MUSIC AND RECORDS.

Dominion, Volume 20, Issue 42, 13 November 1926, Page 20

MUSIC AND RECORDS.

Invitation Pupils’ Recital. Mr. Temple White- and selected pupils will give an invitation vocal recital in the Concert Chamber on December 1 next. According to the programme, the recital should be quite attractive, including, as it does, selections from Gounod, Gluck, Bishop, Ireland, Banwck, Donizetti, Verdi, and Goring Thomas. Leading features of the list are a quartet from Verdi’s "Rigoletto,” and the sextet from Donizetti’s “Lucia di Lammermoor.”

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RECORDED MUSIC Dame Nellie Melba’s "Farewell.” The Gramophone Company’s (H.M.V.) latest. issue includes Nellie Melba’s “farewell’ at Covent Garden Opera, represented by her singing of Mimi’s good-bye song and the artist’s own speech. The late season was also utilised for recording Chaliapine in Boito’s “Mefistofele” during an actual performance. There is a gain of actuality, as when the singer stamps a foot to emphasise a dramatic point, but extraneous noise more frequently detracts from the musical quality than adds to it. The shifting positions of the stage, too, seem to affect the consistency of the recording by, presumably, fixed or less mobile instruments. It is quite different in the case of con-cert-room performances, as has already been shown in numerous orchestral and choral records, and again in the reproductions from the Royal Choral Society’s singing of oratorio at the Royal Albert Hall. There is in the latter case that sense of spaciousness and of weight without lioisc.

Radio and Records. Although most new inventions have the effect of adding to the world’s sura total of prosperity, they often either oust old-established industries altogether or force them to adjust themselves to the new conditions. For a long time there was a belief that broadcasting would kill the gramophone. This expectation has been ■ unfulfilled. For one thing, the listener-in only lias a limited choice of what he can pick up, or if, as seems to be the case in America, his choice through the multiplicatibn of stations becomes virtually unlimited, lie finds that at any given moment he is picking up considerably more than he bargained for. Hence the maintenance of his allegiance to the gramophone. The Real Orchestra at Home.

At present, electrical recording is still a novelty, and so much music already recorded under the older methods is on the "waiting list” that selectivity does not count greatly at the moment. One can feel that the technique of the recorders in their new medium is improving rapidly. To take one example: the His Master’s Voice recordings of “Parsifal” were quite wonderful, but their great power was accompanied by a stridency of a quality quite new. Hear the latest Wagner records—the “Fire Music” from the “Valkyrie,” and "Siegfried’s Journey to the Rhine”—which were made by a symphony orchestra of ninety-four players in Queen’s Hall, in London, and you have depth and grandeur that almost take one’s breath away, so faithful are they to the original.

Spanish Songs. Au interesting, strongly rhythmic Jota by da Falla is well sung by Tito Schipa; on the reverse is a “Madrigal Espanol,” by Huerte, a very pleasant record if played with a fibre needle; most of the modern records on a modern cabinet machine demand fairly soft needles.

The Organ on the Disc. An excellent addition to the library of organ music is the ten-inch double disc on which Reginald Goss-Custard plays Wolsttnholme’s “The Question” and “The Answer.” There is no doubt the H.M.V. electrical method of recording has opened up a wonderful field of new pleasure in the realms of organ music, and it is very interesting to be able to watch the gradual improvements which are effected mouth by month. Perfection, has not yet been obtained, but it will be in course of time, if the present rate of progress is followed out to its logical conclusion. The present record by Goso-Custard (which was made in the Kingsway Hall) is a worthy successor to those that have gone before.

Synchronised Machines. Among the interesting diversions at a recent recital of the new His Master’s Voice gramophones in London was the synchronisation of two machines, each playing a similar record. The record chosen for this purpose was the Rossini “La Boutique Fantasque” music. The sychronisation was quite perfect. Another interesting departure was the playing on several machines of the records of the song of the nightingale, while at the same time on another machine John Mac Cormack was heard in Landon Ronald’s "Dawn in the Forest.” Still, another departure was an organ accompaniment to a Caruso record—the popular “Lafgo” og Handel—played on' the instrument in the hall by Mr. Wilfred Bird. Among the most popular of the records played -was that of GalliCurci singing "Una Voce.” For this record the singer was given an enthusiastic encore by the large audience, and her record of "Lo, Here the Gentle Lark” was put on. Many of the records were made by the new electrical process of recording, and this, together with several points of interest about the new machine, was explained to the large audience by Mr H L. Rink, of the Gramophone’Company, who laid emphasis upon the fact that whereas the effective compass of the old gramophone was three and a half octaves, the new machine had a range of five full octaves. The Sheik and the Gramophone.

