GRAMOPHONES

Sun (Auckland), Volume III, Issue 855, 26 December 1929, Page 14

GRAMOPHONES

Theodor Chaliapin, the Russian basso, who has been responsible for many recording triumphs, has contributed to gramophone music one of the most stirring and dramatic excerpts in existence—the death scene from Massenet’s “Don Quixote,” an opera first produced in Monte Carlo in 1910. The chief success of this opera, both in Monte Carlo and New York, has been due solely to Chaliapin’s realistic impersonation of the hero. The great Russian is ideally suited to portray the part. The music of the death scene is most impressive. Don Quixote realises the failure of his dreams, and Chaliapin’s singing is a masterpiece of pathos and dramatic force. His exclamation, “Je meurs” (I am dying) is truly terrifying, and one cannot help visualising the dying hero sharing his last few moments with his faithful Panza. At the very end a vision of Dulcinea appears, singing to a harp accompaniment. The last gasp and the sobbing of Pancho. whom Chaliapin subsequently impersonates, are thrilling in their grim realism. (H.M.V., DB1096).

Willem Mengelberg and the Amsterdam Orchestra give ail entrancingly sympathetic reading of Weber's famous masterpiece, the “Oberon” Overture, in this month’s Columbia lists. The playing carries us from the first note into fairy realms. Exquisite tonal colourings, and instrumental effects of the utmost ingenuity, make this recording one of the most delicate and fanciful yet released. Particularly rich in suggestion are the light movements of the fairies on the clarinets and Oberon’s theme on the horn. Mengelberg has enriched the gramophone's repertoire with a work that for ethereal beauty will remain long unsurpassed. On the fourth side of these two records we are given the Slavonic Dance in G Minor, byDvorak, splendidly played by Sir Henry Wood and the New Queen’s Hall Orchestra. (Columbia 04347-48.) * * * From the H.M.V. December dance list the following records have been culled for their melody, rhythm and orchestration: “Underneath the Russian Moon,” vocal refrain by Rudy Vallee, and “The One That I Love Loves Me,” fox-trot, refrain by Rudy Vallee, played by Rudy Vallee and his Connecticut Yankees (EA565) ; “Every Moon’s a Honeymoon” (With You), fox-trot, vocal refrain by Rudy Vallee, and “When You Come to the End of the Day,” waltz, played by Leo Reisman and his orchestra (EA581); “Blue Hawaii,” waltz, vocal refrain by Don Howard, and “Sparkling Waters of Waikiki,” waltz, played by the Hilo Hawaiian Orchestra (EA574); “Jericho,” fox-trot, with vocal refrain, and “I’ll Always Be in Love with You,” waltz, with vocal refrain, played by Waring’s Pennsylvanians (EA 559).

Among the shorter works of Brahms few have attained the popularity of the Hungarian Dances, of which Numbers 5 and 6 are perhaps the best known. This month’s Columbia list includes a splendid pairing of these two by Sir Hamilton Harty and the Halle Orchestra, An essential feature of all the Hungarian Dances is the abrupt change from grave melancholy (lassen) to wild merriment (friska), involving many changes to time and tonality and a peculiar richness of harmony. In No. 5 Harty handles with the understanding of an artist the change from the slow, sensuous opening to the gayer theme. No. 6 is characterised by astonishing variety of melody, rhythm and harmony, and every shifting mood is handled with the certainty of a master. (Columbia 01677.)

“Broadway’s Favourite Son” is the title given to Eddie Cantor, the American comedian, and particularly appropriate at present is his record of “Makin’ Whopee,” from the Ziegfeld Follies’ musical comedy, “Whoopee," in which he took a leading role. This production is about to tour the Do minion, and this number is one of the hits of the show. On the other side is the chief tenor song from the same work, “I’m Bringing a Red, Red Rose.” This appealing melody is sung by one of the finest of light tenors. (H.M.V., EA538.)

St. George’s Chapel, attached to Windsor Castle, is always a Mecca of lovers of good singing, for the choir is among the most famous in the world. This month Sir Walford Davies leads them in a fine’ record of the music sung on the occasion* of the King’s Thanksgiving. First comes the National Anthem, and surely it has never been sung with such fire and beauty. On the same side follows a “Psalm of Thanksgiving,” one of the productions of Sir Walford in his capacity of Master of the King’s Musick—a sort of Musical Poet Laureate. The reverse side is taken up with an Elgar piece—“Coronation Offertorium”—one of the gems from this great composer’s pen. The singing throughout is sheerly lovely, and makes a capital record. (Columbia 02936).

Florence Austral and Browning Mummery are two successsful Australian artists who have firmly established themselves in the musical centres of the world, and it is fitting that they should be brought together on one record. They have recorded two duets from “Trovatore” —the ever-popular “Miserere” and the equally well-known “Home to Our Mountains.” Austral has achieved remarkable range she is equally competent in the mezzo-soprano part. Mummery is now a favourite tenor with the British National Opera Company, and both duets are a convincing proof of the artistic success of these, two Australian singers. (H.M.V., D 1302.)

Few arias from grand opera are more popular than tlje “Barcarolle” from Offenbach’s “Tales of Hoffman,” and "Give Me Your Darling Hands,” from Puccini’s “Madame Butterfly.” An English version is highly welcome, especially sung with such brilliance and sympathy as Isobel Baillie, Nellie Walker and Francis Russel bring to them. Bella Baillie is the find of the Covent Garden year. This soprano has an exquisite legato, and has a warm, vital quality very reminiscent of Melba at her best. Particularly fine, too, is Francis Russell, who scored a big success in tile Covent Garden season this year. He shares the Puccini duet with Bella Baillie, and shows a manly, unaffected style that dodges all the serious faults of the Italian school. Records like this, capitally sung and capitally accompanied, should be in every collector’s possession. (Columbia 02935). * • * * Benno Moiseivitch plays Brahms’s “Rhansodv” in H flat with a purity of tone, a sensitive regard for rhythmic and structural features, and a great variety of colour. Even in the swiftest passages there is no loss of style, and the pianist secures exhilarating effects. The dainty ‘‘Jeux mood, and his delicacy of touch gives this well-known piece an unusual charm. Here are two models for students of the piano. (H M V D 1645.) * a In giving us Mozart’s Quintet in A Major, the Lener String Quartet and Charles Draper, the famous clarinettist, have provided a feast of pure delight for lovers of good chamber music. This is one of Mozart’s most perfect works, a creation of exquisite loveliness and charm. It is a triumph of radiant happiness, and is played with smooth efficiency and abundance of spirit that exactly suits Mozart. The performance will not soon be surpassed in technique or interpretation. The string tone has the unfailing silken purity with which we always associate the name of Lener and the clarinet part is played by one who is recognised as one of the greatest living masters of this instrument. The delicate balance of wood-wind and string-tone in the exquisite Larghetto is particularly pleasing. (Columbia 04301-40.)

The wonderful range of tone colours of the Wurlitzer organ Is artistically and effectively used by Reginald Foort in two suitable numbers for the instrument, “Forever” (Ager) and “In the Heart of the Sunset,” by Nicholls. The first is a waltz and the second a fox-trot, and make ideal dance numbers. Dancing to the Wurlitzer is a pleasant variation from the orchestra, and it is a good thing to have an organ record among the orchestral. (H.M.V., 83044.)