GRAMOPHONES

Sun (Auckland), Volume I, Issue 192, 3 November 1927, Page 18

GRAMOPHONES

Two vocal fox-trots of the Denza Dance Band are “Oh, How I Love Bulgarians” and “Ya Gorma Be Home Tonight’ (Columbia). The familiar Denza name on a record means that the vocal chorus is worth listsening to. The Bulgarian one is one of the most unusual numbers issued for a long time. A snatch of Liszts “Second Hungarian Rhapsody and a Brahms chance can be recognised in them. “Ya Gonna Be Home” has not got such good music, nor does it keep quite such classic company, but has a most entertaining chorus. Wilhelm Backhaus, pianist, plays delightfully for H.M.V., “Rhapsody No. 2, (Liszt). Wilhelm Backhaus met with extraordinary success in Australia and New Zealand during his memorable tour of 1926. The famous pianist’s magnificent playing and exceptional technical brilliancy stirred his audiences to remarkable enthusiasm. Among the favourite encore numbers which Backhaus frequently played none was more popular or exedted more enthusiasm than his truly magnificent interpretation of Liszt’s “Second Rhapsody*” Playing the slow section ( lassan”) with impressive grandeur Backhaus reached in the fiery “friska” a stupendous brilliancy, ending in a wonderful climax, which completely thrilled his audiences. “His Master’s Voice” ensures a superb reproduction, which will ensure the marvellous record a popularity second to none. Two negro spirituals, “Rock o’ My Soul” and “Somebody’s Knockin’ At Your Door,” have been sung by Edna Thomas, soprano, for Columbia. People have been blind enough to miscall negro spirituals “Moody and Sankcy” set to jazz. Nothing could be more libellous. Behind these songs, especially as Edna Thomas sings them, one can hear all the sadness and struggles of a downtrodden race—a race loyal to a new faith, under conditions that would have justified an undying hatred of Christianity. These songs are the beautiful expression of a simple people’s grasp of the simple facts of religion, and behind Edna Thomas’s voice there is a whole history of oppression and cheerful forbearance. A fine record.

The Victor Symphony Orchestra, in “Kamennoi-Ostrow” (Rubinstein) and “Liebestraum” (Liszt), H.M.V., EBIO, has given a' remarkable performance. The Victor Symphony Orchestra has here done a remarkable piece of work. Under the direction of Rosario Bourdon, it plays two new and quite wonderful' arrangements, fcf two familiar eiano pieces—so familiar to-day that every movie house hears them almost hourly. The “Kamennoi-Ostrow” is reinforced by the grand organ, and effects of quite unprecedented beauty and power are produced. The companion number, too, reveals new beau - ties at the hands of this large organisation. Rubinstein’s vision of the island in the Neva, and Liszt’s “Love Dream,” are two of the most remarkable of nineteenth century melodies, but you have never heard them arranged and played, we think, as you will hear them on this record.

A fascinating little work presented i by Columbia (L 1471-72), “A Children’s j Overture'’ (Rodger Quilter), in three I parts. It is played by the New Queen’s

Hall Light Orchestra. There are very I few grown-ups who will fail to be delighted with the naive simplicity and charm of this famous work of Rodger Quilter’s. It shows the composer in his happiest mood, and makes an instant appeal to the eternal child in each one of us. In this way it is comparable to Barrie’s “Peter Pan.” One might almost call it a children’s overture for adults only. Merry and unsophisticated, it includes many a favourite tune of the nursery, such as “Over the Hills and Far Away,” and binds them all together with a simple thread of music. Altogether a most charming work, and most intelligently performed.

-4. Wagner is provided by Alexander Kipnis (baritone) and the State Opera. Orchestra, Berlin, in The Valkyrie,” Wotan’s Farewell (Wagner), D 1225. This record will be welcomed as peculiarly opportune, for Kipnis, who has already become quite famous with the Chicago Civic Opera, has this year scored a great success at Covent Garden. This fine record was recorded by His Master’s Voice experts in the Singakadernie, Berlin. Kipnis has a magnificent voice, and the orchestral accompaniment provided by the Berlin State Opera Orchestra, under Or. Leo Blech, is given full prominence. The result is one of the greatest vocal records ever issued. Kipnis’s magnificent voice and the enormous volume of the orchestra are astounding in clearness and extraordinary richness.

The Victor Light Opera Company is heard in gems from “Countesg Maritza.” and gems from “The Blue Mazurka,” H.M.V., EBII. The delightful gems from “Countess Maritza” include “I’ll Keep On Dreaming” (conrtalto and tenor), “Love Has Found My Heart” (soprano), “The? One I’m Looking For” (soprano and tenor), Gipsies. Dance Gipsies” (baritone with chorus). “The Blue Mazurka” is the latest London comic opera success, and abounds in beautiful and bright melodies. A fine orchestral item is provided by the Royal Opera Orchestra, Covent Garden, in prelude from “L’Ariesienne” suite (Bizet), H.M.V., C 1319. Though “Carmen” rather overshadows Bizet’s other works in the minds of most, the suites formed on the incidental music he wrote for the production of Daudet’s “L’Arlesienne” in 1872 have won a thoroughly deserved popularity of their own. The possibility of introducing “local colour” was always one of Bizet’s surest sources of inspiration, and the native rhythms of the south inspired him in this case, as we may hear. Under the baton of Eugene Goossens, the orchestra of the Royal Opera, Covent Garden, has given us a brilliant performance. The reproduction of the orchestra by the new “His Master’s Voice” record is really magnificent; the never gets the impression that he is listening to a phonograph reproduction of a collection of orchestral instruments grouped together in a studio. Instead, the impression and atmosphere of being actually present in a concert hall, in which a magnificent orchestra is playing, is conveyed.