"Gramophones are played in all the Arab cafes. I met a sheik who buys one every time he visits Bagdad, and carries it' off to his camp in the desert with 50 to 100 new records,” said Mr. M. C. Alexander,-of His Master’s Voice Gramophone Company, in an interview Mr. Alexander and Mr. S. H. Sheard, of the same company, have just returned to London, having been members of an expedition which made a dash across the desert by motor-car under armed protection, and made gramophine records of native music in secret in a guarded house in Teheran, Persia. We also made records in a mud house in Bagdad,” said Mr. Alexander. “One of the chief instruments was tile Bagdad violin, a short broomhandle and a skin stretched over half a coconut shell, with horsehair as gut for the bow. We travelled by. car from Jerusalem onwards, and the 700 miles from Beirut to Bagdad was covered in two davs and a night, with only half an hour’s halt. Mr. Sheard encountered a landslide when over the Jordan, and near Bagdad one car in his convoy was overturned and a man killed.”

I have just beard three 11.M.V. records of the music of the Military Searchlight Tattoo at Aldershot. These records were made in the open air at the actual function, and are, T believe, the first ever made under such conditions. The effect of the open air—the noise of the crowd, the waxing and waning sound as the players approach or retire —is nnmistakeable, especially in the records of the Massed Pine Rands, under Sergeant-Drummer W. Ritchie, V.C. Under Bandmaster J. W. Clark, of the Ist Middlesex Regiment, the Massed Bands played "The Day Thou Gavest” with impressive effect, and “The Last Post” is very moving. On the other side of the same disc we have, bv wav of contrast, “Valencia,” which is inspiring. The record of a selection from Aida, under Bandmaster G. Hart, of the Ist Battalion York and

C.J.M.

Lancaster Regiment, has quite the effect of open-air music. This occupies both sides of the record. Such records will give many people the new experience of hearing an actual performance and then the record of it later, and they will be permanent memorials of historical happenings. New Dance Music.

A big dance music selection is offered bv H.M.V. It includes the Savoy Orpheans in “I’ve Got Those Wanna Go Home Again Blues,” and “Mysterious Eyes,” “The Prisoner’s Song,” and “By the Waters of Perkiomen,” “Just Drifting," with "1 Wonder” waltz by the Havana Band on the other side. Each band is also associated with Mr. Pete Mandell, the Havana Band in “Take Your Pick” and the Orpheans in “Get Going.” Jack Hylton’s orchestra has a “Ladv be Good” medley (as well as the selection already mentioned). “Fleurs d’Amour (Padilla), and “Nothing Else to Do,” "Thanks for the Buggv Ride,” and “When You See That Aunt,” and a fox-trot medley of Leslie Stuart’s songs that will bring memories back to old-timers. T hen there are the Kit-Cat Band in “Who Loved You Best?” and “I’m Still in Love With You,” fox-trots like most of the rest; the Rio .Grande Tango Band in “Milonguita,” and “El Dormiton,” tangos, and the Savoy Tango Orchestra in “Matador,” and the Orpheans in "Barcelona,” two one-steps on one disc. Old Favourites.

The new recording way be responsible for the appearance of old favourites in song and orchestral performance. Peter Dawson is responsible for “The Prologue” from “I Pagliacci,” and the two sides of the disc. contain the whole of the orchestral section connected with “The Prologue,” which enhances the successful singing of Peter Dawson. And next come the fjrst two examples of “hour Indian Love Lyrics —“Less than the Dust,” and “The Kashmiri Love Song” of Atnv Wood-forde-Finden, and played by De Groot and the Piccadilly Orchestra. It is natural to assume that these new recordings will replace what have gone before. Singers’ "Nerves.” In my gramophone work I sing into a microphone, and I am never nervous there, unless I have been away for a time, and then I take, perhaps, an hour before I get into my stride. Many wireless singers, on the other hand, do get a fit of nerves when they remember the millions who arc listening to them, and that makes them go for the song with much too much voice. Now, economy in voice is the greatest asset of a wireless artist. A whisper is heard where a shout would become a blur, and the singer front whom the listener-in hears every word is the one who sings quietly at the microphone mouth. Surely a little gentle supervision here would be at least as welcome to listeners-in as the selection of the more correct of two correct pronunciations of “idyll”? —Peter Dawson. Needles Again.

