THE GRAMOPHONE.

Shannon News, 31 December 1928, Page 2

THE GRAMOPHONE.

CURRENT RELEASES. Master John Bonner Interprets Haydn. The Creation (Haydn)—“With Verdure Clad.” In two parts. Master John Bonner; boy soprano. Columbia 02570. . . This performance of a most difficult aria is a real triumph for Master Bonner. He is helped, of course, by the very favourable acoustics of Manchester Cathedral and the accompanying organ is well modulated in consonance with his voice. His voice is not only sweet, but of a surprising fichaiess —‘a voice that many mat me women vocalists w r ould sacrifice much to' possess. We look forward to hearing further records from this talented young chorister.

The Broadcasting Company’s Choir as “Gramophone Waits.’’

(1) “Good Kipg Wenceslas”; (~V “The First Noel.'” Col. 2612. (3) “God Rest Ye Merry Gentlemen”;' (4) “Good Christian Men, Rejoice.” Col. 2613. (5) “Hark the Herald Angel? Sing”; (6) “While Shepherds Watched.” Col. 2614. (7) “Christians, Awake”; (8)' “O Come all Ye Faithful.” Col. 2615.

The intrinsic beauty of these eight peculiarly Christinas airs is made much of by the 8.8. C. Choir, recording in St. Mary-le-bow -Church, Cheapside, London. Here we have the true Christmas spirit— joyous' singing, land 1 the sonorous tones of a great Church organ. The presentation of these ever popular carols and hymns could hardly be better. Crisp attack, fine balance between parts, and a round, rich body of tone. The vigour of the , singing is almost reminiscent of a more rigorous Christmas than this country enjoys—suggestive of a ivell trained band of Waits singing heartily to keep themselves 'warm! , Sheffield Orpheus Male Voice Choir. (3) “Auld Lang Syne”; (2) “Home, Sweet Home” (Payne' and Bishop). Sung by the Sheffield Orpheus Male Voice Choir. Columbia 0852. ' / To hear this* record is to appreciate all the excellence of tonal balance and expressive phrasing that has made the Sheffield Orpheus Male Voice Choir the finest body of its kind in England, No hackneyed performance. this. Simple the airs may be; .but there is . a very touching grandeur about them, in this sympathetic rendition of them both. Each item is a splendid example of unaccompanied choral work.

“Our Child,” says Charles E. Mack. (1) “Our Child”; . (2) “Elder Eatrnore’s Sermon lon Throwing Stones.” Monologues by Charles E. Mack (the latter .assisted by' Moran). Columbia 02619.'

Everybody knows the “Two Black -Crows.” This disc is mostly the ef : ‘fort-of Charles E. Mack—the “Crow”’ with the meaty bass voice. He is assisted on the reverse side (and on the first, perhaps, though the label does not mention it) by his partner, Moran. Neither of these sketches is original as far as Moran and Mack' are concerned, but they are in real wit, the cleverest, reeotds these two comedians have yet made. Church Choir Records.

A well-balanced church choir has recorded a beautiful list of Christmas carols and hymns. They have approached the numbers with reverence and sympathy, exaltation, and happiness. From the long list one recommends for balance of voices and . excellence of recording, the following: — “I Heard the Voice of Jesus Say,” and'“As Pants the Hart.”; “The First Noel,” and “It Came ULpon the Midnight. Clear”; “Hark! the Herald Allgels.” and “Once in Royal David’s City”; “0 Come, AH Ye Faithful,” .and “While Shepherds Watched”; “Nearer, My God, to Thee,” and “The Church’s . One Foun’dation”; “Brief Life is here Our Portion,” and “All .People that on Earth do Dwell”; ‘ ‘ Christians, Awake!” and “Lo! He Comes with Clouds Descending,” “Sleep, Holy Babe,” and “Tpe Holly ‘and the Ivy”; “Good King WenceSlas,” and “We Three Kings of Orient Arc”; “Jo'su, Lover of My Soul” (tune Aberystwyth), and “Onward, Christian Soldiers”; “Safe in the Arms of Jesus,” and “The Gate Ajar With Me. ’ ’ These old, tunes with their simple but true sentiment, will endure for all time. (Zonophonc).

Gems on the Wurlitzer. The countless tone colours of the Cinema or Wurlitzer organ give Charles W. Saxby plenty of scope for light and shade in his “Les Millions d’Arlequin” serenade (Drigo), and Mendelssohn’s “Spring Song” and “The Bees Wedding,” which are combined on the disc. The organist gives a charming reading of these three popular numbers. Saxby also gives us “Dance of the Blue Danube” (Fisher), and “Sing Me to Sleep with a Twilight Song” (Gilbert), and a vocal refrain enhances the setting. The tone in both records is realistic 1 . The vol : ume is good, and numerous effects arc leproduced with amazing clarity (ZOllO- - A 338 and 5125). For the Children. , The children are certainly not neglected in this month’s issue, and the praince of stoiy-tellers, Mr Albert Whelan, must be a sheer delight for the young folk in his latest records, which include “The Three Bears” and “The Three Little Pigs,*’ “Puss in. Boots” and “Jack and the Beanstalk,” “ Little Red Riding Hood” and Teeny Tiny Woman,” ‘ l Cinderella” and “Old Mother Goose.” The infectious chuckle in the

voice will sehd the little ones to bed happy.' (Zouophone). Contrast in Waltzes. The rhythm of the. waltz, is artistically marked in “Blue Danube Waltz,” (Johann Strauss) which is played bv the International Concert Orchestra. The orchestra plays -with a sweetness of tone that is equal to many of the mole famous combinations. On the other side La Vittoria Orchestra gives another beautiful waltz, “The Wedding of the Winds” (Hall). The tw-.> pieces show the difference in the conception of the dance of two composers. Strauss's “Blue Danube” is the move picturesque, but Hall is perhaps the imoie stately. (Zouophone, K.F.21). Old Favourites. ; Charles Hill, the popular Zouophone tenor, presents in “Annie Laurie” and “Aftou Water” two world-famous old favourites .which should have a . wide, appeal. They are finely sung and recorded. (A. 339). Chimes on the Disc. One likes to have one or two novelty records in one’s collection,-as,''for. example, the “Weymouth, Chimes’’' and “Christchurch Chimes,” which are played by the National Military Baud, and recorded on Zouophone No. 5119. The band does some clever work here.

A Tribute. . A London contemporary has this approving tribute to the Philadelphia Symphony Orchestra’s splendid recording of Cesar Franck’s “Symphony in D Minor” (H.M.V. D 1404): “The , Franck symphony is thus divided: first movement on four sides, each of the. others on three. The., qualities tha: strike me in the discs are the breadth of tone, the beautiful, bits of woodwind ivork, the spaciousness of the slow movement.—a quality that I likevery much, and the chivalrous fire of the last movement (I shall go through this again with great interest, for I can hear, in passing, many things that deserye closer attention). Oh* the ; whole, that last movement raises my interest and curiosity very mtich. It seems to rise to the * measure of the stature of Franck.” '