GRAMOPHONES

Sun (Auckland), Volume II, Issue 594, 21 February 1929, Page 14

GRAMOPHONES

Records by Evelyn Scotney", the , Australian soprano, who is at present j visiting her native land and who will probably be heard by New Zealand- j srs this year, has been responsible j cor several outstanding discs during i Che last few months. One readily re- j calls her “Caro Nome" from “Rigo- 1 letto.” Now she gives two numbers | by English composers of other days, j “Bid Me Discourse” (Arne) and ! “Where the Bee Sucks” (Bishop) and } in connection with these it is inter- [ esting to note that Madame Scotney j is going to feature old songs in her j forthcoming tour. There she will ! sing in the costume of the period. | The two songs under discussion are given by an artist who sings easily and joyously. They exhibit a lovely j type of soprano voice, coupled with | expressive and intelligent singing, free from mannerism. (H.M.V. E 494). A Schubert medley, parts 1 and 2, played by Herman Finck and his orchestra (Columbia 02721-22), is a fitting bonne-bouclie to the spate of Schubert Centenary records. This medley of Schubert melodies is a sort of precis of all that has gone before. The arrangement, as it should, contents itself chiefly with the more familiar tunes. The Schubert lover will hear some gf his favourite songs —“Hark, Hark, the Lark,” “The Erl King,” and “Ave Maria,” for example; snatches from the “Unfinished”; some of the “Rosamunde” music and little gems of tunefulness from every corner of Schubert’s plentiful treasury. The arranging has been, most skilfully accomplished. Links are easy and natural, and the tone of the whole Is expressively varied to suit each mood. One of the most enjoyable recordings, for high-brow and low-brow alike, that has yet- appeared. The Wurlitzer organ king, Jesse Crawford, contributes two splendid records to this month’s issue. On the first there is an Irving Berlin number, “I Can’t Do Without You,” and a melodious descriptive piece, “Dance of the Blue Danube” (Fisher). On the second record are “For Old Time’s Sake” and “Rosette.” Crawford is a genius at the console, and his variations and effects are always in keeping with the theme. They are artistic embellishments. (H.M.V., E.A.404 and 405.) Two attractive Viennese waltzes, “Jolly Fellows” waltz (Lustige Bruder) (Vollstedt) and “Hydropaten” waltz (Jos. Gungl) are played by the New Concert Orchestra, conducted by Anton Weiss. (Columbia 02672.) Now that the Viennese Waltz is coming hack to vogue we are reminded of some of the attractive tunes that have been buried so long. “Jolly Fellows” is capital—a bright and rhythmic melody that moves along with so much insouciance that we wonder why It was ever allowed to collect the dust of oblivion. Anton Weiss gives a sparkling interpretation of both. The strings have body and bite, and the woodwind, carefully handled, adds a touch of romance to the atmosphere of Viennese gaiety. From Puccini’s “Turandot” Lotte Schoene (soprano) sings “Signore, ascolta,” and “Tu che di gel sei cinta.” (H.M.V., E. 503). The two passages allotted to Liu form the happiest Inspirations in the opera of “Turandot,” says a critic. They are genuinely original. Puccini has invested them with a world of tenderness and pathos, and Lotte Schoene brings this out fully in the present instance. Her tone is very pure; her phrases have the ring of true feeling. The orchestral playing is most refined. “Faust” Is always classed as “everybody’s favourite,” and the Columbia Symphony .Orchestra’s new record, a well-arranged selection of the music explains why. The music is bright, bold, and ,has that memorable qual ity which makes a good tune permanent. Not a difficult task for such £ considerable orchestra as the Colum bia Symphony, and they tackle it with distinction. Should be very populai with all opera-lovers. “Faust” selec tion, parts 1 and 2 (Gounod). (Colum bia 02705.)

Judged by the “His Master’s Voice” records of the Cesar Franck “Symphony In D Minor,” played by the Philadelphia Symphony Orchestra, the symphony Is a work of singular beauty. It Is the sole example in this form which Franck has left us. It is also an exceptionally popular work; a paradox in itself for its essential qualities are just those which, you would imagine, are not likely to make a wide appeal to the general public. It would not be any exaggeration to say that this work is “all beauty,” for there Is such a variety that the question of a surfeit of beauty never arises. The Magic Garden Scene from “Parsifal,” “Klingsor’s Magic Garden and Flower Maidens” (Wagner), Parts 1-4’, is given by Bruno Walter conducting the Royal Philharmonic Orchestra. (Columbia 1746-7). Bruno Walter’s renowned conductorsliip of Wagnerian music can be fully appreciated on these two discs. It is a demonstration of how well even above other nations, an English ensemble can interpret the spirit of Wagner’s music. “Parsifal” is full of gloriously conceived symphonies, and his music calls to mind our English legends of King Arthur’s Knights on their quest for the Holy Grail. The orchestration covering the Magic Garden and Flower Maidens’ scene Is of especial beauty, and handled by Bruno Walter it is a gramophone item that most of us will want to own. Among the odds and ends of recent Zonopnone recordings should be mentioned Jimmie Rogers’s items, “Away Out on the Mountain,” and “Never No Mo’ Blues,” with guitar (E.E.109); Bud Bellings’s tenor whimsicality, “I Tore Up Your Picture When You Said Good-bye, But I Put it Together Again,” and the Billings-Robison duet, “Do You Still Remember?” two popular titles capably rendered (E.E. 115). Esther Coleman’s fine contralto disc, “The Dear Homeland,” and "My Ain Folk” (5107); and Albert Richardson’s (bass) offerings of old English folk songs, “The Old Sow,” and “Buttercup Joe” (6178).

