GRAMOPHONES

Sun (Auckland), Volume II, Issue 488, 18 October 1928, Page 16

GRAMOPHONES

Well-known to New Zealanders is Leo Cherniavsky, ~Who plays “From the Canebrake” (Gardiner), and “Waltz in A Major" (Hochstein). Violin solos by Cherniavsky.

(Columbia 0894.) The Cherniavsky Brothers’ visit to New Zealand has left them With many friends here, and Leo not least. Both these attractive numbers give him a chance to show what a cap-able soloist he is. He makes a very musicianly job of 'the sprightly waltz, and treats the American piece ‘with fine understanding.

The broad flowing melody of “Even Bravest Heart,“ Valentine’s famous aria from “Faust,” and the vigorous swing of the equally famous “Toreador Song” from “Carmen” are pleasantly contrasted in character by Apollo Grantorte, the leading baritone of the VVilliamson-Melba Opera Company. Grantorte has been heard and enjoyed in New Zealand, but his voice seems to have developed since he was here about six years ago. His triumphs at La Scala last year have set the seal to his fame. (H.M.V., DB 938.)

In London, Where Paul Whiteman has always been popular, a. new vogue for his records seems to have developed. It has spread far beyond dance-lovers. Even Arthur Withers, noted as a Wagner critic, has a word to say in his praise: “There is something in his appeal and his extraordinary efliciency that the finest orchestras in the world might copy to their advantage.” The opening bars of “That’s My Weakness Now” (Columbia 07008) give an example of this. On the other side is the whimsical “Felix the Cat.” Another fine example of Whiteman§s art is “Driftwood” and “Lonesome in the Moonlight” (Columbia 07010).

From a. recent list of “Best Records”:—Salut, demeure chaste et pure, Hislop, H.M.V. D. 8.944. Che gelida manina, Martinelli, HAM.V. DB. 979. La villanelle (dell’ Acqua). Galli-Curci, H.M.V. D. 8.262. Nocturne in E flat (Chopin), Menges, H.M.V. D. 1288. The finest “Lohengrin” Narratien is by Pertile, H.M.V. D.B.110"!; Hislop’s old recording, H.M.V. DB. 681, is also very good. Love duet from ”Butterfly,” Pertile and Sheridan, H.M.V. D. 8.1119. Ull bel di, Destinn, H.M.V. D. 8.647, or Farrar, H.M.V. D.8.24G. The Farrar record is the finest double. Don’t imagine that because it is among the H.M.V. evergreens it is therefore a “has-been,” because it isn’t and the “Butterfly” aria. is paired with the loveliest Vissi d’arte ever heard,

Moiseivitch’s clear-cut and polished playing gives “Hunting Song” and “Songs Without Words in F Major,” two gems by Mendelssohn, a finish resembling that of a, carefully-facetted jewel. Mendelssohn is one of the central figures of the great romantic school which held the melody paramount, and here are two of the most popular of his smaller works. (H.M.V., A 478).

New Zealanders will remember Arthur Jordan, who came to the Dominion to sing at the Dunedin Exhibition.- For Columbia he has recorded “The Island Mermaid” (KennedyFraser), “So Sweet is She,” and “The Song of' the Palanquin Bearers.” (Columbia 3564.) We hear so little of Arthur Jordan these days that it is good to be reminded that he has made some extraordinarily fine records. This is his best—as far as choice of material goes. Sung in his open and colourful tenor, in that robust style of his, these three songs stand out as finely diversified gems of_ the singer’s art.

“The Darling of Chicago” is the description one American critic has given to the lyric tenor, Tito Schipa. A recent concert by Schipa. lasted for three hours, so insistent was the huge audience. His duets with Galli-Curci from “La Traviata” and “Rigoletto” are remarkable for the balance of two sweet voices, but his greatest gramophone triumph in the opinion of many has been in “The Dream” from “Manon” (Massenet), which is bracketed with “Harlequin’s Serenade" from “I Pagliacci." The gossamer notes pf the pianissimo passages in the former aria are a sheer joy. (H.M.V., DA. 363.) ,

According to the Department of. Overseas Trade’s bulletin, the Columbia Gramophone Company has acquired complete control of two large German gramophone and record manufacturing companies—the Homophon and the Nigrolit Works. Both companies, which were formerly sister concerns, are situated in Berlin. The Columbia Company has acquired all the shares of both.

