GRAMOPHONES

Sun (Auckland), Volume II, Issue 570, 24 January 1929, Page 14

GRAMOPHONES

Two sweet morsels by Lewis James are “A Dream” (Bartlett) and I “Dreams” (Streletzki), sung by Lewis James, tenor, with orchestral accom-! paniment, Columbia 01251. Both of j these songs are prime favourites, and j their popularity is not entirely due to i the composer’s facility of tickling the \ popular musical fancy. There is certain merit in them, and, as sung by Lewis James, they are pleasant numbers indeed. Lewis James is an artist. He does not overdo things, but he does them well. “Monty Still Meanders.”—The latest, No. 22, is entitled “Is Lipstick Nourishing?” in two parts, Columbia 01293. Meandering No. 22 is as fascinatingly humorous as his first effort of the series. The delicious “Montesque” inflexion of his voice is as mirthful as ever. “Is Lipstick Nourishing?”— well, we’ll leave you to find out from the record itself. This disc will, without any shadow of doubt, be placed among his most successful meanderings. It deserves to be. * It is not often that a contralto does justice to Gounod’s “Ave Maria.” More often than not the voice seems to be too heavy, but such is not the case with Esther Coleman, whose concert successes in England this year were phenomenal. Her voice is rich and pure. In the “Ave Maria” she is assisted by the organ, with violin obligato played by Charles Williams, and on the other side sings “Ora Pro Nobis” (Piccoiomini), supported by an orchestra and chorus. There is grandeur in the interpretation of both songs. (Zonophone 5125.) Two further Frank Titterton recordings are “By the Sea” (Schubert) and “Ave Maria” (Schubert), Columbia 02710, tenor songs. This fine vocalist’s other two songs are the wellknown and equally loved “Ave Maria” and “By the Sea.” Of the former song, Schubert himself said when people were amazed the devotion expressed in it that he never forced himself into devotion or the composition of hymns or prayers unless he was actually inspired to write. This no doubt accounts for the deep feeling of sincerity that “Ave Maria” has allways possessed. "Am Meer,” on the other side of this disc, is a song of strange and haunting beauty. Titterton sings both with splendid effect. Sascha Jacobsen plays for Columbia “Berceuse” (Gabriel Faure). This talented violinist is rapidly gaining fame through his undeniably fascinating playing. His presentation of these two delightful morsels provides five minutes of very real musical pleasure. This is a disk that will enjoy many playings.

Art Gillham is the latest “whispering pianist.” He sings “Nobody’s Lonesome But Me” (Malie, De Voll, and Vincent), and “In My Sweetheart’s Arms” (Gillham, Elliott, and Robinson). (Columbia 01202.) These “whispering” performances are sometimes rather boring. More often than not it merely camouflages a jackdaw’s voice. But one can hardly say that of Art Gillham. This singer can sing. He has personality. He is a creator of style, not an imitator. And this, his latest disk, is well up to his very entertaining standard. Alexander Kisselburgh gives us two fine baritone songs in "Danny Deever” (Damroseli, Op. 2, No. 7), and “Song of the Flea” (Moussorgsky)* Columbia 02706. This is the first time we have heard this singer, and we are certain that everyone will welcome him to the ranks of gramophone artistry. In Kipling’s ballad “Danny Deever,” he gives us wonderful evidence of his intense dramatic powers. He is also notable for his clearness of diction, and in his “Song of the Flea” he shows an understanding of Moussorgsky’s underlying idea that should make this sardonic sketch appreciated by all.

Two numbers with the spirit of the dance, “Love Me All the Time” (waltz) and “If Tears Could Bring You Back to Me” (fox-trot) are splendidly played by the Devonshire Restaurant Dance Band. This combination is admirably balanced. (Zonophone. 28SG.) Norman Clark’s South Sea Islanders in “Uluwehi o Kaala” (Kanehomauole) and “Good-bye. Hawaii” (Merton H. Bories)), are really delightful. (Columbia 01225.) More accomplished concerted performance on the Hawaiian guitar could hardly be imagined. Rich and crisp in tone, and yet with all the sleepy langour that South Sea music holds. These are widely popular numbers, and the addition in each case of a vocal refrain should help further to spread appreciation of Norman Clark’s dreamy and sensuous art. A Schubert series sung in English contains “The Erl King” and “On the Water,” sung by Frank Titterton, tenor, Columbia 02709. Columbia has very wisely included in the Schubert centenary releases a series of English versions of Schubert's better known songs. Foremost among them stands a finely characteristic rendering by Frank Titterton of the well known “Erl King,” one of the earliest and certainly one of the best of Schubert’s descriptive ballads. This impressive performance is made really outstanding by the fine piano accompaniment by that well known artist, Left' Pouishnoff. The reverse side is | a lovely contrast to the foregoing song i —gentle, and ■ full of soft-flowing j melody.

