GRAMOPHONES

Sun (Auckland), Volume III, Issue 635, 11 April 1929, Page 14

GRAMOPHONES

The palm for instrumental virtuosity this month goes to Mischa Levitzki, who plays Rubinstein’s “Staccato Study” and the Paganini-Liszt “Campanella.” The Rubinstein is mere

fireworks—but what a display! One’s principles as to putting purely musical values first weaken before such brilliance as this. The second number makes interesting comparison with the Paderewski record recently issued. There is more subtlety in the old master, but the fierce thrill of Levitzki leaves one breathless (H.M.V., DI4S9).

Strauss’s most popular tone-poem. “Till’s Merry Pranks” (Richard Strauss), in four parts, played by the orchestra of the Brussels Royal Conservatoire, conducted by Desire Defauw. (Columbia 02660-(il.) There are two outstanding musicians bearing the name of Strauss alive to-day —Johann Strauss the third —grandson of the original “waltz king” and "leader of a celebrated orchestra, and Richard Strauss (unrelated to the former), one of the leading moderns. Till Eulenspiegel, hero of this musical poem, is a sort of Continental Robin Hood—a rather loveable rascal who passes through all sorts of adventures before he is finally hanged by the representatives of unromantic law and order. The music itself should appeal to everyone. Throughout it runs a cheerful theme, rather cheeky and defiant, that is undeniably Till himself. Till had a. gay time of it —while it lasted. You just listen to these two records. Both playing and recording are very fine indeed. There are few voices to equal that of Elizabeth Schumann, and in the field of German and Viennese songs she has taken the place of Gerhardt. This month she adds to her list of Richard Strauss recording with “Serenade” and “Morgen” (To-morrow). She sings each of these beautiful songs to orchestral accompaniment with all the authority and power of one who knows what she is doing and knows she is doing it well. Recordings such as these add lustre to her reputation. (H.M.V., DB1010).

Layton ancl Johnstone’s plantation medley, in two parts, is a good number. (Columbia 02668.) These talented “American Duettists” make the best plantation song record to date. Five perennial favourites. Guess — everyone of the five you guess will be right. Another record for everybody. No artist at the present time is issuing more records than John McCormack, and it is thus interesting to hear contemporary criticisms of his voice. When he sang in the Royal Albert Hall in London recently, H. E. W. wrote: “John McCormack, looking as young as ever, and rather thinner than we used to know him, sang in his old, inimitable way at the Albert Hall. The golden voice has surrendered nothing of its beauty to the years. Its mellowness and more 1 f subdued brilliance John McCormack make it, indeed, a finer instrument for the type of singing in which McCormack excels, so that now, at 45, he is a greater singer than he has ever been. But if he touches nothing that he does not adorn with the graces of his art—and he showed us that he is a master of the bel canto and can achieve the impeccable legato that is the mark of that school—he is at his best when, besides being a singer he can be an Irishman. He had won his usual empire over his audience in two groups of songs, and had given the usual encores at the end of each. But when he came to his Irish folk-songs and invested these with their native sentiment, whether tender, or love-lorn, or elfin, or merely roguish, the audience thought this insufficient and applauded till he sang them again.” It is interesting to note that his programme included a number which appears on his latest record, “Bird Song at Eventide” (Coates). (H.M.V. D.A.973). * * * A further Zimbalist record Contains “The Zephyr” (Hubay) and “Tallahassee” (Scott). (Columbia 03623.) "The Zephyr” is a delightful little morceau, and provides an excellent example of the edgeless tone and limpid treatment that was so appreciated by New Zealand audiences during the violinist’s recent tour. The second piece, “After Sundown,” is simple and full of melodious charm. These will undoubtedly be records appreciated by everyone. But when are we to get a major work recorded by this eminent artist? Soon, we hope. » * * Even the “high-brows” must admire the advancement made in dance music and by dance orchestras. For instance Nat Shilkret and his orchestra make an ingenious arrangement of the foxtrot, “Just a Night of Meditation” and the refrain is sung by no other than Frank Crumit. On the other side Johnny Hamp’s Kentucky Serenaders give “If You Don’t Love Me” (foxtrot) with the refrain by Joe Cassidy. Jack Hylton and his orchestra has the assistance of R. Foort at the Wurlitzer in “Spanish Rose” (waltz) and “The Angelus Was Ringing” (waltz), and in both numbers the refrains are sung. (H.M.V.)

A popular revival will be “The Bells of St. Mary’s” (Adams), and “Indian Dawn” (Zamecnik), sung by Barbara Maurel, Columbia 01250. It is a real pleasure to hear this talented mezzo-soprano sing this old favourite. It must be a good ten years since this song was in the heyday of its fame, but heard for the first, time since, it wears very well indeed. At any rate it is considerably more tuneful and the words carry a good thousand per cent, more reason than the bulk of the “Mammy” and “I Wanna’ Go Back” songs that are inflicted on us in this decade.

Hugo Kreisler, although not so well known in New Zealand as his distinguished brother, is one of the great concert, artists of Europe. He is a violin-’eellist of unusual powers, and his playing reveals a tone of remarkable beauty, fluent, elegant, rich, and varied. The brothers give us their second record this month, and their playing is again marked by sweet tone and sympathetic playing. Their two numbers are “Sanctissima” (Corelli arr. Kreisler), and “Arlesienne”—intermezzo (Bizet, arr. Kreisler). They approach both the sacred subjects with reverence and dignity, and understanding between the brothers is perfect. (H.M.V., D.B.IIGG).

