GRAMOPHONES

Sun (Auckland), Volume III, Issue 670, 23 May 1929, Page 16

GRAMOPHONES

June Records CHALIAPIN AND ESSIE ACKLAND GOOD H.M.V. MUSIC There was pomp and panoply "When the King Went Forth to War.” In Koenamann’s famous song Chaliapin gives a splendid interpretation of a warrior king riding out to war through the palace gates. It is stirring martial music, framed by the pealing of the cathedral bells. The comparison in the song, excellently pointed £y Chaliapin, is the lot of the peasant soldier of the king’s army. For him the silence of death—a silence only broken by the faint chime of the hare-beils, over a lonely grave strongly emphasised by a very fine top note sung in an ethereal pianissimo. In strong contrast Is Beethoven’s “In Questa tomba Oacura.” This impressive and beautiful air is sung with fine dignity and expression. Both numbers show Chaliapin's fine robust baritone with its richness and verve to exceptionally fine advantage. (D.B. 1068.) Included in a parol Jl H.M.V. records just received the Chaliapin numbers, and also a record of Essie Ackland's, make a strong appeal.

What a relief nowadays to listen to a real contralto. Not one of these artificially cultivated semi-bass voices that change with sudden breaks and obvious changing of gears to reedy head notes, but a rich melodious voice even in texture and colouring right up to a pure, almost soprano tone. That is the voice of Essie Ackland. a thing of beauty, and let us hope a joy forever. This time she sings Ombra Mai Fu,” of Handel’s “Largo.” She invests it ,vith all the dignity this noble and impressive music inspires. The other side com tains Sullivan’s “Lost Chord,” not so pleasing from a purely musical point of view, but nevertheless, well sung (C 1599). b ' • * • Schubert’s dashing “Marche Mill taire, played by the San Francisco Symphony Orchestra, and Volkmnns dainty “Serenade, Op. 63,” and that delightful little study of RimskyKorsakoff's, “Flight of the Bumble Bee,” played by the Chicago Symphony Orchestra, constitutes a most artistic offering by two famous orchestras. The playing of all three is really superb, particularly the whirlmg. intriguing “Flight of the Bumble Bee, which, if only for its delightful freshness, stands out in a class of its own. (H.M.V., E.D.9). The peculiar singing quality of De Groot’s violin is a feature of the playing of “Friend o’ Mine” (Sanderson), by De Groot and the Piccadilly Orchestra. The other side contains Tchaikowsky’s “None But the Weaty Heart.” If one did not know the words, De Groot's music would almost suggest them. It is the De Groot artistry. (B, 2857). For the delightfully pure and ethereal quality of Lucrezia Bori’s soprano. Arditi’s “II Bacio” (The Kiss) and “Ciribiribin” (Pestalozzi), are ideally suited. Both these pretty waltz songs are charmingly given with “II Bacio,” perhaps the better of the two. (D.A., 900).

