THE GRAMOPHONE.

Shannon News, 27 November 1928, Page 3

THE GRAMOPHONE.

Two Bransby Williams Monologues. (1) “The Difference” (Kelly and Longsta'ffe); (2) “Not Old” (Julius Day). Monologues by Bransby Williams.- Columbia (Ul7B. Here we have another re-recording of two prime favourites. Bransby Williams is undoubtedly an artist—inimitable in his own sphere, and his popularity in spite of passing years goes on as strong as ever. The new process has of course improved thb gramophone enunciation enormously. Ukulele Novelties. . (1) “Chiquita” (Wayne and Gilbert); (2) “That’s My Weakness Now” (Green and Stept). Played by Ukulele Ike. Columbia 01265. In an age when almost anyone can strum something or other on a Hawaiian guitar it is not easy to gain fame with a ukulele. But Cliff Edwards, better known as Ukulele Ike, has accomplished this feat. There is a cheerful freshness about these two recordings that comes like spring weather after a season of winning hula-hula lullabys. “That’s My Weakness Now” is perhaps the better of the two items. Giggling Gertie and Dirty Hands. \ (1) “Giggling Gertie”; (2) Dirty Hands! Dirty Face.” Sung by Vaughn de Death, comic vocalist. Columbia 01200.

Vaughn de Leath’s reputation as a comedienne is glowing rapidly, iand her splendid records are procuring her a following overseas that should make her fortune if she was ever to tour. Both these items are really entertaining, and should augment this artiste’s repute as a comedienne of the very highest order. A Famous Choir. (1) “The Ifadiant* Morn Hath Pass ed. Away” (Woodward); (2) “O Taste and See How Gracious the Lord Is” (Goss). Sir Henry Coward conducting the Sheffield Choir. Columbia 02527. Two of the finest performances any choir has yet given us, and a ’new triumph of public hall recording. These two great anthems recorded by the Sheffield Choir in Wesley’s Chapel provide magnificent singing. The ensemble .is perfect, the words are really clear, and due doub'tles3 to the wonderful precision of the singing under Sir Henry Coward, and the remarkable acoustic properties •of Wesley’s Chapel, the volume and clarity are amazing. These are big records and will create another sensation. The Great “Choral” Symphony.

“Choral Symphony, No. 9 in D. Minor” (Beethoven). Felix Weingartner conducting the London Symphony Orchestra. with Miriam Licette, Muriel Brunslrill, Hubert EiSdell, Harbld Williams and Chorus. Col. L 1775-82. (Eight records in album with descriptive notes). . Beethoven’s Ninth and last Symphony is largely orchestral, but derives its title from the chorus in the last movement on Schiller’s '“Ode to Joy.” This is the grandest movement in all the composer’s work. The. four solo vocalists give a thrilling reading, and the chorus work is magnificent. Hubert Eisdell is particularly fine, being unexpectedly spirited. The Adagio is an especially beautiful movement, and the theme is of ravishing charm, with a fascinating echo in the wood-winds and horns. The whole 'Symphony is Beethoven’s crowning achievement, and Columbia are to be congratulated on 9 magnificent recording.

, Straceiari

Rigolctto—(l) “Pari Siamo”; (2) “Cortigiani, vil razza dannata (Verdi). Sung by Riccardo Straceiari, baritone. Columbia 04174.

For so long has Straceiari. been askno wledged as the greatest living operatic.baritone, and so successful were his earlier records, that music lovers have awaited with keenest interest his first electric recordings. The result is a revelation. His characterisation lias enormously improved with the passage of time, and the amazing sonority and richness of liis voice are more thrilling than ever. There is a certain opulence in these records not entirely due to tin improved recording. This now issue oi his old triumphs is decidedly a musical event.

Albert Sammons.' (1) “Elegie” (Massenet); (2) “Thais” Meditation (Massenet). Flayed by Albert Sammons. Col. 02687. It has always been said of Sammons that he records better than any other violinist, and now that we are losing our prejudice in favour jpf foreign names some London critics are even venturing to declare that he plays as well as any foreign niaesiro. His phrasing is certainly as subtle as one could wish for, and his tone as gloriously mellow. Listening to these familiar numbers one realises how important it is to have them played by a violinist of first rank. Strauss, by the “Philharmonic.” “Blue Danube”—Waltz, Op. 314 (Johann Strauss), in two parts. Played by Felix Weingartner and the Roval ' Philharmonic Orchestra. Col. 04169, Even in these democratic days it is ■ a sensation to note the .Royal Phil- • harmonic Orchestra, in their hundred- ' and-something year, nibbling at the confections of the Waltz King. Well, 1 a very satisfying job they make of it. . If their rendering doesn’t quite hit the champagne-sparkle the ‘ ‘ BlueHDanubc ’ ’ needs, it has a completeness, a finality, that fills the ear, and a most charming variety of tone. Weingart- . ner’s tempo, even if a little serious, is very musieianly. !• ■' Albert Ketelbey. (1) “Sanctuary of the Heart” (Albert Ketelbey), .in two " parts,

Albert Ketelbey conducting his concert orchestra. Columbia 02690. In the popular class, there is no composer whose work ds more widely played than that of Albert Ketelbey. Since 1905 Ketelbey has been musical adviser to the Columbia Company, and now they are publishing his work ita album form. A fine collection it is, too, one of the greatest favourites is this “Sanctuary of the Heart.” Conducted by the composer, it is full of melodie invention and tonal felicities, rich and varied,.....