GRAMOPHONES

Sun (Auckland), Volume III, Issue 766, 12 September 1929, Page 16

GRAMOPHONES

The two London musical comedy stars, Winnie Melville (soprano) and Derelc Oldham (tenor) have added another disc of duets to their list. Their

latest numbers are "Dove’s Dream,” an arrangement of Liszt’s beautiful “Liebestraum,” and “The Old Sweet Song,” an arrangement pf Kreisler’s exquisite "Caprice Viennois.” The blend of two sweet voices is admirable and they sing with a sincere appreciation of both sentiment and melody. The pianoforte accompaniment is very clear. (H.M.V., 82937.)

Those who like rich colour, dramatic incident, fiery rhythm, and the sparkle of pageantry in their music will be enchanted by a new recording by the Madrid Symphony Orchestra by Arbos. The work Is “La Procession del Kocio,” by Joachim Turlna, himself a brilliant pianist and, with Granados and Albeniz, one of the leaders of modern Spanish music. It is a glowing tone poem of the annual “Procession of the Virgin,” a religious feast in Seville. In the music one can read the glare and rattle of the merrymakers, the pomp of the gaudily decked priests, the music and the bells. Atmospheric to a degree, the work is a brilliant drama. Arbos, who ranks as the greatest conductor in Spain, gives a reading full of play and vitality, and makes the work enchant ns with its vivid realism. (Columbia 028S0).

The pianoforte and violin recitals by Miss Una Bourne and Miss Marjorie Hayward have been for some time one of the outstanding features of the London concert seasons. These two artists are poetic interpreters, both equally skilled in the technique of their respective instruments. Above all, they maintain a perfect balance. Their approach to the lyricism of Greig is ideal, and the three records they have just issued of the Scandinavian composer’s "Sonata in C Minor” are full of musical quality. The beauty of the work is extraordinarily Impressive, and the touch and tone of the instruments give it an added charm. The first movement, allegro molto ed appassionato, is a sheer joy, but it is only the beginning of a performance that holds one enraptured. The second movement, allegro expressivo alia romanza, is full of delicate passages, but it .?ever loses character or becomes insipid, and in the playing there is a sensitive and accurate sensibility to rhythm. Again in the allegro animato, the third and final movement, there Is the same grace and discrimination m tone colour. The whole is a gorgeous picture of the aivakening of spring. (H.M.V., CI3SB-89-90.)

Lovers of grand opera will be delighted with a new 10-inch record that gives two extracts from the first act of “Lohengrin." On one side Tan credi Pasero, the famous bass, gives King Henry’s prayer, “O re del Ciel” ( O King of Heaven”). His dark vowel sounds give a sombre, moving quality to his deeply-felt version. On r ® verse ls “Grazie Signore” ( Thanks, Gracious King”), sung by Armando Borgioli, a baritone who is making a great name for himself in Italy. (Columbia 04333).

Patience, from its original production, 38 years ago to the present day, nas enjoyed immense popularj,Z' . From the opening chorus, Twenty Love-sick Maidens We,” to the final curtain it rivets the attention and fascinates all who hear it. Dragoons, poets and maidens sing their way into everyone’s hearts. On two wonderful Brunswick records the gems of this opera are well sung and accompanied with characteristic American snap and verve. The records are worth buying especially for the exquisitely rendered sextet, “I hear the soft node” and “A magnet hung m a hardware shop” and “When I first put this uniform on.” (Brunswick, 20078-79, 12-inch.) Philadelphia Symphony Orchestra (conducted by Leopold Stokowski) in Symphony No. 1 in C Minor, Op 68” (Brahms). (H.M.V., D. 1499-1503.) The Philadelphia Symphony Orchestra consists of players selected from all parts of the civilised world as the best in their particular sphere There is no question that Stokowski has an absolute genius for ensemble. This set of records of Brahms’s “First SymP ony has little need of recommendation. For sheer voluptuous beauty tltese records will vie strongly with their distinguished predecessors. To satisfy our taste for electric recordings the makers have a big programme of re-

issues in front of them. Two favourites by Dora Labbette have been In big demand, her versions of the two old Seotfih songs, “Cornin’ Thro’ the Rye” and “Loch Lomon’.” Splendid though she has always been, Miss Labbette shows dis-

tinct improvement in technique. Her tone is rather rounder, and even purer, than before, that sweet silvery quality, which is her especial gift, being greatly enhanced. And, of course, the quality of the reproduction is far advanced. There should be a great welcome for this 10-inch disc. (Columbia 01534). There is only one fairy opera in the whole Gilbert and Sullivan series, and for close upon half a century “lolanthe” has preserved the secret of charm, sweetness, gaiety, beauty and youth. When its principal choruses and ditties are committed to two records it behoves no one to miss the feast. “Loudly let the trumpet bray” and “When Britain really ruled the wave” stand out in delightful contrast to the dainty “None shall part us” and the fun-infectious “If you go in, you’re sure to win.” (Brunswick, 20080-81, 12-inch.)

