THE GRAMOPHONE.
NOTES ON RECENT RELEASES. Inspiring Hymn Records. (1) “A Few More Years Shall Boll” (Bonner and Ilayne); (2) “Stand Up, Stand up for Jesus” (Saukey-Moody}. The E.B,C. Choir, conducted by Stanford Robinson. Columbia. 01211.
Thanks to the perfection of the British Broadcasting Company’s Choir, there is something particularly satisfying about these renderings of “A Few More Years Shall Boll” and ’SStamU-Up, Stand up for Jesus.” The tone is’wonderfully good, the voices are well balanced, and the recording has secured a feeling of vitality. An inspiring record that males a notable addition to the popular series that has gone before. In a Monastery Garden.
’‘ln a Monastery Garden” (in two parts) (Albert W. Ketelbey). Played ■by special Coneerc Orchestra, conduct ed by the Composer. Columbia 02688.
The issue of a Ketelbey Album is a fitting tribute to the many years of far iiful service this composer has to his credit as musical adviser to the Columbia Company. It is, a tribute, too, that is certain of world-wide appreciation, for Ker.clbey’s admirers are legion. This recording- of his best known composition is easily the best that has yet been heard, and is a real credit to the specially chosen orchestra that plays this delightful series.
The ‘ * Persian Market. ” • “In a Persian Market” (In two parts). A. W. Ketelbey and Concert Orchestra. Columbia 02659. , The Columbia Company, in recording this Ketelbey Album, has allowed the composer tc ‘spread himself.” In this gaily coloured musical sketch, we, hear the “Persian Market” as it should be played; with a sureness,ot rhythm, a certainty .of effect and a precision in attack that is a revelation. In this, more than in any other similar work, Ketelbey seems to have brought an utterly foreign scene in front of us and made it real. Mandoline Music. (3) “Stephanie Gavotte” (Czibulkia); (2) “Toma a Surriento” (d<: Curtis). Played by the Circolo Maudolinistico Guiseppe Verdi of Leghorn. Columbia 01210.
Do you love the dulcet plaint of mandolins. Then you will thoroughly enjoy this, probably the most delightful record yet made by the marvellous Mandoline Band of Leghorn. The purity of the massed tone is amazing, and both pieces are recorded to perfee tion. The “Stephanie Gavotte” is a really charming dance measure, and its recording by the Mandoline Band is simply delicious, while the popular Italian air on the reverse side is another captivating selection that reveals all the tonal beauties of the band.
The National Post March. (1) “Washington Post March” (Sousa); (2) “El Catain” (Sousa). Played by the National Military Band. Colnumbia 0.1130. Who does not enjoy the martial rhythm of John JPliilip Sousa —the thrill of drums and rousing march time'. The two {numbers submitted here rank amongst the most popular of all Sousa’s brilliant marches. The opulence of tone is all that could be desired. Truly, the National Military Band have done these marches full justice. Ernest McKinlay.
(1) “Song of the Locust?’ (A. Hill); (2) “Waiata. Maori” (A. Hill). Sung by Ernest McKinlay, tenor. Columbia 01061.
No one lias done so much to popularise Hill’s Maori music as Ernest McKinlay. He has achieved a well deserved fame by his outstanding interpretations of Maori songs, and undoubtedly enhances,- his reputation in these recent additions to his repertoire. His peculiar charm of manner and voice has an instant appeal, and no true lover of tenor singing should fail to possess these Avondcrful recordings. ■ ,i The Piute” Overture.
Berlin State Opera Orchestra. (Conducted by Dr. Leo Blech), in “Magic Flute” —Overture (Mozart). The delightful overture to the “Magic Flute” opens with a solemn sloaa--moving introduction, Avhieh is followed by one of the most sparkling little allegros ever Avritten. Having forgotten to provide an o\-erture for the “Magic Flute,” Mozart hurried home the evening before the first performance of the opera, and composed it Avithin a few hours. Dr. Blech gives a sparkling and animated interpretation of the overture, which is splendidly recorded.—HJ.M.V. E 464. Peter Dawson Scores.
Peter Dawson (bass-baritone), in “Acis and Galatea,” Becit.: I Bage, I Melt, I Burn,” Aria: “O -Ruddier than the Cherry” (Handel), and “Honour and Arms” (Handel). Peter Dawson has made an extraordinarily fine record of these tAvo famous Handelian airs. Either air is an exceptional test for any singer, but, of course, the difficulties presented -are no difficulties at all in the hands of Peter DaAvson. The immensely long, florid passages “come off” Avith Avonderful effect, and, for once in a Avay, Ave are alloAved to enjoy Handel’s music, and the singer’s art, with equal enthusiasm.—H.M.V. CISOO.
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Shannon News, 11 December 1928, Page 2
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757THE GRAMOPHONE. Shannon News, 11 December 1928, Page 2
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