The Cauve Souris Company, in “A Russian Barcarolle” and “Round the Hay Wain” (Columbia 02525) give an excellent contribution. These brilliantly' clever Russian entertainers excel themselves in two finely contrasted numbers—a languorous and hauntingly lovely Russian Barcarolle, once a favourite song of the imraoi',’ Patti, and a breathless medley of Russian songs called “Round the Hay Wain.” The part-singing is dynamic and dramatic, and even the foreign language cannot prevent it from putting over the true bucolic flavour.

Sophie Braslau, in “Just a-Wearyin’ For Y’ou” (Jacobs-Bond and Stanton) and "I Love Y r ou Truly” (from “Seven Songs”) (Jacobs-Bond). (Columbia 03618.) Chicago has bailed Sophie Braslau as the

greatest vocal find i of the post-war | years, and when | Chicago gets enthusiastic over a I voice, that voice is good. There is no | more critical audi--1 ence in the world. On this record her material In no way [j matches her voice, but those who take

Sophie Braslau. delight in a magnificent contralto, artistically phrased and handled with delicious shading, will forgive the banal songs she sings. Recording is brilliant. Dolores Del Rio, the Mexican film artist, is also a distinguished singer. This month’s issue contains a record of two songs sung by her, which gives as good an idea of her vocal abilities as a first-class American film does of her acting abilities. On one side is the popular number “Ramona,” while on the other is a Spanish song, composed by Tata Macha, called “Ya Ba Gayendo.” This is sung in Spanish. Her singing of “Ramona” is especially interesting, for a little while ago she appeared in the film of that name. She has a good mezzosoprano voice and, although there is an orchestral accompaniment to both songs, her voice can be clearly heard above the music. Her enunciation is unusually clear, and she sings with fluent elasticity. (H.M.V. E.A. 399). “Symphony in D Major, No. 2” (Brahms), is played by YValter Damriscli conducting the New York Symphony Orchestra (Columbia 04205-09). That Brahms is steadily becoming a composer for the rank and file is evident. It is one of the best signs of advancing musical taste that his symphonies and (in a lesser degree, of course) his chamber music are being enjoyed by many who hitherto had no ears for anything but a few of the Hungarian Dances and Waltzes. Here is the most attractive of his symphonies—the fourth—played by the New York Symphony Orchestra, under Walter Damrosch. This is good sound playing and recording. There are conductors whose watchword seems to be “Brighter Brahms”; Damrosch is content to let the music say its say without underlining or endeavouring to make purple patches in a work whose appeal lies rather in logicaKconsistency. He may even be accused of going to the other extreme, taking a somewhat prosaic view, and missing some of the mellow —even genial—glow of the music. But the clarity of his reading is an asset. From start to finish I found the set very enjoyable. For the student of development and construction the first movement of this symphony is one of the best of lessons; with the minimum of effort he can follow the growth of the tiny germ—the opening three notes, D, C sharp, D —from which the bulk of the movement grows. * * * A magnificent record by John McCormack is most appropriate in view of the Schubert Centenary. One would have to go a long way to hear “Who is Sylvia?” sung with such ' charm and beauty of tone. A feature of additional interest is the inclusion ’ on the reverse side of “Die Liebe hat Gelogen,” a beautiful little song that is not so well known as it deserves (H.M.V., DA933). * * * The baritone. Riccardo Stracciari, . sings from “Rigoletto,” “Pari siamo’ 1 and “Cortigiani, vil razza dannata’ 1 (Verdi). (Columbia 04174). For so long has Stracciari beer jurilrnnwlp.rlo'p.rl as thp. srrppfpst liv.

ing operatic baritone, and so successful were his earlier records, that music lovers have awaited with keenest interest his first electric recordings. The result Is a revelation. His characterisation has enormously improved with the passage of time, and the amazing sonority and richness of his voice are more thrilling than ever. There is a certain opulence in these records not entirely due to the improved recording. This new issue of his old triumphs is decidedly a musical event. The theme song of the motion picture, “Love Never Dies,” based on the musical play, “Lilac Time,” has arrived ahead of the film. It is a tuneful and attractive melody entitled, “Jeannine, I Dream of Lilac Time.” Sung by Gene Austin, it Is a very charming lyric, beautiful in its sympathy (H.M.V., EA4OO). “Elegie” (Massenet) and “Thais” — Meditation (Massenet), are the latest from the violin of Albert Sammons. (Columbia 02687.) It has always been said of Sammons that he records better than any other violinist, and now that we are losing our prejudice in favour of foreign names, some London critics are even venturing to declare that he plays as well as any foreign maestro. His phrasing is certainly as subtle as one could wish for, and his tone as gloriously mellow. Listening to these familiar numbers, one realises how important it Is to have them played by a violinist of first rank. The big advances made in the science of recording and reproduction have enabled the gramophone to become a chronicler of history. For instance, notable events at Covent Garden such as Melba’s farewell have been recorded for all time. But perhaps the greatest feat was the recording of the speech by the Prince of Wales at the great gathering at the Royal Albert Hall, London, on Armistice night, November 11, 1927. When listening to this speech one feels that i one Is part of thaN: temorable gathering. It is easy to picture the wonderful enthusiasm. The thunderous

“Jolly Good Fellow,” the wonderful speech itself punctuated by applause, and the cheering at the end are all recorded. Every word is distinctly iieard. The living and moving scene in which the Prince appeals for help for those who suffered in the war must stir all who hear the record. Never has sincere eloquence had a greater setting. The profits from the sale of this record will be devoted to the Earl Haig Fund. (H.M.V R 82628.)