COLUMBIA.

Shannon News, 17 September 1929, Page 3

COLUMBIA.

A New Capet Recording. The method of the Capet Quartet of Paris seems to be to bring out the logic of the music even at the expense of subduing the excitement. This is all to the good. Mozart has charm of his own which needs no forcing. It is easy enough"to get excited over sweetly flowing melodies. What- we want is -something deeper, and from a sheerly economical point of view, more lasting Conscientious ahd meritorious artists, the Capet people give a finely reasoned tone .which suits the work, and control their-dynamic with an exquisite sense of fitness. ■ .Their recording of the Mozart Quavtet in C brings out the happy nature- of the work, and keeps us interested in Mozart's amazingly fertile invention and ingenious- and ever-fresh contrapuntal devices. (Columbia 04328-31). Bagpipe Solos.

The drone of the Highland pipes is not for everyone, but Scotsmen and Sassenachs who have fallen under their spell will find' a new record by PipeMajor John MacDonald of Inverness a thrilling experience. His. stirring effort grips the imagination. He infuses a true native wildness into three famous tunes, "Balmoral Highlander's March," "March Edinborough Volunteers," and "Angus Campbell's Farewell to Stirling." (Columbia 0803). A Henry Wood Revival.

(1) "Prelude in C Sharp Miner" (Rachmaninoff): (2) "Introduction to Act 3—Lohengrin" (Wagner). Sir Henry Wood conducting the New Queen's Hall Orchestra.' Columbia LIOO3.

Highbrows might cavil at -Sir Henry's "popular" choice, but is there any earthly reason why so orchestrala piano solo as the famous Rachmaninoff Prelude should not 'be enriched.by this body of instrumental tone? Sir Henry's arrangement is finely lyrical, and is full of resounding chords and dramatic climaxes, working to a grand close. The Lohengrin is one of the few Wagner melodies that the man-in-the-street can whistle. This fine blare that the N.Q.H. brass is famous for is well in evidence. Two bold bucaneering bits of playing that will appeal to everybody. These are re-issues of an old favourite disc of pie-electric days. Another from Ernest McKinlay. (1) "Marui Girl"; (2) "Matangi"; (3) "Mahara Ki a au"; (4) "Huri Huri." Sung by 'Ernest McKinlay, tenor, with orchestra. Columbia 01562 A new record from Ernest McKinlay is something to Avelcome with open arms. New Zealand's own tenor goes farther afield, to the South Seas, and gives us three songs in the Polynesian dialeet. The three little fragments on one side of this 10-inch disc are strikingly different, and very dramatic in effect. Gilbert Dechelette provides a fine orchestral accompaniment. On the reverse is a fragrant South Seas love song, "Marui Girl," tenderly treated by a singer whose interpretation of our own Maori music has prepared us for something exceptionally good. Light Vocal Hits.

Layton and Johnstone still enjoy a never-ending vogue, and rank among the few permanent best sellers. Thenlatest is. a pairing of "Old Man Sunshine" and "I'm Crazy Over You," in their usual brilliant fashion, with all their daring duet effects and brilliant nlaving. (Columbia 01486;. "Follies," one of the gayest things the Talkies have yet given us, provides two bright theme-songs in '' That'3 You, Baby" and "Big City Blues." Annette Hanshaw, a comedienne with an irresistible style, gives them to us with a dash of sauce and a rare sense of fun. (Columbia 01564).

Hariy Keser's Syneopators give us of their best in two unusual novelties —"I Got a 'Code' in my 'Doze,' " and "It Ain't No Fault of Mine." Bright peppy tunes and vocal choruses with a real lilt in them. (Columbia 01554). There's a fine tune going round called "Old-Fashioned Lady." and the Ipana Troubadours have turned it into a real winner as a fox-trot. On the other side Paul Speeht's famous orchestra make something particularly pleasant and attractive of "The Things that were Made for Love" (Columbia 01561).