Music from the Disc

Evening Post, Volume CVIII, Issue 150, 21 December 1929, Page 27

Music from the Disc

aagafs "Wand of Youth." The re-recording of Sir Edward Elgar'a two "Wand of Youth" suites should give abundant pleasure. These are played by the London. Symphony Orchestra, and conducted by the composer himself. These two suites were written when Elgar was 14 y^ars of age and laid aside until 19Q6, when they were re-orchestrated. Tho touch of his practised hand in maturity has enhanced and given point to his childish fancies without in the least staling their ingenuousness. They were written originally for a children's play dealing with fairyland and each of these short but charming sketches illustrates some point of tho play. Thus the old people are lured across the bridge into Fairyland by the strains Of "Moths and Butterflies" and •The Little Bells." "The Fairy -Pipers" charm the old people to sleep, which is accompanied by "The Slumber Scene," and tney are awakened by flashing glittering lights in their eyes with the help of mirrors and to the accompaniment of "The Sun Dance." Other episodes in the play are delightfully illustrated by music as fairylike in character.. This is music of real charm and all its delicate and shimmering colours are caught in these records almost to perfection. A particularly fine feature of the recording is the marvellously life-like tone of tho muted strings. The odd side of these five records contains a minuet from Elgar's latest composition, "Beau Brummel." (H.M.V., D 1635-7 and D 164---9-50). A Band Becord. '- "La Benediction Dcs Poignards" (Blessing the Daggers), from Meyerbeer's masterpiece, "Les Huguenots," is played by the Band of the H.M. Grenadier Guards. They play this fine dramatic piece with a rich, thick coating of colour. Drama sparks out of it. They work up to exciting climaxes, they breathe and work up again-with a nnison and control that many famous orchestras would envy them. On the reverse side is a brilliant version of Bishop's immortal "Lo! Here the Gentle Lark," arranged as a duet for piccolo and flute—an exhilarating piece of instrumentalism that shows how beautiful can woodwind be in the hands —or the lips—of masters. (Columbia 02931.) Mozart Dances. The grouping of a number of Mosart's little German dances on to one record has been accomplished with admirable skill. The arranging and scoring shows an appreciation of the music. The dances are played by the Berlin State Opera House Orchestra, conducted by' Leo Blech. Those who have already heard the "Magic Flute" overture by the same orchestra know its ability to interpret Mozart (H.M.V., D 1624). Bousing Choruses. Tew choruses have the polished ensemble, the flawless dynamic, of the 8.8.C. Choir, and their well-known conductor, Percy Pitt, of Covent Garden fame, knows as well as anyone alive the. art of the agreeable blending of voice .parts. This latest record, a pairing of two great choruses from "Tannhauser," is a rare treat in vocalism. While many of us may not agree with Pitt's tempo in the "Pilgrim's Chorus," we cannot deny its nervous energy. The "Grand March" is more' in tradition, and is, moreover, an ©bjeet-lesson' in the wedding of vocal and orchestral parts. For such complicated material, the recording is beyond reproach. (Columbia 02933.)

Rollicking Singing. Peter Dawson, the baritone, is usually worth hearing, and his latest record, •which I place among his best, is of "Boots" and the "Smuggler's Song," $the verses in each case being by Kipling. . The music is of the rollicking kind in which Dawson excels. (H.M.V., 83072). ' Padere-wski Dazzles. Among the soloists Paderewski is again a shining light in Chopin's "Valae Brilliante" which goes with a fine rhythm and is reproduced with good quality of tone. In "Valse Caprice" Paderewski shows that he is still the dazzling master. His touch is as firm as ever, and his poetic interpretations arc things of rare beauty. In years to come Paderewski's records will be treasured' possessions, for they alone will show how the greatest pianist of the aae did homage to the music of the masters. <H.M.V., D.B. 1273). Tenor of Note. __ With a fair list of records to his ". credit, William Heseltine may fairly claim to be an . established favourite. Ent one may venture an opinion that he shows in his latest record certain powers that would justify an extension of his public He sings "Lilies of Lorraine" ana "Just Because the Violets" so much above his usual average, as to suggest that he is i*>w capable of the highest operatic arias. His old-time failing, a certain tremolo, has gone and one can perceive new power *«d. a new artistry in shading his voice. Altogether a revelation in his qualities. (Columbia 01668.) Anna Case continues to delight with every _fresh record. Music lovers will be grateful for her version of Mozart's "Alleluya." It is quietly convincing, deeply felt, and phrased with a truly '. noble breath and restraint. On the reverse is a ballad called "Dorccn." Very nice; but it is a pity Anna Case did not find a more suitable companion to the Mozart. Her, voice is exquisitely mellow and true. (Columbia 01669.) Herman Finck and his Orchestra strike a real .convivial note with his "Bacchanalia," a riotous Christmaspudding of the most familiar of the drinking songs. Tho medley is played with a sense of fun, arid should pump a fund of hilarity into any Christmas . .party. (Columbia 02541.) Another Herman ITinck record with a seasonablo flavour is his "Christian Memories," wh'ith strings together all the carols anci hymns and tunes we associate with the Dickensian Christmas. (Columbia 02743.) Songs of Yesterday. There have been few records recently to_ equal for all-round charm and reminiscent interest that on which Jack Hylton and his orchestra play for H.M.V., "Old Time Songs." On the two sides of this 12in. record are collected the fadeless melodies that were - heard everywhere as long ago as two . decades. In this sparkling new set- . tiog> however, they appear as new as if they were in the heydey of their success only yesterday. The mere mention of titles brings back fond memories—Must Like the Ivy," "Sunshine of • Your Smile," "Broken Doll," "Eileen Alannah," "Sweet Genevieve," "Pansy Faces," and others equally good. The vocal refrains are splendid (H.M.V. C 1681). r v i Christmas Tunes. From the old church of St. Mary-le-Bow, Cheapsido, where hang tho Bow Bells famed in legend and rhyme •. comes a record of Clarence Eaybould the St. Mary's organist. lie plays with feeling and fine registration an Organ Modlcy of Christmas Carols and Hymns. Included in the selection are:—Part 1: "First Noel": "God : Rest Ye, Merry Gentlemen?'; "Good King Wenceslas"; "A Virgin Most Pure"; "Good Christian Men, Eejoiee." Part 2: "As With Gladness""Once, in Eoval David.V City":

