THE GRAMAPHONE. HIS MASTER’S VOICE.

Shannon News, 10 December 1929, Page 2

THE GRAMAPHONE.

HIS MASTER’S VOICE.

Four Fine Songs,

Foster Richardson (bass), in “All Through the Night” and “Savoureen Delish.”

Destined to be a great favourite. Grand songs. A deep rich voice, enhanced by chorus and orchestra. (Zonophone 5351). Norman Blaim (baritone), in “In the Heart of the Sunset” and “When Little Children smile.” (Zonophone 5352). Sentimental numbers by an unusually sympathetic voice. Result, a charming record from start to finish. Good Old Popular Hits.

Jack Hylton and his orchestra, with vocal refrains, in “Good Old Songs,” introducing “The Man Who Broke the Bank,” “Daisy Bell,” “Lily of Laguna,’’ “Down at the Old Bull and Bush,” “Tara-ra-boom-de-ay,” “After the Ball,” “A Little Bit off the Top,” “Dear Old Pals,” “The Trinity Church I Met My Doom,” “The Miner’s Dream of Home,” “Delaney Chicken.” lI.M. V., C 1592. Jack Hylton and his orchestra must have had a wonderful time when they made this record, for it is obvious that they enjoyed every, minute they were playing it. You in your turn will enjoy listening to the jolly “old songs” of the last two decades.

English Folk Tunes. The very' soul of English music lies in her folk tunes, the songs that were sung in the fields and in the homes; the songs that were sung in the manor houses by the troubadours and by the wandering minstrels at the fairs. For manyy years these old tunes were neglected, and in the last 20 years some of the most eminent musicians have realised their value and have conducted long and painstaking researches into their origins and construction. The simple charm of these songs is illustrated in the ten records issued by the H.M.V. Company. On the Northumbian pipes Tom Clough plays ‘ ‘ The Keel Row, ’ ’ “Ho’ley Ha’penny,” and “Elsie Maricy.” The Folk Dance Band includes in nine records such pieces as “Pop Goes the Weasel,” “Speed the Plough,” “Apley House,” “Old Noll’s Jig,” “The Triumph,” “The 29tli of May,’’ “Oaken Leaves,” “Hey Boys, Up We Go,” “Rufty Tufty,” “The Maid Peeped Out,” “Shepherd’s Holiday,” “Parson’s Farewell,” and “The Phoenix.” These are'fine Christmas records. (11.M.V.) Supreme Moments From Wagner.

A notable batch of records —indeed a real recording achievement—ls a group of extracts from “The Twilight of the Gods,” the concluding part of Wagner’s “Ring”; spme recorded in Berlin, some in London. In the last -'f the great “Ring” operas the drama moves swiftly towards its appointed end. The music of the “Twilight of the Gods,” magnificent as it is, has an atmosphere of sombre foreboding, of impending tragedy. As a piece of musical architecture, it is the supreme work of the “Ring,” for Wagner has gathered up the familiar motifs of the earlier operas, and has presented them in a new and more significantly dramatic force. Nothing short of glorious

is “Hagen bids the Vassals Prepare for Feasting,” by the Berlin State Opera Orchestra and chorus under Leo Blech. The soloist is Ivar Andressen, a splendid bass. The chorUs is a big factor in a fine and stirring record. No less good in its quieter way is the disc bearing “Rhinemaidens foretell Siegfriend’s death” and “Rhinemaidens beg Siegfried to give up the ring.” The Siegfried is Laubenthal, and the Rhinemaidens are de Garnos, Kindeamann, and Marker. The results are strikingly vivid. The other record made at Berlin is a fine oiie of the Siegfried Funeral March, Karl Muck being the conductor. The four; English recordings are every bit equal to the German, and that is saying a great deal. In the Norns’ Scene the three singers have colour and conviction. There are a couple of scenes . ■with Brunnliilde and Siegfried, wherein Austral is at the top of her form, and Widdop sings splendidly. His voice has the required size and heroic character. In the record “Siegfried takes the oath on Hagen’s spear,” Austral and Widdop are heard again, with specially good marks for the former. Finally, Austral has the field to herself in the scene where Brunhilde lights the pyre and rides into it. The orchestra in the English performances is the London Symphony, and the conductor Albert Coates. (H.M.V.)