GRAMOPHONES

Sun (Auckland), Volume III, Issue 724, 25 July 1929, Page 14

GRAMOPHONES

“Rondo Alla Turca” (Mozart), and “Pastorale” (Scarlatti), are the latest recordings by Ignaz Friedman. (Columbia 03612.) Friedman, a brilliant pianist of worldwide repute whose sparkling recitals in this country are still fresh in the memory, confesses to a sneaking fondness for the harpsichord. He makes a delightful record of two old-time pieces on this instrument, and brings out the brisker, brighter tone to great effect. “Rondo Alla Turca” is from a Sonata in A Major by Mozart. It moves along buoyantly in a captivating way that has enabled it to survive, in a popular way, the work from which it was taken. * » * In a world off ever-growing complexity and artificiality, the simple sincerity of Paul Robeson’s glorious voice pierces the fog of present-day unreality, and reminds us of dear lovely things forgotten in the maelstrom of progressiveness, states an English paper. That, perhaps, is the secret of his popularity, and his new record, “Plantation Songs,” gives a glimpse of a simple tenderness and beauty that is genuinely moving. Robeson has the assistance of a well-balanced chorus. (H.M.V. C 1585.) A Schubert quartet, “Quartet in A Minor (in seven parts) is played by the Musical Art Quartet. (Columbia 02733-36.) A notable addition to the Schubert Centenary records is a recording by the Musical Art Quartet of the most popular of the Schubert quartets—that in A Minor. It is a lovely work, chock-full of Schubertian happiness and melodic inspirations, a pleasing variety of song-like playing through the whole work. Playing, especially from the second movement onward, is fine indeed, aud finish up with a verve and semblance of virtuosity that is highly reminiscent of the polished Lener Quartet. Gramophonists who are unacquainted with this work should listen to the slow movement first. Its light-hearted tunefulness should appeal to everyone. And the whole work is a splendid addition to the now very imposing list of Schubert Centenary master-works, i

Friedman

The H.M.V. list Includes yet another cheaper record that should find a place in the golden treasury of gramophone music. This is the song, “Silent Noon,” by Vaughan Williams, sung by Stuart Robertson. Here is another of these exquisite little records that are brought out occasionally quite unostentatiously. If one remembers rightly, the same singer may be heard on a similar type of record in Ireland’s “Sea Fever,” and Peel’s “Bredon Hill.” They are songs that one will go back to when the outpourings of prime donne are for- _ gotten. (H.M.V. 82755.) * * * An attractive soprano, Martha Attwood, sings “Coming Thro’ the Rye” and “Ye Banks and Braes.” (Columbia 01415.) Martha Attwood is new to the gramophone, but scores a big success with her first record. She pairs two old favourite Scottish airs, and sings with a delicious purity of voice that makes agreeable hearing after the usual “arty” arrangements. Her diction is very clear and her phrasing has an unstudied simplicity. A welcome issue for the winter season is the complete recording on four discs and in album form of “Trial by Jury.” The entire recording is made under the personal direction of Rupert D'Oyley Carte, and with artists of such Gilbert and Sullivan fame as Leo Sheffield, George Baker, Derek Oldham, Arthur Hoskings, and Winifred Lawson, and capital chorus, so that we get a performance in the best Savoy tradition. To hear Leo Sheffield in such things as “For These Kind Words”; George Baker, Winifred Lawson, and Arthur Hoskings in “Oh, Never, Never,” “Swear Thou the Jury,” or the blithesome “Oh, Joy Unbounded,” is not only to revive Gilbert and Sullivan memories, hut to bring all the gaiety and stimulus of the actual performance to one’s own home. Both orchestra, chorus, and the principal voices are recorded with a splendid clarity and vigour. From the dramatic and musical viewpoint, the performance is just what one would expect from such artists and under such direction impeachable. The fact that the opera is completed on four discs should place it -within the reach of many. (H.M.V.)

i r<o teams quannea ior prizes "O Star of Eve” (Wagner), and “The Lute Player” (Allitsen) are sung by Harold Williams, baritone. (Columbia 02835.) Additional interest is lent to Harold Williams’s latest record by the fact that this popular Columbia artist is shortly to visit this country in company with William Murdoch, the pianist. Harold Williams had a great reputation as a sportsman before the war, playing regularly for the famous Waverley Cricket Club and appearing for the New South Wales XV. against the All Blacks. He has a fine, manly voice, infusing a welcome “bigness” into all his work. His gripping sense of the dramatic is finely shown in his rendering of “The Lute Player,” a song with a grand climax. In “O Star of Eve” he reveals sympathetic understanding of deeper sentiment. On the showing of his records he should be assured of a fine welcome here. One of the most impressive and brilliant recordings of the last few months is Chaliapin’s singing of two Schubert songs. The lieder chosen are “Death and the Maiden” and “The ' Wraith.” How admirably suited they are, both in temperament and style, to the great Russian’s wonderful ! voice! How glori- , ously that big voice I comes through in “Death and the iviaiuKii. i outh bargaining with death! What a theme, and how I splendidly Chaliapin s art brings out I its tragic meaning. The performance is tense with dramatic power, and magnificently given, and Chaliapin has scarcely ever been better served by the recording experts. I fancy this particular recording will rank as one of Chaliapin’s best, and one of the records of the year. “The Wraith” is also finely done. (H.M.V., D 81154.) Since the Trix Sisters were happily united again they have been producing discs well up to their old standard. All their records carry the hallmark of competence—good singing, clever harmonies, well-selected numbers and j effective accompaniments. “Sweet i Ukulele Maid” is a jolly tuneful affair, and “Out of the Dawn” has a catchy melody written to some particularly smart verses. (Columbia 01427.)

Ann Penn, unknown IS months ago, leapt to fame in her first London theatrical engagement. Since then she has become one of the leading music-hall artists in the United Kingdom. In her first record, her “Impressions” are delightful, and one quite expects to have some people saying that they are not impersonations_ at all, but the original artists. Another side to Ann Penn’s versatility is shown on the reverse of this record, which gives a quaint piece, “Out in the New-mown Hav." (H M V EA440.)