RECORDED MUSIC

Manawatu Standard, Volume XLV, Issue 119, 22 April 1925, Page 11

RECORDED MUSIC

THE WEEK’S NEW RECORDS

Amongst records recently listed are some excellent discs. Beginning with the grand opera numbers, we have that capable soprano, Boldini, in two fine numbers from Meyerbeer’s “L’Africanna”—“Gia 1’ odio M’Abbandona” and “lia bianco Nuvoletta.” Gregorio (tenor) and Solari (soprano) are associated in two dramatic numbers from Massenet’s opera, “Manon” “Oh Sogno incantator,” and “La mia, non e la mano”—an excellent disc. Also worth while is the recorded duet by Blinat ((mezzo soprano) and Garcia (tenor), from Verdi’s “II Travatore” —“Perigliarti ancor languente”—to which is bracketed “D’Amor Sull’ali rosee” (Leonora’s song in the fourth act of the same opera). Among the orchestral selections is the Victor Symphony Orchestra’s “Semiramide” overture (Rossini), in two parts, the delightful overture to Mozart’s “Magic Flute,” and Flotow’s melodious overture to “Martha.”

The Victor String Orchestra’s “In the Mill,” to which is bracketed an “Entr’-acte,” is a very charming number, delightfully played. A very good orchestra also is the Apollo, which gives us a popular selection from “Faust,” in two parts. The well-known Black Diamonds Band has a miscellaneous list. This includes “New Year’s Eve in Scotland,” “Peg o’ My Heart,” and Adrian Hope’s “Autumn Memories.” Sousa’s Band and the Victor Military Band between them furnish an interesting Sousa revival, which includes such marches ns “Comrades of the Legion March,” “Bullets and Bayonets,” “On the Campus,” “Gallant Seventh,” “High School Cadets,” “Dauntless Battalion,” and “Nobles of the Mystic Shrine.” All these are splendidly recorded. Wagner’s wellknown “Under the Double Eagle March,” as played by the Victor Military Band, is a winner. Another excellent band combination is Vessella’s Italian Band, which gives us “Finiculi-Finicula” (with chorus), “Pasadena Day March,” “Adieu to Naples,” and “Mana, Mari,” all good records.

In light opera work there are “Gems” from “Sybil,” “Very Good, Eddie,” “Goin’ Up,” “Oh, lady, Lady,” and “Irene,” all of which are quite acceptable. Four good songs from Peter Dawson, “The Drover,” “Kangaroo and Dingo,” “The Bridge,” and “The Wreck.” In the same series we have from Derek Foster (baritone), “Boys of the Dardanelles” and “Eyes of Irish Blue”; Leslie Gage (baritone), “Something Seems Tingle-lingle-ing” (from “High Jinks”), and “A Little Love—A Little Kiss,” Silesu’s “Un Pen d’Amour.”

Recorded pipe organ music is somewhat rare. Two recent examples are are “Nearer My God to Thee” and “Abide With Me,” played by Mark Andrews.

Some excellent records come from the Victor Concert Orchestra, which has recently done some fine work in the recording room. In the list yon should hear Ketelby’s “In a Monastery Garden,” to which is bracketed a Tschaikovsky “Romance,” the “Festival Dance,” and “Waltz of the Honrs,” from Delibes’ “Coppeiia Ballet,” to which is bracketed Moszkowski’s “Malaguena,” Haydn’s “Toy Symphony” (three movements—the “allegro,” “minuet,” and “finale”), two of Dvorak’s “Slavonic Dance,” and on the same disc, “Firefly Waltzes” and the famous “Gipsy Love” waltz. Excerpts from Verdi’s “Masked Ball” are not so frequent that one can afford to miss at least hearing Andreina Blinat (mezzo soprano) sing “The Dell ’abisso” and “E lui nei Palpita.” Also worth hearing, Solari’s soprano record of “L’altra notte fondo al mare,” and with chorus, “Notte Cupa,” from Boito’s “Mephistofele.” There is also a good duet record by Solari and Gregorio (tenor), who give us from Massenet’s “Marion,” the scenas “Manon tu piangi,” and “Si, maledico ed impreco.” The gifted Solari also appears with Janne (baritone), in two scenes from “Cavalleria Rusticana”—l widdu, mi tolse I’onore,” and “Cid essi non perdono,” in the roles respectively of Santozza and Alfio.

From grand opera to tlio light variety is not a bad change, if one would preserve one’s perspective of music generally. The Light Opera Company provides some bright selections, entitled ‘‘Gems,” from “Sweethearts,” “Naughty Marietta,” “Oh Boy,” and “Mary.” Hie ballad style of song still holds its appeal for a large number of gramophonists. After all, it is not a bad idea to relax and listen idly, without showing one’s intellect, .to a simple sentiment, melodiously expressed and nicely sung. Of such are Elsie Baxter’s “Annie Laurie,” “Ben Bolt,” and “Dear Little Boy of Mine”— “Sweet and Low,” sung charmingly in contralto. Wilfred Glenn (bass) gives us “Bells of the Sea” and “When the Bell in the Lighthouse Rings” ; Leonard Hubbard (baritone), several Australian songs, such as “Along the Road to Gundagai,” “I’m Going Back to Yarrawonga,” “The Murray Moon,” “Back to _ Croajingalong,” “Wodonga,” “Aussie Land,” and “Cootamundra.” Australian sentiment_ is also well catered for by Stanley Kirkby (baritone), who sings “Sons of Australia,” “Advance, Australia Fair,” “Australia Will Be There,” and a descriptive song, “The Landing of the Australian Troops in Egypt.” Two excellent orchestral records are Suppe’s “Light Cavalry” overture, and Rossini’s “Italians in Algiers.” In lighter style are the semi-descriptive “Danse of the Honey Bees” and “Anne Polka.”

Instrumental quartettes and trios are always pleasant to listen to. All will like the Florentine Quartettes, “To a Water Lily” and “Spring Song” (violfn, flute, ’cello and liarp), and the Neapolitan Trio’s “Come Back to Sorrento” (for violin, flute and harp). These are not what you might call r ‘high-brow,” but they aro pleasing.

The saxophone by this time is tolerably familiar in appearance and sound to most habitues of foxtrot assemblies, but a saxophone sextette must be worth hearing. Grainophonists_ may hear and judge for themselves in the Brown Brothers’ performance of “Peter Gink” and “Egypt-land.”