GRAMOPHONES

Sun (Auckland), Volume III, Issue 706, 4 July 1929, Page 14

GRAMOPHONES

JULY RECORDS

GIANNINI IN “FORCE OF DESTINY”

PADEREWSKI AND DAWSON After hearing Dusolina Giannini’s glorious soprano voice on the latest H.M.V. recording, that of “Madre, Pietosa Vergine” (“Mother, Compassionate Virgin”), from Verdi’s “La Forza del Destino,” one looks forward with keen anticipation to the soprano’s visit to New Zealand next month. It is a clear, ringing, high soprano, this voice of Giannini’s, very intense, but withal strangely smooth. Even in this number, in which passionate appeal abounds, there is never the slightest trace of hardness. Hislop and Granforte recently put this opera I of Verdi’s on the popular list as far as records are concerned. It is rather a pity that the opera is based on such a gory libretto. In Pave’s plot, all the principal characters are killed, the opera eventually concluding, so one writer terms it, “for want of further characters to carry it on.” The number opens with the terrorstricken Lenora outside the convent gates, seeking refuge from her brother, who is determined to kill her. Kneeling to pray in the moonlight, her voice rings out clear and impassioned. Through it is heard the voices of the monks chanting the “Venite Adoremus.” It is a splendid record, beautifully sung. (H.M.V. D.B. 1217.) FINE COMBINATION Beethoven and Paderewski is a line combination. This time the virtuoso plays the “Moonlight Sonata.” Its calm, measured dignity has obviously led to its being named “Moonlight,” but it does not seem appropriate. It is too heavily shaded, and perhaps too inexorably sweet and insistent. It is just Beethoven. Paderewski’s own “Minuet” is on the other side. It is delightfully piquant, and played with the ripe musicianship and poetry of the great pianist-composer. (D.B. 1090.) Also in the H.M.V. July issue is a flue Kreisler recording of De Falla’s “La Vida Breve” and “Tango,” by Albeniz. (D.A. 1009.) The former is a warm, sensuous dance number, played with Kreisler’s clear-cut tone. The “Tango,” with its lilting movement and vivacious colour, immediately brings to mind a musical vision of sunny Spain and dancing girls Kreisler. like the artist he is, has caught the mood perfectly. The old favourite, Peter Dawson, makes a welcome appearance in two pleasing salt-water ballads, “Cargoes,” by Shaw, and Bantock’s “Captain Harry Morgan.” The first is a musical setting of Masefield's well known poem. It is a fine thing, and the contrasts —“Quinqireme of Nineveh from Distant Ophir,” the "stately Spanish galleon,” and “the dirty British coaster”—are well emphasised. “Captain Harry Morgan” is a fine song by Bantock of one of the "gentlemen” pirates of Old England, who diverted themselves by sacking Spanish cities. It is a bold, free tune, sung in Dawson’s inimitable style. (B. 2884.)

The Happiness Boys, Billy Jones and Ernest Hare, provide one long laugh in “Twisting the Dials.” There is a delightful subtlety about their humour, and their success is also helped by their clear voices. (H.M.V. E 834.)

“Semele —O Sleep, why dost thou leave me” (Handel) and “Mignon”— Connais-tu, le Pays!” (Thomas), are sung by Anna Case, soprano. (Columbia 04241.) As an example of this brilliant soprano’s versatility, we now hear Anna Case in two well-known operatic arias. “Knowest thou the land?” Is really magnificently sung, and so, equally well, is the Handel air. Such satisfying tone production from a soprano is a very rare thing, and as such, a record to be treasured.

“Praeludium,” exclusively conducted by the composer, Jarnfelt, and “Rustle of Spring,” Op. 32, Sinding, played by the Berlin State Opera House Orchestra. under Armas Jarnfelt. Scandinavian music has no more graceful contributor than Armas Jarnfelt, who conducts his own “Praeludium” on the records for the first time. The solemn mystery of the Arctic and the haunting beauty of the northern landscape are embodied in his tuneful compositions. As an appropriate coupling, Sinding’s “Rustle of Spring” (the piece de resistance of many pianists) could hardly be beaten. The rippling harmonies are splendidly displayed by this peerless orchestra of Berlin. (2735 Parlophone, lOin.)

Sir Thomas Beecham and the London Symphony Orchestra are heard in Beethoven’s “Symphony No. 2 in D.” (Columbia L 1864-67.) The Second Symphony is a product of Beethoven’s

first period, but while the influence of Haydn and Mozart are still noticeable, this is far more individualistic than any of his earlier compositions, and foreshadows the grandeur and energy of the fertile period that was to follow. Sir Thomas Beecham’s performance Is a

Beecham famous one —his own favourite, and one particularly suited to his temperament. How he revels in that pointed, witty and boisterous Scherzo. How affectionately he plays with the delicious theme of the opening Allegro. Beecham is a temperamentalist with a horror of the hackneyed, and his readings are always alert, individual and energetic. He makes the Second Symphony a bright and bold exposition of fine melodies handled with a true sense of dynamics.

“Or Man River,” fox trot, and “Why Do I Love You?” fox trot, from “Showboat,” played by “Kenn” Sisson’s orchestra, with vocal chorus. (3766 Brunswick. lOin.)

“Make Believe,” fox trot, and “Can’t Help Lovin’ Dat Man,” fox trot, from “Showboat,” played by Ben Bernie’s Hotel Roosevelt orchestra, with vocal choruses by “Scrappy” Lambert and Vaughan De Leath. (3808, Brunswick. lOin.)

“Or Man River,” from “Showboat,” with vocal refrain by Bob Schafer, and “Soliloquy—a Musical Thought,” played by Ben Bernie’s Hotel Roosevelt orchestra. (20064, Brunswick. 12in.l

The above “Showboat” records will soon be responsible for every other New Zealander whistling, humming or singing the tuneful melodies of “Showboat.”