tempo of the typical Slav dance, w'hich merges later into a dreamy little fragment of a melody which one would think Dvorak had discovered lying away j somewhere on a top shelf. For the climax, Dvorak brings back again the rushing tempo of the dance.