GRAMOPHONES

Sun (Auckland), Volume II, Issue 606, 7 March 1929, Page 14

GRAMOPHONES

An agreeable combination is "On Wings of Song” (Mendelssohn), and “Ave Maria” (Bach-Gounod), played by the J. H. Squire Celeste Octet. Columbia 02569. The popular J. H. Squire Octet give their best in two fine numbers, by Mendelssohn ana Bach. Both numbers illustrate the secret of this orchestra’s success —riieir ability to arrange good music to suit their own combination. The Mendelssohn is a trifle sugary; very pleasing on first hearing, but one that should not be played too often. They are much more subtle in the familiar BachGounod piece. The Squire Octet has just finished a very successful lour of Italy, and this record is ample evidence that they have thoroughly deserved their success.

There is good humour in Billy Bennett’s record, “The Real Guy,” and “Domestic Blisters.” Columbia 9105. Billy Bennett holds a place ot' honour among comedians. For two comics described as just “talking,” these items will take some equalling, and everyone nowadays is searching for real humorous records. Billy Bennett puts individuality into his work, his humour is broad, but ably disguised in subtlety. The recording is good, doing full justice to this comedian’s clearness of speech. As he would say himself, this record “delivers the goods.”

Another Viennese conductor, Ferdy Kaufmann, has a superb light orchestra, and they play with the lilt that has characterised the music from that city. His latest disc embraces “Czardas” (Grossman, arr. Kotelly) and “Voices of Spring,” a waltz by Johann Strauss. The Strauss waltz is an attractive contrast to the Hungarian dance, for the alternate laugour and fire of the “Czardas” emphasises by the comparison the billowing whirl of the “Voices of Spring 1 .” (H.M.V., C 1526.).

The ever-popuiar Celeste Octet is heard in “Classica Selection” (Arr. Ewing), in two parts, played by the J. H. Squire Celeste Octet. Col. 02713. This medley has become a classic among medelys—-not only on account of tlie music it includes, but on account of its brilliant arrangement. Much of the Squire Octet's popularity is due to its clever scoring of popular numbers, and in no record yet have they made a more delightful offering. Recording does them every justice.

Quentin Maclean at the Compton Organ gives us the popular “In A Persian Market” (Ketelbey) and “In a Chinese Temple Garden” (Ketelbey). Col. 01291. Maclean has made a remarkably fine record of these two typical Ketelbey numbers. The fact that they are issued on ten-inch discs should ensure their inclusion in many popular collections. Quentin Maclean's playing of them is novel, and startlingly effective —his clever manipulation of the elaborate manual system of the Compton Organ at Shepherd’s Bush Pavilion places him first and foremost among English cinema organists.

Musicians are most enthusiastic over Paderewski’s latest record, which includes “Nocturne in F Sharp Major” (Chopin) and “La Campaiiella” (Lizst). Both numbers are worthy of the great artist. The rich-toned dreamy opening of the Nocturne, the clear melodic line, and the trans-parently-executed embroidery phrases, make this performance a joy to hear. In the Lizst number we get a display of brilliance, especially in the rapid scale passages, such as we expect from the premier pianist of his generation. (H.M.V., D811G7.) “Tartarus” (Schubert), and “The Signpost” (Schubert) are sung by Roy Henderson, Baritone. Columbia 02711. Two, very powerful compositions, these, and Henderson’s rich baritone voice is well fitted to give them to the public. These also with the four preceding songs, are sung in English. They lose nothing of their dramatic effect in translation, and the climax at the close of “Tartarus” is finely accomplished. “The Signpost” (Der Wegweiser) was considered by Schubert himself to be one of his best songs. Roy Henderson’s best effort to date.

