GRAMOPHONES

Sun (Auckland), Volume II, Issue 524, 29 November 1928, Page 14

GRAMOPHONES

It has now become a habit each month to look up the H.M.V. list to learn the latest from Chaliapin. December’s offering is “In the Town of Kasan” (Varlaan’s Song) from “Boris Godounov” and “Song of Prince Galitzky” from “Prince Igor.” In the former number, in which the vagabond monk Varlaan sings the song of Ivan the Terrible and the siege and sack of the Tartar city of Kasan, Chaliapin sings or rather enacts the story, with telling emphasis. It is a virile study. The drunken song of Prince Galitzky is also sung with great conviction. Both are very interesting. (H.M.V. DA891.) * & =* Two attractive band numbers are “Switchback” and “On With the Motley,” played by the Australian Commonwealth Band. Columbia 01233. We all enjoy a spirited exhibition of solo playing, and the trombone part of “Switchback” is sure to be well received. It displays rare feeling, and not a little sense of humour. On both sides the soloist is well supported by the Commonwealth Band, the brass being especially well handled. The phenomenal voice of Marlon Tally, the American lyric soprano, remarkable for its freshness and sweetness, especially in the upper register, has captivated the opera-goers to

the great Metropolitan Opera House, New York, where the highest fees in the world are paid and the best is demanded, but it is not only great in operatic arias. Miss Tally also takes her place among the great ballad singers of the world, and there is no more charming disk than that which gives us “Cornin’ Thro’ the Rye” and "Home. Sweet Home.” These are household songs sung with rare beauty and sweet simplicity. (H.M.V., DA783.) Peter Dawson appears to take a delight in selecting something entirely different for each month. If it is in order to demonstrate versatility he certainly succeeds. This month his bricket is the recitative “I Rage, I Melt, I Burn” and “O Ruddier than the Cherry” from “Acis and Galatea” (Handel) on the one side and “Honour and Arms.” In the aria “Ruddier than the Cherry” he gives an excellent interpretation, meticulous enunciation being an outstanding feature. It is included in the H.M.V. December list.

An artistic little number by Leonard Gowings which is released this month is “Murmuring Breezes” (Jensen) and “Angels Guard Thee” (Godard). The first number is a very dainty little musical poem which is sung with splendid artistry. Gowings has a rich lyric voice of exceptionally pleasing quality and in this class of song he appears to be very much at home. A violin obbligato by Marjorie Hayward adds to the pleasure of the performance. (H.M.V. C 1444.) * * * “The “Blue Danube” waltz, Op. 314 (Johann Strauss), in two parts, is played by Felix Weingartner and the Royal Philharmonic Orchestra. Columbia 04169. Even in these democratic days it is a sensation to note the Royal Philharmonic Orchestra, in their hundred-and-something year, nibbling at the confections of the waltz king. Well, a very satisfying job they make of it. If their rendering doesn t quite hit the champagne-sparkle the “Blue Danube” needs, it has a completeness, a finality, that fills the ear, and a most charming variety of tone. Weingartner’s tempo, even if a hh*' ! serious, is very musicianly. * » » The choir of St. Margaret’s, Westminster, gives three fine anthems tu His Master’s Voice December issue. They are “Lead us Heavenly father. Stainer’s “Sevenfold Amen” and “The Voice that Breathed o’er Eden” (Gantlett). For choir members there is much to learn from these numbers. They are sung with splendid expression, the requirements of light ana shade for devotional effect being o served with nice taste. » » * Four Indian Love Lyrics * v Woodforde-Finden), are played as organ solos by Pattman, on a Compton Theatre organ. Columbia ■ Those who know Pattman’s fine playing will be prepared for a treat on hearing his version of the Indian bore Lyrics. Notice the simple and P effective devices he employs to gR e the authentic Eastern colouring. Tnes great melodies have never been gtv to better advantage. * » * The fourth symphony of Brahms » far from being a forbidding work, contains a great deal that is supreme . beautiful, but it contains so muca that its contents are not complet . discovered at first hearing, but co tinue to reveal themselves, even fresh aspects, upon each further P* formance. It consists of four ba°v ments. The first is a gentle allegro with a very beautiful melody of wistful character for the first viou®The second is simplicity itself, am as performed by the London Symphony Orchestra under Herma Abendioth is characterised gracious warmth and lucidity. The is vigour in the scherzo or third . : ment, and the finale is a colo piece of architecture, built m form of a set of variations upon theme announced in the first bai» (H.M.V., D 1230-35.) The “Valse des Fleurs” and “OJ®* ture Miniature," - from the "„ re crackers Suite,” by Tchaikovsky, ingeniously played by Reginald on the Wurlitzer. The diverse e obtained make up for the a orchestra, and few will quarre g Mr. Foort on hearing this attra disk. (H.M.V., C 1356.)