Needles are made in innumerable shapes and sizes, but interesting, elegant, and ingenious though some of them are, the ordinary steel variety is, in my opinion, by far the best for general all-round use (writes Peter Latham in "The Queen”). I have tried various kinds of “permanent and “semi-permanent” needles, but. I find that they seldom or never give the clear resonance that is characteristic of the steel, and that they generally deteriorate after two, or at the most three, records have been played. The “fibre,” on the contrary, often comes in very handy. The sound produced by it is not so true to the original performance as that of the realistic "steel,” and for this reason it has been described as a "romantic” needle"; but it has a velvety quality that appeals to many people, and it is frequently successful with records that are noisv or scratchy with anything else. My usual plan is to try steel first and then fall back on fibre if I have to. The fibre is inclined to break occasionally if the vibrations are very violent, but this disadvantage can be overcome to a great extent by “doping” the needle with some hardening substance. A Great Record.

The new recording goes on from strength to strength in more than mere power (writes “Discus” in the “Musical Times”). I fancy the highwater mark up to the present is reached in the records of “Siegfried’s Journev to the Rhine” (D 1080 In the “Journey” the reproduction of orchestral colour shows a marked advance, the brass being . particularly good. A tremendous climax is worked up. At this rate of progress the gramophone need fear nothing from the competition of wireless, so far. as orchestral music is concerned. X add that the conductor is Albert Coates.

Padereswski at His Best. The Chopin “Mazurkas” in A Flat and F Sharp Minor (Op. 59, Nos. 2 and 3), mav be regarded, from the gramophonists’ point of view, as PadercwslFi’s best effort in the recording room. No such beautiful record as Paderewski’s, in its own kind, has been issued for a long while. His previous records cannot be accounted successful in point of tone, and this tone,, though much better in that respect, is still a little banjo-like. What enraptures one Is the noble mind of the artist illuminating Chopin’s music in such a way as to make us feci we have never really heard the mazurkas before. The lovelv touch, the gradations of tone, the rubatos, the whole make-up of the great plaver are here faithfully reproduced. In the first mazurka in A flat vou must notice the fine control of the kevboard when the ra-lody passes to the bass, the way an exquisite modulation followed by r. rippling coda is managed near the end of the piece. The F sharp minor mazurka is well known. It is the more vigorous of the two and has a most interesting coda of some length introduced with much piquancy just when the music would seem to have ended.

On Using Fibre Needles. With difficult records, such as many Caruso’s, sextets, bands, etc., first use the fullest length of fibre out of so> |-ef later on vou can find what shorter length will safclv do. Slightly warm fibres before playing, especially, if there is any tendenev to dampness in room. A good plan is to have a metal airtight box with a few fibres carried in waistcoat pocket; warmth without liumiditv is thereby obtained. Finally, remember, if in spite of thus nurturing in one’s bosom a fibre is unsatisfactory in tone or performance, it is part of that innate cussedness of the inanimate, with which an individual fibre niav be possessed, and gently consign it to that element to which all cussedness belongs—blazes.

Tenors Who Sing Alike. Those who have heard Hubert liisdell’s peculiarly attractive voice in such popular airs as “Little Gleen Balcony,” “I Love the Moon,” "O Dry those Tears ” and so forth, will find a very remarkable resemblance in the singing of another, and newer, Columbia artist, one Michael Mortimer. This tenor lias the same sort of silkv texture in his voice as has Eisdell, the same—or ap-

parentlv the same—little mannerisms and method ot expression. In fact, playing a Mortimer record immediate v after an Eisdell record, one would swear that the voice was identical in each. This is not the case, of course, as a tenor of Eisdell’s reputation gains no advantage by building up under another name. Mortimer is very attracive in “Alwavs” and “Without You, a couple of softlv sentimental affairs that have attained wide drawing-room popularity everywhere. This Columbia record (3955) reflects every shade. of tone and tune with remarkable clarity. “Rose Marie” Songs.

