COLUMBIA RECORDS

New Zealand Times, Volume LIII, Issue 12609, 20 November 1926, Page 14

COLUMBIA RECORDS

A GREAT POLISH PIANIST

Although the name and repute of Ignaz Friedman, the Polish pianist, may be known here only to defined types of music-lovers, ho has been recognised in Europe as one of the most brilliant virtuosos of the last 15 to 20 years. In record form, so far we have only a couple of all too briof examples of his art. These aro in a Columbia offering (LI7SU) previously noted in thtee columns. In it he is magnificent in Hummel’s “Rondo in E fiat Major” and in “Viennese Banco No. 1/* by Gaertner. Friedman recently gave a London recital, included in which was the Chopin Sonata in B minor, which the great Australian pianist, Percy Grainger, has lately played for Columbia recording pu«poses. This latter set of three record*? (L 1695-97) is now available.

• * * * MUSICAL COMEDY MUSIC AND SONG

With so many of the London theatre successes either “still going strong** in the Metropolis, or repeating their tntriumphs throughout the provinces, the demand for records of popular musical comedy selections, instrumental and vocal, snows no sign of decreasing. On the contrary, the leading companies are issuing fresh supplies of established favourites. The Columbia Company, for example, have had to restock depleted markets with records from “No, No, Nanette/* “Rose Marie/* “Wildflowor,” “Betty in Mayfair/* and 60 on. This company has already issued nearly a dozen records based on the firstnamed production, and these includo Selections (9036), Vocal Geme (9072), besides many of the finest numbers sung by such “stars** as Irene Browne and George Grossmith, Binnie Hale, and Joseph Coyne. Quito a number of dance records, too, from “Nanette” have been played for by the Hannan Dance Band, while Percival Mackey’s piano solos and Layton and Johnstone’s singing of such winners as “Tea for Two” and “I Want to be Happy” show that this Palace Theatre comedy has been thoroughly covered.

From “Rose Marie” Columbia have taken the cream of the music for their “Selections” (9037), and the pick of the 6010 songs and duets and dance numbers. Here again the Hannan Dance Band shines, and Edith Day sings brilliantly.

“Wildflower” has supplied the usual hvo-pait Selections (9079), and a really brilliant duet number by Kitty Brady and Howett Worster, who sing “Bamhalina” and “April Blossoms” on disc number 9078.

PAUL*SPECHT , S 40 ORCHESTRAS

As a really able violinist, Paul Specht is well known in his own country, and ho is accepted there, at any rate, as the creator of modern dance music. He holds that “jazz” has automatically developed or evolved into what he terms /rhythmic symphonic syncopation.** It is—sometimes—as for example in the Columbia Specht records, of which there are now nearly a dozen. These include, among the more recent issues, the now famous “Prisoner’s Song, Waltz,” and the equally popular “Picador” (3938); “Paradise/* and “I Wanna See a Little More,” fox-trots (3954); “Drifting Apart/* with incidental singing, and “Miami/* fox-trots (3960). Any of these is typical of ail that is modern in dance music orchestration, playing and recording. NEW 8.8. C. RECORDS Those who admired the 8.8. C. Orchestra’s wonderful “Semirumide” record, issued ae their first sumo time back, through Columbia, probably know, too, of this great combinations immediate disc successors—Wolf Ferrari’s “Jewels of the Madonna” (giving the lovely Intermezzos from Acts 2 and 3), and the very haunting and delightfully rhythmic waltz tunes of Drigo and Boccherini, being “Les Millions d’Arlequin” and “Minuet/* respectively. Both these are on record 9092, tho “Jewels” issue being 9091. Those three 8.8. C. records firmly established the reputation of this body, conducted by Percy Pitt of Covent Garden Opera fame, and it is therefore not surprising that two subsequent discs bearing their name should have been warmly received in England. . These—now on tho way to New Zealand—give us a wonderful interpretation of “Tho Witches* Dance,” from Puccini’s first opera, “Le Villi.” 'The music is weird and wonderful* covering some exquisitely subtle “lament** passages and some of the most madly swirling and bizarre music ever written. With it (91H) is bracketed Ulazounov’s “Concert Waltz in A.” . The other new 8.8. C. record (9101) is from Rimski-Korsukoff’s “Golden Cockerel,” and gives “Le Coq d’Or,” the “Russian Dance,” and the marvellously scored ‘‘Bridal Procession/* The whole suite is of the real “Arabian Nights” type, the music resplendent with “atmosphere” and colour, and the recording said to be superb. “MIRELLA” OVERTURE The Gounod overture to “Mirella” is a typical specimen of music well suited to the theatre. As a whole, it is as harmless as it is pleasant, enjoyable without being,a little bit exacting, and it will appeal to many tastes. Frank Bridge conducts the New Queen’s Hall Light Orchestra through this Columbia record (L 1.601) —a sprightly performance, well balanced and sparklingly clear. TENORS WHO SING ALIKE Those who have heard Hubert Kisdell’s peculiarly attractive voice in such popular airs ns “Little Green .Balcony,” “I Love* the Moon.” “O Dry Thowo Tears,” and «o forth, will find a very remarkable vocal resemblance in the singing of another, and newer, Columbia artist, one Michael Mortimer, Mortimer i.s very attractive in “Always” and “Without You/’ a couple of softly scntimcntul affairs that have attained wide drawing-room popularity everywhere. This Columbia record (3955) reflects every shade of tone and tune with remarkable clarity. A FINE NEW ’CELLIST

