GRAMOPHONES

Sun (Auckland), Volume IV, Issue 1050, 14 August 1930, Page 14

GRAMOPHONES

The Handel-Halvorsen “Fassacaglia,” played by Sammons (violi. and Tertis (viola) consists of a theme and a number of variations, some by Handel, some by Halvorsen; and the variations are all cool, plain and soundly musical. The work, in its original version, is the finale to the Clavier Suite in G Minor. As an example of the rare association >f unaccompanied solo viola, and of the cleverness of the two players ( their unity of idea is remarkable), this record takes a high place among recent issues. In spite of being Englishmen—curious how that still handicaps a musician in public esteem!—Sammons and Tertis are big enough to rank with any fiddlers of today. (Columbia 04382). * # * Chopin wrote three polonaises betweeu 1827 and JS29, each of them marking a step forward along the path of individuality and power. Hie seconi in B flat, recorded by Ignaz Friend man, is a rathe., curious mixture of graceful embellisl nent and serii s harmonies. The piece is perfectly proportioned for the gramophone, and Friedman plays it with a delicacy that must surely be something like Chopin’s own. The playing is perfect in its understanding and poetry, particularly tine being the vigorous middle section. (Columbia 04374.) Thfere is a flue example of pianoforte virtuosity this month by Frederic Lamond, who gives Liszt’s extremely difficult “Tarantella de Bravura,” which is the despair of the average player. Rarely has the tone of the pianoforte been more satisfactorily reproduced. It is a fascinating piece of music. It is a piquant representation of the dance, with its everchanging moods. Liszt is at his beat when he turns his attention to the music of the peoplo and stamps it with his own genius, as he did also with his famous Hungarian rhapsodies, and his technical difficulties present no terrors to Lamond, whose playing is very graphic. The passages in octaves are flawless. (H.M.V. D 1732.) * » * Regimental Marches. Played by the National Military Band, under Stanford Robinson. (Columbia DOS-9.) Here’s a brave, inspiring brace of records with a direct appeal to youth and to the old soldier. On each side of two 12-inch discs there are four regimental marches, and most of the historic regiments of England are represented. Columbia have cleverly “zoned” fhe marches. Thus, Part 3 is devoted to Lancashire, and Part 4 to Yorkshire. The National Military Band rips out the marches with brilliant tone, crisp and clear in accent, and ample in volume. * • i* The average Brahmsian enthusiast rather scorns his Quartet in B Flat, which the Lener String Quartet give us this month on five records, because there is less of a science in it. and more of immediately understandable music. Brahms seems to allow the divine spirit of beauty scope to exercise itself without himself taking charge. Nothing in all his works so purely lovely, and the quartet, a 3 thus played by the Lener people, should prove the most finely popular piece of good music in the entire gramophone library. Every movement is a very Teutonic picture. The first has a courtly stateliness; the slow movement is a broad song, of the kind that lets you anticipate every coming note and yet remains constantly in the purest places of the mind and heart. The third, a little whimsical in its first and last sections, and noble in the trio, strikes the deepest note of the work, while the Finale is as easy and gracious as Haydn. (Columbia 04375-79.) Among the new H.M.V. dance records the following may be safely recommended to satisfy even the most fastidious devotee of the dance: "Painting the Clouds with Sunshine” (fox-trot) and “Tip-toe Through the Tulips with Me” (fox-trot), played by Jean Goldkette and his orchestra (EA62B); “My Sweeter than Sweet” (fox-trot), played by Leo Reisman aud his orchestra, and “Campus Capers” (fox-trot), played by Charles Dornberger and his orchestra (EA 6G0); "Sophomore Prom” (fox-trot), played by Ted Welms aud his orchestra, and “Just You, Just Me” (foxtrot), played by Johnny Johnson's orchestra (EA66I); “Waiting at the End of the Road” (fox-trot), played by the All-Star Orchestra: and “I’ll Be Reminded of You” (fox-trot), played by Rudy Vallee's Connecticut Yankees (EAG64); "A Night of Happiness” (fox-trot), and “Sitting by the Window” (fox-trot), played by Jack Taylor’s Orchestra (EA6B6); “Wishing and Waiting for Love” (fox-trot), and “Broadway Baby Dolls” (foxtrot), played by Nat Shilkret and his orchestra (85689). * * • Toscha Seidel, a young violinist formed by the aged Leopol Auer, and therefore one of a bold, free technique

and manly tone, records the Schuber “Ave Maria” and a Hebrew Melodj by Joseph Achron. His passion ii the traditional passion of the vio linist, with nothing of that falsi whining sentiment which so often at tends this. On both sides Seidel i: completely Immersed in his playing and thus we have a fire, breadth o: bowing, sonority and richness of tom that belong only to the very finest (Columbia 05045.) . « * The Italian tenor, Aureliano Fertile has great dramatic opportunities it “Un Di All” Azzurro Spazio,” fron “Andrea Chenier” (Giordano). It this aria Chenier, the poet, is callec upon to improvise, and he complies with this famous and beautiful air Love is his theme, but gradually his mind returns to the idea uppermos in his head, aud by the time he has reached its conclusion he is condemn ing the aristocrats and their crue and haughty treatment. On the sann record he gives the famous “Vesta is Guibba” (“On With the Motley”) frorr “Pagliaeci,” and his powerful voict gives with dramatic intensity the an guish of the spurned Canio. His wife lias deserted him, but he must dor his motley garb and smile and gri mace to the amusement of the audi ence, even though his heart is break ing. (H.M.V. PDB1118.) A magnificent choir, that of St Nicholas College, Chislehurst, sings Psalm 46 and Psalm 91. (Columbia D 02.) One does not have to be re ligious-minded in order to appreciate the simple and splendid beauty of the Psalms of David, or of t“e traditional old tunes to which they have been set If the point was in doubt, this record settles it. For a first record it shows a finish and confidence worthy ol highest praise, and doubtless chiel credit is due to Dr. Sydney Nicholson the late organist of Westminstei Abbey, who is continuing here his magnificent work for the betterment of the Church musfc,