“Rose Marie” is one of Londons most successful theatrical productions, now approaching its 1000th performance. This charming Drury Laue musical play has led to a Columbia disc everyone will immediately “hang on to. This (9038) has, on one side, Derek Oldham singing the titular air, 1 Rose Marie,” his rich and flexible tenor voice having as a colourful background the playing of the Drury Lane Theatre Orchestra, conducted by Herman Finck, who is not only one of the best conductors in the world of music, but a composer of wide renown as 'veil. Coupled with it is a duet by Oldham and Edith Dav, one of London s most brilliant sopranos, and the heroine of many great musical comedy successes. give the lovely “Indian Love Call’ with an artistry and professional atmosphere that help to make it one of the most attractive records of its kind produced this year. “Solveig’s Song.”

A summer dav in Northern Norway , a hut in the forest; a woman in front of it spinning, and singing of her longabsent lover. “Winters, springs, and summers come aud go and he does not return . . . winters and summers and springs may still come and go, but at last be will return. . . This is the theme of the exquisitely beautiful “Solveig’s Song, from the eternal Peer Gynt Suite, and it is, as a violin solo, played hy Leo Strockoff, the half of a record alluring in. the extreme, both for fine playing and perfect recording. A little wprk of a-very appropriate nature, that fits in well with the mood conjured up by Solveig’s hauntingly plaintive song, is that on the’other side of this Columbia record (947), Bohm’s “Still as the Night”—surely one of the most lovely little airs ever written. Strockoff plays with success, his tone and sense of expression are finelv in harmony with the spirit of both these memory-lingering pieces. A Facile Vocalist.

Few British vocalists have leaped to record fame with the certainty and speed of Rex Palmer, whose fine easy diction, plus a most pleasing baritone voice, result in records rlways worth having and taking care of. He is equally at home with almost cn.y type of song—sentimental, old English, or sacred. In the latter sphere his version of "Abide with Me” and ’'Nearer, My God, to Thee,” is very good indeed. The J. H. Squire Celeste Octet’s lovely accompaniment to this Columbia record (90-61) adds a lot to its acceptability. Palmer, in ‘Passing By,” bv Purcell, and “The Yeoman’s Wedding Song” (381 G offers another type of record most will really enjoy. A New ’Cellist.

The excellence of the recording is one of the brightest features of Antoni Salas’ Columbia ’cello record 3922— "Tarantellq” (Ferino) and “Vito” (Popper). The music in these pieces is slight though vivacious, and this newcomer to Columbia’s list of,artists Las a technique that is apparently equal to infinitely more difficult works. “O Star of Eve.’’

Whether one hears Wagner’s "O Star of Eve,” from Tannhauser, as a string or vocal offering, it is always a piece to linger long in the memory. Columbia have several records of it—bv Casals and Squire on the ’cello, and bv Formichi and Stracciari in vocal form. As a ’cello rendition (7360) .it is enchanting, particularly when plaved bv such an artist as Pablo Casals', whose depth of expression and wonderful tone are things to appreciate. On the reverse he plays the lovely “Abeudlied” (“Evening Song”) by Schumann, where, again, Casals’ almost unique powers of expression and a superb technique are finely in evidence.

How to File Records Simply.

An easy filing system for records, ii one lias several dozens, is to put them ’into classifieJ batches, as: Vocal (solo) ; vocal (concerted), orchestral, band, solo instrumental, and so on. With a little extra trouble one can still further classify by sorting cut '-onatas, trios and quartets into separate groups Then number each record cover plainly, and complete bv entering all numbers, with titles of the pieces, instruments, etc., in an exercise book. A glance at this and you can put your band instantly on the record iesired, simply by turning to the desired t umber. Keep records flat, in batches, instead of standing them fdge on. Latest Vocal Waltz Success,

The Ipana Troubadours’ version of one of the most successful vocal waltzes of the day, “At Peace witn the World and You’’ (Columbia 415), makes this a* least as catchv and appealing a num- ■ her as its immediate predecessor in popularity, “Alwavs.” This little combination is alert and virile : ndeed, and has a peculiarly individual way of making the most of its material.

The Don Cossacks* Record. Among all the world’s records of concerted singing there pre few to equal, ”and fewer to excel in tny way, [hat of the Don Cossacks’ Choir. Columbia produced the sole record of their art, one which was eagerly bought up at the time of the choir’s visit to New Zealand. This contains the ever popular “Volga Boatman’s Song,” and the very beautiful Russian air. ‘‘Monotonously Rings the Little Bel!,” sung, as most will be aware, by a tenor with a remarkably attract; re “silver’’ voice against an organ-like '.background of impressive dignity and swelling grandeur. New supplies of this disc (9085) are now to hand. “Poet and Peasant” Band Record. Suppe’s “Poet and Peasant” made that composer’s name one that shall endure through the '“musical ages. It has been played in a dozen forms and recorded scores of times, but it has taken the new process of recording bv electricity to bri”<» out its beauties to the full, without flaw. This has been done on Columbia’s newest “Poet” disc, 9087, the pick of the airs being here played bv the Band of the Grenadier Guards for all to hear and level in. The recording is really iemarkably fine. Parsifal Prelude.

