GRAMOPHONE NOTES.

Shannon News, 7 August 1928, Page 1

GRAMOPHONE NOTES.

Another Fine Boy Soprano Disc. Master E. Lough (boy soprano), accompanied on the organ by G. Thalben Ball (organist and director of the choir of the Temple Church, London), in his latest record sings from the "Messiah"—"l Know that My Redeemer Liveth" (Handel). • Master Lough is the boy singer whose singularly beautiful voice caused such a sensation in the now famous record of "Hear My Prayer." (in which he sang with the Temple Church 'Choir). , This is the second record he has made as a solo artist. The same*'ethereal quality of voice . that. has, made his earlier records so popular/ is to be found in this performance of the 'well-' known Handelian air, "P'Khow that My Redeemer Liveth," (H.M.V., 82656;) Beethoven's "Pathetique" Sonata. Wilhelm Baekhaus (pianoforte)', in Sonata hi C Minor, Op. 13 ("Pathetique"), Beethoven,. (H.M.V., ■ DB1031.) Many of Beethoven's works jiossess explanatory titles: we have the "Moonlight" Sonata, the Sonata "Appassionato," the "Emperor" Concerto, and several other compositions, all of which are now generally known by these descriptive designations. Generally, however (as in the above examples), we find that these names were not bestowed by Beethoven himself, but by some enthusiastic admirer who; summed up in a word his impressions of 'the music, and whose lead has been followed by the world in general. But the title "Pathetique" attached .to the Sonata in C Minor, Op. 13, emanated from the composer himself. What exactly, he meant by this clue, to;the meaning of"the work we cannot- say for certain, there being no evidence available, and the message of the work..being far less obvious than in the case of Tschaikowsky "s " Symphonic Pathetique-' stands out on account of the urgency of the emotion that the composer is trying to express. The solemn introduction, the poignant (though fiery) first movement, and the tender and beautiful Adagio are deservedly: famous, and the final Rondo, though it has received less attention than the other movements, is in no way inferior to their-interest.

An Inimitable Humorist. John Henry and- ■ " Blossom,-'!., .in "The Story of Lady GodiVa'*'"- (J. Henry), (82485). John Henry's delightful and simp].' humour has won him a tremendous following. His "His Master's Voice" records, which induce some of his-best pieces, are really funny, all the more funny, perhaps';'because' you never have' reason to feel that he is trying to amuse- you. "The Story of Lady Godiva" is one of his most amusing dialogues with "Blossom.". It- is a •'scream."

The Bird-like; G-alli-Curci. Amelia Galli-Curci • (soprano),„. »-in Parla! Valse (in Italian) (Arditi) and "The Gypsy and the Bird" (in Eiigv li'sh) (Benedict), with flute obbligato by C. Barone. . ;. . ... ■There is something .very spring-like in Galli-Gurci's record of "The Gypsy and the Bird," She sings : it. >Y#-h such extraordinary grace and ' limpid; tone that the performance gives ' you ; the impression of .thistledown floating on a- wayward breeze." On the -other side the great prima-dohiia .has given us a brilliant, vocal waltz which affords the singer an effective vehicle for the display of the exceptional agility 61" her famous voice. Probably one of the best records.'-' (H.M.V., DA92B) . Mark Hambourg at Popular Prices.'.,' ' Mark Hambourg.(manoforte), in " On Wings of S6ng" (Mendelssohn-Liszt) and "Bakoc'zy - ' The tune of the national march of the Hungarians (which was .named after the great Magyar patriot, Kakoc.zy). was borrowed by Berlioz for the facinous "Hungarian March", ,in .his opera, "The 'Damnation of Faust."' There.i£ another setting of tins-fine ma-rcli-TtJiis time by Liszt, and for pianoforte, and not for orchestra. Liszt excelled in his ability "to write brilliant music for the pianoforte, and this arrangement, like many 'of his others, is extremely effective.' >A comparison between this version and that by Berlioz, as record-, ed by the Boy'al Op6ra Orchestra, Co 1 vent'Gardcn, on record (C 1279), is both 'interesting and instructive. The tune is the same, but. the setting is different. '-': Liszt is, incidentally, well 5 representee! on this fine record, for the reverse is occupied by him for the pianoforte'of Mendelssohn's lovely "On Wings of Song." This is a low-priced disc, and •. a good 'investment at'tho money. (H.'M.V. C 1439).