Music from the Disc

Evening Post, Volume CVIII, Issue 132, 30 November 1929, Page 26

Music from the Disc

English Folk Tunes.

_ The very soul of English music lies in lier folk tunes, the songs that were sung in the fields and in the homesthe songs, that were sung in the manor houses by the troubadours and by the wandering minstrels at the fairs! For many years these old tunes were neglected, and in the last 20 years some of the most eminent musicians have realised their value and have conducted long and painstaking researches into their origins and construction. The simple charm of these songs is illustrated in the ten records issued by the H.M.V. Company. On the Northumbian pipes Tom Clough plays "The Keel Row," "Holey Ha'penny," and "Elsie Marlty." The Folk Dance Band includes in nino records such j piec&s as "Pop Goes the Weasel," "Speed the-Plough," "Apley House," "Old Noll's Jig," "Tho Triumph" "The 29th of May," "Oaken Leaves,"' "Hoy Boys, Up Wo Go," "Ruftv Tufty," "Tho Maid Peeped Out," "Shepherd's Holiday," "Parson's I Farewell," and "Tho Phoenix." These arc fine Christmas records. (H.M.V.) The Great Kipnis. Alexander Kipnis, one of the greatest German bassos of recent years, sings for us Schubert's' great song, "The Wanderer.". This even eclipses his previous performances—if such a feat be possible. The attractive "dark" quality of this artist's voice is admirably suited to this song, and for that matter also to the aria on the reverse, "Within These Sacred Halls," from Mozart's "Magic Flute." For sheer beauty of tone and ease of production, it will be a long, long time before this record is improved upon. (Columbia 04336.) Of- the Kipnis discs two others are devoted to Schubert artsongs. Columbia 04115 gives us those two sombrely beautiful songs, "By the Sea" and "The Lime Tree." "Der Doppleganger" ("The Phantom Double") is sung with dramatic intensity on Columbia 04195. On the reverse is that haunting air, "Der Wegweiser" (The Signpost). The two Schubert songs, "Longing to Wander" and "The Organ Grinder," sung by Sir George Hensehel, are, of course, combined on one of the most marvellously realistic discs of modern days. (Columbia 03594.) Good Old / Songs. Jack Hylton and his orchestra, which have just completed a most successful tour of England and tho Continent, have been delving into the music hall songs of twenty and thirty years ago, and these have been popular features of their programmes. Hylton has now most attractively grouped a number of these songs on a 12-inch disc and the clever orchestral effects are enhanced by the vocal refrains. Among the songs introduced on tho record are "The Man Who Broke the Bank," "Daisy Bell," "Lily of Laguna," "Ta-ra-ra-boom-de-ay," "After the Ball," and "At Trinity Church I Met My Doom." (H.M.V., C 1592.) Albert Sandier. "Las Lagarteranas" and "Eaphaellito," are two of the biggest successes of Europe to-day. Both are tuneful, rhythmic, and of vivid harmonic interest. Albert Sandier and his orchestra at the Park Lane Hotel, London, play them with every bit of Albert Sandier's accustomed verve and sparkle. Particularly well does he bring out the strong tango flavour of "Kaphaellito." (Columbia 01634.). Westminster Abbey Choir. The Westminster Abbey Special Choir lives up to the highest traditions of English choral singing in Byrd's magnificent "Exsurge Domine," and the lovely "O Bone Jesu" (William Child). The