GRAMOPHONES

Sun (Auckland), Volume IV, Issue 955, 24 April 1930, Page 16

GRAMOPHONES

MAY RECORDS FROM H.M.V. LIST LATEST REVIEWS Operatic numbers from ‘La Favorita” and “Don Carlos,’’ by tbe contralto, Sigrid Onegin, two numbers by Peter Dawson, two violin solos by Mischa Elman, and “Hungarian Dances,” by Brahms, played by the Vienna Philharmonic Orchestra, are the most attractive of a parcel of May records received from His Master’s Voice Company. Dawson in a new setting of Kipling's “On the Road to Mandalay,” gives an interesting performance. With the other and more familiar settings of the number in mind, one at first is inclined to dislike the number, but it improves on acquaintanceship. The setting has a great deal more atmosphere in it, but as it is not so readily picked up or so easily sung, it will probably not be as popular with singers as the other settings. Dawson sings it admirably. On the reverse side he gives a very well-known ballad, “The Trumpeter.” This is so hackneyed now that Dawson is about the only gramophone artist in England who could make it enjoyable, and he does. (C, 1770.) Skilful treatment is needed for the broad melody and changing moods of "O Don Fatale” (O Fatal Gift”), from Verdi’s “Don Carlos,” and this is given by' the contralto Sigrid Onegin. A wide range is needed here and the artist emerges -with flying colours from a stern test. On the reverse side the contralto sings “O Mio Fernando” from Donizetti’s “La Favorlta,” a worthy- companion to the big number. (D. 8., 1292). “Hungarian Dances,” Numbers 1 and 3, by Brahms, are recorded by the Vienna Philharmonic Orchestra in very attractive form. There is fine string work, as only the Viennese can do it, and the orchestrated ar rangement'is indeed very fine. (B» 3145.) From the fiddle of Miseha Elman we have the Rachmaninoff-Press “Vocalise” and Wieniawski’s “Caprice in E Flat Major.” Both pieces are eminently suitable for showing off the Elman tone and virtuosity, and both make two very enjoyable contributions to any- violin library. It is easily one of the best records of the month. (D.A., 1033.) If nobody had ever heard of W. S. Gilbert or Arthur Sullivan and “The Gondoliers” were to burst on to a modern world overnight, it would still carry the English-speaking world by storm. Apart altogether for its musical status, but just for mere brightness and spontaneity, “The Gondoliers” would be headlined throughout the world. A peculiar attraction about “The Gondoliers” is that the more one hears it the greater the attachment for it grows. No one should be without a Gondolier record in the collection for it is welcome at all times. The latest "Gondolier” recording by the Light Opera Company is very well done, the singing and recording being excellent. (C., 1768.) (1) Hungarian March (Berlioz) and Coppelia Br.llet (Delibes) are played by Symphony Orchestra of specially selected musicians. Columbia 05055. The musical crisis in Australia, caused by the Talkies, has led to musicians there taking definite steps to make themselves indispensable. A Symphony Orchestra has been formed out of picked musicians, out of which it is hoped will grow a National Symphony Orchestra. Judging by their first record, they have not far to go. In Berlioz’s “Rakoczy” March, the intricate “Coppelia” music, they show a discipline and firmness of attack that would reflect credit on organisations of many years’ standing. Albert Cazabon, w-ho conducts the Berlioz, has drilled his musicians to produce a remarkably neat and suave flow of tone; and Fred Quintrill, handling the more difficult Delibes, fairly carries us away with his exhilaration. Good luck to them! (1) “That Tiny Teashop,” and (2) “Crepuscule,” are items by the Elite Dance Orchestra. Columbia 01775. Though the tango itself has faded for the time being from our dance floors, everybody loves the captivating lilt and rhythm of a good tango tune. Here is a pairing of two of the best. "That Tiny Teashop” is very pretty and very French; its rhythm is a little faster than that of the suave rhythm of “Crepuscule,” which is interpreted by the somewhat Spanish composition of 'cello, strings and large accordeon. The Prologue from Pagliacci is sung by Riccardo Stracciari for Columbia (03603). Riccardo Stracciari’s old version of the Pagliacci Prologue, on one side of a 12-inch disc, was one of the classics of the pre-electrical days. Now he improves even on that magnificent performance, taking both sides of a 10-inch disc. His art seems surer, his phrasing more confident, while his great baritone, with that attractive dark vowel quality and splendid ease of production, is as smooth and powerful as ever. Naturally, the electric recording shows him up to even greater advantage. The Choir of St. William's, Strasbourg, in making a Parlophone record (4185) of threg thrilling excerpts from Bach's “Passion According to St. John,” obtain some fine effects in contrast, as, for example, between the serene, “O Lord, Let Thine Angel,” and the furious mob cry of “Away With Him,” the latter clamour being to Pontius Pilate to crucify Jesus, on the first fateful Good Friday. The atmosphere of the cathedral seems to be caught in this recording, and the fine solo recitatives help to make a memorable recital. Recently this same choir made a record (5030) of two choruses from Bach’s “Mass in B Minor.” In both selections the glorious organ tone of the accompaniment is positively thrilling.