Tho excellence of the recording is one of tho brightest features of Antoni Salas* Columbia ’cello record 3922 “Tarantello** (Ferino) and “Vito” (Popper). The music in these pieces is slight though vivacious, and this newcomer to Columbia’s list of artistes has a technique that m apparently equal to infinitely more difficult works. A FACILE VOCALIST

Few British vocalists have leaped to record fame with the certainty nnd speed of Rex Palmer, whose tine, easy dictiofi, pih« a most pleasing baritone voice* result in records always worth having and taking care of. He is equally at homo with almost any 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” lovely accompaniment to this Columbia record (9064) adds a lot to its acceptability. Palmer, in “Passing By,” by Pincell, and “Tho Yeoman's Wedding Song” <3816) offers another typo of record most will really enjoy.

“SOLVEIG’S SONG” A Bummor day in Northern Norway; a hut in the forest; a woman in front of it spinning, ami singing of her longabsent lover. “Winters, springs and summers come and go, and he does uot return winters, summers and springs may still Come and go. but at last he will return.” This is the theme of the exquisitely beautiful “Solveig’s Song,” from tho eternal “Tcer Oynt Suite,” and it is as a violin solo, played by Leo Strockoff, the half of a record alluring in the extreme, both for fine playing and perfect recording. A little work of a very appropriate nature, that tits in well with the mood conjured up by Solveig’a hauntingiy plaintive song, is that on the other side of this Columbia record (947)—80h mo “Still ns the Night,” surely ouo of the most lovely little airs ever written Strockoff plays with splendid success; hts tone and sense of expression are finely in harmony with the spirit of both these memory-lingering piecee. • • * • “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 havo several records of it—by Casals and Squire on the ‘cello, and by Formichi and Strocciari in vocal form. As a ■’cello rendition (73/10) it j* enchanting, particularly when played by *ucb in artist as .Pablo Casals, whose depth of expression and wouderful tone are tilings to appreciate. On the reverse, he plays the loiely “Abendlied” <“Evening Song”', by Schumann, where, again. Casals’ almost unique powers of expression and a superb technique are finely in evidence. THE DON COSSACKS* RECORD Among all the world’s records of concerted singing there are few to equal and fewer lo excel in any way Hint of tho l>ou CossacW 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 Boatmen’s Song,” and the very beautiful Russian air. ‘‘Monotonously Kings the Little Bell,” sung, as mo=-t will be aware, by a tenor with a remarkably ■»ttractiT& “silver” voice ngain&t nn or-gan-like background of impressive diguity and swelling grandeur. New supplies of this disc (9CSS) arc now to hand. LATEST VOCAL WALTZ SUCCESS The lpaha Troubadours’ version of one of the most successful vocal waltzes of the day—“At Peace with the World and You” (Columbia 4013' —makes this at least. as catchy and appealing a number ns its immediate predecessor in popularity—“ Always.” This little combination *i> alert and virile indeed, and lias a peculiarly individual way of making the very most of its material. “POET AND PEASANT** BAND RECORD Suppe’s “Poet and Peasant" made that composer's name one that shall endure through the musical ages. It lias been playea in a dozen forms and recorded scores of times, but it lias taken the now process cf recording hv elcrtiicitv to bring out ih- beauties to tbe full, without Haw. Tins has been <l»ne on Columbia's newest "Po«t" disc. W ,C; 7, the pick of the airs being here played the band of the Grenadier Guards fw all to hear and revel in. The reeorduij is really remarkably fine. PADEREWSKI'S # BIG TIPS M. Paderewski, the famous pianist, left Movges recently tor a month’s concert tour in England. Thcro was a bitf crowd of admirers at Lausanne station to sco him off. Porters who helped with his great nile of luggage were rewarded with Swiss 100-franc* \Xi) notes. M. Paderewski intends to visit tralia iu December.