GRAMOPHONES

Sun (Auckland), Volume III, Issue 902, 20 February 1930, Page 16

GRAMOPHONES

Fritz Kreisler gives a wonderful performance of Brahms’s only violin concerto in D Major, op. 77, a performance of artistic breadth, classical in its clearness and purity, yet exceedingly vigorous and pervaded by

irresistible energy in the first and last movements. Kreisler’s technical perfection is such that it is absolutely unnecessary to even comment upon it, while his tone is notably beautiful, especially in the lovely adagio, which he plays very poetically and with warmth. In

the first movemement there Is a brilliant cadenza. The support by the Berlin State Opera Orchestra is excellent and the -recording is all that could be desired in volume and clearness. The concerto has been recorded on five records. (H.M.V., DBII2O-4.) * * B The versatile Pattman, whom we remember for his fugues and tocca on the Liberal Jewish Synagogue organ, gives us lighter fare nowadays. His latest couples the fragrantly melodious "Narcissus” of Trevin with the more familiar “Melody in F” by Rubinstein. Though he has transferred from a “legitimate” organ to a cinema one, his sound musicianship still shines through, and he plays both times with, simple directness and sincerity. Columbia 01752.

Among the numerous contributions to gramophone literature by operatic tenors, the work of Giovanni Martinelli ranks deservedly high, not only for the quality of his voice, but for the absence of tricks and mannerisms beloved by many Italian vocalists. The excerpt from “Andrea Chenier”—“As Some Soft Day in May”—is a representative example of his best work. Here the voice is used with the utmost freedom and fluency. The second aria on the record, “One O’er the Azure Fields,” is a beautiful example of bei canto. The melodic line never wavers and the tone shadings are those of an artist of the highest class. (H.M.V., D 81278.)

Two world-popular tunes in the introduction to Act 3 of Wagner’s “Lohengrin,” and an orchestral version of the famous “Prelude in C Sharp Minor” by Rachmaninoff, will be found on a disc by Sir Henry Wood and the New Queen’s Hall Orchestra. This record has now been transferred to the popular priced section. The economist will be pleased to compare the old pre-electric disc of 10s with the much better version at 6s. Sir Henry makes the most in the “Lohengrin” of one of the few really great melodies that Wagner wrote, and arranged the Rachmaninoff to invest it with a rich overplus of effort. Columbia 02967.

One of the most beautiful piano works ever composed, Schumann’s “Carnival,”, has been re-recorded by Alfred Cortot, the celebrated French pianist. The “Carnival” is unrivalled in its charm and freshness, and it is as captivating: today as it must have been when Robert Schumann first composed it, thinking of his beloved Clara, whose hand was hard to obtain owing to her father’s strong objection to the composer’s uncertain financial position. Many French pianists are rather superficial, but this can hardly be said of Cortot, who has lived for a long time in Germany, and who even acted, as chorusmaster at Bayreuth. Cortot was the only pianist who recorded the “Carnival” some years ago, and now he has added the two short numbers which were previously omitted, the “Replique” and “Sphinxes.” The recording is brilliant, and the piano tone especially gives an exceedingly fine reproduction. (H.M.V., D 81252.-3-4.) Not Eton alone, but Britons all over the world, are stirred by the flowing melody and manly words of the “Boating Song,” and few will remain unmoved by the stirring version of Raymond Newel. His latest disc pairs this with the old traditional song, “I Married a Wife,” a character study excellently carried out. Mr. Newell, well known on the London stage, is supported by a really fine chorus. Columbia 01749.

Mischa Elman’s recording of Drdla’s “Souvenir” and Cui’s “Orientale” (Op. 50), recalls that his wonderful tone is still as rich and expressive as in the past. The new electrical recording brings it out to great advantage. Cui’s “Orientale” is particularly fascinating in its atmosphere of dreamy yearning and mystery. (H.M.V.). • * * Toward the end of the last century Debussy wrote an opera, “Pellas and Melissande," which, though revived at

the time with the usual hostile questioning of the public, delighted the greatest musicians of the day. One and all expected that, as he had found an art-form so o b v iously suited to him, he would continue to create fresh masterpieces. But no —“Pellas" re-

mained his sole opera. From that day to this it has pleasured a growing public. Columbia now offers it in abbreviated form on six 12-inek discs. A group of famous French singers form the cast, and it may safely be predicted that the quality of their singing, so completely foreign and unfamiliar to ears accustomed only to the English, Italian, and occasionally German methods, will come as a complete and delightful surprise. The sense of poetry is not absent from a single note. The flesh-and-blood singers uphold the fugitive dream-like atmosphere with great credit. Even the pedestrian passages abound in charm. Particular praise must be given to the unfailing purity of the voices, and to the delicately, exact enunciation. The opera is given on six 12-inch records in an album. Columbia 02865-66.

Harold Bauer has a place in pianoism given to but very few. His execution in Lizst’s “Etude in D Flat” interprets Lizst as a romanticist as well as a technician. The peace and tranquillity of Schumann’s “In the Night” is played with subtle and delicate touches, and a feeling for the musical phrase like that of the poetic phrase in words. (H.M.V., DB1282).