GRAMOPHONES

Sun (Auckland), Volume IV, Issue 960, 1 May 1930, Page 14

GRAMOPHONES

German’s “Henry VIII.” Dances are well recorded on one 10-inch disc by Malcolm Sargent and the New Symphony Orchestra. The two lively dances are on the same side of the disc. These are based on folk tunes, and Dr. Sargent had been careful to maintain the beautiful melodic line, which is their chief charm. Some of the effect of this favourite Suite is obtained by the quietness of the “Shepherd's Dance” as middle number. (H.M.V.; 82951.)

In the general opinion of most critics, Beethoven’s Symphony No. 9 in D Minor (the “Choral" Symphony) is the greatest of all his works. None the less, its great demauds on players and singers alike, as well as its exceptional length, tend to preclude its frequent public performance. We are fortunate, then, in having at hand such a splendid recorded perform ance as that provided by Felix Weingartner and the London Symphony Orchestra. The solists are Harold Williams (baritone), Hubert Eisdel! (tenor), Mirian Licette (soprano), and Muriel Brunskill (contralto). They give a splendid account of themselves, especially Williams and Miss Brunskill, who display great breadth and power. Every moment shows tremendous scope, from the mighty opening Allegro to the Choral Fine, from which the work takes its name. The Scherzo, which comes as the second movement, is one of the composer’s longest and certainly his finest effort in this form, and rushed along with the tempestuous grandeur of a high sea. Perhaps on account of its novelty, however, most of our attention is focussed on the finale, which takes the form of a series of variations of two or three tunes, settings to words from Schiller’s “Ode to Joy.” One tune in particular, an Andante in G Minor, has been described as the grandest in all the composer’s works. Weingartner’s performance is loftily conceived and executed with all the accustomed skill of one who is recognised as the leading Beethoven exponent of the day. (Columbia L 1775-82.)

From time to time wonderful recordings of actual performers at the great Albert Hall, London, have come to hand. The latest is a disc of two excerpts from Wagner’s “The Mastersingers”—l., Chorale from Act I. and the Finale from Act lll.—recorded at the public performance by the Royal Choral Society, under Dr. Malcolm Sargent, on February 2, 1929. Here is an example of the atmosphere of a big musical occasion having been caught up by the microphone. The majestic singing of the big choir and the magnificence of the orchestra are nothing short of a revelation, and no stretch of the imagination is needed for the listener to place himself among the 8,000 people who attended the actual performance. (H.M.V.. 83122.)

To their am-tis list of complete opera recordings, which includes “Tristan and Isolde,” “La Traviata,” “Carmen,” “Aida,” “Cavalleria Uusticana,” and “Fagliacci,” is now added a complete album of “Madame Butterfly.” Unquestionably, this is the flower of Puccini’s gsnius, and has long ranked among tho most popular of all operas. In this recording the title-role is taken by Rosetta Pampanini, who was considered by the critics at. her Covent Garden performances last year as one of the finest exponents heard there during the last ten years. The recording is a triumph for her. Her rich soprano swells out with captivating ease. Her enunciation is deliciously clear, and she has all the moods at lief finger tips like a born actress. Some of her arias hold one breathless with their sustained purity and effortless perfection. She has the support of a brilliant constellation of stars. We already know Vauelli, Nessi, and Baraehl, who were so lavishly praised for their work in “Turaiidot” at Covent Garden. Baecalino, Conchita Valesquez, and Cesira Ferrari are new to the gramophone, but their reputations in Italy are firmly established. The supporting role of Pinkerton is in the capable hands of Alessandra Granda, a lyric tenor of immense power and subtle thought. But perhaps the greatest thrill of all is the wonderful singing of the La Scala Chorus of Milan. No body of singers in the world are comparable to them for their superb ensembles, and the rich balancing of parts in which they excel. The famous Cav. Lorenzo Molajoll conducts the Milan Symphony in accompaniment. Recording throughout, is wonderfully stereoscopic and full of detail. (Columbia 9784-97.)

“Shepherd’s Hey,” one of Percy Grainger’s characteristically English compositions, is played by Mark Hambourg with a great display of technique, and a merry rhythm. On the reverse side is the really beautiful Romance in F Sharp (Schumann), a subtly phrased piece with soft tone colours, which Hambourg presents with rare skill. The pianist is capable of obtaining big climaxes from his instrument, but here he never allows his power to over-rule his artistry, and the romantic sentiment of Schumann is expressed, but never allowed to beccme sickly sentimental, as some would have it. (H.M.V., 83172.)

Regal G 20626. “Chorus Hits cf Yesterday.” Sung by the Jolly Old Fellows. Those who enjoy the good old tunes will find them heartily sung on this 10-inch disc. Among the many songs, they will pick out “Whirlie Girlie,” “The Golden Hair was Hanging Down Her Back,” “Comrades,” “Little Annie Rooney,” “Where Did You Get that Hat?” etc Columbia 07033. “My Lucky Star” and “Button tip Your Overcoat.” Two tuneful song hits from the famous “Follow Through” talkie, played by Paul Whiteman and his orchestra. Columbia 01805. “The Bully Song,” sung by Vernon Dalhart. An attractive and novel successor to this singer’s other song hits. There is some catchy banjo, accordion and Jew’s harp playing in the accompaniment.