LATEST RECORDS H.M.V. MARCH LIST VARIED SELECTION In addition to the March records reviewed last week, the following H.M.V. issues have been received. Altogether the March list provides a bright and varied assortment. A medley of old favourites is contained in the “Potpourri of Waltzes” played by Marek Weber and his orchestra. It opens appropriately enough with the “Merry Widow,” and then follows a succession of waltzes, old and new, that cannot fail to catch the ear. Not only is this a very fine dance record, but a decidedly interesting revival. (C. 1544). Although we don’t like John McCormack’s “rast” for “rest,” he gives

us a good interpretation of Coates’s “Bird Bongs at Eventide.” This is a pretty little number, and McCormack sings it with his usual artistry. Oiiy the other side is that delightful old air, “The Little Silver Ring” (Chaminade), which the tenor sings

even better than the Coates number (D.A. 973). “Wine, Women and Song” is a very appropriate name for Johann Strauss’s waltz, which is included in the March list. It is a bright, sparkling melody with a swing that is most infectious. Another waltz with the Strauss flavour is “Ptoses of the South,” which is on the reverse side. Both are splendidly played by the Chicago Symphony Orchestra. CD. 1452). Added interest is attached to the latest Levitzky record in view of the fact that he is shortly to visit these shores. This time he gives us the Pa-ganini-Liszt, “La Campanella” (“The Little Bell,” and Rubinstein’s “Staccato Etude.” “La Campanella” is a brilliant technical study that shows to advantage the virtuosity of the artist. The Rubinstein number, also a difficult piece, is accorded similar treatment (D. 1489). On the Wurlitzer organ of the New Gallery Cinema, London, Leslie James records two very popular numbers, “Simple Aveu” and “O Solo Mio.” The popularity of these two numbers should bring this record into keen demand. (B. 2792).

Columbia have four splendid teninch discs featuring the most popular airs of Rodgers and Hart’s successful London Musical Comedy. “The Girl Friend” and “Slow River” (Columbia 0794) by the “Singing Sophomores”— that brilliant male quintet. Layton and Johnstone, those prominent American duettists, give us a medley on Columbia 0865. Columbia 0566 offers on one side “Mountain Greenery” fox-trot by Debroy Somers’ Band, and on the reverse, “Step on it Blues” fox-trot by the Kit-Cat Band. The Denza Dance Band on Columbia 0864 provide further “Girl Friend” | music in crisp rhythmic time. A | wide sale for these intriguing records | is predicted this month.

The “Dancing Times,” the authority on dancing in England, makes most favourable mention of the following new H.M.V. dance records: —“Cheerie Beerie Bee” (waltz), played by Paul Whiteman and his orchestra, and “Cliiquita” (waltz), by Victor Arden and Phil Opman and orchestra “Kawaihau” (waltz), by Hilo Hawaiian orchestra, and “Persian Rug” (fox-trot), by Louisiana Sugar Babes: “Kiddie Kapers” (fox-frot) and “ Rag Doll” (fox-trot), by Victor Arden and Phil Ohman and orchestra; “Oh! You Have No Idea” (fox-trot), by Coon-Sanders orchestra, and “Don’t Wait Till the Lights are Low” (fox-trot), by Henry Thies and liis Hotel Sinton orchestra; “Lovely Little Bluebird” (fox-trot), by Roger Wolfe and his orchestra, and “Sweet Lorraine” (fox-trot), by Johnny Johnson and his Statler Pennsylvanians.

A New Don Cossack’s Record contains “Kolj Slavenj (Elow Greatly Our Lord is Glorified”) (Bortnjansky), and “Tri Piesni” (Three Folk Songs). Don Cossack Choir. Columbia 02712. A thrilling record indeed. “How Greatly Our Lord is Glorified” is a fine example of Russian Church music, and is sung with admirable precision and attack. The three folk songs bracketed on the reverse side forms a good contrast. This is the music of the people, and is rendered with a natural understanding that only a Russian choir could be capable of. Again the Don Cossacks provide the world with an object lesson in unaccompanied partsinging.

Saxaphonc excellence is demonstrated by “Ruebenola” and “Iteliin’ Fingers.” Zonoplione, E.E119. This is a particularly fine instrumental disc, showing the saxaplione at its best. The numbers are enhanced by violin, banjo, guitar and piano accompaniments.