Dvorak’s “Nigger” quartet, “Quartet in F”—Op. 96, is played by the London String Quartet. Columbia 04131-33. Here is real chamber music that is understandable to all sections of the public, and which will add fresh laurels to those already held by this masterly string ensemble. This melodious and attractive music is played with delightful charm and finish, and the players have cleverly caught the negro folk song atmosphere that was so cunningly evolved by Dvorak himself. The recording is very rich and the tone of the strings is perfectly reproduced. Another three closely packed records that will find their way into many collections. For his only opera, “Fidelio,” Beethoven wrote no fewer than five overtures, of which the “Leonora No. 3” is the most famous. Although the opera itself is performed but occasionally, the overture is an established work in the classical concert repertoire. It opens after a brief introductory phrase with the melody known as “Flores tan’s” air heard on the wood-wind. The superbly vigorous and syncopated melody of the allegro is given out softly at first by the strings; there are two short interruptions to the swing of the allegro. An important feature is the twice repeated trumpet fanfare played “off” with magical effect. The rushing string passage introducing the coda is a thrilling moment. The performance of the work by the Vienna Philharmonic Orchestra under Franz Schalk is what one w-ould expect from such a famous combination. Schalk gives the overture a noble reading, and there is brilliance and finish in the playing. (H.M.V. D 1614-15.) Columbia 01756. Piccolo Pete and Collegiate Sam. Fox-trots by Henry Reiser’s Syncopators. A pair of merry tunes by one of the leading dance bands in America. The piccolo work in the first number is nothing short of sensational. Columbia 01755. “Candle Light Blue.” Fox-trots by Ted Fiorito and his Edgewater Beach Hotel Orchestra. Clever bits of saxophone playing lift these numbers right out of the rut. Columbia 07029. “Love Me,” and “When You’re Counting the Stars Alone.” Paul Whiteman and his orchestra. The first a waltz, the second a fox-trot, played with consummate skill by the “King of Jazz.” Typically clever vocal choruses in the Whiteman style. Since the advent of the electrical process of recording with its enormous improvement in orchestral reproduction, Wagner’s operas have received a good deal of attention, and quite rightly, for the rich orchestral background stands out now with astonishing realism. Two of the bestknown Wagnerian singers, Gota Ljunberg, the sweet-voiced Swedish soprano, and Walter Widdop, Britain’s leading dramatic tenor, both of whom are well remembered for their prominent participation in the selected passages from “Valkyrie” and “Twilight of the Gods,” which were issued last year by His Master’s Voice, figure in an important recording of the scene between Kundry and Parsifal in Klingsor’s magic garden (act 2) from Wagner’s “Parsifal.” With the exception of one item, this scene ■was omitted from the “Parsifal” set issued some time ago, and the dramatic interest is sustained throughout by the keen and tense interpretation by Ljungberg and Widdop. The scene is recorded in four parts (with cuts), and magnificent orchestral support is given by the London Symphony Orchestra, conducted by Albert Coates. (H.M.V., D 1651-52.) The Eastbourne Municipal Orchestra, conducted by H. G. Amers, play with plenty of sentiment two attractive numbers of universal appeal. The titles are "Second Serenade” by Toselli, and “Tarantelle for Flute and Clarionet” by Saint-Saens. The Tarantelle in particular has a most delightful melody, and the woodwind tone comes out with great effect. * * * Master John Bonner has chosen two delightful songs, well suited to his fluent soprano voice. The Purcell song, “Nymphs and Shepherds,” is a typically pastoral composition of the 17th century, while “Should He Upbraid?” on the reverse side, has the same simplicity of construction. In both cases the piano accompaniment forms a perfect background. (Columbia 02988.) * * * Columbia 05057 —Selection from “The Gold Diggers of Broadway.” The Regal Cinema Orchestra makes a real “peppy” hit with this tuney music. The songs introduced include “Tip Toe Through the Tulips,” “Painting the Clouds with Sunshine," “Go to Bed,” etc. Regal G2o6l7—Victory—Tone Poem. Regal G2o6lß—“Torchlight”—March, and “Firefly”—trombone solo. Two magnificent band records, played with stirring tone and swing by the Carlisle St. Stephen’s Brass Band, winners of the recent brass band contest. Regal G2os9o—“Your Mother and Mine” (from “Hollywood Revue”) and “A Happy-go-Lucky Song.” Two catchy songs by Charles Hamp. Regal G 20610 —March Medley, and Waltz Medley. Brilliant mouth-organ solos by P. C. Spouse. The first introduces “King Cotton,” “Liberty Ball,” “The Teddy Bears’ Picnic.” The second includes “While London Sleeps,” “The Sidewalks of New York,” “Two Little Girls in Blue,” “Daisy Bell” and “Auld Dang Syne.” * * Two Hebrew compositions of a devotional character are Lewandowsky’s “Jigdal” and “W’Hogen Baadenu,” which, though modern, are true to the traditions of' synagogue anthem music. As rendered by Oberkantor Hermann Fleischinann. Synagogue Choir and Orchestra, they sound impressively lovely. Parlophone are to be congratulated on this record (5013) and the glorious tenor voice of the soloist thrills the hearer -with its fervour.