GRAMOPHONES

Sun (Auckland), Volume III, Issue 884, 30 January 1930, Page 16

GRAMOPHONES

H.M.V. RECORDINGS

FEBRUARY LIST Fritz Kreisler and Mischa Levitzki are the principal H.M.V. instrumental recordings for February, and both give considerable pleasure. Kreisler’s violin numbers are “Rondlno” (on a theme by Beethoven) and “Fair Rosemary,” both by Kreisler. Both are well suited to the Kreisler temperament. and he plays them with the warmth of tone and richness thm, has made him the premier recital violinist of the age. (D.A. 1044). * * * Mischa Levitzki has a decisive cleanness about his touch that particularly suits him for recording purposes. Following the popularity of his “Sixth Hungarian Rhapsody,” his recording of "Sonata in A Major” (Scarlatti) and Beethoven's “Ecossaise,” should also be in keen demand. Additional interest will also be invested in the records in view; of the fact that Levitzki will be visiting this country some time this year. He plays botii of these in his usual brilliant manner. (E. 537). » * » Peter Dawson gives us two rather well known numbers, “Bedouin Love Song,” by Pinsuti, and “The Bandolero.” by Leslie Stuart. Although Dawson is dipping back into the dim misty past it is not hard to enjoy both of these numbers. At some time or another we have all heard these numbers. but they cannot compare with the modern recordings. (C 1659). •s * * A nice orchestral bracket is provided by the New Symphony Orchestra under Dr. Malcolm Sargent with Sir Edward German's "Nell Gwyn” Da*ees, No. 3 (Merrymakers’ Dance), and Boccherini's "Minuet.” German’s "Nell Gwyn” dances are well known. This is a fine example of old English dance music, and it is played with fine verve. For contrast we have the piquant little Minuet, a thing of dainty grace, of which one never grows tired. This is very well played. (B 3036). Stephen Foster melodies arc played by Nat Shilkret and the Salon Group. They Include “Old Black Joe” and "My Old Kentucky Home.” These coon songs are coming into a certain popularity and these are good examples (E.B. 42). v * V Two old favourites, “The Belle of New York" and “The Geisha,” are recorded by the Coldstream Guards Band. These are two of the most popular musical comedies written, and good recordings of them are always acceptable. (C 1703).

Friedman's publicity agent styles him “the Colossus of the Piano”—a label that discerning folk hardly expect him to live up to. Friedman is a very fine —in

fact, a very great pianist, but to blazon him as the colossus of the col ossi is treading a wee bit on the toes of fact. As an interpreter of Chopin in his more vigorous moods, the colossal Ignaz rises to great heights. On Columbia 02940 lie plays the lengthy

Polonaise in A Flat (Op. 53), with an unerring sense of rhythm. Not once does he fall into the pit dug by Chopin’s careless remarks concerning “tempo rubato.” This A flat Polonaise is hardly as well known to the public as the shorter one in A—which, thematically, it partly resembles. But it is a brilliant work, and one that every lover of piano music can sit back and thoroughly enjoy. The recording is as fine as the play itig; and it is pleasing to note that this “celebrity” record is obtainable at standard price. * * * Quite recently Columbia issued J Respighi’s “Pines of Rome” on three I ten-inch records, now as a sequel “The Fountains of Rome” invites your attention. It was produced in Rome in 1916, six years earlier than the “Pines,” and its very subject attracted considerable attention. This is music exquisite in every sense of the word | —the main theme of running water is clearly personified in four different [ ways—the subdued mysticism of “Julian Valley,” the jubilant "Triton,” the | colossal colours of “Trevi,” the neat i little phrases and bells of the “Medici” —each leaves its indelible impression on the mind. Molajoli and the Milan Symphony Orchestra have given us a most wonderful realistic interpretation. (Columbia 02952-3). * * * That brilliant pianist, Gil Dech—not very hard to recognise as the versatile Gilbert Dechelettes, conductor and composer—regales us this month with a sparkling little piano solo. “Le Jet d’eau.” The pianism is dazzling in its dexterity. The rippling gust of notes mimics the waterspray to the life, and one is rapt throughout at the almost fairylilte deftness of touch. On the reverse side the Stellar Instrumental Trio, and we can pick Gil Dech as the pianist in this brilliant tune, are tender and wistful in Bardarzewska’s “The Maiden's Prayer." Columbia 01719.

So far Stabile has only made two records, - hut both have been of so thrilling a character, that we have waited and wondered. Now he adds a third triumph to the others. Dl Capua’s “O Sole Mio,” one of the most universally popular airs ever written, is his first choice of material, and he trolls it forth with irresistible fervour. On the other side is a “Siciliana” (or Cradle Song) by Pergolesi, a song better known per haps as “Nina.” Its soft strains hold a wealth of fragrant thought. Columbia 03652.

Those who enjoy straightforward, clean-cut, vigorous and resounding performances of rousing tunes by an army band (and who doesn’t?) will like the marches “Gridiron Club” and “The National Game,” recorded by Sousa’s famous band. These are just the things for schools or summer camps, or under any other conditions where rousing and stirring music of a rhythmical character is required. (H.M.V., EA591.) * * * A series of sixteen representative records of extracts from “Gotterdammerung” (“The Twilight of the Gods”), is divided among two albums.

The language is German, and there are several English singers in the cast: he would be a churl who would seek to find fault with the quite remarkable exposition of this quite remarkable music. Florence Austral and Walter Widdop, for example, are glorious in the Dawn scene when Brunnhilde and Siegfried come from the cave, and their parting I can describe only as terrific. And so it goes on, with Ivan Andresen and Fear and Ljungberg and others. Albert Coates and Lawrence Collingwood, Leo Blech and Carl Muck being the conductors. (H.M.V.)

The New Concert Orchestra, conducted by Anton Weiss, gives us this month two particularly pleasing numbers by Ziehrer. The first is the Vienna Maidens’ Waltz,” and its pairing is “Nights of Fragrance.” Thev are typical of the languorous, sensuous music of the Vienna of Strauss ' v aldteufel—gay, romantic, beautiful and tuneful airs played with inimitable point and polish. There is a smooth, swinging rhythm about these waltzes that is most enthralling. Anton V eiss shows to advantage his great knowledge of Viennese dances, and delights us .with a fine body of skilfully aimed tone. (Columbia 02979).