THE GRAMOPHONE.

Shannon News, 28 May 1929, Page 2

THE GRAMOPHONE.

RECENT RELEASES. Layton and Johnstone/ (1) "I Can't Give You Anything But Love"; (2) "Beloved." Sung by Layton and Johnstone. Columbia 01430. These brilliant, duettists need no.introduction to a host of admirers; who range from the Prince of Wales downwards. They can always be relied on to treat the popular -song hits of the day in novel and exceptional fashion, with original harmonies that no one else seems to "get away with." Well up to standard —and saying that about Layton and Johnstone means that the record is a winner.

Sophie-Tucker. _ w _~.,,_. hadn't Up Till Yesterday"; (gi) ( "Aren't! Wonderful?" Sung by Sophie Tucker, with Ted Shapiro and his Orchestra. Columbia 01425. Sophie Tucker is fast becoming one of the gramophone idols of to-day. Very few people 30uld take offence at her rather daring songs, for her dynamic personality "puts them over" in sudi breezy and irresistible style. Utterly unlike everybody else, she is creating a-tremendous vogue for her racy dialogues with "Teddy," who conducts an accompaniment with uncanny skill. Not fdr nothing has America christened Sophie the "Queen of Jazz." A Scots Humorist. "The Presentation of Prizes" (burlesque recital). William MeCulloch. Columbia 02793. MeCulloch's earlier records have been greatly esteemed, just as much ■in England as in his native Caledonia. He is a comedian of true originality, who never iepeats- himself, and never fails, to find some new and amusing subject. "The Presentation of Prizes" U a richly humorous study of Scottish character. Strauss's Most Popular Tone-Poem.

"Till's Merry Pranks" (Richard Strauss). In'four parts. Played by the Orchestra of the Brussels Royal Conservatoire. Conducted by Desire Defauw. Columbia 02660-61. There are two outstanding musicians bearing the name of Strauss alive today—J ohann Strauss the third, grandson of-the origin al."warttz king" and leader of a celebrated orchestra, and Richard Strauss (unrelated to the former), one of the leading moderns. Till Eulenspiegel, hero of this musical poem, is a sort of continental Robin Hood —a rather loveable rascal, who passes through all sorts of adventures; before he is finally hanged by the representatives of unromantic law and order. The music itself should appeal to everyone. Throughout v it runs a cheerful theme, rather cheeky and defiant that is undeniably Till himself. Till had a gay time of it —while it lasted. You just listen to these two records. Both playing and recording are very fine indeed. Highly Priaised.

Critical comment on H.M.V.'s six records (12in.), made by the Choir of St. Columba Church, Pout Street, Lon 'don (under the direction of T. Arnold Fulton), and Itihe minister of the church, the Rev. Archibald Fleming, D.D., are highly favourable. The Psalms ared are XXIII. and XLVI and XXIV, verses 7 to 10, the last sung to St. George's, Edinburgh. Paraphrases LIV and XXX are also recorded. The hymns are "0 Love That Will Not Let Me Go," "Sun of My Soul," and "Holy, Holy, Holy." The communion service is remembered in Paraphrase XXXV, Psalm CIII, and the hymns, "Here, 0 My Lord, I See Thee Face to Face," and "0 Jesus, I Have Promised." pr/.. Fuming announces each number and has also recorded two short prayers and the benediction. The singing of the choir is always simple and refined in stylo, and the recording with organ accompaniment is good. This praise-worthy attempt at providing the main elements of a home service (says one critic) might have been made of still further value by the inclusion of one or two Scripture readings. An Orgy of Strong Tone.

(a) Prelude in E Flat Minor (Bach), (b) "I Call upon Thee, Jesus" (Bach). The Philadelphia Symphony Orchestra, conducted hj Leopold Stokowski. (H.M.V.) In this (a) arrangement for orchestra we have an orgy of string tone. Although arranged in rich colours the soaring violin tone comes jthrougl\ with spirit-searching effect. In (b) the theme> whether in the strings or wood-wind, is never obscured by the wealth of contrapuntal accompaniment, a tribute to the fine sense of balance of the arranger and the splendid playing of the orchestra. "Magic Flute" Overture.

Mozart's "Magic Flute" Overture has been described as the most perfect piece of instrumentation in all music. There is not a note could be deleted without damaging the whole composition, and yet this series of gossamerlike harmonies, elusively beautiful, laughing diabolically, seems to be the acme of simplicity. Mozart seems to write with a twinkle in his eye, but he defies analysis. He is a kind of benevolent fiend. What a study of embarrassing contrasts. The overture is given a sparkling and animated interpretation by the Berlin State Orchestra under the famous Dr. Leo Blech. _ The orchestra is extraordinarily efficient, and responds beautifully to the logical imagination of the conductor. (H.M. V. E 464.)