GRAMOPHONES

Sun (Auckland), Volume III, Issue 896, 13 February 1930, Page 16

GRAMOPHONES

With “Gotterdammerung—Song of the Rhine Daughter” (Wagner) and "The Ride of the Valkyries” (Wagner), Sir Henry Wood and the New Queen’s Hall Orchestra (Columbia 02952-53) gives us a very enjoyable recording. Sir Henry gets to the very heart of this unearthly and mystical music. Its intricate structure holds no terrors for him, for he builds phrase on phrase, motive on motive, and counterpoint over counterpoint like a master

builder laying his bricks with a clear view of the temple that is to grow out of it. Sir Henry has a subtle understanding of tone colours; his brass and his woodwind blend perfectly, and he achieves just that “fatness” in the strings that is so necessary to the richness that Wagner calls for. As a make-weight, he gives the fourth side to a dramatic reading of the sweeping “Ride of the Valkyries,” played at a nervous tension that rushes us through the skies alongside the “Daughters of the Gods.” The Brunnhilde motive comes through with stirring eclat. A truly magnificent playing.

Amelita Galli-Curci has recorded by the electrical process Bishop’s “Home, Sweet Home.” On the reverse side is Moore’s “Last Rose of Summer,” which is sung in the second act of Flotow’s opera, “Martha.” As in the past, her husband, Homer Samuels, accompanies her on the piano. On another 10-inch record Amelita GalliCurci sings two duets from Verdi’s “Rigoletto,” with the late Giuseppe de Luca, accompanied by the Metropolitan Opera House Orchestra, conducted by Giuseppe Setti. The first “Ah Veglia o donna,” in which Rigoletto takes leave of his daughter, is from the second act. Both voices blend very well indeed, and de Luca sings his part with great precision. “Piangi fanciulla”' is from the third act. (H.M.V., DAIOII and 1028.)

Two thrilling songs, “The Midnight Review,” and “Edward,” are sung by Norman Alim, bass. Columbia, 05008. Norman Allin, aided by the mysterious qualities of his voice, produces with Loewe’s “Edward,” and Glinha’s “Midnight Review” a vocal record of creepy fascination. His background is blood, death and ghosts. “Edward” is a gripping ballad, which Allin sings with fervour and gusto; his handsome, manly bass getting the last ounce of effect out of it.

Tchaikowsky, more than most composers, calls for brilliancy and colour, and it would be difficult to find an instance when he was better in these respects than in the record of his “Capriccio Italien,” played by the Berlin State Opera Orchestra, under Leo Blech. There is also an unusual opulence in the matter of power, though it never degenerates into mere noise. This is one of the best orchestral records of the last few months. The work was composed on Tchaikowsky’s return to Russia after a visit to Florence and is a series of vivid impressions of the composer’s stay in Italy. Never has Tchaikowsky been in a happier mood. (H.M.V., D 1593.)

Heddle Nash sings the Mozart airs, “II mio tesoro”—from “Don Giovanni” (Mozart), and “Dalla Sua Pace.” Heddle Nash, blessed with ability to sing Mozart —an ability not found in one of every dozen singers who attempt the music—sings two exquisite arias from “Don Giovanni.” He captures admirably the serene and courtly grace, the freshness, and the sparkle, i*hich are inherent in all Mozart’s airs. His tenor has a most attractive, clean quality, and he forbears to force it into that robustiousness which is fatal to Mozart.

Two airs from Thomas’s opera “Hamlet” deserve to be much oftener sung, though the work, as a whole, as an adaptation of Shakespeare, is an unworthy one. The airs are “Like a Lovely Flower” and “O Wine, Dispel the Heavy Sorrow,” the former of which refers to Ophelia’s tragic end, and in the latter air Hamlet enjoins the players “in the play within the play” to make merry. The singer is the Australian baritone, John Brownlee, 'who is finely dramatic in both. (H.M.V., D 1654.)

Waldteufel Memories Fantasia is played by Herman Finck and his orchestra. (Columbia 02985.) Though Johann Strauss was known as “The Waltz King,” Emil Waldteufel, his disciple, wrote many that were still more famous and even more delicious in their sense of melody. Herman Finck, the famous conductor, has arranged 23 of the most famous of them into a medley of irresistible charm. The majority of them are, naturally, waltzes, but one or two polkas and gallops have found their way into this tuneful fantasia. The recording will stand by itself for sheer brilliance and tunefulness, and will come as a refreshing tonic after the jazz-ridden dance music of today. It harks back to the days when the popular music writers knew how to write a good tune.

The numerous admirers of Pablo Casals, perhaps the greatest violinist in the world, will be pleased with his record of Walther’s “Prize Song” from Wagner's “Mastersingers of Nurnberg.” The deep and sonorous ’cello notes are faithfully reproduced with admirable roundness. On the reverse side Casals plays “O Star of Eve,” the baritone aria from “Tannhauser,” another Wagner work. Here again the glorious melody is made ethereal by the beautiful notes of the instrument. (H.M.V., DB1012.)

