GRAMOPHONES

Sun (Auckland), Volume I, Issue 204, 17 November 1927, Page 16

GRAMOPHONES

Two new Gilbert and Sullivan discs. —Black Diamonds Band, A. 310, in

“Ruddigore” and the National Symphony Orchestra, A. 311, in “The Mikado,” has been issued. These are two bril liant additions to the Zonophone repertoire of Gilbert and Sullivan, both emphasising the clarity and instrumental : scope of the new recording. The former is a band record, the latter is played by the new Zonophone combination, the National Symphony Orchestra. Both can be recommended as the best recent issues of Sullivan. The H.M.V. November list has a plentiful feast of the latest dance hits. Paul Whiteman’s Orchestra presents the current waltz rage “So Blue,” bracketed to Neil Moxet’s “Song of the Wanderer” (“Whefla Shall I Go?”), E.A.178. There is also a good Whiteman fox-trot number on E.A.lB3—“Me, too” (“Ho-ho, ha-ha”), on the reverse side of which is a “Silver Song Bird” fox-trot by the Goodrich Silvertown Orchestra. Nat Shilkret’s Victor Orchestra presents two fox-trot succeses, “The Doll Dance” and “Flapperette” (E.A.181), and in E.A.184 we have the widely-popular Frothblowers’ Anthem, “The More We Are Together” as a fox-trot with vocal refrain, accompanied by “There Something Nice About Everyone,” also with vocal effects. From the Savoy Havana Band (B. 5213), we have the fox-trots, “Lonely Eyes” and “Honolulu Song Bird,” two captivating numbers, while George Olsen’s very fine orchestra and Kahn’s dance orchestra are bracketed on the same disc (E.A. 182), with “For You and Me” (fox-trot with vocal refrain) and “Russian Lullaby” (waltz with vocal refrain). These vocal refrains seem to be an increasingly popular feature of the latest dance discs, and are rather attractive aids in picking up the melodies.

The Zonophone Company has recently turned out some of the. best Gilbert and Sullivan records on the market. The vocal selection from the “Yeomen of the Guard,” says a re viewer, is quite first-class—and both actual singing and the spirit of the performance are really good. Barrington Hooper sings Toselli’s “Serenata.” The voice reproduces admirably. Florence Oldham has two patter songs of a facetious kind —plenty of character here. Joan and Doris Emney serve up an old sketch, “A Sister to Assist ’Er”—they have an inherited talent clearly, and their recording is excellent. Another “Desert Song” selection (by the National Symphony Orchestra), an organ record by Arnold Greir of Schubert’s “Serenade” and some jazzes complete the list.

Grieg at his best Is heard in “Sonata in G Major” for violin and piano, played by Sammons and Murdoch (Columbia L. 1661-2-3). For a serenely happy and lovely recording, one could go a long way without finding something to better this sonata of Grieg’s. After all, melody is the backbone of music, as form in art or plot in a novel, and there are few composers with a finer melodic gift than Grieg’s. There are snatches here likely lovely songs, and the whole work breathes a cheerful philosophy. Those who purchase

it will find in it a constant joy. Each movement is delightful. At first heaving the allegretto vivace appeals to most, but the quieter and more reposeful movements hold charms that will develop on repetition. The playing is magnificent. There are greater violinists than Sammons, but none to whom the gramophone is so kind, for the smoothness and purity of his tone records better than any. It is beautifully true and ample, in the lower register being particularly rich. The same might almost be said of Murdock at the piano. Just listen to the power and emphasis he gets out of a single note. The new electric recording has certainly made this kind of playing extraordinarily real.

In H.M.V. instrumentals one must give premier place to a superb playing by the Philadelphia Symphony Orchestra (under Stokowski) of Tschaikowsky’s “Nutcracker” Suite. Opening with the miniature overture, the eight delightful little descriptive pieces follow. The “Dance of the Sugar Plum Fairy” is a gem, in which the celesta playing is a feature. Wonderfully interesting, too, in contrast, are the Hessian, Arab and Chinese dances. The detail of instrumentation reproduced all through makes the set some of the finest recent orchestral recording, from H.M.V.

The Victor Male Chorus, with orchestra, in “Land of Hope and Glory” (“Pomp and Circumstance”), Elgar, and the Associated Glee Clubs of America (over 1,000 male voices), recorded at their public performance in New York City, in “The Clock,” contributes a big record. Tiie VictoF Male Chorus is very well known in America for the high quality of their singing. The beautiful music from Elgar’s “Pomp and Circumstance” enabled them to show us to the full their capabilities. For this side alone this record should be purchased. On the reverse is a most ingenious piece of work composed by Mark Andrews. Imagine over 1,000 trained male voices imitating the chimes of a clock, the actual striking of the hour. “The Clock” is one of those sensational and unconventional compositions which make outstanding features in a gramophone library. It is a Zonophone record.

’Cello solos by Antonia Sala, “Adagio from Organ Toccata” (Bach-Siloti) and “Ariose” (Bach) is one that can be heartily recommended. He has left the beaten track and discovered in the wilds some Bach that is as beautiful as it is unfamiliar. Sala plays both pieces most beautifully and expressively, and Columbia, by a happy coincidence has been more successful here than ever before in reproducing true 'cello tone by means of the electric process. Every lover of Bach should buy this record; the outlay will not be regretted.

One of the most important musical events of recent years has been the production in London and on the Continent of Puccini’s posthumous opera, “Turandot,” which was neartily acclaimed during the Italian season at Covent Garden this year. Columbia now offer exclusive recording by the original artists, the creators of the different parts. This record shows the high quality of the music. The singing is excellent, particularly the rich soprano of Scacciati. Her voice, it is true, has a certain whiteness, but is none the less dramatic and powerful, while her upper register is exceedingly clean and clear. Merit's tenor is fine and vigorous, and combines well with the soprano, and if he would only corect a slight tendency to exaggerate the feeling in the song he would be a very good vocalist indeed. However, he is a great addition to the ranks of recording singers, and I recommend this record without hesitation. (D. 1570).