Barbara Maurel is heard again in “Hindu Slumber Song” (Ware and Naidu) (with orchestra), and “In The Heart of the Hills” (Le.e and Kerr). Sung by Barbara Maurel, mezzosoprano. Columbia 01252. No concert platform is too exalted for this charming vocalist. Her rich mezzo voice is at all times worth hearing, and her lower register is also round and full in quality. Her reputation among gramophonists should be enhanced by the release of these two items. Her. voice is exceedingly pure, and her sympathetic tone and exemplary diction have given us a delightful disc. For soothing beauty one cannot do better than recommend “Sonata in E Minor, Op. 38” (Brahms), which is played by Beatrice Harrison (’cellist) and Gerald Moore (Pianist). The performers bring out the best of the delicate shades of the composer’s tone pictures. Theirs is a collaboration, not a competition, and the result is a succession of lovely passages. The playing of the second movement, allegretto quasi menuetto, is especially beautiful,- for there is brilliance, colour, and warmth. Beatrice Harrison, by the way, is now oil an extensive tour of America, where she is enjoying outstanding success. (H.M.V. DI3BO-Sl-82).

“Mandalay” (Kipling-Speaks) and “The Two Grenadiers” (Schumann) are sung by Fraser Gange. (Colum-

bia 02573.) What a voice! What singing! Here is the logical successor to the late Sir Charles Santley. If all Fraser Gange’s records are to be as good as this one, we can well congratulate Columbia on securing not only a superb vocaJist, but also superb recording. Recently the Budapest String Quartet celebrated the tenth anniversary of its artistic activities. This fine combination of musicians, comprising Emil Hauser, Jose Roismann, Stephen Ipolyi, and Harry Son, was founded in the last year of the war. By 1919 concert tours were being given, and during the following years the field of activities extended over the whole of Europe. Some 800 concerts have been given. Their longest tour commenced in the northern cities of Norway, and thence through Europe, across Italy and Spain to Morocco and the Canary Isles. It was a veritable triumphant progress. Their very extensive repertoire includes all that is best in the classics and modern chamber music, and they have made some very fine His Master’s Voice records.

“Angels Ever Bright and Fair” and “O Sleep, Why Dost Thou Leave Me" (Handel) are sung by Corinne RiderKelsey, soprano. Columbia 04134. It Is a real pleasure to hear Madame Rider-Kelsey's lull, rich, vibrant voice. Her fame is rapidly spreading across the United States, and her "winning personality should eventually place her in the very front rank of concert vocalists. Some authorities predict for her a yet greater career. The two Uandelian airs she records here, have both survived the operas from which they are taken.

The following is a list of H.M.V. j best sellers compiled from returns : from leading retailers: Mendelssohn Trio in D Minor, Op. 49, played by Cortot, Thibaud and Casals. (D.B. 1072-75.) Paraphrase of the Quartet from “Rigoletto” (Lizst), played by the French pianist Cortot. (DB1105.) “Parla,” walzt (Arditi), sung by Galli-Curci (DA928.) Selections from “Faust." played by Marck Weber and his orchestra j (C 1511.) | “Rakoczy March” tßerlioz), played |by the Philadelphia Symphony Orchestra (ED7.) ; Liebestied (Kreisler), played by the ! San Francisco Orchestra (EDO.) “Hark, Hark, the Lark,” and “Who jis Sylvia?” (Schubert), sung by the ! boy soprano, Ernest Lough (82651.) j "Anything You Say” (fox trot), played by Kahn’s Orchestra. (EA j 435.) “Neapolitan Nights” (waltz), by the Troubadours (EA42I). “Song of the Prune,” sung by Frank Crumit (EA3S2). “Drake’s Drum” (Stanford), sung by Peter Dawson (82743). “Desert Song,” vocal gems (EB7).

From Verdi’s “II Trovatore" “II Balen” is sung by Riceardo Straeeiari, and also the "Barcarolle” from Ponchinelli’s "La Giocondo” (Columbia 03602). In this brilliant record Stracciari makes for us in the famous “Tempest of the Heart" and the “Gioconda” Boat Song, two new delights, feeling, and the “Barcarolle,” an en“II Balen” is sung with splendid trancing air, is spiritedly rendered. The chorus work in the latter number deserves real praise.