The Maestro Singers make their first bow on the disc with two pleasing songs, “Maire, My Girl,” and “Because.” They seize all the chances for clever and artistic harmonising with rare skill, and their voices blend to perfection. It will be a long time before we hear a more satisfactory rendering of that delightful Irish song. (Columbia 01811.)

An issue of considerable importance this month is that of the famous Philadelphia Symphony Orchestra in its first reproduced concerto. The work is Rachmaninoff’s Piano Concerto, No. 2 in C Minor, and the interest is likely to be intensified by (he fact that the composer of the C Sharp Minor Prelude himself takes the solo instrument. There is much to enthrall one In the Concerto, which bears evidence of Tchaikowsky influence. It has its passages of gloom, of passion, and of tenderness. Yet pervading nearly the whole of the work one finds a fine spirit of energy and manliness. Rachmaninoff is a super-technician of the piano, and in addition he has splendidly balanced artistic perception. The piano opens out in the Concerto in a most striking fashion that is apt to remind the listener of the bell-like features of the popular prelude. We get an exquisitely reproduced horn passage in the first movement, just as in the third movement there is a delicious cascade in the upper octaves of the piano. Tit-hits of rich clarinet and flute tones also manifest themselves in pretty little melodies in the Adagio. Now and again when Rachmaninoff lashes himself into a passionate expression Stokowski, who conducts the Philadelphia players, is wide awake with his share of the game, so that a tremendous thrill is the result. Stokowski’s exuberance in these passionate outbursts possibly accounts for the fact—or is it a fault of the recording—that the piano part is once or twice practically submerged beneath the tremendous weight of orchestral tone. The Philadelphia Symphony Orchestra, as well as Rachmaninoff, have countless enthusiastic followers who will find much for comment iu the gramophone version of tlie Concerto, which is contained on five records, which cost Ss 6d each. An album with analytical notes is provided. (I-1.M.V.)

Cecil Sharp has been fishing ir. the English countryside for half-for-gotten folk tunes, and has hauled up a couple of real gems iu “The Flamborough Sword Dance” aud “Kirkby Malzeard Sword Dance.” The tunes are bonny lilting things that sum up the whole spirit of bygone “Merrie England” (could they write them now, with income-tax at 4s 6d in the £1). Walton O’Donnell conducts the 8.8. C. Wireless Military Baud with a slick sense of rhythm, and makes his brass bite hard on the tunes. (Columbia 05051.)

Dr. Albert Schweitzer, the great Bach authority, has turned to Mendelssohn for his latest recording, and on two discs he gives “Sonata No. 6.” In the fugue, he obtains some remarkable effects, the tone of the instrument being realistically produced. The singing quality of the organ is also shown off to advantage. The climax is artistically contrasted with the softer passages. Here indeed is a rare treat for lovers of the king of instruments. This is one of the most ambitious recordings of the organ to date, and the results have fully justified the enterprise. (H.M.V., C 1538.)

A re-recording by the electric process of tw-o old songs by Dame Clara Butt will be heartily welcomed by all admirers of her glorious and unapproachable con-

contralto voice. The songs she has chosen are “The Lost Chord,’’ Sullivan’s familiar masterpiece, and “The Holy City,” by Weatherly and Adams. They clearly prove that Dame Clara’s old sway over our hearts still holds good. Her magni ficently rich tones ...... nawiess aic--09^)7^ le aS flne aS ever ’ < Columbi »

+ i!l Schubert’s “Trout Quintet,” which is recorded electrically by William Backhaus and the International String Quartet, is one of the greatest contributions to chamber music In melodic wealth and masterly form the quintet is a work that will always delight the lover of music. The mastery of musical expression which Schubert achieves in this work is astonishing, for he was only 22 years of age at the time of composition. The name of the quintet is derived from Schubert's song, “The Trout,” which forms the theme of the fourth movement (theme and variations). (II M V D 1484-5-6-7.)

Sandy MaoFarlane puts across a couple of Scots tunes, ‘ln the Morning” and “Where the Heather Bells are Blooming,” iu a largely humorous style. Ha seems anxious to be friends n ith us, and few people will resist the rich gurgling chuckle that breaks out. He has picked a couple of good 01881 )° Cl ° tlle tllem with. (Columbia

Marek Weber’s selections are always fresh and original. His latest recording is from “Rigoletto,” which lends itself admirably for the purpose of his orchestra. The richly dramatic music of Verdi’s opera is played with the usual Weber vim and cleanness and with the usual individual brilliance. (H.M.V. C 1777.)

Essie Ackland’s contribution this month is a bracket containing “Here *, he Quiet Hills” (Carne) and Lohr’s Whatever Is, Is Best.” The contr*alto sings both numbers with fine richness of tone, and her work is always artistic. Of the two, the former number is perhaps the more attractive. As a gramophone artist Miss Ackland has undoubtedly got there. (H.M.V. C 3203.)

To those who like a little nonsense now and then, “Our Village Concert” should prove very enjoyable. It is a gentle satire at the usual run of village concerts such as are presided oyer by the vicar. The efforts of the village silver tuba band are particularly entertaining, as also the several soloists who appear during the evening. (C 1752.) Bright comedy is also provided by Wish Wynne in a talking record entitled “Another Bedtime Story—Cinderella.” Although nonsense, it is none the less delightful. (83127.)