GRAMOPHONE NOTES.

Auckland Star, Volume LIX, Issue 231, 29 September 1928, Page 8 (Supplement)

GRAMOPHONE NOTES.

REVIEW OF SEPTEMBER QUARTER.

(By SOUNDBOX.)

Our well-intentioned guides have tried to pour muHlc into the people from- the top, instead of letting it grow normally from the ground up. —Sigmund Spaeth.

My notes refer thia • week to what have struck me as the most notable of this quarter's issues.

A re-recording of Dame Clara Butt's "Abide with Me" and "God Shall Wipe Away All Tears" must not be forgotten.

My very good friends, Flotsam and Jetsam, delighted us with "Little Betty Bouncer" and "Must it Always be so?"

Peter Dawson's "Song of the Volga Boatmen" (in English) and "The Dear Homeland" was—Peter Dawson. Need one say more?,

The Light Opera Company's "vocal gems" from "Lilac Time" was notable. Popular and melodious music admirably sung.

"Songs 9f Ireland," with "Songs of Scotland," sung by the Victor Mixed Chorus, has proved as popular, I believe, as it deserved to. •

A continuation of the success of the "Two Black Crown" with further records maintaining the same high standard must iy>t be overlooked.

A set of three 12-inch records by Sir Henry Wood and the New Queen' Hall Orchestra of Schubert's "Unfinished Symphony" was a welcome event.

Among choral issues of the last three months, the Sheffield Choir's "I am Alpha and Omega" and "The Sun Shall be no More" must not be forgotten.

A new 'cellist, Gaspar Cassado, appeared in the gramophonic firmament. His playing of Handel's "Largo" will be remembered as a notable first issue.

A very notable bass merited a warm welcome with a first record when Malcolm McEachern gave us "The Mighty Deep" and "The Song of the Volga Boatmen."

Jascha Heifetz displayed his usual violin virtuosity with Achron's "Hebrew Melody" and Sarasate'B Spanish dance "Zapateado."

Mischa Levitski's Sixth Hungarian Rhapsody was not only the first record from this great pianist, but was also without question the finest piano record of the quarter.

Very welcome, I thought, was the singing in English of the duet from "The Barber of Seville," by Miriam Licette and Dennis Nobile, "Can it be, Dare I Believe Theei"

The issue of "The Gondoliers," on twelve records in an album, the second of the Gilbert and Sullivan series, was quite as welcome as 'The Mikado," which preceded it.

Raymond Ncwell's 10-inch record of sea chanties must not be forgotten. The titles he chose were: "We're All Bound to Go," "Johnny Come Down to Hilo," and "The Hog's Eye Man."

The "Valkyrie" records, a set of 14 12-inch records, containing almost the complete opera, was a very out of the ordinary achievement, alike for the quality of the work and for the magnitude of it.

Certainly one of the most finished and artistic efforts we have heard during the present quarter was Madame rTulda Lashanska singing "Annie Laurie" and "Aloha Oe."

Of more than passing interest was the issue of a series of Maori songs, sung by Ernest McKinlay, a New Zealand tenor who knows how to do justice to Maori songs. Perhaps the best was "Waittta Poi" and "Pokare Kare."

Madame Galli-Curci broke a long silence with Arditi's waltz-song, "Parla, and Benedict's "The Gipsy and the Bird." My trade friends tell me that this record quickly sold out, showing that the public iviains its liking for this very likeable -opruuo.

The reduction of price of an artist of William Murdoch's ability was exceedingly welcome. Perhaps this Australian pianist's best is Liszt's "Hungarian Rhapsody No. 12," though it is difficult to single out any one record from his uniformly high-class work.

Dora Labbette (soprano) and Norman Allin (bass) sang two duets very acceptably in "Springtime" and "At Love's Beginning." The record was the more acceptable as it was the first by these fine artists issued at the ordinary common or garden price.

A new issue from Toscha Seidel, after this fine violinist had absented himself from the recording studio for a long time, was sure of a warm welcome. He chose wisely in giving us Dvorak's "Slavonic Dance No. 2," and Brahms "Hungarian Dance No. 1."

Better than the best record, better than them all, was the announcement with which the September quarter 'opened, of a big reduction in price. That price reduction has been appreciated by the record-buying public, all my friends in the trade assure me every time I ask.

The exceedingly interesting record by Smithy" and Ulm should not be forgotten. This record will be more and more appreciated as a souvenir of a great feat as time passes, the flyers having told their own story and autographed the record. As 'this record becomes scarce it should become valuable from the collector's point of view.

Among the light fare provided lately X new record from John Henry aiiu "Blossom" was sure of a good hearing. Those familiar with the works of this clever pair would know what to expect in "The Story of Lady Godiva," and those who have not yet made their acquaintance should hasten to do so.

A reissue, electrically recorded, of Peter Dawson's "Largo al Factotum," from "The Barber of Seville," and the "Toreador Song," from "Carmen," was excuse to marvel once again at the perennial youthfulness of this great voice and the amazingly clear diction. Those of my readers who attended the performance of "The Barber" should hear this English version of "Largo al Factotum," as it gives- one a clearer idea of the Barber's philosophy to know the translation of this wonderful patter song, with which he introduces himself,