The first records issued in New Zealand of the famous Vienna Philharmonic Orchestra is a brilliant and authoritative rendering of Beethoven’s Pastoral Sj'mphony (No. 6). The reproduction is particularly good and gives an orchestral tone of noteworthy purity. The grandeur of the symphony' is the sleeping grandeur of a day when all nature seems to be laying fallow. All must be moved at Its peacefulness and simple humour. As a result this work has become one of the best-known and best-beloved of all classical music. In its perfect fusion of untransitable emotion, with every beauty of musical design and tone, it has never been equalled, nor is it probable that any other art can show a wider range of thought embodied in a more perfect form. Beethoven always remained within the bounds of pure music. (H.M.V., D. 1473-74-75-76-77).

In the true Mozart vein, polished and, witty, is “II Matrimonio Segreto” (“The Secret Marriage”), the overture of which is now recorded by the Milan Symphony Orchestra. Though composed by Cimarosa in the 18th century, the work has been revived frequently since then, for its racy impudence has always a fresh taste. The Milan Orchestra, under Cav. Lorenza Molajoli, works up the sport boldly, drawing clear lines and moving with purpose on its way. A safe record to recommend. (Columbia 02877).

Two delightful Maori duets, “Pokarekare” and “E Pare Ra,” are sung on a new Parlophone electrical recording of Ana Hato, soprano, and Deane Waretine, baritone. The nicely blended voices have the assistance of violin, cello and piano accompaniments, and these modern Maori melodists were taken specially from of Maori records. (Parlophone, 2801, Rotorua to Sydney to make a series 10-inch.)

Covent Gardens runs in such d. well-worn groove—English season, German season, Italian season, rotating year after year—that it is seldom that the top-notch French singers get a proper introduction to British publics. Columbia’s new policy of recording the best artists throughout the world opens new vistas. A new recording gives us a really splendid disc by J. Rogatchewsky, whose voice has a fascinating quality quite unlike the usual Italian school. It is at once sounder and more penetrating, and has a peculiarly charming colour. He renders with spirit and passion two numbers from Lohengrin—“ Farewell to the Swan” and "The Story of the Grail,” in French. (Columbia 04332.)

Beautiful Orchestra Marek Weber and his orchestra have .made a departure this month from the Viennese waltzes, and give a pot pourri from Puccini’s opera, “La Tosca.” The famous air, “Vissi d’arte,” considered by many to be the most beautiful air in the repertoire of modern opera, is exquisitely played. Other popular pieces famous for their lovely melody “Recondita Armonia” and “Ellucevan le stelle” are also included, and the tragic side of the music is not forgotten. The music, “La Tosca,” with its contrast in moods and remarkable delineation of character, is ideally suited for the construction of a pot pourri, and Weber has pieced the airs together with rare artistic insight. His orchestra lias rare tonal balance and the beauty of the strings is a sheer joy. (H.M.V., C 1413).

Few modern composers have a wider public than Albert Ketelby, whose “In a Monastery Garden” and “In a Persian Market” are among the musical best-sellers throughout the world. He now contributes to the gramophone his latest work, “The Sacred Hour,” in which he conducts his own concert orchestra, with organ and full chorus. It is sufficient to say that this will be as acceptable as his other works, .for it has an equal ingenuity of effects, and equal richness and subtlety of orchestration, and the real Ketelby flair for a good tune. Recording stands up well to the strain put on it. (Columbia 01528).

The beautiful Schumann Quintet in E Flat Major, Op. 44, is recorded by the now-disbandod Flonzaley Quartet and Ossip Gabrilowitsch (pianist). Notwithstanding the technical dexterity of these players, and their mutual sympathetic understanding, it is pleasing that they have given more body to their playing by choosing for one of their last performances a Schumann Quintet, thus necessitating the introduction of the piano. The part is taken by a conductor-pianist famous in America, Ossip Gabrilowitsch, and he proves himself quite worthy of inclusion in this eminent company. His playing, whether in the solemn and impressive second movement, or in the capricious scherzo, is at all times moulded to the exact requirements of the other instruments, and never tends to dominate the position. This album, which contains four records in all, will be looked uion as one of the greatest masterpieces of chamber music. A new departure that will meet with general approval is that the numbering showing the proper order of the records is done in figures which are at last capable of being seen. (H.M.V., DBII9I-2-3-4.)

Harold Williams, the famous baritone of the British National Opera Company, is now touring Australia with his fellow-Australian, William Murdoch. His latest gives “The Lute Player,” coupled with “O, Star of Eve.” The first affords him ample dramatic scope for intense drama, and its bold, soldierly air Is happily suited to Harold Williams’s manly, unaffected style. A sympathetic and truly artistic rendering of Wagner’s lovely melody shows his great versatility. Williams has an ease of delivery that pleases greatly, and liis tone, even under stress, is maintained at flawless puritv. (Columbia U 2835.1