The “Parsifal” Prelude has been recorded on three sides, with the Transformation music from Act 1, played by the Philharmonic Orchestra under Bruno Walter (L 1774-5 The “Transformation” music is by far the better of these two records.

Mackenzie’s “Little Minister” Overture is cheerful stuff, with a strong reminder of the composer’s “Britannia” in its method. The playing of the Queen’s Hall Light Orchestra is recorded with fair clearness. A lighter touch would .have improved it, apparently. The composer conducts. (L 1743

A Mozart Quartet, The records of the Lener Quartet’s playing of Mozart’s Quartet in G are, I think, the first in which these performers have had-the benefit of the new process. The result is a marked advance in every way, especially, of course, in regard to range and variety of power. The work is not Mozart at his best, perhaps, but the playipg and reproduction make the records highly enjoyable. New Instrumental Works.

Those who still care for operatic selections, even when the selections are drawn from “Il Trovatore” and “Rigoletto,” are catered for in 3925 and 3980, the players being the Grenadier Guards Band, conducted by Lieutenant George Miller.

The 8.8. C. Wireless Symphony Orchestra is wasted on Drigo’s “Les Millions d’Arlequin”: on the other side is Boccherini’s inevitable Minuet, rather heftily plaved, especially in regard to the bass. The recording is but so-so. An excellent specimen of the light, popular tvpe of record is that of the j. H. Squire Celeste Octet in the Inter mezzo and Opening Chorus of “Cavalleria Rusticana” (3943) Much of the same may be said of 3942—lean Lensen and his orchestra in Drive’s "Les Tresors de Columbine” and Tschaikovsky’s “None but the weary heart.”

Pianoforte Duets, There should be a ( welcome for the pianoforte duet' via the gramophone, but the material and performance should be better than that of 3044— Mendelssohn's so-called “Bee’s Wedding.” and Chonin’s Valse in D flat, On fit, No 1, cloved bv Dorothv Folkard and Muriel Wnrne A surnrised reader asks. What ; s the matter with such material’ The answer is: Nothing, as tlie comnocers left it. But both have been snoiled bv no less a must' cion than Frederic Corder, who ha c interno'ated a bit of the “Snrine Son"” into the first, a-.d overlaid the canon? with a "nod deal of o’-traneouc matter The result is t’mt both nieces lose +he character of s’viftneca a—d "race that constitute their chief charm. Norman Altin. Norman Allin breaks an astomshin" lot of phrases in Vaughan Williams’s “Silent Noon” The'exaggerated sibilants are probable due to a freak in recording H’s voice is better suited in Loewe’s “The Clock” (L 1760 Parsifal Selections. Bruno Walter and the Royal Philharmonic Orchestra have made a four-part record of the “KVngsor’s Magic Garden and Flower Maidens" excerpt from “Parsifal ” The results are very good There is a fine sombre nualitv in the onening, with the right Klingsor atmosphere, a pronerlv exultant treatment of the Parsifal motif, and the apnropri ate seductive nuavlitv in the “Flower Maidens” music The reproduction is altogether verv much alive and does the conductor more (ustice, I think, than anv of his previous records. I prefer the music of the Flower Maidens when it is played and not sung. Homochord.

The Homochord Military Band has given us a really fine 10-inch disc in the latest issue, its numbers being “Funeral March of a Marionette” (Gounod) and “Punjaub March” (Payne). The dainty staccato work of the former contrast's vtvidlv with the heavier and more colourful work in the march. The record may be confidently recommended. It is a new process recording. Richard Llovd’s new organ record on the latest Homochord list stands out as a record which should attract attention. The numbers, “Marche aux Flambeaux” (Scotson-Clarke) and “War March of the Priests” (Mendelssohn) are well known as voluntaries, and are stirring pieces. Dlr. Lloyd gives a fine interpretation of both and the recording leaves nothing to be desired.

