THE GRAMOPHONE.

Shannon News, 21 May 1929, Page 3

THE GRAMOPHONE.

RECORDS OF THE WEEK. Two Excellent Comedians. (1) Pat’s Night Out” (with piano accompaniment). (2) “Ho-ho-ho Hogan” (Tucker and Schuster) (with piano accompaniment). Sung by Prank Harris and Vaughn de Leath. Columbia 01357.

This irresistible comedy duo return after a long absence to give us two sparkling Irish" turns. Both _ singers are in the front rank of their class, and their concerted numbers are always worth waiting for. If the reputations of the . artists, do not sell these records, a single hearing should be all that is needed! A Popular Entertainer at the Piano. (1) “On the Beach at Bangaloo” (Herbert and Mcßain). (2) “Sing Ho! for the Days of Drinking” (Rose and Sterndale Bennett). Sung by Norman Long. Columbia 01431. This is another piece of light fare that deserves consideration. _ Good items for moments of relaxation are few and far between. The two on this disc are quite clever in their way, and although Norman Long’s articulation is not as clear as it could be, two or three hearings will serve to unfold all. the humour of these items. Two Firm Favourites. (1) Intermezzo from “Cavalleria R-usticana” (Mascagni). (2) Barcarolle from “Tales of Hoffman” (Offenbach). Played by the Columbia Symphony Orchestra. Columbia 01355.' The musician will say “here are the two most hackneyed operatic airs existent combined on one record.” The man in the street will say “here are two pieces that I really want~both on one record.” And as this version. of these two lovely excerpts was evidently made for the average man, the musician need not bother his head. Certain it is, that this coupling of two such favourites should prove enormously popular. And considering the playing and recording, deservedly so. John Coates.

(1) “Take a, pair of Sparkling Eyes,” from. “The Gondoliers” (Gilbert and Sullj.van). (2) “The Knotting Song” (Sedley and Purcell). Sung by John Coates, tenor. Columbia 02775.

This veteran tenor still delights millions in 'English speaking countries all over the world—both in person and through his records. The voice may be nearing the close of its perfection, but the art of singing such songs is a possession that John Coates will enjoy-—and almost exclusively-jr as long as he lives. He is a Singer of singers; w*e will let it rest at that. Gerald Moore’s pianoforte accompaniments are as usual as near perfection as one could wish for.

Famous Sheffield Choir. (1) “We Praise Thee, 0 God.”'(2) “I wil Lift up Mine Eyes.” Sung by the Sheffield Choir under the direction of Sir Henry Coward. Columbia 02791. Sir Henry Coward is a recognised authority on choral singing, and his book on the subject is an accepted standard work. No wonder, then, tha/t his Own choir i 3 such a wonderful body. There are no anthems more popular than these, by Jackson and v Clarke-Whitfield, and sung with the power, expression and richness of this famous Yorkshire ensemble, they should count among the most s vivid and faithful choral records yet made. Every choirmaster should make a. point of hearing each Sheffield Choir record as it is issued.

A Schubert Mass. A welcome feature of the Schubert Centenary is that it has given musiclovers the opportunity ‘through the gramophone of hearing the Mass in G Major, which is almost a complete stranger among choral performances in this country. The Mass in G Major is not so heavy and sombre as most Mass Schubert died young — he only attained 31 years—and so it is not surprising that some of the brightness and buoyancy of youth should find expression in his religious works This Mass, which is sung by the London Philharmonic Choir, conducted by Mr C. Kennedy Scott, is most clearly recorded. The choir has

successfully caught the spirit of the work, and the reproduction of the different divisions of the singers is fairly well balanced, though for my own part I should have preferred more forward tone. Most impressive are the Agnus Dei and the Kyrie Eleison. Schubert is generous with his vocal solo parts, reverently taken bv Elsie Suddaby, Percy Manchester, and Howard Fry. (H.M.V.) Negro Spirituals.

Paul Robeson (basso) and Lawrence Brown (tenor) contribute " another splendid disc of negro spirituals embracing “Hear de Lam’s a-Cryin’,” and “Ezekial Saw de Wheel,” which has a fascinating pulse. (H.M.Y.) Celtic Charm. The beautiful caress and charm of the Irish ballad are admirably suited to the golden soprano voice of Margaret Sheridan, who gives an outstanding record, including “Believe Me, If All Those Endearing Young Charms” and “Come Back to,.Erin” (both arranged by Byng). These sweet songs will live as long as music,, and could never wish for a better interpreter than Miss Sheridan. (H.M.V., DA906.) Master Lough Again.

Masters E. Lough and R. Mallett, Messrs Capel Dixon and Frank Hastwell, in “Drink to Me Only With Thine Eyes” (arr. G. Thalben Ball), and Nursery Rhymes, (a) “Matthew, Mark, Luke and John,” (b) “Bless You, Bonnie Bee” (Walford Davies). H.M.V., 82770. These are attractive quartet arrangements, which are very well sung, the voices blending admirably.