GRAMOPHONES

Sun (Auckland), Volume I, Issue 174, 13 October 1927, Page 14

GRAMOPHONES

“Hallelujah Chorus,” Handel’s “Messiah,” and “The Heavens Are Telling,” Haydn’s “Creation.” Zonophone, A 315. This fine music is too generally known to need description. The above record by Black Diamonds Band, produced by the new electrical process, is among the very finest achievements of modern recording. To anyone desiring a very fine record of permanent interest the above can be highly' - recommended.

tall man stood shirt-sleeved in the glare of a million-candle-powered lights at Queen’s Hall, London, the other day and gesticulated vigorously into a tiny instrument on a stand in front of him. Chaliapin, the world’s greatest bass singer, was record ng for His Master’s Voice, and a cinematograph film was being taken simultaneously. He took no notice of the cameras at first, but gradually lis attention became fixed on them. “Pictures. eh?” he said. It was the first time the great singer had posed for the cinematograph, and all othe:.’ business was at a standstill until he was satisfied that his smile had been properly “caught.” It was not until then that he would go on with his Russian folk-songs, which he sang with a cigarette between his fingers and in between gulps of tea sweetened with lemons.

The Revellers’ latest Is , male voices, and "Just a M.bSiby Vernon Dalhart and Cur^SL* B ®* son. H.M.V. E.A. 147. one of the best hits of th. a" 00 ." splendidly sung by The Reveifif’ ls • Just a Melody" the comwili!*’!; 1* Robinson, whistles with DalhaM,*" J . vocal refrain, and plays the gt5L“ of the accompaniment, which - p * rt out prominently in the harafemf* o4 * the string orchestra. nar ®onie, of A fine Strauss disc, by Hwv tains “Blue Danube" and “Tal— - Vienna Woods," Strauss by the Philadelphia Sym»i“ n ,'* <l ehestra under Leopold sSSJZ ° r - H.MA-. ED2. There is tor sheer magic of rhythm tfa flaer colour than a Strauss welt*. have the beautiful “Blue rtennhS* ** the not so well known but reslL *, IW lightful “Tales of the waltaes. played bv one of th.* I*' 1 *' famous orchestras in America n.'?'®' well worth while. **• T*"* is The overture to Rossini’s • won Tell," which has been His Masters Voice, is playS^.? l RoysJ Opera Orchestra, Covent rL the under the conductorsihip of Dr «?• colm Sergent a young conductor * J ‘ promising brillance. This new phone version of the overture i. most brilliant one. In the £L, U * parts the wood-wind is rich Uw?? 1 and the glowing orchestral °f the storm, is adequately while the climax, with its muT: theme, is sonorously develooMT first-class 10s worth. * • • • Beethoven songs have been record by H.M.V. as follow sung by Tudor Davies, tenor "Adoration,” sung by the De ‘p-a" singers; "Faithful Johnnie, suras! Julia. Culp, contralto; “In tu—, Tomba Obscura,” Chaliapin. ba* vocal compositions of Beethoven few in number, and not very tamiKa! to the average music lover. Fromth. above list, however, one may () btS an interesting glimpse of the cmu poser’s genius in this class of mnS, The Chaliapin number is particulut? • * • A new Paderewski disc contain* tho “Impromptu in A Flat Minor,” On 1? No. 2, Schubert, and “Studj in Major,” Op. 10, No. 3, Chopin. Hjf.Y Paderewski’s greatness is due to the intensity of the thought that iea behind each interpretation, as iv*a revealed during his recent tour. The k*. tener feels that the place of each note in the scheme has been carefu Jy eonsi dei*ed in its proper proportion to the whole; as a result, each piec-», however familiar, takes on a new uapect—as il! it had been sublimated or teeaat in a more spacious mould. The player’s broad vision is made evident at every turn, and his strong personality pervades the performance. Yet it is al ways the music which is made tc come first. Listening to the fine and sensitive performance of the Nocturnelike “Study in E Major,” of Chopin, the hearer may well say: “There is lifi. erewski indeed” This record will be of great interest to all who have recently heard Paderewski during his tour of Australia and New Zealand. * * * Elgar’s “Enigma Variations” have beer, played by the Royal Albert Hall Orchestra, under the baton of the composer. H.M.V. The Royal Albeit Orchestra, conducted by Sir Edward Kiga.r, has recorded in the Queen’s Hall the “Enigma” variations in seveti parts. These are also very successful The gramophone does great justice to this fine score, and seems to find special delight in reproducing tho*e warmly coloured melodies in the tenor range to which the composer is so partial. Sir Edward takes the theme and the first variation slower than we often hear- them and gets very expressive results without any suggestion of dragging. The recording of the exquisite “Dorabella” variation is very delicate, almost too much so once or twice, and I feel that the composer makes a little less of those short and dainty phrases for the wood-wind than does' Sir Landon Ronald, our great Elgar conductor. The drums have a great time in No. 7, ! where also the brasses enjoy themi selves particularly, and the finale J* ! properly thrilling. The vacant half I disc is given over to the Intermezzo from Elgar’s earlier oratorio, "The i Light of Life.” A special album goes with the four discs.