Albert W. Ketelby has composed some of the popular orchestra! band music in recent years—music which if not “great,” is at least distinctive. In this class must be placed bis “Cocknev Suite,” which is unlike recorded this suite on three Homochord Premier String Orchestra has recorded this Suite on three Homochord ten-inch discs. The work is divided into five parts as follow; “A

State Procession,” “The Cockney Lover,” "At the Palais de Danse,” "The Bank Holiday,” and “Elegy,” the last part occupying a complete disc. The music is descriptive and spirited, but there is a similarity in all except the last part, where the music is slow and expressive. This part is easily the best portion of the suite. The suite combines beauty of melody with unusual orchestration The new process recording gives the best reproduction and the surface noise is minimised.

The Homochord Military Band’s best record to date is its 12-incb double sided disc on the new Homochord list, of Sullivan’s "Ruddigore.” The spirited and colourful music is magnificently interpreted by the band, and is excellently reproduced The clarity of the recording is a feature which cannot fail, to commend it to, all Popular song discs are always favourites with a large section of the gramophone public, who delight tn a bright and breezv melodv with easily picked-up-words. This mon'h’s Homochord issue includes several attractive discs. Arthur Osborne, a tenor with a good clear voice sings “Summer Rain,” with “There’s a Shine for Everv Shadow” on the reverse side These numbers have been particularly well received. The popular baritone Stephen Arthur offers four worth-while numbers in “The Sunshine Sailed Away from Killarney,” “Coming Thro’ the Cornfield.,” "Pal of my Cradle Days,” and “Just a Bit of Sympathy.” Vocalion.

Two attractive humorous songs have been recorded by the versatile Ernest Butcher in his • own inimitable dialect. They are “Tavvystock Goozey Fair” (C. J. Trythall) and “Beware of the Maiden” (M. C. Day). The former is of the best stamp of folk song made anew, the second number contains a highly amusing exhortation to all bachelors which loses nothing in the singing. In the accompaniments Stanley Chapple shows once again that he is excellent in this class of work.

Another record by Adila Fachiri will be widely sought by all violinists. This newest disc bears an Adagio of Mozart (from the “Divertimento”) and Bach’s Gavotte in E Minor. The.first is typical Mozart, beautiful melody of supreme daintiness, and is played with great delicacy by this descendant of the mighty Joachim. The E Minor Gavotte is unaccompanied and is too well known to need any description. Its tripping measure has been heard on every platform where any violinist of repute has performed for many years past. The playing is extremely effective with some brilliant dbuble stopping.

Local performance this week gives iresh interest to the Cesar Franck Sonata in A Major, which has been recorded by Phyllis Allan and Ethel Hobday, a brilliant pair of girls who combine extremely well. The sonata is for violin and piano, and is one of the very best of all Franck’s works. It has great beauty and imagination, though, of course, it is modern in style and. appeals most to the cultured musician. It has been recorded completely on two discs, two movements on each and the reproduction is extremely good. A fine bit of cornet solo work has been done by Trumpet-Major H. N. Hannan, of the band of the Life Guards. Trumpet-Major Harman has cl osen two Sullivan numbers for his recording, and one of them is very well known—our old, friend "Take a Pair of Sparkling Eyes.” The second is the lesser known, but extremely melodious ‘Distant Shore.” The tone of these solos is remarkable, and makes one realise just what that abused instrument, the cornet, can do in the bands of a master.

Billy Mayerl and his orchestra are responsible for the onlv fox tlot record to be recommended this week. Playing with great vim, they have gone above the usual level with “I’m Taking that Baby Home” and “Summer hem brings the Roses Again.” The latter is out of the rut and possesses a good share of likeable melody. Two conventional songs well sung are by Colin O’More, a pleasant tenor who has recorded “I Look into Your Garden” (Wilmott-Wood) and "I’ll Tell the Sunshine.” Both will appeal to those who care for drawing-room ballads. The songs are given neat orchestral accompaniments.

Parlophone. Beethoven’s "Coriolanus” Overture (E 10454) is one of the finest records Parlophone have given us. This is stirring, dramatic music, rendered with force and feeling.

Another record which one must praise is Alfred Jerger as Hans Sachs in Act HI of “The Mastersingers” (E. 10463 The wisdom and kindness of the old man, his love of the good old ways tn his native citv, Nuremberg, the foolishness of fond lovers, midsummer weather, and the scent of the elderall these things and more are in this song. The music of the “Barber of Seville” is full of good spirits and sparkling nielodv Fritzi Jokl sings a difficult coloratura passage as though she had picked a spray of wild roses and tossed them in the air (E. 10461