| GRAMOPHONES

Sun (Auckland), Volume 1, Issue 66, 9 June 1927, Page 14

| GRAMOPHONES

The best new H.M.V. dance records: “St.| Louis Blues,” “Trudy,” “Bolshevik” (very funny), “Mary’s House,” “Someone • is Losin’ Susan,” “Who 11 Mend a Broken Heart?” (fox trots), “Because I Love You,” “When It’s Twilight on Missouri,” and “Sleepy Head” (waltzes).

It may be probably many weeks, if not months, before the people of this country will have an opportunity oi seeing and hearing that very popular musical comedy, “Tell Me More,” now running in prolonged seasons. By the Mayfair Orchestra we have a very interesting bird’s-eye view of this delightful work.

Recent Peter Dawson recordings include “The Fiddler of Dooney” (Dunhill) —“Molly of Donegal” (Austin); “Hore of Mine” (Stewart) —‘Wood Magic”. Here we have this popular singer of rousing songs in his right vein, especially in the two Irish numbers. Dawson’s hold upon the gramophone public is a puzzle sometimes, but it is a fact, nevertheless. * * * MOZART’S MUSIC As beautiful in tune and as notable in construction, is the “Thirty-Ninth Symphony in E Flat” (L 1563-65), a recording of the playing of the London Symphony Orchestra led by Felix Weingartner. Mozart’s biographer calls this a triumph of beauty in sound —it was one of three symphonies written in a little more than six weeks. Columbia has recorded about three dozen of Mozart’s choicest chamber music works in all, some of the bigger issues being the Quartet in B Flat Major (L 1606-08) played by the Lener combination, as is the Quartet in C Major (L 1545-48), the Quintet in G Minor, bv the London String Quartet and Alfred Hobday, second viola (L1362-64)and the lovely Sonata m A (L 1494-96) by Catterall and Hamilton Harty, violin and piano respectively. The amateur should take to any of the above, while these among Columbia’s single record issues also show the innate sweetness of this great composer: Trio No. 3 in E Major. (L 1521) Catterall, Squire and Murdoch. (These musicians have given

gramophoni sts much of the finest chamber music ever recorded, and any record bearing their name is more than worth having) Quartet No. 12 in G Major (Lener LI 530); and in 13 Minor (L o n d o n String-D1427). Let the afraid-of-high-brow music gramophile make an experiment with any

of the above and he will speedily come to recognise the illimitable space that separates “popular” music from that of such a Maestro as Mozart. One of the most charming of Liszt’s shorter piano pieces is his little set of variations on Schubert’s song, “Hark, Hark, the Lark.” Mr. Murdoch’s delightful delicacy of touch makes the dainty embroidery a thing of gossamer lightness, and the subtlety of the Columbia recording gives his tone and style in absolute fidelity. Equally successful is the clean, clear tone of the _de Falla air, with its Spanish rhythms and* their piquant touch of modernity. Here, all through. is beautiful piano tone, bracketed with a performance that is delightful in its phrasing and the gradations of light and shade.

Famous as both a composer and magnificent exponent of the ’cello. W. H. Squire figures in a wonderful new set of Columbia discs—three giving Saint-Saen’s exquisite Concerto for violincello (L 1800-02). It is long indeed since we have had such delicious music, such flawless string recording, and Columbia have earned the gratitude of all serious students by this addition to classical music spheres. This concerto belongs to the early SaintSaens, and was written at a time when in addition to unique gifts of form and structural architecture and a wonderful understanding of the capacity of the modern orchestra, he put verve and spontaneity into his work. Squire’s fascinating ‘’singing style” is admirably adapted to the delightful melodic rhythm that lifts this concerto out of the ordinary run. The interpretation is in the hands of the Halle Orchestra, led in faultless style by Sir Hamilton Harty. who makes the most of the spirited and animated orchestration.

