GRAMOPHONES

Sun (Auckland), Volume IV, Issue 938, 3 April 1930, Page 16

GRAMOPHONES

It is indeed a very long tim'd since there was a contralto whose records are so pleasing as those of Sigrid Onegin, a Scandinavian artist, whose appearances at Covent Garden have been features of the past two seasons. In her singing there is no sign of the dreadful break between the registers that mars the records of most contarltos, but the transition is smooth and even, the voice flawless and golden: The range nevertheless is most unusual. The top notes have the ring of a dramatic soprano, Out the warm middle register and the deep lower have the timbre of a great contralto. She has a pure legato style, which is maintained with the utmost elegance in Gluck’s operatic aria, “I Have Lost My Euridiee.” The solo on the opposite side of the disc i@ “Ah! My Son” from Meyerbex'g’s “Le Prophete.” Madame Onegin has scored big successes in both these operas. (H.M.V.)

Of all Beethoven’s quartets, none abounds so freels r in entrancing melodies as the 13th, Op. 130, in B. Flat.

One of his latest works, It is typical “Third Period” work in its great depth and human feeling. Sides 7 and, 8 of the Lener recording are occupied by one of the most inspiring and deeply felt movements in all music a noble Cavatina of great

breadth and haunting appeal. On the other end of the emotional scale are a dazzling little Presto, filling half the third side with an irresistible little tune, while the customary Scherzo is replaced by a Danza alia Tedesea which is infectuously melodious. (Columbia L 1929-33). The hits of the popular talkie, the “Hollywood Revue,” have provided plenty of material for the recorders, and the H.M.V. Company has issued a special supplement of the outstanding numbers. Big fees were paid by the producers of this picture for suitable songs and compositions for the various turns and as a result they secured several melodies which have become the rage. The supplement of records gives the buyer a wide choice. He may have “Your Mother and Mine,” sung by Johnny Marvin or played as a fox-trot by Nat Shilkret’s Orchestra. “Orange Bloom Time” is also sung; by Marvin, and played as a fox-trot by Hylton’s Orchestra. Marvin’s third contribution is “Singin’ in the Rain,” which is also played by Hylton’s Orchestra as a fox-trot, by Jesse Crawford on the Wurlitzer organ, and sung as a concerted number by The Rounders. “Nobody by You,” as a fox-trot, is played bj r Shilkret’s Orchestra, and “Low Down Rhythm” (fox-trot), by the High Hatters.

The Columbia Light Opera Company gives its best in a delightful potpourri of songs from Lionel Monckton’s musical comedies. Monckton was in the heyday of his fame when the stage works from which these melodies are drawn were all the rage, and the blithsome songs he wrote are still possessed of abundant vitality and fascination. Among the operas represented are “The Quaker Girl,” “The Toreador,” “The Country Girl” and “The Cingalee.” (Columbia 05035.)

A notable band record is that of “The Marseillaise,” by the Garde -Republicans Band of Paris. There is not only great vigour and clear-cut instrumentation in the playing, but the stirring national anthem of France is interpreted according to the true French tradition. It is a lesson in how the anthem should be treated. The reverse side has a stimulating and wel-.c-ome band piece in the well-known “Marche Lorraine.” (H.M.V.)

“Merrie England” contains some of Sir Edward German’s happiest melodies, and these tuneful fragments, sung by Miriam Licette, Clara Serena, Francis Russell, Denis Noble and Robert Carr, can be beard on a record that is bound to be universally popular. The selection includes “Love is Meant to Make Us Glad,” “God Save Elizabeth,” “O Peaceful England,” “Yeomen of England,” “English Rose,” “In England,” and “Merrie England.” (Columbia 05026.)

There is conspicuous merit in the recording of the Brahms Sonata in A Major for violin and piano, played by Isolda Menges and Harold Samuel. It is interpreted in a straightforward and vigorous manner by the piano, which is accurately balanced by the violin. Miss Menges is gifted with a. large and resonant tone and unusual mental grip and certainty, all admirable qualifications for a player of Brahms. The sunny romanticism and melodic beauty of the sonata easily explain its great popularity and another point in its favour is that the interest and effective writing are equally well distributed throughout the three movements. The playing by both artists is convincing, with some genuinely exciting outbursts of energy. The handling of the opening “Aimable” is beautiful and the pace of the lovely "Allegreto quasi andante” gives the violin theme a breadth and poignancy. (H.M.V., 83098-3100.) Weingartner, the brilliant German conductor, who is possibly the greatest living authority on Beethoven, has just accepted the control of the Basle Symphony Orchfestra. The Basle Is certainly the leading, as it is also the oldest, of the Swiss Orchestras, and the new combination should prove fruitful. In conjunction, they have provided a gripping version of Weber’s fervent and romantic “Der Freischutz”' overture —a work in which the composer has forgotten his polite and polished mannerisms and touches the imagination with almost ghostly significance. The work has power and intensity, and is played with keen urgency. Tonal beauties reveal Weber’s' marvellous gift of invention in this direction. (Columbia 02874). One of the most, noteworthy newcomers to the gramophone catalogues in recent months has been the composer, Cyril Scott, who as a pianist plays his own compositions. Both the "Danse Negre” and “Rainbow Trout” are effectively recorded, and in any case it is a great advantage to have the composer’s authentic interpretation, for Scott is an accomplished exponent of his own pieces. These two pieces are justly favourites'among the teachers of the pianoforte, and they will no doubt welcome the composer’s own version. (H.M.V., 82895). There is something in human nature that always prefers the natural gift to the hard-won, over-trained talent. That is why we enjoy listening to Gladys Moncrieff so much. The silvery notes flow out with a divine effortless ease, and please us like the natural solo of the nightingale. Her latest record pairs two numbers of typical charm. “Just for a While” has a pleasant wistfulness, while “Just to be Near You” mellows into a caressing softness. Both are admirable material for Miss Moncrieff’s wonderful voice, and the record is sure to please her wide public. (Columbia 01655).

Joseph Szigeti, the young Hungarian violinist, gives an exhilarating performance on three sides of Tartini’s Sonata in G Major. It is an object lesson in broad phrasing and double stopping. It is hardly a masterpiece, but so great are this artist's powers that it seems possible to listen to it for ever and ever. Great technical demands are overcome as if they do not exist, and there remains the joy over the purely musical eminence ot this great violinist. The Beethoven is dashed oh brilliantly. Ought to be heard by the million. (Columbia 03621-22).