GRAMOPHONES

Sun (Auckland), Volume I, Issue 239, 29 December 1927, Page 14

GRAMOPHONES

A vivid performance of the Venusberg music from “Tannhauser” is given by the Royal Philharmonic Orchestra, conducted by Bruno Walter on two Columbia discs.

John Ireland, writes Herman Ulem in “The Zonophone,” has the natural bent for song-writing, and a few years ago gave the impression of being likely to go far in that direction. The intense yearning spirit of his “Sea Fever” (Masefield’s verse), is well conveyed in an early record by Fraser Gange (H.M.V., E. 3,10 in.). A Columbia record that will be heard with much interest contains Purcell’s “Trumpet Voluntary” for brass and organ, arranged by Sir Henry Wood, and Sir Walford Davies’s “Solemn Melody” for organ ; and orchestra. The solo trumpet in j the first number is played by Alexander Harris, and the tone is clear and firm. The organ played by Harold Dawber sounds really like an organ, and the combination of brass and this instrument produces a stately and inspiring effect. Clyde Twelvetress is responsible for the solo ’cello part in the “Solemn Melody,” and Harold Dawber is again th© organist. The orchestra is the Halle, conducted by Sir Hamilton Harty. Blend and balance are excellent, and the recording is particularly good.

A gramophone recital during Divine service was recently introduced at the Mount Pleasant Baptist Church, Merthyr. The selection chosen was Mendelssohn’s recitative, “Hear My Prayer,” with the air that follows it, “Oh, For the "Wings of a Dove,” sung by the choir of the Temple Church, London. It is claimed that this is the first occasion in which a gramophone record has figured as part of a clJirch service in Wales. Discussing the innovation with a “Western Mail” representative recently, Mr. J. Jones, of Merthyr, who has been closely identified with gramophone development, said: “This novel idea is one which the churches in general might copy with profit as a means of meeting a popular demand for brighter services.”

Those who like Italian opera sung in the Italian manner, will welcome the recorded performance of “I Pagliaci,” by principals, chorus and orchestra of the British National Opera Company, conducted by Eugene Goossens. The role of Canio is sung by F.rank Mullings. Harold Williams, the Sydney baritone, who is building up an enviable reputation in England, is Tonio. If the Prologue is a trifle tame, it is not invested with the usual exaggerations. Miriam Licette sings the music allotted to Nedda, and minor parts are taken by Heddle Nash and Dennis Noble. The Columbia company recorded the performance in the Scala Theatre, London, and the reproduction on 12 small discs, maintains a high standard throughout. The records will be issued shortly.

The late Fred Emney deserved immortality for his wonderful studies of low-life which culminated in his brilliant portrayal of “Mrs May” in “A Sister to Assist ’Er." His daughters, Joan and Doris, to-day are perpetuating his memory by their clever impersonations of the characters which he made famous, Joan convulsing us by her intuitive performance of the part of “Mrs. May.” The Zonophone Company, with usual enterprise, has already recorded these two artists. Following a recent issue of “A Sister to Assist ’Er,” we have the recorded performance of - “The Arrival of a Rival.” Again, Joan keeps us in roars of laughter. Every little quip and jest comes from this record with a realism reminding us forcibly of Fred Emney in the same role.— (Zonophone).

Franklyn Baur (tenor), with orchestra—“At Sundown” (W. Donaldson), and “I’ll Take Care of Your Cares” (Dixon-M©naco), provides two very melodious and fine items. The orchestral accompaniment, with its remarkable richness and colour, enhances the pleasant melodies. An extraordinarily attractive record.—Zonophone E.E.49.

Two old-fashioned ditties sung by Vernon Dalhart (tenor) are “The Old Fiddler’s Song” (W. W. Smith), and “The Old-fashioned Picture” (Carson Robison). “The Old Fiddler’s Song” is the story of an old-time wandering fiddler grown decrepit in the ministry of the bow and resin. The melody is simple and the words pathetic. The other song is a charming one written by Carson Robison. Vernon Daljiart sings, as ever, with the purest and softest voice and most perfect enunciation. (Zonophone E.E.58).

Clarkson Rose (comedian) with orchestra, in “Mulligatawny” and “I Can Always Do With a Little Bit More” (Zonophone 2916). If you buy a Clarkson Rose record can rely on a good laugh. Buy this one and you will be looking up all the others in the Zonophone catalogue.

Giannina Arangi-Lombardi, who will be the Princess in “Turandot” on the opening night of the Williamson Opera Company’s season, is a new Columbia artist. This dramatic soprano has an established reputation in Italy and is expected to be among the most popular artists in the company which will come to Australia early next year. Her first contribution, “Madre, Pietosa Vergine,” from “La Forza del Destino,” is included in the Columbia programme shortly to be issued. In this aria Leonora, who seeks refuge from her revengeful brother, appeals to the Virgin for help. As she sings she hears the monks in th© ■ monastery nearby chanting the Venite. The singing of the artist is highly impressive. There is rare beauty of tone, with a ring in th© head notes and unusual resonance in the middle register. The voice is very rich over a wide range. The record is not perfect, the slight defects being those commonly associated with Reproductions of the voices of dramatic sopranos. But it is evident in the reserve with which the prayer is introduced and the impassioned singing which follows that Arangi-Lombardi is a first-rate artist. The choir does excellent work, and the voices come through realistically.

In lighter mood among recent H.M.V. arrivals are the Revellers, who display their peculiar gifts as a vocal quintet in 82468, containing the quaintly humorous “So Blue,” and on the other side, “The Birth of the Blues,” which is described in some quarters as “the hit of the season,” and has a crooning, haunting quality. There are also light records by Derek Oldham (of “The Vagabond King”), the Smith Brothers, and the Light Opera Company (in “The Desert Song”), and in instrumental records, the Savoy Orpheans in selections from “Castles in the Air” and “Lady Luck,” and De Groot and the Piccadilly Orchestra. Among the eight popular 3s dance records two are of outstanding interest. Paul Whiteman (85270) shows fine rhythm and fresh effects in two fox trots, “The Birth of the Blues” and “It All Depends on You,” and in 85267, the waltz

“Shalimar,” and the fox trot, “I’m Looking for a Four-leaf Clover. Jack Hylton’s band introduces an organ effect, which though interesting as a musical novelty and extension of the syncopated orchestra, seems rather out of key with the dancing atmosphere. There are three other popular dance oecords by Jack Hylton, two by the Savoy Orpheans, and one by Nat Shilkret’s Orchestra—a rich range of choice cfor fhe holiday season* __—