THE GRAMAPHONE.

Shannon News, 10 February 1925, Page 3

THE GRAMAPHONE.

OLD AND NEW RECORDS. There are some records oT great fusluricaf interest—<tq say nuuuag oi inetr musical value—m a recent reissue oi celebrity artists of the glorious past. The Dqn Leno records are great fun (says a London reviewer), n may be tiie humour of the ninelies, but it amuses us in no uncertain way. And wfiat memories the records recall qf youth anu Christinas “outings” to the Lane, w!hen pantomimes were really funny, and no one oouild amuse as. Dan Leno could. Hear linn describing the “Tower of London” and its antiques of the refreshment room, and you will be a poor creature if its recital does not leave you thinking a little more kindly and good lmtnourediy of the world.

The review of the re-issue of dead celebrities, makes most interesting reading. Arthur Niki sell, who frequently conducted recording prihrmunces in his day, was probably the • most brilliant conductor and interpreter of Wagner of the last generation. Often called the “wizard of the bat-

on,” he was born in 1855 and died in 11)22. He was. a familiar figure in England, first appearing at the Queen’s Hall in 1895, and. subsequently conducting at the Leeds Festival in 1911, and the “Ring’’ at Go vent Garden in 1913 and .1914. He was immensely popular. The re-issued records are those made by him with the assistance of the Berlin Philharmonic aml London Symphony Orchestras in 1913-14. They are all very good, except for an occasional tendency ol the reproduction to become too quiet, rendering the music difficult to hear, 'the writer says: “We have always rather preferred liis recording of Beethoven’s 'Fifth Symphony to the more recent one, and the Beethoven “Egmont” Overture, Op. 84, is also a particularly good record.’’ Then there are the Sir Char Les Santley records (recorded 1904), two only, but both gems. Recorded when Suntjey was 70, it is said of the result that the Iwo ballads by Hatton and line “Vicar Qf Bray’’ were his greatest song successes. Records oi Sir 11. ReerboJnn Tree and Lewis Waller, also very interesting,' are included iu the re-issue. Lastly, there is the incomparable Patti, whose re-issued records appear opportunely just as Galli Curci—-and comparisons between these two wonderful coloratura singers are unavoidable—has made her first appearance in England. Patti was bom in 1843, and made her first public appearance at the age of 7. She had a career of remarkable brilliance hi Europe and America Which extended over 40 years. lier voice had a most wonderful beauty, and she used it with consummate skill. She was undoubtedly the most famous soprano of the 19th century. Her last appearance in England was. at the Mansion House in 1911. All her records, were made in 1906, when shen was aged 63. . The voice had become somewhat mature and mellow and its flexibility was on the wane. But the sweetness remained and the records are charming memories. They are of the greatest historicai value and quite rightly have once again been made accessible to the gramaphone public. To be specially mentioned are “Cornin’ thro’ the Rye,” “Voi che sapete,’’ from “Nozze di Figaro,” and “Within a Mile oi Edinboro’ Town.”- Tiie records have a real charm and as a memorial, of Patti’s voice, should be in every collection. Charles Gilbert, who. died suddenly at the age of 47, when his voice was at its full glory, had a baritone voice of .charming quality and great power, was famed for his operatic singing and acting and was also a great exponent qf old French songs. The reviewers particularly recoin mend the record on which he sings the very pleasant “Quand la flannne de l/amour,” from Bizet's “Maid of Perth.” Recorded in 1910, it does not suffer much by the severe comparative test of modern recording. Of very great interest is the record of Edward Grieg playing his own charming piano s.olo, ‘To the Spring” (recorded in 1903). It shows exactly .how the piece should be phrased and this record should be in the possession of ail amateurs who “play” this piece. On tiie reverse side of the record is a reproduction of Joachim rendering the Brahms “Hiupgarian Dance No. 2” (recorded 1907), and very fine it is. Tiie fact that Joachim, was Brahms.’ life-long friend gives (lie record a peculiar significance. From the comments in (he London reviews qf this issue oi the ancient celebrities 1 gather that there i.s one record oi the divine Sarah Bernhardt, that glorious actress, who in 1915, at the age oi 70, had a leg amputated, but still pluekily continued her stage work until her death in 1922, The record has all the fascinating warmth and emotion of her “golden voice.” It was recorded in 1903. Twenty-tour records of Caruso are enumerated, the recordings dating from 1902 to 1913, and are very representative of his perfectly endowed and disciplined tenor voice. “The pleated diaphragm impressed me most when I used a fibre needle, and was content to, forego the volume altogether. I think I may commit myself to the opinion that I have never heard so pleasant a sound upon a gramophone before. It is bound to appeal to musicians and it will interest our readers to know that Sir Edward Elgar told me last week how .much impressed he was by tbe quality ot the bass. He certainly thought it was the best reproduction he had heard.— Compton Mackenzie, editor of lhe Gramfphone.”