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SIR LANDON RONALD & KREISLER Mozart Violin Concerto in D (See page 1). PRICES OF " His Master's Voice Double-Sided Records THE ROYAL RECORD (R.E. 284) THEIR MAJESTIES THE KING & QUEEN. 10 in. Double-sided, 5/6. THE ROYAL RECORD (R.D. 887) H.R.H. THE PRINCE OF WALES. 12 in. Double-sided 5/6. NURSERY Records-ORANGE Label (Serial Letters AS), 7-inch 1/6. (Each series of 6 records in album, 12/6. Decorated Album-with linen 3/6.) pockets - separate, PHYSICAL CULTURE Records.-Set complete in album, 12/-. Album and chart separate, 3/-. Colour Label. 10-inch 12-inch Serial of LSerialetter PLUM... 4/6 C ... BLACK 6/6 D ... RED 8/6 DB ... BUFF DK ... 10/- PALE GREEN 11/6 DM PALE BLUE... 13/6 DO WHITE 16/- DQ ... Unless otherwise stated "His Master s Voice" Records should be 'lased at a speed of 78. His Master's Voice" Instantaneous Sbeed Tester, shows instantly whether your motor is running correctly. "His Master's Voice" Records KREISLERAPRIL, 1925. FRITZ KREISLER (Violin) ýýýýiýýnI;ýý (and Orchestra conducted by SIR LANDON RONALD 12-inch double-sided Red babel. Concerto No. 4 in D Mozart ... ... ... ... ... D.B. 815 First Movement-Allegro, Parts 1 and 2 D.B. 816 f Allegro, Part 3 i Second Movement-Andante cantabile, Part 1 { Andante cantabile, Part 2 D.B. 817 Third Movement-Rondeau, Part 1 D.B. 818 Rondeau, Parts 2 3 and T HE public has long been demanding that Mr. Kreisler should record a big work for the gramophone. Here is the fulfil- ment of its wish. In this series of four double-sided records he gives us, complete, Mozart's lovely Concerto in D. That his hand has not lost its cunning we know already ; but it needed this masterpiece to show us that all the marvellous sense of proportion, the instinctive feeling for the balance of a delicate phrase, all the old wizardry of the great artist, are preserved intact. Apart from the steady ripening of those powers which even in his youth made him a prince among violinists the years have wrought no change in Kreisler. The music is too simple to require much analysis. The first subject is given out by the orchestra in the opening bars and is very soon followed by the second subject :- The soloist takes up the tale and the material is repeated and expanded, a new phrase of great beauty being added :- This completes Side One. Side Two contains the brief develop- ment and the recapitulation. This latter section omits the original [Contioiued on page 8. For prices, see page 2 of cover. "Greatest Artists-Finest Recording!" APRIL, 1925. BENNO MOISEIVITCH (Pianoforte) AND THE ROYAL ALBERT HALL ORCHESTRA (conducted by Sir LANDON RONALD) 12-inch double-sided Black Label. Concerto No. 1 in G Minor, Op. 25 Vendelssnlin ... J First Movement-Molto fuoco, D. 969 allegro con Parts 1 and 2 D. 970 Second Movement-Andante, Parts 1 and 2 Third Movement-Presto Molto D. 971 : allegro a vivace, l Parts 1 and 2 THERE is something panther-like in Moiseivitch's playing. The silky softness of his piano passages, the pearly quality of his runs, are combined with a feline muscularity and agility that make his style unique. All these qualities are dis- played in this famous Concerto of Mendelssohn's (recorded without cuts), where with the sympathetic assistance of Sir Landon Ronald and the Albert Hall Orchestra lie scores a veritable triumph. In this triumph the recording too has its share : never have the complex problems of the Piano Concerto been more successfully surmounted in the recording room. The first movement opens with an introduction in which both orchestra and soloist take part. Soon the Piano announces the first subject, a virile emphatic phrase This is fully dealt with and then comes the lyrical time that serves as the second subject :-- Piano and orchestra take this up in turn and some brilliant passage work for the soloist leads into the brief development section. The second side contains the recapitulation and the coda. The music leads straight into the slow movement (side three) A lovely melody is played by orchestra and Piano in turn, and is succeeded by an episode in which graceful arabesques on the solo instrument play a prominent part. Finally (side jour) the original air returns in the orchestra while the Piano arabesques persist as a decoration. Side five. An introduction of considerable length ushers in the joyous subject of the Finale. The treatment of the material is so transparent that we need only call attention to the reminis- cences of the second subject of the first movement in the solo part about the middle of side six. The Coda