GRAMOPHONE NOTES.

Shannon News, 8 January 1929, Page 3

GRAMOPHONE NOTES.

Two More Alfred Hill Songs. !(1) Titi Horea" (A. Hill)J (2) "Ho .Waiata Aroha " (A. Hill);. Ernest McKinlay, Tenor. Columbia 0^062. Ernest MciKinlay's repertoire of Maori songs is a xeally important and interesting addition to any collection. In these songs he is as thrilling as in his. now historic "Ka Mate" record. His complete facility over the Maori language, his amazing tone and the refreshing individuality of his singing, place his records far above the average. Both of these Hill melodies are an unending delight. A Percy Grainger Song.

"Colonial Song" (A Song of Australia) (Grainger), Parts 1 and 2; Soprano and Tenor, Duet by Anita Atwater and Luis Alberto Sanchez. Columbia 03592.

It is' Well for Australia that one of her leading musical sons has not lost sight, of the possibilities of producing "distinctly Australian music His "Colonial Song," he explains himself, "not only expresses thoughts and memories of, the scenery and people of my,, native land, but also strives U voice in music certain emotions and characteristics typical of the no,w past "Colonial" phase of life throughout ■the British Empire." • , Percy Grainger conducts the performance himself, and thus an authentic reading of his work is assured us. Schubert Uprto-Date.

"Lilac Time"—Selection. In twa parts. London Theatre Orchestra. Columbia .02699. Hundreds of thousands of folk who most likely declare a distaste for "classical" music, have been, through that novel and ingenious musical play "Lilac Time," introduced to the magic of Franz Peter Schubert. His loveliest melodies are represented not only in this work, but in this necessarily brief selection. "It will be welcomed not only by lovers of Schubertian melody, but also by those who Jook for tuneful music as such. In Lighter Vein. In "Whispering" Jack Smith' and his Whispering Orchestra give us something which has been in great demand, and on the other side "Plenty of Sunshine"—and all but produces HI "The Man I Love" and "Did Yqu Mean It " are contributed by a new T comer. Miss Grace Hayes, whose pleasing manner reminds us at times of Melville Gideon and at others of AiJeen Stanley. Melville Gideon himself contributes with his usual charm, an} there are a number of excellent dance records. "I'm Going Rack to Old Nebraska" and "Playground in the Sky" (from "Will o' the Whispers"), art) recorded by Jack Hylton. "Just a Memory" and "Souvenirs" are played by Jesse Crawford, Wurlitzer organ. '/My Blue Heaven" and "Just, a Memory" are played and sung by the Salon Orchestra and the Salon Group, and Paul Whiteman's Orchestra contributes "Whin the Day is Done." and Waring's Pensylvanian's "I Scream." Popular Tenor. / The popular tenor Frank Baur is accompanied by two pianos on his latest record, whf.ch| includes '"l'm Away : from the World When I'm Away from You" ('Cause. You're All the World 1 to Me), (Clare-Pollock), and 'Just Across the Street from Heaven" (Hew-malti-Harris Shoy). The voice retains itsOlyric sweetness, and Bauer again gives an individual/performance. Bauer in certain respects reminds' me of MeCoihiack —and no greater compliment could ibe paid to him. (Zonophone EE.107).

Fine Baas Numbers. There is a devil-may-care in "Two Old Tramps," which is splendidly sung by the English basso Foster Richardson. The voice is deep, rich, and sonorous, and the artist gives an admirable characterisation. In "Down Among the Dead Men" he is assisted by a chorus in which the tenors make an effective contrast to the voice of the soloist. This old number Uias been fittingly; revived. (Zonophone, 5137). Kreisler and His Brother.

Few people are aware that Fritz Kreisler has a biother named Hugo, who is one of the great 'cellists of the world. He has a noble quality of tone and a wealth of expression. He collaborates, with his brother in. two pieces by Fritz, "Syncopation" and '' Marche Miniature Viennoise,'' each of veritable Viennese quality. The close sympathy between the brothers is obvious. (H.M.V., D.A.961. Gems of Orchestral Playing.

Happy is the man who has collected "Leopold Stokowski, his records" (wiites an enthusiastic critic in, a London paper). He can rest secure in the knowledge that he has on his shelves some of the finest -gramophone niueic" ever recorded. I do not know if the Philadelphia Philharmonic Orchestra have made a particular study of gramophonics, but the fact remains that there is no combination just like them where gramophone records are concerned. However, they might compare with our own great European orchestras in the concert hall, through the sound box they are incomparable.

"Yo Ho! " Peter Dawson's rendering of Stan--ford's beautiful "Songs of the Sea" is the sort of thing that makes a boy want to be a sailor (says "The New Cambridge"). You can hear the very roar of the wind through the rigging, you can feel the slow roll of the ocean, and sense the swaying motion of a moving deck in every tone of his colourful voice. We may have to go to

foreign countries for musical subtleties,: but when it comes to plain, straight-forward songs of our own possessions—and could the sea be anything but) English—the, ' EyigliaTiman stands, in'a class of his'own. Appropriate Organ Solos.

