GRAMOPHONES

Sun (Auckland), Volume II, Issue 422, 2 August 1928, Page 14

GRAMOPHONES

The comic 'singer who can bring an involuntary smile to the face of a highbrow must be distinctly worth while. Mr. Frank Crumit in his own inimitable fashion can do that, though his humorous productions may be as mortal as he himself. A Crumit item makes a nice little bit of seasoning for a programme of general entertainment. Here are a few selections, with index numbers: “Abdul Abulbul Amir” (EA227)), “Bye, Bye, Pretty Baby” (EA255), “Crazy Words, Crazy Tune” (82440), “Da-Da-Da My Darling” (EA27B), “Frankie and Johnnie” (EA227), "Girl Friend” (EA229), “Grandfather’s Clock” (EA226), “High, High, Up in the Hills” (82440), “Mountain Greenery (EA225), “Wake, Nieodemus” (EA294). * * . John Henry and his girl friend, “Blossom,” are two very popular H.M.V. entertainers. Their August contribution is “The Story of Lady Godiva,” containing much simple humour, which nevertheless proves quite entertaining. ... “His Master’s Voice” is providing the music lover with a very complete repertoire of Chopin’s works. The building is necessarily slow but eminently satisfactory fcr all that. A few months ago Cortot, the famous pianist, contributed a complete set of the

famous “Preludes.” Now M. Backhaus is to supply a complete first set of the famous Chopin “Studies.” These are remarkable for their great technical excellence. The twelve studies will not be recorded in order, but grouped as far as possible according to the key in which they are written. ... Braga's “La Serenata” and D’Ambrosio’s “Canzonetta” are two excellent violin numbers exquisitely played by Marjorie Hayward. The fine broad tone which Miss Hayward manages to obtain from her instrument is splendidly reproduced. The record, 8.2534, is in the August catalogue (H.M.V.).

A superb baritone is Riccardo Stracciari, who has recorded “Elegie” (Massenet and “Ideale” (Tosti), Columbia 7,356. To-day Stracciari stands alone in his class. It would be hard to match him in any single department of his art. Where else is the range, the volume, the ease, the velvety richness that he exhibits in every one of his recordings? Like a true artist, he impresses more with his imaginative Qualities than he does through sheer technique, and he makes these two grand songs into sheer masterpieces of the singer’s art.

Music lovers will be delighted to hear that the “His Master’s Voice” Company is about to issue Cesar Franck’s “Symphony in D Minor,” played by the Philadelphia Symphony Orchestra under their famous conductor, Leopold Stokowski. It is innteresting to know that this is the only symphony we have from this composer. It was written in 1889, one of its chief characteristics being the introduction of the principal theme into all the movements. Another treat in store for gramophone enthusiasts will be the issue by “His Master’s Voice” later on of the Bach “Organ Toccata and Fugue in D Minor,” arranged for the orchestra. This will also be played by the Philadelphia Symphony Orchestra.

That accomplished violinist, Y. Bratza, plays the “Slav Dance in G Minor” (Dvorak) and "Dn Poco Triste” (Suk), Columbia D 1,524. Bratza has more than good technique. One notices in all his recordings that his style seems to suit every item, and a young violinist of whom this can he said will surely go a long way. He is best in the Slav dance, which is better music. Dvorak’s visit to America evidently gave him a taste for the southern music, which was very noticeable in his so-called “Nigger” Symphony, and there is more than a hint of it in the Slav Dance. The Suk piece is very attractive. Everyone will like this record.

Royal Albert Hall Orchestra, conducted by Sir Landon Ronald, in Beethoven’s “Leonora Overture” (three parts), and “Rosamunde,” ballet music in G (Schubert). Beethoven wrote no fewer than four overtures, at various times, for his only opera, “Fidelio” (or, as it was at first known, “Leonora”). Of these the overture known as “Leonora No. 3” is by far the most famous. It shares with the “Fifth Symphony” the honour of being Beethoven’s most popular work, and its popularity is well deserved. The “Rosamunde” number occupies the fourth side (H.M.V. D. 1051-2). “Tavern Song” (Fisher) and “See the Way You Rogues” (Mozart) are sung by Norman Allin (bass). (Columbia D 1525.) Norman Allin gives us a double treat in this 10-inch Columbia record. On one side is as jolly a piece of pure Mozart as ever the great master wrote, full of Mozartian whimsicalities and terse, decided phrasing. On the other we have a rollicking drinking song, freshly treated by Allin’s powerful and infectiously boisterous voice. Notice the happy-go-lucky swinging triple rhythm, so expressive of mellow high spirits. Allin has a glorious voice and uses it well.

One of the most interesting reappearances at Covent Garden last season was that of Miss Margaret Sheridan, who has recorded for H.M.V. some delightful soprano numbers. Miss Sheridan is of Irish birth, and she has a very considerable reputation on the Continent, more especially in Italy, where they class her as one of the finest lyric singers of her day. She has won deserved praise for her sing-

ing at Covent Garden in recent seasons. Up to the present the available H.M.V. records by Miss Sheridan include “One Fine Day” from Puccini’s “La Boheme”), coupled with the “Ave Maria,” from Verdi’s “Otello” (BD981), and a song bracket, Weatherley’s “Danny Boy,” and Hugges’s “I Know Where I’m Going.”

The cablegrams have just announced that M. Venizelos, whose name was much before the public during the war, but who latterly seemed to have been laid on the political shelf, has once more come to the front in his native country of Greece. This reminds one that on a certain occasion M. Venizelos recorded for H.M.V. two fine oratorial efforts —a speech delivered at the Mansion House in London in 1917, and Shakespeare’s “Soliloquy on the Death of Kings,” which occurs iu the Third Act of Richard 11., Scene I. Therein the Greek Premier demonstrates that he is not only a great speech-maker, but also that he is a worthy exponent of Shakespearean oratory. The disc number is E 163.

For Columbia, Friedman has played the “Prelude in D Flat” (Raindrop), Chopin, and “La Campanella,” LisztBusoni. “La Campanella” leaves one literally breathless. Whether he sweeps the keyboard with sustained arpeggios, or gives out the Bell motive with an insistent thrumming on a single key, the beauty of touch and the richness of tone give equal cause for amazed admiration. But for poetic feeling and for sheer artistry of construction the famous “Raindrops Prelude” will no doubt be preferred. Throughout the interpretation of the wild rainfall Friedman never sinks to looseness, and one can feel him building phrase after phrase into a perfectly knit whole in a way that reveals how painstakingly thought out even his most spontaneous renderings may be.