GRAMOPHONES

Sun (Auckland), Volume III, Issue 796, 17 October 1929, Page 14

GRAMOPHONES

The snatches of Hungarian folksongs and dances are the basis of Lizst’s Polonaises. He took these wonderful melodies, and with a technique that has never been excelled wove them into some of the greatest works ever written for the piano. The Second Polonaise has now been orchestrated by Muller-Burghans, and he has been as successful with this number as others have been with the Rhapsodies and Bach’s compositions. Some of the orchestral effects are nothing short of marvellous. There is not a blemish in the playing of the piece by the Berlin State Opera Orchestra under Dr. Leo Blech. Such a work, with its ever-changing colour, requires perfect response to the conductor’s baton, and no orchestra in the world is better disciplined than this. There is not the slightest trace of over-keenness in the strings, and the whole performance is brilliant. (H.M.V., D 1625). Cesar Franck’s String Quartet in D is perhaps one of the most lovely compositions of its kind in the realm of chamber music, it is the composer’s only effort for solo strings. Not only is it crowded with characteristic and beautiful melodic and harmonic effects, but it Is also filled with a peculiarly mystical and serene atmosphere that is at once perceived, and growls with every fresh hearing. This quality is a notable feature of the first movement, and reappears with added depth in the noble Adagio. The last movement is similarly inspired and has some intensely moving moments, especially where reference is made to themes which have previously been heard. The recording is extremely lucid and well-balanced, offering untold joy to the sensitivelyinclined music-lover. There is no need to unduly gtress the playing of the London String Quartet; suffice it to say they have given a reading that can only be described as masterly, whether in technique or artistic perception. On 6-12-inch. (Columbia Nos. 04335-04343.) 04343.) Tito Schipa invariably sings with artistic restraint, ,yet with decided warmth and roundness of tone which cannot fail to please its hearers. He has recorded tw-o arias from Ambroise Thomas’s “Mignon,” which should easily rank among his best, and they are very well reproduced. In “Addio Mignon” Wilhelm bids farewell to Mignon in the second act, wishing to leave her. In spite of her tears "and her ill-concealed love for him. In the last act Wilhelm sings the melodious aria. “Ah! non credevi tu,” awaiting Mignon’s recovery from her illness. Thomas’s music is not very deep in sentiment—perhaps it is all the better for it. It always remains pleasing and charming. A feature of the record is the tenor’s admirable phrasing. (H.M.V., D 8843).

“Honey” promises to be one of the season's outstanding dance numbers and is coupled with “My Sin” by Ben Selvin and his orchestra, which combination gives a perfect rendition. (Columbia No. 01525.) Paul Whiteman also offers two excellent numbers, “Louise” and “Nola,” both foxtrots of particular merit, the former ■ being the charming theme song from ! “Innocents of Paris.” (Columbia No. ‘ 07022.)

The His Master’s Voice records of Verdi’s magnificent “Aida” comprise the complete opera. They present a performance of an artistic level very rarely possible in any opera house. The participants are all famous for their performance of the particular part they take, and the four principal roles are sung by artists of international celebrity. Added to a cast of the utmost brilliance are the advantages of the co-operation of the superb chorus and orchestra of the La Scala Opera House, Milan, the very hub of the opera world. The production has a sense of finish and perfection such as can only be achieved after considerable and painstaking rehearsal. On quite as high a level of excellence is the reproduction which the records afford; the balance between voices and orchestra is finely adjusted, and there is a sense of breadth and crispness about all the records that will please every music-lover.

Captain Miller thinks that The Fantasia on 17th Century Music, A.D., 16G4, is the finest record he has made. Certainly you will agree when you hear these charming old-fashioned songs, grouped together and played as only the Grenadier Guards can play. Among them are such lovely traditional airs as “Green Sleeves” and “Elark, the Bonny Christ Church Bells,” and the stirringly fine “Here’s a Health Unto His Majesty.” It is a record which elderly folks, with many cherished memories, will enjoy. (Columbia No. 02590.)

Kol Nidrei is a melody that has been sung In the synagogues of the world for countless years on that most solemn of all days—“Yom Kippur”—The Day of Atonement. The words are an impassioned plea for absolution from sin, while the melody itself is admittedly one of the world's possessions. . Cantor G. Sirota’s reverent treatment is most appropriate, while the choir supports him in the mode of the synagogue. Sirota’s great voice is heard to full advantage, the reproduction is superb, and the record will be treasured in countless homes, Jewish and non-Jewish. (Columbia No. 02515.)

The following theme songs have been recorded by Zonophone:—Paul Oliver (tenor), in “Coquette” (from the motion motion “Coquette”), and “Lady Divine” (from the motion picture “The Divine Lady”). Both these songs are among the most beautiful of the season’s “movie music.” This record presents a real double-barrelled opportunity. (Zonophone EEIGO). “Sapphische Ode” (Brahms) and “Auf Dem Kircliofe” (Brahms) are the two latest from Alexander Kipnis. The earlier records by Alexander Kipnis—the Bayreuth Festival and Schubert Series —were among the most important of recent years. Kipnis has an effortless intensity of expression which is enriched by an unusual refinement and clearness of diction. His is the ideal interpretation in a voice of superb quality. (Columbia No. 03645.) Frankly in Bauer (tenor) in “Where is the Song of Songs for Me” (from the motion picture “Lady of the Pavement”), and “When Summer is Gone.” Franklyin Bauer’s voice is famous all over the country for its sweetness and N clarity. His records appeal instantaneously to a wide variety of customers, both old and young. This particular record is especially fine and is a beautiful and powerful piece of vocal recording. (Zonophone EEISB).

Newcomers to the lists of dance bands are Ted Wallace and his Campus Boys. Jazz bands need exceptional qualifications to win a market for their wares in this highly competitive field, but in rhythm, lively tone, novel effects and fine vocal choruses this gang literally forces us to take notice. Hear its “Mean to Me” and “The One I Love Loves Me.” (Columbia 01514.)

A fine English baritone, Robert Poole sings “Here in the Quiet Hills” and “O That It Were So.” Columbia 01537. On the whole, good voices are far more common than sincere singing. When a singer can give us both, he produces a notable record, and that is what Robert Poole has done here. He is new to the gramophone, but not to London concert halls. He has chosen two ballads of unusual merit, especially Landor’s exquisite lyric, “O That It Were So,” set bj 7 Frank Bridge, and obviously means every word he sings. His diction is simple and natural, and his tone has quiet shading and subtle inflexions that go very well with this better type of song.