THE KETELBEY ALBUM From the recently-compiled Ketelbey Album the following records are quoted by the Columbia Company: “Sanctuary of the Heart,” by the composer’s concert orchestra. (Columbia 02690). Albert Ketelbey is without any shadow of doubt the most popular composer of orchestral works in England to-day. Who does not know his “In a Monastery Garden” and “In a Persian Market?” These universally popular works, together with the number under review, have been transcribed for piano, organ and every conceivable combination of instruments. You will hear them played the world over—but never so well as on these records comprising the Ketelbey Album—played by an augmented orchestra specially chosen and conducted by the composer himself. “Sanctuary of the Heart” will appeal to the more thoughtful moods of Ketelbey lovers, and its beauties are rich and deep. In a Persian Market

“In a Persian Market” (Ketelbey). A. W. Ketelbey and Concert Orchestra. Columbia 02659. This is in lively contrast to the preceding number—the sparkling atmosphere and gay colours of the East painted with all the resource of modern orchestration. The two principal themes are given out with the alternate crispness and languor that is called for—but played with a brilliance that has never before been achieved on any record. From the gay entry to the vocal coda that the composer has evidently added for the occasion, the recording is splendidly done. “In a Monastery Garden”

“In a Monastery Garden” (Ketelbey). A. W. Ketelbey and Concert Orchestra. Columbia 02688. Here is this world-wide favourite in yet richer dress. Mr. Ketelbey has evidently spared no pains to make this series the outstanding recordings of his most popular works. Keen listeners may detect a female monk among the chorus—but what does that matter! Female monks are a rarity, anyhow. Certainly this is the disc to buy, whether you already have a recording of this number or not.

Ketelbey’s Gipsy Overture “Chal Romano”—Gipsy overture (Ketelbey). A. W. Ketelbey and Concert Orchestra. Columbia 02693. This number is selected as being easily the best of the remaining works— more or less new—in the Ketelbey Album. Like the “Persian Market” it paints for us an unfamiliar scene in such vivid colours as to seem almost real. Here is an echo of the nomad music of Hungary and Spain that Bartok, Zoltan Kodaly and Albeniz are making their life studies. It should be remembered that this disc bears the only authentic recording of this brilliant overture —nor it is to be expected that a better one will ever replace it.

IVO Wagner recording will be received -with more enthusiasm than the selected passages from Act 111. of “Tristan and Isolde,” which have come to hand this month. All the artists have won international fame, and two orchestras, the London Symphony and the Berlin State, provide the instrumental background. The part of Isolde is taken by Gota Ljunberg, who first came into prominence in Strauss’s "Salome,” and the English tenor, Walter Windop, sings the role of “Tristan.” The soprano’s singing of Isolde swan-song, the well-known “Leebestod,” is magnificent. This is the most beautiful of all Wagner’s creations — one of the most consummate pieces of music in existence. The prelude to the act is well-known in the concert room. It suggests bitter grief and loneliness. In “Tristan” we have Wagner’s art system stretched out to its utmost limits, and even beyond. The score, technically considered, is marvellous. Yet, such is the skill of the master that the resultant effect is appreciable in the highest degree to the most technically uninformed listener. It is like a grand specimen of cathedral architecture. The opera adapts itself to the individual needs and the inner feelings of a thousand listeners. It searches the emotions of men and women as perhaps no other music in the world does. The extracts cover five twelve-inch records, and suffice it is to say that the singers go to prove that this of all Wagner’s works most arrests and enchains the imagination. (H.M.V., 1413-14-15-16-17). Once again Mark Weber and his orchestra are a sheer delight. Their latest record embraces a pot pourri of waltzes by Robreeht, and Weber knows the rhythm of the waltz as only a Viennese can. Weber not only plays the melody, but he also paints pictures. With him the waltz is not a dirge, but something with life and animation, but always irresistible in its rhythm. He has talented forces under his baton, and he makes the most, of them (H.M.V., C 1544). * * * Two old descriptive ballads, “The Delaware’s Farewell” and “Lorraine, Lorraine, Lorree” (both by Capel), have been successfully revived by Peter Dawson. Dawson tells the story as finely as he sings the music. Every word is given its true emphasis, and the dramatic values of the latter number are strikingly brought out. Another feature of “Lorraine” is the piano accompaniment that reminds me of the accompaniment in Schubert’s “Erl King.” (H.M.V., 82759). Two favourites from Dora Labette are “Danny Boy” and “Orpheus With His Lute.” (Columbia 02727.) This disc, it will be noted, replaces record No. L 1442. “Danny Boy” is, of course. the famous Londonderry Air dressed up in | Weatherley’s words. As sung by Miss Dora Labette, it becomes a very beautiful song indeed. But so does Sullivan’s setting of Shake-

speare’s “Orpheus With His Lute,”

under her accomplished singing. This disc can also safely be predicted as a “best seller.” And it is one of those best sellers that deserves to sell. The beauty and harmony of Wesley's motet, “Blessed Be the God and Father,” is sung with reverence and dignity by the choir of the Temple Church, London, under the direction of the famous organist, G. Thalben Ball. The great reformer speaks again through his music, which shows a bigness of personality on a faith that can shake mountains. (H.M.V., C 1541.)