A “Banjulele Banjo and Ukulele Instruction Record” has been given by Alvin 33. Keecli. Mr. Keech is the inventor of the “banjulele” banjo and his instructions on the correct playing of the instrument* and the ukulele may, therefore, be considered authoritative. The record will no doubt aid many to learn to pay this extraordinarily popular instrument. A descriptive, illustrated instructional chart is issued free with this record.

The latest Zonophone records include two discs of choral music with organ accompaniment. The Mormon Tabernacle Choir of mixed voices have recorded “By the Waters of Minnetonka” and “33evotion,” the latter being a choral version of the Intermezzo from “Cavalleria Rusticana.” The singing is generally bright in quality and neat in performance, if not very subtle on the expressive side. “A Church Choir” has recorded “Son of My Soul” (the tune being by Ritter, not Dykes, as stated on the label), and “Abide With Me,” sung by Monk’s “Eventide.” Among Columbia’s numerous Wagner discs is “The Magic Fire Scene” from “The Valkyrie”—in which is some of the most electric and scintillating music this great composer wrote. His orchestration of the music necessary to such a subject is amazing, and although this is not a just-issued disc the clarity and tone of the recording is remarkable, even in the impressive volume of sound called for in depicting the moment when Wotan strikes the rock with his spear and the God of Fire is summoned. Here sonorous chords and crashing octaves, whirling strings and vibrant brass combine with majestic power.

A wealth of orchestral recordings is< offered, all of them, of course, electrical* —and the best among these is decidedly the re-recording, under Sir Landon Ronald, of Debussy’s beautiful "L’Apres, Midi Dun Faune.” Exquisite music this, full justice being accorded to it in the recording, and serving to illustrate the fact that this electrical recording not only scores in massed effects, but in making crystal clear, dainty passages hitherto quite obscured. Albert Coates conducts a three-sided recording of “Tannhauser” Overture, completed by the “Apprentices’ Dance” (Mastersingers), and also the fourth number from “Holst’s Planets.” Eugene Goossens directs the Covent Garden Orchestra in a complete version of the “Unfinished Symphony.” A ten-inch record of the Cavalleria “Intermezzo” and Hoffmann “Barcarolle” very notably completes the orchestral issues, and a fine record it is, too.

Two million records made and sold in one month from one factory! That is the remarkable nutshell story just received by the Australian Columbia Company from their London headquarters. This number —the greatest ever attained by any disc making firm in Europe—was pressed in December last, and unmistakeably indicates not only a wonderful organisation, but shows what a widespread demand for this make of record exists in England.

The two marches, “Sesqui-Centen-nial” and “Under the Double Eagle,” played by Sousa’s Band, are really exhilarating affairs. From the viewpoint of performers and recorders both they are as nearly perfect as anything one hopes to hear on the gramophone.

In a few weeks’ time there should arrive here what has been described -is i a magnificent performance of Greig's j "Peer Gynt” suite, played by the Royal Opera Orchestra, Covent Garden, under the baton of Eugene Goossens. The tonal qualities of this fine orchestra have been commented on before, but they have never been more strikingly evidenced

than in the present issue. Two records

comprise the suite of four movements. All the romance and legend of the work are beautifully interpreted from the “Morning” until the final crash in the halls of the "Mountain King.” The percussion in the last is exceedingly well done. As usual, when speaking about these instrumentalists, the greatest credit is due to all concerned —not forgetting the recorder.

Summarising recent pianoforte issues, these must be mentioned- For pride of place, Cortot’s playing of the

complete book of Chopin Preludes on four records, in a handsome album, containing Cortet’s own ideas of the “programme” o f each Prelude stands out. We have certainly now reached the achievement of a “piano recital” at home, and this album represents the very highest

pianoforte recording—and, one should add, playing, too. Mark Hambourg slashes his way through Rachmaninoff’s famous prelude, Chopin’s A Major Polonaise and G Minor Ballade, occasionally showing us that he can be a really good pianiste. On the other hand, he gives us a magnificent rendering of the Tschaikowsky Piano Concerto, with orchestra under Sir Landon Ronald, and this is a valuable contribution.