latter number has an organ accompaniment. There are many fine expressiye touches in the Child (this motet is probably the best example of his work), and in the Byrd there is power and climax. The exquisite balance and blend of the choir has been faithfully reproduced. (H.M.V. C 1678). . Paul WMteman. Those who lift their hands in horror at the jazzing of the classics should make a point of hearing Paul Whiteman's version of "Liebestraum" and "Song of India." True, he has turned them inside out, but sheer brilliance of instrumentation, dazzling experiments with rhythm, and voluptuous richness of tone certainly justify him. The things are thrilling. If some of our tip-top orchestras could get the same vim, the same disciplined swing, into their recordings, we would never hear the complaint that good music is dull. Maybe a liberty— but one that Paul Whiteman alone can take. (Columbia 07510). Supreme Moments From Wagner. A notable batch of records—indeed a real recording achievement—is a group of extracts .from "The Twilight of the Gods," the concluding part of Wagner's "King"; some recorded in Berlin, some'in London. In tho last of the great "Ring" operas the drama moves swiftly towards its appointed end. The music of the "Twilight of the Gods," magnificent as it is, has an atmosphere of sombre foreboding, of impending tragedy, As a piece of musical architecture, it is the supreme work of the "Ring," for Wagner has gathered up the familiar motifs of the earlier operas, and has presented them in a new and more significantly dramatic force. Nothing short of glorious is "Hagen bids the Vassals Prepare for Feasting, "V by the Berlin State Opera Orchestra and chorus under Leo Blech. The soloist is Ivar Andressen. a splendid bass. The chorus is a big factor in a fine and stirring record. No less good in its quieter way is the disc bearing "Rhinemaidens foretell Siegfried's death "and "Rhinemaidens beg Siegfried to give up the ring." The Siegfried is Laubenthal, and the Rhinemaidens are de Garnos, Kindeamann, and Marker. The results are strikingly vivid. ■ The other record made at Berlin is a fine one of the Siegfried Funeral March, Karl Muck being the conductor. • The four English recordings are every bit equal to the German, and that is saying a grear deal. In the Norns' Scene the three singers have colour and conviction. There are a couple of scenes with Brunnhilde and Siegfried, wherein Austral is at the top of her form, and Widdop sings splendidly. His voice has the required size and heroic char aeter. In the record "Siegfried takes the oath on Hagen's spear," Austral and Widdop are heard again, with specially good marks for the former. Finally, Au3tral has the field to herself in the scene where Brunnhilde lights the pyre and rides into it. The orches tra in the English performances is the London Symphony, and the conductor Albert Coates. (H.M.V.) Piccadilly Players. In two new records by the Piccadilly Players the tone comes through with remarkable brilliance and fidelity, every instrument standing out with crispness and clear definition. Everybody will be interested in this improvement, which is giving dance records a wonderfully vivid lifelike quality. The first is a pairing of "Bogey Wail " a slow fox-trot, with a novel vocal chorus and some great instrumental effects, with "I'm Tickled to Death I'm Me," a comedy fox-trot. (Columbia 01567.) The next pairs "Lisette " a

