MUSIC IN THE HOME.

Taranaki Daily News, 27 November 1926, Page 20

MUSIC IN THE HOME.

GRAMAPHONE NOTES. AN ALL-SCOTCH RECORD. Another of the splendid Grenadier Guards' Band’s records sponsored by Columba will be ready soon for N.Z. collectors of all that is best and brightest in this class of playing and recording. This is based on a selection of Scotch melodies, grouped under the title of “The Thistle.” It gives ample opportunities for the capable soloists of the band to show their mettle, and cornet and clarinet, trombone and euphonium, and all their relations take advantage of the tone quality of the various instruments but, owing to its refinement, it retains the personality of the players to a remarkable degree. No fewer than fourteen Scottish airs figure iu this fine recording, which is shortly arriving in N.Z. GREIG’S “LYRISCHE SUITE.” There is a wealth of truly delightful music and unconventional tune in Greig’s quaintly orchestrated “Lyrische Suite,” played by the 8.8. C. Symphony Orchestra. This Suite forms two Columbia records (930-901) and although not a very recent production is none the less fascinating. It includes the famous and most melodious “March of the Dwarfs” —originally one of Greig's piano pieces put into an orchestral setting by the composer himself. A most excellent work for those who would like to study its beautiful wood-wind effects, for it contains arpeggio passages in which flutes, clarinets and oboes play their parts with delicious and poetic effect. A very beautiful Nocturne is on the reverse of this record, and, like “Shepherd’s Boy” and “Norweigan Rustic March” given on the other record, is a fine instance of the Norweigan master’s sense of melody and his love of ryhthmie Norweigan Dance music. The playing is remarkably well studied and the recording excellent, particularly in the W’ood-wiiid, although the strings, too, have wonderful tone and body,

PEER GYNT—ORCHESTRA AND B.IND.

“Peer Gynt” music has the popularity of perennial youth, and whether heard through band, orchestra, or solo instrumental modia, is always assured of attentive hearing. Columbia have issued several very fine records of this Suite, in part or w-hole, one of their most attractive issues being the New Queen’s Hall Orchestra discs L 1516-17, having, on the first, “Morning” and “Death of Ase.” The first, one of the most beautiful pieces of descriptive music ever written, the second a world famed masterpiece of the category of the dignified and solemn. The second record holds the lovely “Anitrais Dance” and “Dance of the Imps,” and ends with the mournful “Solveig’s Song.” PUNOFVRTE MUSIC DE LUXE. “The ‘His Master’s Voice’ Company have never given us anything finer in pianoforte music than the renderings of ‘.Liebestraume No. 3’ (Liszt) and the ‘Naila Waltz’ (Delibes-Dohnanyi) (says a London critic). Although th« pianoforte records the company are issuing are so amazingly good, we feel that this disc of Baekhaus playing Dohnanyi’s transcription of the ‘Nafla Waltz’ is the most surprising record of the pianoforte yet produced. The real illusion of the pianoforte “being there’ is achieved completely if the record is glayed on the new Tlis Master’s Voice gramophone.” MAGIC MUSIC. Yet another tribute to the wonderful quality and success of the recent H.M.V. new process Wagnerian records —this time from “Music”; “The Magic Eire Scence,” from “The Valkyrie,” and “Siegfried’s Journey to the Rhine,” caused universal astonishment by the surprising manner in which they reproduced the true timbres of a fullsized orchestra playing in a concert hall; but Giese last records are likely, if anything, to eclipse them, for never have more amazing reproductions of the orchestra been made. Whether it be in the mighty swing and the exhilaration of the “Ride of the Valkyries,” or in the colossal grandeur of “Siegfried’s Funeral March.” in each case the marvellous orchestration stands out clearly and vividly, EMMY DESTINN RETURNS.

A more than welcome return to London is that of Emmy Destinu, a distinguished H.M.V. artist. Her reappearance after all these years of absence will be a wonderful stimulus to memories of those glorious days before the war when Destinn, Caruso, Scotti and others sang at Covcnt Garden. London always had a particular affection for Destinn, and it was she who first, created the role of “Ma da ma Butterfly” in Puccini’s opera in London. Destinn “created” the leading soprano roles of many important operas, including besides that of “Madama Butterfly” in London, the role of Minnie in ‘‘The Girl of the Golden West.” She sang this part with a brilliant east, including Caruso, Amato and Homer. Destinn is reported to have received the highest fee ever paid to a singer (£2500) for giving a concert in n den of lions. She certainly deserved it! We may look forward now to hearing some new records from her.