is Mendelssohn at his most brilliant.For prices, see page 2 of cover. " His Master's Voice" Records TH. I. CHALIAPINE (Bass) (with orchestral accompaniment) 12-inch double-sided Red babel The Moon is high in the sky (/° Aleko ") (Sung in Russian) Rachtnaninoff D.B. 691 Crazy-Headed John (Russian Folk Song) (Sung in Russian) C RAZY-HEADED JOHN' is an instance of the way in which the great singer can take any theme, however unpromising, or even, if you will, no coherent theme at all, and build up a tone-picture by sheer richness of expression and the depth of emotional feeling inherent in his voice. Chaliapine relates that amongst the peasants of the Volga country the art of improvising vocal melodies is practised as a pastime. This is one, but "ä la Chaliapine." "ALEK0." By V. I. Nemirouich-Danchenho on a poem by Poushkin.Music by S. Rachmaninoff. j English version by Rosa Newmarch, published by Messrs. J. and W. Chester, Ltd.) The moon is higher in the sky and looks smaller and paler. The camp's asleep. The moon above Is shining in her midnight splendour. Why does my sorrowing heart beat fast? Why weighs on me this secret anguish ? I have no cares, and no regrets, I lead a simple wand'ring life ; Scorning conventions and the world, I dwell among the gipsies free. I live, nor recognize the power Of blind and cruel destiny. But God ! How passion still can play On my distracted soul at will! Zemfira ! How I loved her well ! How in the silence of the steppes She yielded gently to my kiss ; What hours of rapture night beheld ; How often with a tender word, Or with a passionate embrace, She drove my gloomy brooding thoughts Away from me, as dawn the dark. I well recall the glowing words She whispered in those blissful hours : " I love thee, for thou art my lord, Aleko, I am thine for aye ! " Then list'ning to her glowing speech, Forgetful of all else, I bent And clasped her in a wild embrace, Lost in the depths of her dark eyes. Then in the wondrous perfumed dark, rips Zemfira's met mine . And she, Filled with a meltin g ecstacy, Clung fast to me and gazed so long, Into mine eyes . And now and now .. Zemfira false I Zemfira cold ! For prices, see page 2 of coves. FRIEDA HEMPEL (Soprano) (with orchestral accompaniment) l3-ivch double sided Red Label. Alleluia (A joyous Easter Hymn) D.A. 676 Arr. G. O'Connor Morris Oh, had I Jubal's lyre ('" Joshua ") Handel ... OH, had I Jubal s lyre is Handel in his most exultant mood. His tread is as firm as ever, but he adorns his progress with the most elaborate passage-work in the vocal part. With other composers this sort of writing sometimes tends to become empty. It is one of Handel's chief claims to immor- tality that he manages to combine the utmost brilliance with real musical beauty and sincere expressiveness throughout. With this number Alleluia has been aptly coupled. Probably few of those who sing the tune in Church know that it is a very ancient melody that has come to us out of the mists of the -Middle Ages, a trium- phant paean of praise the like of which one seldom finds in the music of to-day. It has inspired Holst to one of the most gorgeous, full-blooded pieces for chorus and orchestra that the Twentieth Century has to show. This arrangement of O'Connor Morris is less complicated but not less effective, and Frieda Hempel has captured its mood with unerring instinct. I'iIýýý MICHELE FLETA (Tenor) (with orchestral accompaniment) 10inch double sided Red iahe!. ý Tierra (My land) Mariano Altizas- 1Mi native ... (Sung in Spanish) Josl L. Mediavilla D.A. 573 Adios Triguena (Good-bye, my darling) (Sung in Spanish) Eduardo Vigil y Robles T HE last issues of this great Spanish Tenor were a couple of Jotas, traditional songs of his native land, accompanied by the appropriate instruments. Now he gives us two more songs of the same sort with orchestral accompaniment. It is difficult to know which to admire most, the charm of the melo- dies, the vivacity of the rhythms, or the verve of the singing. Spanish music is lucky in having such an enthusiastic and magnificently. endowed advocate of its merits. No one who owns a gramophone will be able to resist his eloquent pleading. For prices, see page 2 o cover. "His Master's Voice" Records VOCAL MUSIC APRIL, 1925. DINH GILLY (Baritone) (with orchestral accompaniment) 12-inch double-sided Red Label. ' (Fleurissait une rose (Legende de la Sauge), I D.B. 693 (Parts 1 and 2) ("Le Jongleur de Notre Dame ") (Sung in French) Massenet L E JONGLEUR de Notre Dame is a miracle play based on an old legend.
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