GRAMOPHONES

Sun (Auckland), Volume 1, Issue 114, 4 August 1927, Page 12

GRAMOPHONES

Walter Glynne’s light tenor voice is most effectively reproduced in Sir Landon Ronald’s fine song, “O Lovely Night.” The violin obligato provided by Marjorie Hayward, adds considerably to the charm of the record. The other side contains Fisher’s “Phyttida.” Many music-lovers, who are particularly fond of hearing a good baritone, will not be disappointed in the two excellent numbers sung by David Craven, a bass-baritone possessing a very beautiful, round and resonant voice. “Something at Dawn” is a beautiful melodious song rendered with sympathy and feeling. The “Bedouin Love Song,” with its animated rhythm, presents a fine contrast, and both are superb examples of Columbia Australian recording. Sir Harry Lauder has been rerecorded for H.M.V. with “A Wee Deoch an’ Doris “Bonnie Maggie Tamson.” The re-recording of Lauder’s best-known and most popular ditties, with their inimitable “patter,” by the new electrical process, is good news to the numerous devotees of this worldfamous comedian. These two are among his most successful. “Pastorale” (Cesar Franck) has been played by Marcel Dupre for H.M.V. Dupre’s interpretation of Franck’s “Pastorale,” remarks an annotator, reminds one of the delicate Corot painting of the countryside with ingenious Arcadians prancing to the bagpipes’ tune beneath the gauzy-foliaged trees. The subtlety of the tone-colourings provided by the choice of “stops” (or, to be more technical, the “registration”) has caught the spirit of Franck’s lovely little work perfectly. Dupre’s choice falls chieflly upon the “reeds,” as, indeed, might be expected from a French organist. Reginald Dandy, the well-known and popular baritone, who made such a favourable impression in “Rose Marie,” sings with expression Casey and Aitken’s well-known ballad, “Maire, My Girl,” which is frequently heard on the concert platform. “Mother! O My Mother!” is a simple, forceful and heart-gripping song in which the artist strikes just the right note. It will appeal to numerous lovers of ballads of the better type, who are on the look-out for good records. (Columbia). The best of recent organ records is a magnificent “Toccata and Fugue in D minor” of Bach, played by G. D. Cunningham on the Kingsway Hall Orchestra. (H.M.V. C 1291.) Other organ records arc “Noel” of Clerambault and “Dialogue” of Daquin, played by M. Marcel Dupre on the Queen’s I-lall organ (H.M.V. D 1137), “Twilight Melody” and “Marche Festive,” played by Mr. Beale. (H.M.V., 82363.) Mr. Maxim Brodi, the Russian tenor who is at present appearing at the Regent, has recently arrived from Australia where he has been extensively recording for Columbia. One of his latest records is of Sir Landon Ronald’s beautiful song, “O, Lovely Night,” in which he sings with Madame Elsa Stralia, who is also wellknown to New Zealanders. Their artistic singing is also admirable in “I Love the Moon.” Both arc very fine numbers which are certain to meet with a great success. Two fine songs are “Now Sleeps the Crimson Petal” (Quilter) and “Pale Moon” (F. Knight-Logan), sung by Browning Mummery. In Browning Mummery’s record, Mr. Anonymous, the accompanist, was so obtrusive as to make one sing a. little paen of gratitude that one’s own accompanist is not as other men s are. Browning Mummery has a charming voice, and his diction is good.

“Adoration” and “I Did Not Know” (Emsey) have been recorded for Columbia by William Perryman. Mr. Perryman is well-known to Australian theatregoers, having first appeared with the J. C. Williamson Grand Opera Company in 1919 and later in “Lilac Time,” eventually being promoted to leading parts. As leading man he is quite unique, because he possesses a voice of unusually good quality which he uses with taste. His singing of the two popular ballads is pervaded by warmth and genuine feeling, particularly the melodious “I did not know.” Two very successful items with piano accompaniment. Two double-sided discs, made by the choir of the Chapel Royal and recorded under Stanley Roper at St. Palace, are very interesting and altogether well done, except for an occasional slight vibration which seems to be sometimes associated, in recording, with boys’ voices. On one disc there are six of the lesser known carols, on the other two more, and, with a side to itself, Bach’s accompanied Chorale, “Jesu, Joy of Man’s Desiring.” All the numbers are beautifully sung and are lovely as music. (H.M.V.) Two of Miss Dora Labette’s latest recordings are “My Mother Bids Me Bind My Hair” (Mrs. Hunter Haydn) and “Who Is Sylvia” (SliakespeareSchubert). Miss Labbette has so closely identified herself with old English songs of this type that her admirers seem insatiable. It is easily un-

derstandable, for the grace of her style, the unaffected* ease of her singing, and the freshness of her voice are features that are all too rare in these days. This is a particularly happy record of two such songs, the openness of tone resulting from the new recording process adding considerably to the enjoyment. Few who hear it will be able to resist its charm. One of the best of the recent Beethoven records is “Symphony No. 5 in C Minor” (Op. 67), Beethoven, by the Royal Albert Hall Orchestra, under Sir Landon Ronald (11.M.V.). This is probably Beethoven’s most popular symphony. He made the first sketches of his Symphony in C Minor in 1805, and the symphony was originally intended to follow the “Eroica” Symphony in the Fourth Symphony. Events in Beethoven’s life intervened, however (including his engagement in ISO 6 with Therese of Brunswick), and the sketches were laid aside for a time in favour of other works, included among them being the Symphony in B Flat. The C Minor Symphony was not taken up again until 1807, and it was completed either at the end of that year or in the early part of 1808. It was first performed on December 22, ISOS, at the Theatre “An der Wien.” By a curious coincidence it was then announced as the Sixth Symphony, while the “Pastoral” Symphony, which we know to-day as the Sixth, and which also received its first performance at the same concert, was entitled the Fifth Symphony. The recording is splendid, and gives quite a new impression of Beethoven’s orchestral works. Both in extraordinary volume and clearness of instruments, these records set a new standard.