THE GRAMOPHONE.

Shannon News, 16 July 1929, Page 3

THE GRAMOPHONE.

A Gramophone Humorist.

"Levinsky at tne bedding," Humorous Monologue by Julian Rose. Columbia 01477.

This is an old favourite on the gramophone —Levinsky's pricelss burlesque account of a Jewish wedding, in which some of the chief traits of the Hebrew race are affectionately "taken off'' by 0112 of their own number. Now recorded electrically, it should enjoy a fresh lease of popularity, since its humour is always fresh and happy without being spiteful. Sophie Braslau.

(1) "Carry Me Back to Old Virginny"; (2) "The Old Folks at Home." Sung by Sophie ' Braslau, contralto. Columbia 04215. Male Quartet and Orchestra.

It is always the supreme test of a great artist that she can for once in a while eschew the dazzling vocal pyrotechnics of grand opera and compel our admiration just as much with simple and familiar songs. Sophie Bras j lau's reputation is safe enough for her to avoid the risk, but she takes it, and comes through with shining colours. One feels, when she sings "Old Folks at Home" and "Carry Me Back to Old Virginny," that the' last word is now said on both these songs. Her sentiment always rings true, and she convinces us once again that sincerity and simplicity are after all the greatest attributes of beauty. A Waltz Medley. "Valse Memories." Played by Debroy Somers Band. Columbia .01473 Debroy Somers. who specialises in providing something "out of the way" in dance records, gives us a 'happy medley of old and new waltz favourites. From the "Blue Danube" to "Charmaine" they string together some delightful tunes, and the joins are most effective and cleverly contrived. An excellent money's worth. Stracciari. "Pagliacci"—Prologue in 2 Parts (Leoncavallo) (Riccardo Stijaeciari). Columbia 03603. Riccardo Stracciari's old version of the Pagliacci Prologue, on one side of a 12-inch disc, was one of the classics of the pre-electric day. Now he improves even on that magnificent performance, taking both sides of a 10-inch disc. His art seems surer, his phrasing more confident, while his great baritone, with that attractive dark vowel quality and splendid ease *>f production, is as smooth and powerful as ever. Naturally, the electric recording shows him up to even greater advantage. Lionel Tertis. (1) "MinnelJed (Bra-hams); (2) "On Wings of Song" (Mendelssohn). Viola Solos by Lionel Tertis. Columbia 03631.

Lionel Tertis, recognised universally as the supreme living artist of v the viola —indeed he is almost .alone in his field —gives .us this month two competent arrangements by himself of two favourite pieces by Brahms and Mendelssohn. Playing and recording are of the highest .standard. Even considering the melodic felicities of these charming works, most people will derive their chief pleasure . from the warm velvefey, tone, always firm and assured, of Tertis' playing. His noteproduction is large and manly, and gloriously adequate to the ecstatic heights to which Brahms transports us. There is some clever double-stepping in the Mendelssohn. Essentials of Musical Culture. The following may be regarded as essential items in a gramophone library reflecting musical culture: "Symphony No. 5 in C Minor," Op. 67 (Beethoven), by the Royal Albert Hall Orchestra (conducted by Sir Landon Ronald). H.M.V., DllsO-1153. (in album).

''Symphony No. 5 in E Minor ("From the New World"), Op. 95 (Dvorak), Royal Albert Hall Orchestra (conducted by Sir Landon. Ronald), H.M.V., D 1250-1254 (in album). "Scheherazade" Suite (Rimsky■Korsakov), by the Philadelphia Symphony Orchestra (conducted by Leopold "Stokowski), H.M.V. D 1436-1440 (in album). . Concerto No. 5 in E Flat," Op. 73 (The "Emperor" Concerto), Beethoven). Wilhelm Backhaus and Royal Albert Hall Orchestra (conducted bv Sir Landon Ronald), PLM.V. (Dll9B- - (in album). 1 "Trio No. 1 in B. Flat," Op. 99 (Schubert), Cortot, Thibaut, Casals, H.M.V. D 8947-950 (in album).

Ballet Music. In his ballet, "Petroushka," Stravinsky completely unfolds his striking personality. His art obeys no rules but those of his own making, and these again are subject to no definite system. However, his music is far from shapeless, but is determined by the nature of the work itself and not by any rigid putterns deliberately chose beforehand. He shows no dissonance and avoids no orthodox chord if it happens to suit his purpose. His orchestral scries are full of colour, and in '' Petroushka," as regards brilliance and originality of scoring and aptness of characterisation, still remains his masterpiece. The whole of this fascinating ballet has been recorded by the London Sympathy Orchestra, under Albert Coates, who is one of the greatest interpreters to-day of Russian music. The music vividly depicts the tragedy, and the feature of these four records is the book of words accompanying them. The tone of the orchestra is strikingly realistic and the balance perfect. It is said that this is London 's reply to Philadelphia. (H.M.V., D 1521-22-23-24.)