GRAMOPHONES

Sun (Auckland), Volume III, Issue 624, 28 March 1929, Page 16

GRAMOPHONES

“POPULAR” MUSIC

TUNES SOON BECOME STALE TRY CLASSICAL RECORDS "We have a gramophone and quite j a number of records, but we have got j tired of hearing them over and over j again, so we don’t often have it on.” j This is a remark met frequently by j all. It is evident that it is not so j much the gramophone as the records i that pail, says a writer in an exchange, j In many cases, once you know what j is coming next, the glamour is gone. Who wants to re-read the great majority of novels and short stories? To be ephemeral, ot course, does not denote total unworthiness. Such passing items fulfill a useful diversion of temporary entertainment and diversion, although they cannot afford lasting pleasure. Yet the fact remains that there are books, plays, poems, pictures—and records —which are of enduring merit. What then should be the policy of those of us who cannot afford to keep on buying records, only to discard them after two or three hearings? The prblem must be an important one for thousands of gramophonists as well as for the great recording companies. So far as the latter are concerned, they solve the difficulty by the time-honoured and, with them, by no means impossible expedient of hunting with the pack and running with the fox. In other words, they provide a type of artist who, in Macbeth’s words, “struts and frets his hour upon the stage, and then is heard no more.” At the same time, and in everincreasing volume, the recording studios shower upon us the world’s greatest musical classics. Ha! there’s the snag; that word “classical”; how we shrink from it! Yet what actually is meant by “classical” music? Merely that which has stood the test, of time, and so come in the course of yeans to be regarded as outstanding and permanent. Strictly speaking, no modern music is classical, though some of it will become so some day. Thus we may broadly divide the music of the past into two groups; that which is now classical, and the rest which is effete, worn out and (perhaps undeservedly) neglected or forgotten. To any who are totally unacquainted with the better music, may I suggest a line of approach, at any rate, for orchestral compositions? Get a few records of the world’s greatest overtures. They usually contain the oustanding tunes of the operas, etc., to which they form a prelude; in fact, Weber and Wagner often made them epitomes of the succeeding work. There is ample material. Try Mozart’s lively “Figaro” overture, played by the Royal Albert Hall Orchestra; Beethoven’s “Leonora No. 3,” by the Royal Albert Hall Orchestra; or that gracious tune in “Ooriolan” (Beethoven) by the London Symphony Orchestra. Of Weber there is the “Oberon" overture by the Symphony Orchestra. But the Wagner ones are perhaps most interesting, both in orchestration and as showing the development of the composer’s style. Start with the martial strains of the “Rienzl” Overture, by the Philadephia Symphony Orchestra. Then compare other relatively early works, the boisterous and majestic sea music in “The Flying Dutchman” (New York Philharmonic Orchestra) and the mingled solemnity and esctatic swirl of “Tannhauser 1 ” (Symphony Orchestra). There then remains for your enjoyment the joyous pomp of “Tile Mastersingers” (Symphony Orchestra), and "Parsifal” Preludes. At length you will be ready to appreciate the wonderful poignaacy of "Tristan and Isolde” (Berlin State Orchestra), and the lurid power of “Siegfried” (Symphony Orchestra), and other parts of the “Ring.” Two novelty fox-trots played by the De(iroy Somers Band for Columbia are “Rag Doll” and “Laughing Marionette,” Walter Collins, composer of that recent dance success, “Moontime,” has created an equal furore with his newest fox-trot, “Laughing Marionette.” “Rag Doll” Is by the composer of the phenomenally successful “Doll Dance.” and bids fair to outdo It in public favour. Both of these litlt gems of dance writing might be classed as descriptive pieces in dance rhythm. Handled by Debroy Somers, they are brilliant numbers. (Columbia 01341.) There should be no difficulty in choosing appropriate Easter gifts from ■ the admirable list of seasonable records published by "His Master’s Voice.” There are cantatas, hymns, songs of rejoicing, by distinguished artists, choirs and organists. Two by the late Signor Enrico Caruso —“Hosanna” (Granier) and "Les Rameaux” (“The Palms”), by Faure. are well worth while (D. 8.132.) Another Caruso disc appropriate to the season is the “Cujus Animam,” from Rossini’s “Stabat Mater,” a splendid braviera motif, and the “Ingemisco.” from Verdi's “Requiem Mass” (D.B. 138.) Some oi ider generation may prefer Pol Plancou’s bass rendering of “Les Rameaux,” which bracketed to a Caruso-Journet duet, “Crucifix” (Faure), on D. 8.591. Journet also gives us a fine bass interpretation of “Les Rameaux,” with Luce’s “O Salutaris Hostia” as a companion number (C. 8.933). * * * It has been stated in musical circles that Dvorak's “Humoresque” and the Meditation from "Thais,” played by Tosca Seidel for Columbia, are the finest violin solos yet recorded by the electrical process. We feel Inclined to agree. It is some considerable time since Toscha Seidel recorded for Columbia, and there is little doubt that this record will create a great deal of interest. The violinist’s languorous interpretation of the “Meditation” contrasts artistically with the spirited gracefulness of Dvorak’s “Humoresque.” Both numbers give scope for Seidel’s magnificent versatility in technique and expression, and the recording displays with vivid faithfulness the intense richness of his expressive tone. (Columbia, 09506.) * * * The most vivid orchestral record of recent date, says the “Musical Times,” is of a couple of movements by Manuel de Falla—the Spanish Dance from “La Vida Breve” and the Fire-Ritual Dance from ”L’Amour Sorcier,” conducted Piero Coppola (D 1453.)