waltz, with "I Found You 'Out' When I Found You 'In.' " Both are played with a fine.sense of rhythm, and have better-than-the-usual- vocal choruses (Columbia 01568.) Records for University. To the library of the University of Birmingham the Gramophone Company Has presented 225 "His Master's Voice" records. They include the recently issued "Twilight of the Gods" (Wagner), Beethoven's Violin Concerto played by Kreisler, and the Berlin State Opera Orchestra; Schubert's famous Trio in B Flat played by Cortot, Thibaud and Casals; Backhaus playing the Chopin Studies; Elgar's Second Symphony, with the London Symphony Orchestra conducted by the composer, and Eimsky-Korsakov's "Scheherazade" Suite, rendered by the Philadelphia Symphony Orchestra under Leopold Stokowski. That- brilliant young organist, Terance Casey, who plays the Wurlitzer in the huge Tivoli Theatre, London, provides this month' two excellent organ solos in "Devotion" and "Pleading." The first, one of Ketelbey's shorter pieces, gives him a great chance for sonorous registration, and both of them have excellent melodies that are sure of instant popularity. Casey plays with great tenderness' and feeling, and records exceptionally well. (Columbia 01633.) New Dance Kecords. As can be expected with the festive season at hand, there are many new dance records in the December catalogue, and contributions come from such famous bands as Nat Shilkret's and Jack Hylton's. The former combination gives "You Can't Take Away" ,(The Things That Were Made for Love), fox trot, and "I Get the Blues When It Rains,", fox trot, vocal refrain by Burt Lorin (RA.555); "Who Cares What You Have Been," for trot, vocal refrain by Don Howard, and "From Sunrise to Sunset," fox trot, vocal refrain by Burt Lorin (E.A.570); "I'm Crazy Over You," fox trot, vocal refrain by Willard Robison, and "I'm Just a Vagabond Lover," fox trot," vocal refrain by Rudy Vallee, played by Rudy Vallee and his Connecticut. Yankees (E.A.580). Jack Hylton's fine band gives "Um-Tcha-um-Tcha Da, Da, Da," fox trot, with vocal refrain, and "Bogey Wail," with vocal refrain (E.A.572); "The Toymaker's Dream," fox trot, with vocal refrain, and "Ever So Goosey," fox trot, with vocal refrain (E.A.578). No one can hear Paul Whiteman's Band without! realising that he must have gathered together a company of the clever instrumentalists. Chester Hazlett, his saxophonist, plays with, audacity and a great sense of rhythm. His choice of material is' a cut above the average. Macdowell'3 "To a Wild Rose" —a delicious favourite—is paired with Hazlett Js own "Valse Inspiration." Easily one of the best "sax" records on the gramophone. (Columbia 01627.) Notable Debut. -„-'The: rich, and resonant voice of the German;' baritone, Rudolph Bockelmann, takes one captive immediately. He is recorded in the "Toreador Song," from Bizet's "Carmen," and the rarelyheard "Mirror Song," from Offenbach's "Tales of Hoffman," with the Berlin State Opera House Orchestra and chorus, conducted by Clemens Schmalstich. The "Toreador Song" recording is unique in that it includes 'the pasasgevbetween soprano and baritone, and then the repetition of the refrain by the chorus. In other words this latest rendering, which is sung in German, is a slice out of the opera itself and not just a concert number. The delicate phrases of the "Mirror" .song are given with an artistic appreciation of the beauties of the music. The well-coloured tones of the voice are at homo in both numbers and Boekelniann is indeed an acquisition to' the gramophone. H.M.V. C 1680). Popular Duets. Walter Glynne, the Welsh tenor, and Stuart Robertson,. the Australian basso, whose first two duets, "Watchman What of the Night" and "The Moon Hath Raised Her Lamp Above," have proved very popular, have revived another two other old favourites, "The Larboard Watch" (Williams) and the humorous "Gendarmes' Duet," by Offenbach. There is a beautiful blend of voices in "Larboard Watch" and some delightful tone colouring. The jOffenbaeh duet, is sung with real enjoyment. In both songs, sung in English, the enunciation is very clear (H.M.V. 3030.) * One of the big hits among the latest dance records is a coupling by Ray Starita and his Ambassadors' Band and tho Piccadilly Players— two star organisations whose treatment of the latest dance music is always fresh and original. Ray gives as a snappy version of a negro spiritual "Wake Up! Chill'un, Wake Up!" On the other side the Piccadilly Players play that tuney triumph "I Lift Up My Finger and Say, 'Tweet, Tweet.' " (Columbia 01595.) Gracie Fields Again. The London variety artist, Gracie iields, comes to light again with another of her stage successes, "We're Living at the Cloisters," Miss Fields has the rare gift of making people laugh. As with Sir Harry Lauder her personality is caught up by the gramophone. Her other numbers, "So Tired," is a contrast of sentiment and humour. (H.M.V., 82739.) Twenty-one ; of Alfred O'Shea's records have been issued. This Australian tenor is top well known in this country to make further comment necessary. His artistry is so apparent, his vocal powers so obvious, and his actual singing so apparently effortless, that to hear him once is to realise that Alfred O'Shea is a singer far above the average. Taken as a whole, the O'Shea recordings are wonderfully done. Hear, for example, "Killarney" and "The Fairy Tales of. Ireland" on Columbia 02900----and "Drink to Me Only" and "Passing By" on Columbia 01598. These two discs should be in every collection

(■■■IIIHM^^