GRAMOPHONES

Sun (Auckland), Volume III, Issue 914, 6 March 1930, Page 18

GRAMOPHONES

HEIFETZ V. KREISLER TWO INTERESTING RECORDS MARCH RELEASES Two very interesting records in a parcel of March releases sent by the H.M.V. Company contain violin solos by Kreisler and Heifetz. For those desirous of participating in the never-ending controversy, Kreisler or Heifetz, here i is an excellent opportunity to compare them in works that cover both temperament and “mere technique.” Heifetz plays Mendelssohn.’s beautiful melody, “On Wings of Song,” arranged for him by Isadora Achron, who, incidentally, ranks among the world’s finest accompanists. There is no doubting the fact that Heifetz plays this superlatively well; in fact, in such a way as to contradict many who claim that he is a great technician, but a technician only. Not only a great technician, Heifetz is undoubtedly a great artist. Because he does not condescend to play the inferior music of the age, and because he does not condescend to exhibit what is called soul, whatever it means, he is described by many as a “technician.” The art of Heifetz is not obvious —and that is why he is a great artist. His “Jota,” by De Falla, and Greig’s “Puck,” on the reverse side, are in delightful contrast. (D. 8., 1216.) Kreisler has chosen Athanael’s beautiful “Meditation,” from Massenet’s “Thais.” This is particularly suit able to Kreisler’s fine tonal quality Undoubtedly he has great command over tone, and in this he has an ex cellent opportunity of demonstrating it. It is a haunting air, and one that readily appeals. Undoubtedly on first acquaintance it will more readily catch the ear than the Mendelssohn number, but the latter, as played by Heifetz, has a rarer beauty. The gay little “Tambourin’’ of Kreisler’s own compositiou is played with viv acity, and it contributes to a very desirable record. Of the two the writer prefers the Heifetz record, but as opinion upon the question will be very sharply divided, he advises his readers strongly to hear the pair and make their own selection. Possibly they may take both. Without Peter Dawson the world would be very much the loser. This month this delightful recorder of ballads gives us “The Man Who Brings the Sunshine,” by Cooper, and “The Smuggler.” by Copple. The latter is one of the rousing songs of the “good old days” when mysterious vessels rode out in the bay and lamps winked along the shore line, and to be caught with the goods meant sud den death. It is bright and breezy with a strong dramatic touch, and Dawson sings it as such a song should be sung. Just to show his versatility he sings a bright little number about the “Man Who Brings the Sunshine.” In philosophical vein, it is sung with just that touch of personality that makes Dawson the greatest gramo phone singer of ballads that we have today. Altogether it is a very charm ing and welcome little number. (8., 3078.) A selection front Leoncavallo's opera, “Pagliacci,” played by Marek Weber and his orchestra, makes an interesting record. Opening with the Prologue it runs briefly through the principal numbers with the stirring tenor solo, played by the violins, “On With the Motley,” for the climax. It is played with fine verve. (C., 1735.)

Irish songs by Alfred O’Shea ere “The Little Irish Girl,” and “A Little Bit of Heaven.” Columbia 01602. The famous Australian singer was in excellent voice on the day he made this record, which Columbia has now transferred to its cheap label section. The two songs he has chosen are among the most popular of the Irish ballad type, and he sings them with a wealth of sincere feeling. Listeners will notice how exquisitely he shades his voice in the softer passages; indeed, O’Shea’s use of mezzavoce is one of the subtlest on the records. His gloriously round and open tone is a sheer delight to listen to, and his broad sympathetic phrasing gets right down to the heart of his music. Those who like the best tenor singing should make a point of hearing a few of the O’Shea records and making their choice therefrom.

Vocal gems from "Maritana” are sung by Clara Serena, Francis Russell, Dennis Noble and Doris Vane, with chorus and orchestra. Columbia 06007. Who doesn’t know those attractive songs, “Scenes that are Brightest," “In Happy Moments” and “Let Me Like a Soldier Fall”? “Maritana,” which William Wallace wrote and produced in Drury Lane in 1845, became instantly and has remained ever since tremendously popular by these and the fvealth of other good tunes in it. Four famous artists now give us the pick of the vocal gems, and their superb singing is backed by a first-rate orchestra and chorus. “Father’s Favourites—Organ Medley.” Terence Casey on the Wurlitzer organ. Columbia 01747. After a surfeit of imported drivel and sloppy sen timent, many of us like to creep back on the sly to the old-l’ashioned Music Hall stuff—clean, healthy humour, and good tunes. What has the present generation got to compare with ‘.‘The Man Who Broke the Bank at Monte Carlo,” or “She Was One of the Early Birds”? More than a dozen of the old melodies are combined in an attractively played organ solo by Terence Casey.

As befits an almost hereditary chief of the Army School of Music, Kneller Hall—his father and grandfather were there before him —Sir Dan Godfrey is at his best in the resounding pomp of martial strains. These two warlike marches by Wagner, composed for the occasion of the election of the King of Prussia as first Emperor of Germany, Godfrey almost pounces on. With the flair of a militarist born and bred, he makes them shout with triumph, glitter with the pageant of crowns and uniforms, and the stamp of victorious armies The two marches, “Homage” and "Kaiser,” each occupy two sides, and are now issued in the cheap label section. (Columbia, 02960-61). A delightful Schumann suite is “Kinderscenen” (“Scenes from Child hood.”) Pianoforte solos by Fanny Davies. Columbia, 04353-54. Though not so important as the “Carnival’' suite, the “Scenes from Childhood” are even more distinctive poetically They are not compositions for children Schumann calls them "reminiscences of old folk for old folk.” But certalD children inspired them. and Sehu maun actually names one or two. Fanny Davies, a pupil of Clara Schu mann’s, plays these bits of pure poetry with a soft and rich tone. Her rhythm thrills you with its justness, and there is an astounding individuality in her articulation of combined melodies With remarkable interpretive genius she clarifies the meaning of some of the titles which have hitherto been regarded as somewhat obscure—No. 9. for instance. "The Knight of the llohby Horse,” No. 11, "Frightening.”