A selection iu two parts from “The ] Vagabond King,” played by Percival j Mackey’s Band, comes just at the right j moment for people who have heard j the New Zealand presentation of this ! tuneful musical comedy and wish to j carry home the catchiest airs iu a ! more tangible manner than their ! memories provide. This selection is a cleverly arranged fantasia of the ! most successful “Vagabond King” numbers, and is played with considerable vim ami undoubtedly skilful effect. The actual recording is splendid all through. The record is a Columbia, No. 02707. Four pieces played by G. T. Pattmau on the Compton Theatre organ are “Firefly” (Nicflolls); “Rosalie” Fox-trot (Wade and Valentine) —Columbia 01348; “Worrin’ Waltz” (Fairman); “Cherie” Waltz’ (Valentine). Columbia 01344. Pattman seems to be as much at home on the organ of the Astoria Theatre, London, as he does on the grand organ of the Liberal Jewish Synagogue. His skill in the novelty registration possible with the modern theatre organ is surprisingly good, and those whose taste inclines to music of the type exemplified ou these two discs will find great pleasure both iu the numbers themselves as well as the playing and recording. A new recording of Delius’s "The Walk to the Paradise Garden,” in two parts, from “A Village Romeo and Juliet,” has been made by Sir Thomas Beecham and the Royal Philharmonic Orchestra, for Columbia. There is so little of the marvellous music of Delius recorded that this number is assured of a welcome everywhere. And Beecham and the “Royal Phil.” interpret this wonderful scene with a sympathy that makes one almost feel the tragedy of the two lovers in their vain search for happiness. There is a Restlessness about this symphonic passage that speaks of heartburnings. remembered happiness aud present sorrows, culminating at times to an intensity of musical grief that is sheer orchestral magic. And yet the thread of hope running through the whole scene saves it from utter despondency. Beautiful in extreme — and wonderfully well recorded. (Columbia, 04181.) A disc that is sure to find a place in many collections is the “Maritana Overture,” Parts 1 and 2, by Wallace, played by the Columbia Symphony Orchestra. Columbia 02602. William Vincent Wallace led au eventful life. He wandered hither and thither over the globe as his inclination or as Fate willed. He even spent a brief sojourn in New Zealand in the early days—ran foul of hostile Maoris, was rescued by the daughter of a chief, and subsequently departed in a whaler. On November 15, 1845, having returned to London, he produced “Maritana” It was an instant success —and has ever been. This recording of the time-honoured Over- ! ture imbues it with a new freshness. The old melodies are more delightful than ever. The straightforward or--1 cbestratiou is as crisp as of yore. * * * : _ Signor Enzo de Muro Lomanto - sings “La Sonnambula “Prendi L’Anel ti dono” (Bellini), and Manon • —“11 Sogno” (Massenet), on a new ■ Columbia recording. No. 03600. i Lomanto, it will be remebered. mar- . ried Toti de Monte last year during . the Melba-Williamson Opera season in Australia. His early training was for [ law, and his vocal career has been confined to the last few years. But in a few short months, from a barrister in Naples, he became the idol of Italy —acclaimed the finest operatic tenor discovered iu recent years. The Bellini aria, “Take the Ring,” is a masterly piece of singing, and Massenet’s “The Dream” is sung with an intensity . of feeling that makes this record one • of the finest operatic excerpts heard for a very long while. Introductions and accompaniments to both arias are worthy of special mention. Altogether an excellent disc.

Caruso’s famous song “O Sole Mio” (di Capua) and a number by Thome, “Simple Aveu,” are recorded by Leslie James on the Wurlitzer organ. His instrument, the organ of the New Gallery Cinema, London, is one of the greatest of its kind in the world. There is no gainsaying the effectiveness of the Wurlitzer in music of this nature. The sentiment is artistically expressed, and many clever effects introduced are' never obtrusive. (H.M.V., 82792.) Two of Schubert’s splendid songs, “Wanderlust and “The Hurdy Gurdy Man,” are assured of an exceptionally warm welcome. Not often heard now in public, Sir George Henschel’s records are eagerly looked for by thousands all over Europe who have had, iu the past, opportunity of hearing him in person. No doubt there are many music lovers throughout the Dominion who are unaware of this famous baritone’s unusual unterpretative qualities, and to these folk especially these two numbers are warmly recommended. The treatment of each of the songs is original, and vigorously real. The recording is exceptionally fine. The “Ralcoczy March” and the “Dance of the Sylphes,” by Berlioz, played by the Halle Orchestra under Sir Hamilton Harty, is a new Columbia record. Sir Hamilton Harty is probably one of the foremost students of Berlioz in the world to-day, and these two interpretations so widely different in spirit and tempo have accordingly an especial significance. The dance is delicately aud colourfully conducted, and the march is vigorously managed. and Is as exciting as can be imagined. (Columbia 04155.) Mozart’s Quartet No. 8 In D Major, played by the Flonzaley Quartet, is the most attractive item among recent H.M.V. issues. It is stated that the Flonzaley Quartet intends to disband itself at the end of this year, a fact which all lovers of chamber music will learn with great regret, and one that considerably enhances the value and interest of these new records. For something like a quarter of a century the Flonzaley Quartet has stood in a class apart, on a pinnacle all its own, and it is at least good to know that its performances will be permanently available in this form. The Mozart Quartet is spread over three records (DA 947-949), and the performance is a typically pellucid rendering of a verw delightful composition.