RECORDED MUSIC

Manawatu Standard, Volume XLIX, Issue 251, 21 September 1929, Page 7

RECORDED MUSIC

Giannini’s Visit to New Zealand. —In view of Mr E. J. Gravestock's intimation that tho famous Italian coloratura soprano, Dusolina Giannini, is to visit New Zealand this month, interest centres upon the very fine numbers she has recorded. Amongst the most notable of her recordings are the two classic Verdi numbers from “Aida” —“Ritorna Vincitor” and

“0 Patria Mia.” In the field of grand opera she has also splendidly "recordod tho celebrated “Vissi d’arto” from Puccini's “Tosca” and “Voi lo sapote, 0 Mamma” (Mascagni’s “Cavalleria Ru6ticana”). In lighter vein the following are charming numbers: “I Love You Truly,” and “Just Awcarying for You” (Jacobs-Bond); “Carmela” (Hauge-Ross), “Cielto Lindo” (Bourdon), Lanc-Wilson’s waltz-song, “Carmona,” and Marsden’s “My Mother.” * A Child' Prodigy.—Apropos of a recent note on the remarkable powers of Master Yehudi ' Menuhin, a juvenile violin virtuoso not yet in his ’teens, it is worth mentioning that ho has recorded two sparkling numbers —an “Allegro” from tho works of Fiocco, - and Rios’s “La Capricciosa.” Menuhin is of Russian descent, but was brought up in America and made his dobut with the New York Philharmonic Orchestra in Beethoven’s “Concerto.” A Great Bass Voice. —"0 Tu Palermo,” from “I Vespri Siciliani” (Verdi), and “Dormiro eol ncl manto mio regal”'' from “Don Carloss” (Y T erdi), Ezio Pinza. Here we have a greut bass voice, different in quality from that of the inimitable Chaliapin, but very beautiful. The airs aro in the early Verdi style, but no whit less attractive for that. Splendid Duct Singing.—“Oh, Mimi, tu Piu Non Torni,” from “La Bohcmo” (Puccini)( and “Solorme in Quest’ora,” from “La Forza del Deßtino” (Verdi). Gigli and do Luca. Both airs arc very attractive and are equally well sung. One of the beet grand opera ducts recorded. “Del Tompio al Limitar," from "The Pearl Fishers” (Bizet), and “Enzo Grimaldo,” from “La Gioconda’ .’(Ponchielli). Gigli and do Luca. Here these two superlative voices are joined in tuneful and unhackneyed music. Tho volume of tone is sufficient to fill a large room, yet there is no suggestion of forcing. A Record that "Grows on One.”—“The Death of Don Quixote,” from “Don Quixote” (Massenet). ■ Chaliapin and Kline. This ie a record which grows on one more and more with every fresh hearing. One who heard Chaliapin a number of times at Covent Garden says ho never heard him in better voice than, in this excerpt. His partner, Olive Kline, has a very beautiful soprano voice. New Orchestra.— Another big American orchestra,' the St. Louis Symphony Orchestra, makes its debut this month. Under the leadership of Rudolph Ganz, famous as pianist, composer and conductor, it has been earned to splendid levels of achievements. Their first piece is a facile reading of' Mendelssohn’s “Fingal’s “Cave” Overture. This and the “Midsummer Night’s Dream” overture, which has also been recorded this month, stand out as the best overtures Mendelssohn wrote. In these are incorporated all that was beautiful in romantic music, and the rich, full tones of the St. Louis Orchestra, especially the strings, make this a very pleasing record. Notable First Record. —The first record by the great contralto, Sigrid Onegin, is to hand. Hers is a voice of captivating beauty and remarkable range. Her head notes lia\o the qualities of a soprano, and the lower register is ot a lovely rich quality that is full of expression. No more completely satisfying voice lias been heard on the gramophone. Even on the fullest notes there is not the slightest suspicion of heaviness, and the half-tones and mezzo voce never lose their intensity or purity. Onegin, too, realises to the full the dramatic context of the musio eho is singing. There is conspicuous merit in hor recording of the aria “Che faro senza Eurydice” from Gluck’s “Orfeo.” . The interpretation of the poignant musio has none of that academic dreariness which in less imaginative performers masquerades under the title of tradition. Her second number is “Ah mon fils” from Meyeboer’s “Le Prophete.” Tho wonderful top notes flow golden and flawless to tho appointed end. Another Wonderful Record.—lnto I m a’Longing for You,” Fuhrmann’s exquisite lyric, . set to music by Hathaway, Clara Serena has. instilled all the yearning that this deeply human song demands, all the lights and shades of tone that her expressive voice is so well able to produce. Roy Mellish, in the capacity of pianist, has given .a most brilliant. accompaniment, sympathetic, yet restrained. When listening to tho glowing ..“Silver Threads Among the Gold” one is struck with the infinito loveliness of a melody that has never grown old, although eo many years have passed since .it was first conceived. The arrangement by Mellish is wholly charming, and the soft, lucid notes of the piano blend enchantingly into a perfectly reproduced, whole. Franck String Quartette. Cesar Franck’s only string quartette wa6' not written until he was over sixty years old, its first performance being when he was nearly seventy. But it was then acclaimed a master;riece a verdict that lias never been challenged since. It is certainly a wonderful work, alike in its inspiration, its lovely melodies and that serene mysticism so characteristic of tho Belgian master’s later music. The fine performance of the London String Quartette is superb in ite understanding and poetry. Orchestra Syniphonique (of Paris). —-Victor Lalo’s celebrated “Norwegian Rhapsody” wns written during the latter part of the nineteenth century, and contains all he elements of colourful folk tunes, combined with great strength, belonging to tho Viking country. . The famous composer’s richness and skill of orchestration is vividly represented in tho supremely fine rendering of one of the most distinguished of the groups of brench. symphony orcehstras, while the recording is notable for its clarity and faithfulness. H.M. Grenadier Guards Band. —Captain Miller thinks that the Fantasia on 17th Century Music, A.D. 1664, is the finest record ho has made. Certainly, you will agree when you hear these charming old-fashioned songs, grouped together and played as only tho Grenadiei»«Guards can play. Among them are such lovely traditional airs as “Green Sleeves” and “Hark, the Bonny Christ Church Bells,” and the stirringly fine “Here’s a Health Unto His Majesty” (the best of which wc most decidely wish our present brave sovereign in his convalescence). It is a record which elderly folks, with many cherished memories. will enjoy. A Sir Henry Wood Re-issue.—Sir Henry s production lately has - boon disappointingly slender. Here is a re-issue of an old recording of two of his old favourites a pairing of Rachmaninoff’s “Prelude in. G Sharp Minor” and Wagner’s “Introduction to Act 3, Lohengrin.” Both pieces are boldly attacked with vigorous and hearty tone. The orchestra is splendidly controlled. Two Delightful Ballads. —Good English songs are scarce, or at least recordings of them are. Therefore a pairing of two such excellent songs as Landor’s exquisite poem, “0 Thnt it Were So,” with “Here in the Quiet Hills,” is assured of a warm welcome. Doubly so when they arc rendered with so much sincerity, so much true feeling, as Robert Poole brings to them. Poole is a baritone of more than usual quality, with a happy flair for intimacy.