| “The Carnival of Animals’’ (Saint-' i Saens) is played by the Paris Symphony Orchestra, conducted by | Georges True. Columbia 02760-02763. j This album-work is a re-recording— ! j and a brilliant re-recording, too. We’ll | take each item in turn. The Introduc- : tion and the Royal March of the Lions, the Farmyard, and the Wild Asses j take up the first side. The reverse gives us the Tori toises and the Elephants. Columbia 02761 brackets the Kangaroos and the Aquarium, anc then the “long eared characters’ and the Aviary The third disc gives us first the Cuckoo in the Wood and, turnins over, the unusua. zoological charac- ' ters “Pianists” and “Fossils.” The final disc re-records the Swan and the Finale —which latter is more or. less a recapitulation of the whole of Saint-Saen’s Zoo. Attempt to des- | cribe these fourteen items would be 1 wasted. Suffice it to say that playing and recording are both superb. For the music, you must hear this musical i joke yourself. Many Aucklanders j will remember the performance of j this number as a pianoforte duet by Messrs. Cyril Towsey and G. H. j Woolley at a Bohemian Orchestra j concert last year. One of the most perfect records of the month is Solveig’s song from ; “Peer Gynt” (Greig), and “She Wani dered Down the Mountain Side” , j (Stephenson and Clay). Sung by Dora j Labbette. Columbia 02794. No one j must miss hearing this record of SolI veig’s Song—it matters little what ; you think of the item on the i verse, i Miss Labbette’s singing of S< /eig’s | song is one of the greatest pleasures fof the month. It is, moreover, published in the dark-blue-label class. Hear it —and get a copy for yourself —just for the sake of your own enjoyment. * =* * The great Szigeti again. This time in Tijuca—“Sandades do Brazil” (Brazilian Dance), (Darius Milhaud), and “Bourree in B Minor” (Bach). Played by Joseph Szigeti, violinist. Columbia 03625. If Szigeti lives—and he is yet a young man—a few years hence should see him firmly established as the greatest string virtuoso of this half of the century. Neither of the items recorded here —vastly different in nature as they are—give this brilliant Hungarian a chance to display the dazzling technique that to him seems so effortless. The Brazilian Dance gives us another example of I Kurt Ruhrseitz’s virtuosity in pianoforte accompaniment. The Bach number is entirely unaccompanied. The world’s greatest viola player, L. Tertis, plays “Sonata in F” (Handel and L. Tertis, viola and piano accompaniment). Columbia 04248. A lesser man could not have dared to adapt this work to the tenor violin—but there is no other viola player living whose tone and general technique can be compared with those of Tertis. Only in the hands of a genius can the rich dark timbre of the viola be made to sound successfully in an extended solo passage. The two movements of this happy though dignified work are marvellously played and reproduced. A happy little quartet is “Quartet in E Flat” (Schubert —Op, 125, No. 1), played by the Musical Art Quartet. Columbia 02777-02779. Only three movements comprise this short but charming work. It is one of Schubert’s later works, but not in the least difficult of comprehension. Its simple form, its delightful rippling melodies and its striking harmonic progressions are truly characteristic of the beloved Viennese composer whose centenary we celebrated on November 19 last year. Either this work or the little sonatine recorded recently (Columbia 01098-01100) would serve as an ideal introduction to Schubert’s chamber music—speaking, of course, of those whose acquaintance has not yet been extended to such delight. On the sixth side is recorded an ararngement of “Hark, Hark, the Lark.” This transcription is quite pleasing, and avoids the usual pitfalls of hackneyism. * • * “Take a Pair of Sparkling Eyes,” from “The Gondoliers” (Gilbert and Sullivan) and “The Knotting Song” (Sedley and Purcell) are sung by John Coates, tenor. Columbia 02775. This veteran tenor still delights millions in English speaking countries all over the world—-both in person and through his records. The voice may be nearing the close of its perfection, but the art of singing such songs is a possession that John Coates will enjoy—and almost exclusively—as long as he lives. He is a singer of singers; we will let it rest at that. Gerald Moore’s pianoforte accompaniments are, as usual, as near perfection as one could wish for. * * * “Der Freischutz.” Two parts (Weber). Grand Symphony Orchestra, conducted by Dr. W’eissman. The overture to “Freischutz,” one of Weber’s orchestral masterpieces, retains an enduring popularity. Notwithstanding one or two weak spots in the wood-wind, it has seldom been better played than in the present recording. The strings are excellently good, and the whole performance is a sparkling and exhilarating one. (4072 Parlophone.) “Try to Learn to Love,” and “A Room With a View,” piano solos by Raie Da Costa, the dance pianist supreme. Noel Coward’s big revue, “This Year of Grace,” has triumphed throughout Britain and America. This first recording of two of its most popular numbers is a brilliant effort by a born pianist. (2689 Parlophone.) “Hallelujah Chorus,” “The Messiah” (Handel), “Vision of Joan of Arc,” “Meditation” (Gounod). Paul Mania, grand organ, with trumpets. We do j not get much organ music from Parlo- . | phone, but here is a disc not to be j overlooked. The Gounod “MeditaI j tion” is highly effective music, the j effect being judiciously heightened by the introductions of trumpets. In the "Hallelujah Chorus,” the trumpets ! add to the nobility of tone in an aston- | ishing manner. Both sides are finely j played, and splendidly recorded. I (A 4051 Parlophone.) | “Thou Art Peace” (Schubert) and j “Are Maria” (Schubert). Rose Trio, violin, cello and harp. The lovely smooth passages of this song posi- ; tively gain by being transformed to i such instruments as the cello and i violin, which alternately play the ! melody. This is a heartfelt beauti- | fully-toned and balanced performance. | (A 4047 Parlophone.)