HIS MASTER'S VOICE.

Shannon News, 23 August 1929, Page 2

HIS MASTER'S VOICE.

The Orchestras of America.

The best orchestras of America are gradually becoming known in British circles through the gramophone. On the HM.V. list, the San Francisco Symphony Orchestra, conducted by Mr Hertz, and, the Detroit Symphony chestra, under the direction of M. Gabrilowitseh (D 1286 and E 522), are worth having. Both are fine orchestras. The first plays Gounod's "Funeral March of a Marionette," and Schubert's "Marche Militaire," while_ the second gives a rendering of Chabrier's sprightly "Spanish Rhapsody." Fine Old Songs.

John Turner (Tenor), in "Nirvana" (Adams) and "Mountain Lovers" (Squire). H.M.V. C 1343. As this artist sings them, these two deservedly popular ballads will delight all admirers of John .Turner's fresh and sympathetic Gems from "The Messiah."

Rachel Morton (soprano), in "I Know that My Redeemer Liveth" and "Come Unto Him" (Messiah). H.M.V. D 1247. Rachel Morton's voice is of lovely quality —cool and soft in texture and produced effortlessly. Of the airs themselves one need say little; both are too well known. The record was issued last year and has proved extremely popular. Glorious Basso.

The colossal voice of Ivar Ardresen is heard in two airs from Mozart's "Magic Flute"—"o Isis and Osiris" and "Within These Sacred Walls"— two of the great legato melodies in existence. This Scandinavian bass made a great impression at Covent Garden this season, and he is not less striking on the gramophone. The beauty of his voice "and the subtlety of his phrasing are faithfully reproduced. It may reasonably be doubted whether the two songs of the High Priest have ever been delivered with such a gorgeous abundance of phenomenal tone. There is grandeur and dignity about the voice and the singing. The orchestral time is good and the choral refrains in "O Isis and Osiris" come off extremely well. (H.M.V., C 1625). Sea Shanties.

Four more capital sea shanties from the collection edited by Sir Richard

Terry, "Miss Lucy Long," "Walk Him'Along, Johnnv," "Johnny Comes Down to Hilo," and "O Shallow BroAvn," have been recorded by the English baritone, John Goss and the Cathedral Male Voice Quartet. They are sung with that authentic tang,which has marked previous shanty recordings, and it is almost impossible to believe that this can be the result of ait and not of rum and shag. "Miss Lucy Long" is a tune with a most engagingly queer shape, and "Johnny Conies Down To Hi 10,." Avith its sudden halts and jolts, rips along as- exhilaratingly as a clipper in a choppy sea. (11 M.Y., 82940). Dance Eecords.

The following is a selection from the latest II3LV. dance records:—"Where the Shy Little Violets Grow," foxtrot, played by George Olson and his Music, and "A Night of Memories," fox-trot, with vocal refrain, by Nat Shilkret and his orchestra; "My Suppressed Desire," fox-trot (from the motion picture "Gang War"), vocal refrain bv Carleton Coon, and "Who Wouldn't Be Jealous of You," foxtrot, vocal refrain by J. L. Saunders, by Coon-Sanders' Orchestra; "When Summer is Gone," fox-trot, vocal refrain by Frank Munn, by Nat Shilkret and his orchestra, and "A Precious Little Thing Called Love," fax-trot (from the motion picture "ShopAVOrn Angel"), with vocal refrain by George Olson and his Music; "All by Yourself in the Moonlight,"- fox-trot, and "If I Had You," fox-trot, by Irving Aaronson and his orchestra; "Deep Night," fox-trot, vocal refrain by Rudy Valee, and "Weary River," fox-trot, refrain by Rudy Valee and Connecticut Yankees. Cathedral Choir.

The choir of Salisbury Cathedral has made a record of very real beauty, choosing "He Shall Feed His Flock" from Handel's "Messiah" and "Yea, though I walk," by Sullivan, for the opposite sides of the disc. Though the first, number is sung by the full choir, accompanied by the organ, the second, perhaps, achieves a more delicate loveliness. It is sung by the boys alonw and seems to have caught some of the austere beauty of the famous cathedral in Avhich the record Avas made. (H.M.V., B 2814). "Trial By Jury." A Avelcome issue for the winter season is the complete recording on four discs and in album form of "Trial By Jury." The entire recording is made under the personal direction of Rupert D'Oyley Carte, and Avith artists of such' Gilbert and Sullivan fame as Leo Sheffield, George Baker, Derek Oldham, Arthur Hoskings, and Winifrew LaAVson, and capital chorus so that Ave get a performance in the best Savoy tradition. To hear Leo Sheffield in such things as "For These Kind Words," George Baker, Winifred LaAvson, and Arthur Hoskings, and Winifred Lawer," "SAve&r Thou the' Jury," or the blithesome "Oh, Joy Unbounded," is not only to revive Gilbert and Sullivan memories, but to bring all the gaiety and stimulus of the actual performance to one's own home. Both orchestra, ehoj-us, and the principal voices are recorded Avith a splendid clarity and vigour. From the dramatic and musical vieAvpoint, the performance is just Avhat one would expect from such artists under such direction —unimpeachable. The fact that the opera is completed on four discs should place it Avithin the reach of many. (H.M.V.)