Once again tlie dance and the lover of dance music lias plenty of new records to choose from. The writer makes the following selection from the latest H.M.V. output:—“That’s My Weakness Now” (fox trot) and “You’re Wonderful” (fox trot), played by Nat Shilkret and his orchestra; “Louisiana” (fox trot) and “Dixie Dawn” (fox trot), by Paul Whiteman and his Orchestra; “I Still Love you” (fox trot) and “I’d Rather Cry Over You” (fox trot), by Nat Shilkret and his orchestra; “Truthful Parson Brown” (fox trot) and “The Devil is Afraid of Music” (fox trot), by Nat Shilkret and his orchestra; “Out of

the Dawn” (fox trot) and “Jeannine, I Dream of Lilac” (waltz), by Nat Shilkret; “Sorry For Me" (fox trot) and “Look What You’ve Done” (fox trot), by Charles Fry and His MillionDollar Pier Orchestra, with vocal refrains by Lewis James; “C-o-n-s-t-a-n----t-i-n-o-p-l-e” (fox trot), by Johnny Homps’s Kentucky Serenaders: “You’re a Real Sweetheart” (fox trot), by Roger Wolfe Kahn and his orchestra. The vocal refrains have in most cases been ingeniously worked in.

“Ukulele Ike” Is the name of the gentleman who gives us “Anita” (Pollack and Clare) and “I Can’t Give You Anything But Love” (McHugh and Fields), Columbia 01276. “Ukulele Ike” is America’s greatest ukulele artist, whose fame has spread to this country. His voice is clear, sympathetic, and varied in expression, and he plays his own accompaniments in a perfect welding of two parts under one guidance, each art supplementing the other, and making it the more pleasing. His recent success, “Chiquita,” and “That’s My Weakness Now” (No. 01265) has proved a sensational seller.

Erica Morini, the violin virtuosi, has recorded “Concerto No. 22”—Adagio movement (Viotti-Hoffman). and “Russian Folk Song” (Kreisler). (H.M.V. EDS.) “Rondlno on a Theme by Beethoven” (Kreisler) and “Spanish Dance” (De Falla-Kreisler). (H.M.V. ECS.) Mile. Morini is undoubtedly one of the world’s most accomplished artists, and her playing can well be compared to such virtuosi as Kreisler, Heifltz and Elman, without boasting or over-praising. She plays here four very melodious pieces. Mile. Morini is to visit New Zealand shortly.

George Parker, baritone, sings two delightful songs in (1) “Communion Hymn” (Mary Baker Eddy) and “Mother’s Evening Hymn’ (Columbia 02724). It would be impossible to imagine more sincere and Impressive singing than these two records of Christian Science hymns, rendered with lovely vocal quality and great effect by George Parker, with organ accompaniment. All the sings have sincerity apparent in every line, and are splendidly recorded. His sympathetic voice and perfect diction maintain their smoothness and quality throughout, and impeccable recording makes the best of each. The words are by Mary Baker Eddy, and are specially valued by her followers on that account.

A new record by Wilhelm Backhaus (pianoforte) contains Schubert’s “Moment Musicale in F Minor,” “Impromptu in B Flat,” Op. 142, No. 3. (H.M.V. D 81126.) The beautiful “Impromptu in B Flat” is really an “air and variations”; the air itself full of a naive cheerfulness, and each succeeding variation weaving some fresh pattern from a strand of the original. The crystal quality of its loveliness is maintained and enhanced by the way Backhaus plays it. The best-known “Moment Musicale” forms a fitting little prelude to the “Impromptu.”

La Scala Chorus of Milan is beard in two extracts from “Otello” (Verdi) —- (1) “La Tempesta,” (2) “Fuoco di Gioia” (Columbia 02723). Here is an amazing record by the La Scala Chorus of Milan. The thrilling magnificence of the voices, the dramatic intensity of the music, and the spirited playing of the orchestra, have made this a gloriously outstanding recording achievement. Some of the most striking of Verdi’s “Otello” music was written for the chorus at the commencement of the opera, and “La Tempesta” and “Fuoco de Gioia” (“tempest and fire”) choruses are wonderful examples of his genius. The raging of the storm is marvellously pictured in choral and orchestral colours, and the singing is of an extraordinary fine character. An astonishingly realistic record.

“Quartet No. 8 in D Major” (Mozart) (H.M.V. D.A. 947-949) is played by the famous Flonzaley Quartet. The announcement that the Flonzaley Quartet intends to disband itself at the end of this year must have seemed a tragedy to all who appreciate chamber music. The Flonzaley has for many years stood on a little pinnacle of perfection all its own; its precision, beautiful tone, and the general artistry of its performance have become the criterion by which the playing of other quartets Is judged.