Exceptionally clever manipulation of the Wurlitzer organ is part of the reason for the popularity of “My Blue Heaven” (Whiting-Donaldson) and “The Song is Ended” (Irving Berlin), played by Jesse Crawford (H.M.V. EA, 284).

"Limehouse," and “The Ginchy Road,” are sung by Harold Williams, baritone. (Columbia 0902.) This fine Australian singer has many seasons’ successes in London behind him, in every phase of singing; but he is still best. I think, in ballads. He sings both these songs with plenty of power and sympathy and a nice‘ sense of shading.

If Tchaikovsky had written nothing but his operas he would still have left a rich legacy, for they abound in fine music, and the two best, “Pique Dame” and “Eugene Onegin" are intimate human dramas full of lyrical beauty and dramatic interest. In these two works and his other operas there are many arias which should be recorded, as they would make a. pleasing contrast to the incessant re—petitions of familiar items. There is a very fine record of two songs from “Eugene Onegin” by Sobinotf (H.M.V. DB.889), and two arias from “Pique Dame,” sung by Smirnoff (H.M.V. DA_569).

Three of the world’s greatest artists have combined in the making of the record “To the Children." The singer is John McCormack, Fritz Kreisler Blays the violin obbligato, and the composer is Sergei Rachmaninoff. It is certainly an outstanding

John McCormack

Kreisler

McCormack number, but Kreisler deserves great credit for his enhancement of its beauty. 0n the other side is another Rachmaninoff gem. “How Fair This Spot” (H.M.V., DA. 680.)

The lyric tenor 0! Derek Oldie-i admirably suited to the 1111: of “'hh a Pair‘ of Sparkling Eyes," tro- ti “Gondollers.” Oldham has achieve! success in England in opera and m tario, and on the concert plum 0n the other side he gives a ten trast, “Sailor-‘5 Grave" .and MI I. dering is conylncing. (H._M.V. 01438.)

The Franck symphony by the m delphia. Orchestra, now on the 1”. takes five large records, Ind every record is a thing or beauty. Thaw! is divided up as follows: The In movement on four sides and them“ two on three sides each. The m delphia Orchestra is undoubtedly. of the finest in the world, and I'll dering of this work must be m in accordance with its position. m: again it is noted what “It! control the conductor has over him chestra. and how wonderful): M respond to his every wish. mus pretation is slightly dille'ellt. ll some recognised soft pass? th playing is comparatively lou II" some loud sections it is almost” ing, so great is the volume anal-l A splendid bit of recording fro-fl technical point of view. There hl jarring, no straining. not even in“ fiery closing passages, a test B which the recorders are» entlthll due credit (H.M.V.. D 1494—1408).

t ‘ Q "She is Far From the Inf (Moore) and “The Snowy up“ Pearl" (Robinson) has been “U Alfred O’Shea, tenor. (Col. M O'Shea is so well-known in Nut“ land, and the two numbers II! N chosen so familiar, that little 3H for the reviewer to say. He mill this type of singing. Irish ballldilt him better than’ operatic mull“ and those many who delight ll“ art will be more than satisfied '33 this record.

Two Norwegian masterpiec. 3‘ the “Bridal Procession" “3“)“ “March of the Bojaren” (W‘Played by the Columbia snub! Orchestra. (Col. 02622). Mont!“ will buy this record for; the 8810‘“ Grieg. but the march on the W side is something more than I”) weight. A light touc hot the W suggests gnomes and elves. ‘4 ’ less happy than the main than the appealing link passages. 1’ Grieg excerpt is very jolly d ‘: hilerating, with all Grieg's 989° melody and his own pecan“ ’ colour. Excellent recording-