FEBRUARY RECORDS SOME OUTSTANDING PERFORMANCES From a parcel of records to hand from the Ii.M.V. Company this week five records included in the February list attract special interest. The Philadelphia Orchestra is, of course, one of them, and the others are by lassie Ackland, Paderewski, the Elman quartet, and Galli Curci and De Luca. The keen interest manifested each month by orchestral enthusiasts in ascertaining- the latest Philadelphia is not surprising. A wonderfully high standard has been maiiltained by Leopold Stokowski, and his freshness and individuality have brought the Philadelphia recordings' l in keen demand. This month he serves up in his own inimitable style the Bachanalian music from Saint-Saens’s “Samson and Delilah,” and Berliz’s “Rakoczy’s March,” from the “Damnation of Faust” (E.D.7). Tie finds the stirring Hungarian march very much to his liking, and another inspired performance played with all the fire and impetuosity of Stokowsky results. The pagan orgy of Saint-Saens, although probably not so satisfjdng as the march air, is given with rather fine effect. THE BRILLIANT POLE After hearing Paderewski in a con-

cert programme one is inclined to think of the old lion as grown somewha t tired and weary the tawny mane now gone gray. This belief: is somewhat rudely shattered with his recording of the Chopin Nocturne in F Sharp Major, op. 15, No. 2, and the Liszt arrangement

of Paganini’s “La Campnnella.” When ho rippled off the delightful melody of this popular Nocturne for the benefit of the world he must have been in the true Chopinesque mood. It is a reflective and poetical interpretation that must rank as one of the best heard for some time. In startling contrast is “La Campanella.” As could only be expected from the musical association of that technical genius Liszt and that mysterious wizard Paganini, who according to the popular prejudice of his day, was not only possessed of the devil but, incidentally, had the Cl- string of his fiddle made from a portion of his wife’s anatomy, it bristles with technical difficulties. These the brilliant Pole overcomes with astonishing ease. If only for the reasons given above this is a decidedly Interesting bracket, revealing once again despite his 70-odd years, not only Paderewski the technician, but greater still —Paderewski the poet. Despite the very fine recordings from “Traviata,” by Galli Curci and. the baritone Giuseppe De Luca, the palm in the vocal section must go to the contralto, Essie Ackland. Her’s are two simple numbers, “Caller Herrin” and “Five Little Piccaninnies” (82769), but nevertheless, it is in these apparently simple things, such as the traditional Scottish air, that the hallmark of the true artist is always so apparent. The interpretation in this is particularly sympathetic, and her rich, warm contralto is used with excellent judgment. Particularly pleasing is the smooth, unbroken tone; which works up without an apparent break to a nicely-placed head note. This record should have a wide appeal. Through the medium of the Galli-Curci-De Luca combination we are given a very fine scene from Verdi’s “La Traviata/* perhaps the most popular in the opera. In it are given “Imponete” (Now Command Me) and “Dito alia giovine” (Say to Thy Daughter), D.B. 1165 The gratitude of Alfredo’s father, who has successfully begged Violetta to give him up,, and the heartbroken renunciation ol! Violetta, are eloquently portrayed by these two great artists who blend, perfectly. This record also demonstrates the fact that with her middle; notes the coloratura soprano perhaps makes a greater appeal than when exploiting her famous vocal gymnastics.

Two old favourites by O’Shea are “Ben Bolt” (Kneass) and “Then You’ll Remember Me,” from “The Bohemian Girl” (Balfe). The popularity of these airs is of the undying sort, and Alfred O’Shea of course gives in his revival of them a new significance and an entrancing presentation. His rich, sympathetic voice is admirably suited to both songs, and the result is thus exceptionally pleasureable. They should prove two of the most successful items from his fairly extensive gramophone repertoire. O’Shea will appear in Auckland personally next month.