GRAMOPHONES

Sun (Auckland), Volume IV, Issue 1026, 17 July 1930, Page 16

GRAMOPHONES

JULY RECORDS

FINE DEBUSSY RECORDING The latest recording by the Philadelphia Symphony Orchestra, under Leopold Slotowski, is Claude Debussy’s “Prelude a l’apres-midi d’un Fauue.” Debussy’s vague, languid music is delightfully played. Diaphonous and perhaps rather nebulous music this, but nevertheless rather charming. The Prelude is a tone picture founded on Mallarme’s poem and is suitably light and fanciful. It w-as a London critic who in commenting upon its first performance in London in 1904 was under the impression that “faune” meant fawn, and facetiously inquired what tho afternoon thoughts of a young gazelle were likely to be. The orchestral work is of the Philadelphia’s usual high standard. (DI7GS.)

Two Turkish marches, one by Mozart and the other, “Ruins of Athens,” by Beethoven, are given a virile performance by the Vienna Philharmonic Orchestra, conducted by Karl Alwin. Mozart’s number is perhaps the most popular of the two, but both are crisply played and very acceptable. (83155.) Marek Weber and his merry men are always popular. Their latest contribution is the evergreen “Merry Widow,” and it is the “Merry Widow” at its best. The famous wallz has rarely been heard to better advantage. (C180G.) Peter Dawson is heard in “The Journey’s End,” from the film “Journey’s End.” This, however, is not up to the usual Dawson standard, the fault being not so much with the singer as with the song. “The Deathless Army” is better, although somewhat reminiscent of “Soldiers of the Queen.” and the “Boers Have Got My Daddy.” The “Journey’s End” number should prove quite a good argument against war. (C 1505.)

After a gap of several months, another record by the famous Russian basso, Theodore Chaliapine, is to hand. Those who heard and saw Chaliapine during his New Zealand tour will remember his skill iu dramatisation. By uncanny artistry he has transferred this to the gramophone, and nothing could be more graphic than his interpretation of "The Old Corporal,” by Dargopiwijsky. It is the story of an old corporal who is about to be shot for insulting an officer while under tho influence of drink, and whose last thoughts are for Lis regiment, his mother, and his old pipe. It is sung in Russian, but with Chaliapine language is no barrier to understanding.. His interpretative powers arp in evidence again in “The Horn” (Flegier), a hunting song, in which the horn in the orchestra also plays a part. The wonderful voice, resonant and free in its big moments and intense in the quieter passages, has never been heard to greater advantage. (H.M.V., D 81342.) One of the outstanding records of the month is an amazingly vital performance of Liszt’s Second Hungarian Rhapsody, played by Sir Henry Wood and the New Queen’s Hall Orchestra. The grandiose manner in which the Rhapsody lias been presented is elo-

quent testimony of Sir Henry’s powers both as a conductor and as a transscriber. The records are a wonder of superbly executed contrasts—delicate sentences, leading toward terrific fortissimo climaxes, in which the full resources of the o r chestra ar e brought into play: broad majestic phrases throwing into relief the melodious riot of vivid Hungarian rhythms. On the

fourth side of the two records Sir Henry gives his own transcription of Bach’s Partita in E—a rushing torrent of intricate contrapuntal writing, an evident masterpiece from first note to last. (Columbia DOX 1-2.1 Winnie Melville, who hap been associated with her husband in many of London’s outstanding successes in light opera during recent years, this month gives two numbers from Mouckton’s “Arcadians.” This work has been revived by amateur operatic societies in several parts of New Zealand recently, and thus the record has come at an opportune time. The numbers given are “Arcady is Ever Young” and “The Pipes of Pan,” two of the finest lyrical gems in- all light opera. Miss Melville’s light and flexible soprano voice with its fresh and pure notes gives the songs distinctive interpretations. These numbers will live on their musical merits.

Everybody with a gramophone these days is “talking Maori.” The new Columbia series of Maori records has provided the gramophone sensation of the month. It is doubtful whether anywhere else in the world is there a choir capable of more perfect melody or better control of their voices. The success of these records : has been enormous in England as well as in Australia. In this country collectors have naturally been eager to snap up such beautiful and authoritative renderings of New Zealand’s native music. Many of the tunes betray their early missionary origin, notably “Au E Ihu,” which is derived' from the English hymn, “Jesu, Lover of My Soul," and its pair ing, “Karaunatia,” recognisable as “Crown Him.” These are sung by the full choir, 30 voices strong, with beautiful harmonising and perfect combination. (Columbia DOG 4.) Another record by the full choir which has deserved and won an enormous popularity is “Karu Karu,” a swinging fish ing chanty. On the reverse the full choir gives a pair of rousing marching songs, “Te Ope Tuatahi” and “I Runga O Nga.” These two have an infectious and heartening swing. (Columbia D 052.)

The popular pair of entertainers. Flotsam and Jetsam, axe as bright and novel as ever in their latest. Schubert’s “Toyshop” and “Polonaise in the Mall.” They take the famous “Mai’che Militaire,” and make a l-ather wistful song out of it. about an old man and his toyshop full of mingled memories. Out of the famous "Polonaise” they make a storing description of a Royal pageant in tne Mall, whicii is the imposing avenue that leads up to Buckingham Palace. Jetsam seems to get deeper and deeper with every record. His voice is a marvel —certainly the lowest bass row recording. (Columbia 05071.)