"While Shepherds Watched"; "Christians, Awake!" "Hark! the Herald Angels Sing"; "O Come, All Ye Faithful." (Columbia 9139.) ■ One of the most remarkable records yet issued is "Adeste Fideles" (0 Come, All Ye Faithful), sung by the Association Glee Clubs of America in conjunction with an audience of 4000. They raise an inspiring volume of sound which loses little of its gripping effect in the recording. On tho reverse the Associated Glee Clubs by themselves, 850 of them, give a rousing and hearty "John Peel." If the effects are a little bit "stagey," no one will grudge them seizing a chance to show ofl their wonderful unison. For such a large body of singers the tonal effect is surprisingly sweet. (Columbia 9048.) Beethoven's "Seventh." There are no finer instrumental records extant than the five discs of Beethoven's Seventh Symphony played by the Philadelphia Symphony Orchestra. In mass anft in detail this is a triumph of clarity, delicacy, balance, and gradation. The tone of the orchestra is magnificent, and it is magnificently recorded. The performance gives one a full realisation of the correctness of Wagner's label of this symphony as the apotheosis of a dance." To Wagner those great stairs in the introduction ' soaring up and beyond humanity, that happy poignancy in the middle section of the allegretto, the mirth that pervades the scherzo, and that Olympian game which is the finale, were divine. The phrasing by the orchestra is delightful and the string tone is a sheer joy. Tha rhythmical lilt of the finale is irresistible. (H.M.V., D 1639-40-41-42----43). - .

A good* well-sung Christmas carol record is always an acceptable buy or present forl the festive season, and we predict that the 8.8.C. Choir series of carols will find a huge popularity. Tho choir records in St. Mary-le-Bow Church—the famous "Bow Bells }' Church—with organ accompaniment. The pairings are "Good King Wenneslas"; "First Noel"; "A Virgin Most Pure"; "Good Christian Men, Rejoice."

One of the brightest and peppiest of the entertainers on the discs, the captivating Vaughn de Leath, transforms herself from a roguisli flirt to an amicable aunt for the children. She sings a batch of the dear, familiar nursery rhymes in a manner to delight any young kiddie. Many of the timehonoured evergreens are here—"Here We Go Bound the Mulberry Bush," i'Jack and Jill," "Little 80-Peep," "Ba-ba Black Sheep,'' and "Twinkle, Little Star." (Columbia 01619.) Good nursery rhyme records are always popular with the youngsters, and Gilbert 'Girard has a special flair for telling them. He mixes up all the old favourites with some very clever and life-like animal imitations that are sure to be relished by the young mind. The series occupies two' lOin records, on each side of which are five or six of the most vpopujar Rhymes. • (Columbia 2990-2991.) -a ... Famous Contralto Arias. Eeferring to the aria "Che faro senza Euridice" (I have lost my Buridice), from "Orfeo and Euridice," Clement and Larousse in their "Operatic Dictionary" wrote: "All forms of language have been exhausted to praise the stupor of grief," the passion, the despair expressed in this divine number." No better example of the true effectiveness of simplicity could be fouud in the realm of: opera than this inspired lament, and sung by Maria Olczewsku with a sincerity no one can question. Her voice is rich in quality, and her delivery artistic and expressive. On the other side of, the record is a beautiful rendering of Handel's celebrated "Largo." The flowing melody suits the singer -well, and she is supported by a splendid orchestra under the Covent Garden conductor, John Barbirolli (H.M.V. D 1490). "Otoeroa" Overture. Among orchestral recordings a high place must be given to a memorable rendering of Weber's "Oberon" overture, played by the Berlin State Opera Orchestra, conducted by Dr. Leo Blech. The characteristic mingling of individual virtuosity, and iron control, which is always to be found in a performance directed by Blech, is of particular effectiveness when combined with the romantic freedom and beauty of Weber's music. The variety and rhythmic urgency of the interpretation

aro in the highest degree compelling, and there is unmixed delight in the subtle phrasing of the lovely central theme. The horn playing, for which tho orchestra is justly celebrated, is exceedingly fine (H.M.V. D 1316). Duet from Puccini. A notable contribution to the list of operatic recordings is made this month by Margaret Sheridan and Aureliano Pcrtile, who sing the "Love Duet" from Puccini's "Manon Lescaut." Although this opera was the first of Puccini's successes the duet is musically stronger and more advanced in style than much of his later work. The Irish soprano and Italian tenor, who were the principal Puccini singers at the last seasons at Covent Garden and La Seala have done nothing better than these duets. The instrumental introduction to this fine vocal display is worthy of remark. The agitated tones of the soprano in giving expression to the overstrained emotion, and the answering tenor, works up to a great climax, in which Miss Sheridan's voice rings out with telling effect. In the continuation, the vibrant voice of the tenor and the contrasted velvety tones of the soprano, show up , well, while the exciting dramatic passages are given with convincing power. This is a very fine record. (H.M.V., DB 1281).