NEATH THE NEEDLE

Nelson Evening Mail, Volume LXIV, 3 January 1931, Page 4

NEATH THE NEEDLE

Gem from Schubert. One of the most popular items played by Wilhelm Baekliaiis during his New Zealand tour was a delightful little “Menuetto” by Schubert, which lie has now recorded. The first impression that will strike the casual hearer is that its melody is that of the wellknown song, “Four Jolly Brothers,” which was sung in “Lilac Time.” _ This charming Menuetto, with its simple and unaffected melody, is captivating in its compelling sincerity, whilst the minor key adds a touch of wistfulness. Coupled with it is the fairy-like Scherzo from Mendelssohn’s “Midsummer Night’s Dream,” played with fascinating lightness of touch and brilliancy which are inseparable characteristics of Backhaus’s great art. Old-time Favourites. A medley of popular favourites of other days is excellently presented by Emile Grimshaw's Banjo Quartet. The first side of the record introduces “The Wearing of the Green,” “Marguerite,” “Deep River,” “0 Star of Eve,” “The Mocking Bird,” “Sally in Our Alley,” “Georgia,” “Yankee Doodle,” “The Dear Little Shamrock,” “Aloha Oe,” “There’s a Tavern in the Town,” and “Massa’s in the Cold> Cold Ground.” On the other side is a delightful collection of Negro melodies, under the title of “Darktown Dandies,” and they awake memories of the Nigger Minstrel days. The banjo is certainly an ideal medium for expressing the spirit of these wonderful tunes. Don Bradman Speaks. Here we have Don Bradman displaying his versatility. On one side we have him giving a friendly chat on “How It’s Done” in cricket, and on the reverse a bracket of piano solos that adequately display his pianoforte technique. These are “Old Fashioned Locket” and “Our Bungalow of Dreams.” Just as Haggiter the chess player surprised the natives by his ability to go through the Latin declensions, so will this disc surprise Don Bradman’s cricket admirers. A Source of Laughter. “A warm Corner” is the title of a farce by Aruthur Wimpcris and Lauri Wylie. Leslie Henson and a number of artists from the Prince’s Theatre— Heather Thatcher, Connie Ediss, Austin Melford, Kim Peacock —have made a Columbia record of some of the funniest plums from the play. There is a good joke in every groove, and ihe best of this record is the fact that you can hear it again and again and continue to enjoy-it. Easily one of Leslie Henson’s best records to date.

Poetry, Grace, and Humour. A four-part recording gives Bach’s second Suite in B Minor, done by Frederick Stock and the. Chicago Symphony Orchestra. This is an excellent performance well recorded. The string ensemble is very clean and crisp all through, and the flute is well played. The breath and vigour of the overture and the poetry, grace, and humour of the six short movements that follow siira up for us the whole of Bach on his secular instrumental side. The overture occupies the first disc, so those Who wish to purchase by instalments can do so quite conveniently.

Jovial Music. An exceptionally successful orchestral recording is that of Mendelssohn’s ever-charming “Midsummer Night’s Dream” Overture, which is brilliantly

played bv the Berlin State Opera Orchestra, conducted by Dr. Leo Blech. The rollicking and jovial music and the spontaneity of the themes arc admirably brought out by the Beilin State Opera Orchestra, whilst the recording has particular merit. The overture is recorded in three parts, and on the fourth side the orchestra plays the “Wedding March” from the “Midsummer Night’s Dream.

“Waiata Poi.” ‘ The Maori soprano, To Mauri Mcihfuia, yet further continues the series of native records with two poi songs. The first is “Waiata Poi,” the Alfred Hill setting of a popular Maori poi tune. “Karo,” another poi song, is on the other side, and both arc sung with the plaintive inflection and the perfect sense of rhythm that characterises the primitive Maori art of song.

John Henry Again. John Henry has another episode of trials and tribulations in the “Bullfighter,” in which his domineering wife describes the heroic part he rvill have to play in a talking picture. Poor old John is told that lie" will have, to brave torture, villains, and gorings by an infuriated bull all for the love of a lady, and he isn’t exactly pleased about it. In fact, judging by his comments, lie would far far rather lead the life of a peaceful citizen than stand four-square to adventures that would make even a toreador think twice. John Henry’s inimitable touches are excruciatingly funny, and this record should add to his popularity.

Two Favourite Songs. ■ Another new Clara Butt record —this time a tcn-incher —is a pairing of “Kathleen Mavournecn” and “Annie Laurie.” This should achieve a deserved popularity quite on a par with that of the two discs reviewed above. This singer possesses one of the finest voices that the world has yet seen, and with it an innate artistry and a vocal technique that are not even now seriously rivalled in her own class.

Dance Records. Several excellent dance records have been made from the latest theme songs from talking pictures, and the following selection can be surely recommended: “Where Can You Be?” (foxtrot) and “Tm Needin’ You” (foxtrot), played by Leonard Joy’s Orchestra; “Ragamuffin Love” (foxtrot) and “Collegiate Love” (foxtrot), played by Nat Sliilkret and his orchestra: “When tiie Little Red Roses” (Get the Blues for You) (foxtrot) and “Sing a Little Theme Song” (foxtrot), played by George Olsen and*bis music: “Ro-Ro-Ilollin’ Along” (foxtrot), played by the Ardcu-Ohman Orchestra, and “Washing Dishes With My Sweetie” (foxtrot), played by Ted Weems and His orchestra; “To*my Mammy” (foxtrot), played by Nat Shilkert’s Orchestra, and “Singing a Song to the Stars,” played by Leo Reisman’s Orchestra; “Watching My Dreams Go By” (foxtrot) and “On the Sunny Side of the Street” (foxtrot), played by Jack Hylton’s Orchestra; “Share Your Lips with Me, GJierie” (foxtrot) and “Meet Mo in My Dreams To-night” (waltz), played by Jack Hylton’s Orchestra; ‘‘Bust” (foxtrot) and “Leave It That Way” (foxtrot), played by the High Hatters; “I’ve Gotta l T en for You” (foxtrot), played by Gus Arnheim’s Orchestra, and “It Seems to he Spring” (foxtrot), played by Waring’s Pennsylvanians; “The Kiss Waltz” (waltz), played by George Olsen and his music, and “Nobody Cares If I’m Blue” (foxtrot), played by Johnny Hump’s Kentucky Serenaders.