Harold Bauer’s two records of Beethoven’s “Appassionata,” Sonata are highly successful. It bears out what Rolland writes of the music; “A Union of unrestrained passion and rigid logic.” It is indeed a matter for gratification that Bauer plays in a straightforward way without any subinterpolations, and thus we have a* well-recorded, vigorous masculine rendering. Played so, it has an astonishing freshness and vitality. In fact Bauer’s interpretation is characterised by pregnant and vital rhythm. The insistence placed by the pianist upon intelligence rather than upon emotion constitutes a welcome change from the hectic sensationalism indulged in by many well-known players. The dazzling spirit of exhilaration displayed in the last movement makes the hackneyed music seem positively unfamiliar. The recording of the piano tone is remarkably successful, and even the rapid passages of the opening allegro are very clear -with every note defined. The admirable variety of the tone, an element seldom present in mechanical piano transmissions, is even more striking than its realism. It appears to special advantage in the subtleties of the andante con moto. Altogether the work is played as formerly one hoped it would be. (H.M.V., D.B. 1293-94.)

John Ireland, who w T as born in Cheshire in 1879, appears on Columbia this month in a work that not only stamps him as an English composer of great distinction, but also as a pianist possessed of unusual abilities. The ■work is a sonata for ’cello and piano. In the recording the ’cello part is taken by Aaitoni Sala, which the composer himself accompanies on the piano. The sonata is consummately fine in every essential detail—harmonically, structurally and interpretatively. Each movement has special beauties of its own. The lofty grandeur of the Slow Movement is one of the finest things that English music can boast of. The piano bass notes, in which the work abounds, ring out with a fine strength and clarity, while the ’cello frequently soars to the subiimest heights. Both artists have provided a memorable performance, behind which is an excellent recording. The final side of the eight is given to “April,” a piano solo in John Ireland’s lightest mood. It has a freshness and strange charm all its own, conveyed with a deftness and artistic restraint. (Columbia 04349-52).

There are several bright and tuneful dance numbers in the latest H.M.V. catalogue to hand. Several of the best of the motion picture theme songs have been transposed into attractive measures. Among the best are: “Used to You,” fox-trot, vocal refrain by Don Howard, and “Why Can’t You?” foxtrot, vocal refrain by Burt Lorin, played by Nat Shikret and his orchestra (EA, 587); “I’m in Seventh Heaven,” fox trot, vocal refrain by Fran Frey, and “Little Pal,” fox-trot, played by George Olsen and His Music (EA, 588); “When My Dreams Come True,” fox-trot, with vocal refrain, and “My Sin,” fox-trot, with vocal refrain, by Clare Hanlon, played by Waring’s Pennsylvanians (EA, 592); “The One in the World,” fox-trot, vocal refrain by Rudy Valee, arid “S’posin’,” fox trot, vocal refrain by Rudy Vallee, played by Rudy Vallee and his Connecticut Yankees (EA, 582); “Won’t You Tell Me How” (“We’re Gonna Be One”) fox-trot, with vocal chorus played by Waring’s Pennsylvanians, and “Outside,” fox-trot, with vocal chorus, played by Irving Aaronson and his Commanders (EA, 596.)

“Ernani —D nf el ice e tuo credevi” (Verdi) and “La Boheme—Vecchia zimarra” (Puccini) are sung by Tancredi Pasero, bass. Columbia 01592. News that Pasero, the famous Milan basso, has been booked for this year’s season at Covent Garden lends additional interest to the further news that Columbia is widening his public by putting his records in their Standard Section. The lower price will certainly bring a bigger demand for the record under review. It is a well-con-trasted singing of two of the most famous airs in grand opera. In Verdi’s poignant “Unhappy I,” he shows that he has avoided a common Italian fault of under-acting. Pasero is obviously sincere, and this more than atones for a slight weakness in breath-con-trol. But more to the taste of the average reader will be the gayer “Song of the Coat,” a typically melodious Puccini tune.

In a few years’ time gramophone lovers should have from the young bass-baritone, Stuart Robertson, a collection of English songs which will not easily be surpassed. Robertson is a careful singer. This does not mean that he is slipshod, but his songs are full of buoyancy and spirit, and in his latest record he is assisted by a merry chorus. They make rollicking numbers of “Polly Woolly Doodle,” “The Mermaid,” “Little Brown Jug” and “The Three Crows.” The chorus of "Crows” especially is very cleverly done. (H.M.V., B 3082.)

A newcomer to the gramophone is Martha Attwood, who has a singing soprano, which she shades with nice discretion. She sings two old favourites in “Ye Banks and Braes” and “Cornin’ Thro’ the Rye,” but familiar as the tunes may he, she never descends into the hackneyed. Her reading has an appealing freshness, and it is safe to prophesy that her crystal-clear voice will be much sought after in this and future records. (Columbia 91415.)

Rosa Ponselle lias made the most satisfying recording of the famous Cavatina “Casta Diva,” from Bellini's opera “Norma,” since Patti. But Ponselle has the advantages of a big orchestra accompaniment and chorus and the improved recording process. Very few sopranos of the past have recorded this aria, chiefly owing to the difficulty of interpi etation. Rosa Ponselle gives a very dramatic and expressive reading of the part, just such as we might have expected from her. But what is most notable is her artistic restraint and the beautiful mezzavoce, which she uses with wonderful effect. The great soprano is auspiciously assisted by the ch6rus of the Metropolitan Opera House in New h ork, and the recording admirably brings out the high artistic standard of the performance. (H.M.V., DB. 1250.)