Two organ solos played by Marcel Dupre on the Queen's Hall organ are in keeping, with the season. He gives us "Christ Come to Jordan" (Bach), f'Slejepers , Ajw&kje' V-chorale (Bach). The player is a true lover of Bach, realising, both his greatness and his religious sentiment. He brings out the soul of loveliness in the "Chorale," wafting the listener away on a pinion of delicious music. (H.M.V., E 471). ''.-■' <• Robert Radford.

No sihgor ha 3 a better understanding of the artistic implications of emotion and romance than the English basso, Robert Radford. He also has logic, and it is in a great measure his capacity for combining these two elements that makes his singing so satisfying. In opera, in oratorio, and on the concert platfoim he has long been a favourite in England. As a member of the British National Opera Company, as a member .of countless Gilbert and Sullivan companies, and as a leading singer at the great English festivals he <has done; much to maintain a high standard in English musical performances. In two old songs,, "In Cellar Cool" and "Rocked in the Cradile of the Detep)?': {(Knight),' he gives a new meaning to eternal, favourites. (H.M.V., E 77).

The Best of J 928. t One does, flpt often obtrude one's personal predilections on one's readers, for the reason that one recognises that tastes (pfer, and that there is merit of kind in all classes of music, high, low, or middle-brow. However, this beirig the end of the year; one may take '{he liberty of saying a few words on {he subject of what in one's opinion have been the best H.M.V records"pf 1928 f There are, first, the i-iitstanding orchestral record's, for. H.M.V., the Bach "Toccata and Fugue," and v the Liszt "Rhapsody" by the Philadelphia Symphony Orchestra, and'the same orchestra's "Nutcracker Suite.'«; There is Toti Dai Monte's' recent numbers from "The Daughter of the pegiment," withth* La Scala Orchestra; the "Valkyrie" set, particularly % tWctar's Farewell''; the new electrical recording of "The Mikado'.'; the Loye Duet" from "But terfly" by Margaret Sheridan and Amfiliano Pextili; f eter Dawson's "At Santa Barbara"; Fanny Heldy's "Habanera,' '' from * (iQarmen";' . all 'of Apollo Granfoito ?s/ recordings and Elizabeth Sehumhnn>; the *'Prologue ''■ to Boitofs ■, '' Mephistofele,'' with Ohaliapin ni}§ ; grand opera chor us; the Corlot "Preludes"; and the Backhaus ''Studies'(-from Chopin; and the famous Schubert "%iQ" by Cortot, Casals, and Thibaud. 'All these ara recording achievements of thp first water. One could add to the list. Later , on a" more minute search of the'memory concerning the lighter musical fare provided might be of-interest.

The Glorioiw "Ninth." ! j nine symphpnies are of deathless magnificence.' We arc told that, the movement of the Ninth surpasses tfbe possibilities of artis|if expression The subject is humanity itself, with its sufferings and ideals, and here instrumental music speaks her last possible word. There can be nothing better, nothing liigheir, nothing beyond. "Aiiy attempt further," says Wagner, "is but progress backward. The., symphony, has infinite sublimity aiid dramatic power that surpasses all other human emotions —emotions which very few on this earth have experienced, let alonu expressed. Hero is solemnity, breadth, and magniloquence —'allied to gorgeous colour. Thus the task set Albert Coates and the Symphony Orchestra in presenting an adequate recording 'of this immortal work was tremendous, but they seemed to have been inspired by the occasion. The records are notable for their loveliness of expression,. and the four soloists, Edna Thornton, Nellie Walker, Webster, and George Baker, who take part in the choral movement, have realised the greatness of the occasion. The whole performance is. an exalted one, and Albert Coates's wih not go unrewarded by the gratitude of music-lovers the world over. (H.M. V., D 342-849). Extraordinary Work.

The Schubert "Quartet in D Minor,'' played by the Budapest String Quartet, is notable .for its vigorous reproduction. The records mark a new advance in the technique of reproducing the playing of a string quartet. The "Quartet in D Minor" is one of the most remarkable of Schubert's compositions. It was written in 1826, but accounts differ as to whether it was ever performed during Schubert's lifetime. Grove says it was, and. that Schubert revised the Finale by shortening it very considerably after hearing his friend's criticisms. The wholo ' work is characterised by a full yet sweet volume: The work is written in a large mould, and in view of. the fact that its composition was contemporary with some of the last group of Boetfhoven quartets, we can only marvel that Schubert, who was comparatively immature—especially a,y, regards technique—should have written such an extraordinary work (H.M.V., DHBS-6).