William Heseltine, one of Britain’s leading tenors and a familiar performer for the gramophone, makes a capital English version of “O Sole Mio.” The song in the English version is called “Beneath Thy Window/ and is distinguished for its warmtn and vigour. The pairing is the familiar Toselli’s seranade, known here as “Come Back.” This record replaces an old acoustic disc. (Columbia D 05.)

The virile, resonant voice of Dennis King is heard in the rousing “If I Were King,” from the “Vagabond King.” Since the advent of the talking pictures he has achieved international fame, and he added lustre to his name by his singing in the “Vagabond King.” On the other side of the record the American tenor, Lewis James, gives a charming little waltz song, “Love Me,” from the recent French success,

“Ddeja.” James catches up the lilt of music, and is well supported by a beautiful orchestral accompaniment. (H.M.V., EA704.)

Froni a tenor of the first rank, as Fleta undoubtedly is, the air “Celesta Aida,” from Verdi’s opera, “Aida,” becomes one of the most thrilling

moments in all opera. The long melting phrases and high piannissirno in B flat at the conclusion demand thorough vocal pi’oficiency and a high degree of artistry. Fleta's singing. is flawless. His voice has been ca.st in au heroic mould, but

he uses wonderful variations of light and shade and beautiful lyric touches. On the other side he gives “Una Vergine,” “Una Angiol di Dio,” from Donizetti’s “La Fayourita.” In this avia Fernando describes the beautiful maiden whom he has seen going to the church every day, and with whom he has spoken. In this air we have a fine, cleanly limned melody typical of Donizetti’s most inspired pages, and Fleta rises to the occasion. (H.M.V., D 81053.)

Columbia Do26—“Happy Days are Here Again” and “Lucky Me, Lovable You.” Two of the song-liits from “Chasing Rainbows” that 1 are now sweeping the world. Sung in their own inimitable style by Layton and Johnstone. The same two songs are also played as fox-trots in snappy fashion by the leading British dance band, Jack Payne and his 8.8. C. Or chestra, on Columbia DQ2S.

Columbia 01927 —“Lily of Laguna” and “Little Dolly Daydream.” Kit Keen, the popular baritone, shows that these real old-time favourites by Leslie Stuart can make as good a bestseller record as the most up-to-date jazz. Orchestral accompaniments.

Columbia 01837—“ My Love Parade” and “Your Mother and Mine. ’ Sung by Terence Nugent, a tenor with a real heart-to-heart style of his own.

Regal G 20687 —Two real sparkling fox trots in “Micky the Mouse” and “Heather Moon.”

Regal G 20713 —Those who want a tip-top vocal record cannot beat this pairing of “1 Don’t Work for a Limine” and “I Don’t Care” for good humour.

Master John Bonner, the boy soprano, has chosen two delightful songs, well suiled to his fluent soprano voice. The Purcell song, “Nymphs and Shepherds.” is a typically pastoral composition of the seventeenth century, while “Should He Upbraid?” on the reverse side has the same simplicity ol! construction. In both cases the piano accompaniment forms a perfect background. (Columbia 02988.) One of tho most intriguing vocal records of the month is the latest offering oT Raymond Newell, whose work the critics are observing wKIi great interest. This month he chooses Kipling’s famous war-song “Boots,” a dramatic picture of the blank despair of the soldier on the route march, who sees nothing but boots — forty thousand million pairs of boots, boots, boots. The irony in the song is brought out with beautiful subtler The reverse side gives “The Journey’s End,” an epic, song written specially for the film version of R. C Sheriff’s famous play. (Columbia D 04.)

Countless admirers of Dame Clara. Butt’s lovely singing will welcome two more electrical re-recordings of old favourites. These are “Until,” by Teschemacher and Sanderson, and “Absent,” by Young-Glen and Met calf. This fragrant type of ballad suits Dame Clara’s sympathetic voice to perfection. Her warm, caressing tones charge the songs with the ut most meaning of which they are cap able, and she shows as ever that complete breath control, perfection, and subtle use of mezzo-voice which should be an object lesson for the generation of younger singers. Her artistry is as profound as ever. (Columbia 09008.) H

Now and again we get reminded that J. H. Squire, leader of the Celeste Octet that bears his name, has achieved a certain fame as a composer. This, month his octet gives two attractive numbers from his own pen. The first is called “The Piccaninnies’ Picnic,” and is a quaint, whimsical little piece containing some pretty little phrases on the celeste. The second is a Valse Lente, called “Twilight on the Waters,” a dreamy and melodious fragment of considerable charm. The octet plays both pieces with rare finish and polish, achieving quite a surprising richness of tone, and the recording does them full justice. (Columbia D 012.) * * * Rimsky-Ivorsakoff wrote his Sche-liei-azade suite symphonique to a closely-detailed programme, but he sent it out with only broad indica l tioiis of its literary significances. Most students have laboured to fit the details of the stories to the movements of the suite. But the general experience seems to be that Scheheiazade is best listened to without the programme. It is lively, well-coloured, well-contrasted music; and all one needs of external thought and idea is, that the two leading themes are the Sultan and his wife, and that the situation is that of the telling of the tales—this explains the “conversations”. of the two themes. Columbia is'issuing in sections a splendid performance by Philippe Gaubert and the Orchestra de la Societe des Concerts du Conservatoire. This month’s instalment contains the first movement and the fix-st part of the second. In the latter, just before the bassoon solo starts, the bai-lcing of a dog seems to have been caught up by the recording. This is very realistic, for the scene in the story here is the bazaait (Columbia DOX 3-4.)