GRAMOPHONE CONCERT

Sun (Auckland), Volume III, Issue 710, 9 July 1929, Page 9

GRAMOPHONE CONCERT

NEW MACHINE DEMONSTRATED A demonstration of a new type of gramophone, the' Maestro, was given in the Unity Hall last evening by Mr. C. B. Plummer. An excellent programme of orchestral, vocal and instrumental music was given, which, apart from the pleasure of hearing the novel machine, made a delightful concert. The gramophone itself possessed a most attractive tone, which gave an entirely new rendering to certain wellknown records. It easily filled the large hall, which was' crowded, and there was never the slightest acoustical interference. One of the most striking numbers on the programme was a ’cello solo, Popper’s' “Hungarian Rhapsody,” played by Lauri Kennedy. The “edge” tone, which makes the ’cello such an attractive instrument, was reproduced perfectly, and one could distinguish every effect aimed at by the player. Two different types of orchestral, records —the Salon Orchestra’s playing of Schubert’s “Serenade,” and Bach’s “Toccata and Fugue in D Minor,” by the Philadelphia Symphony Orchestra —were perfectly played, the staccato and base tones of the fugue being wonderfully lifelike. Perhaps, though, the machine’s greatest triumph was with the vocal records. Elizabeth Schumann’s singing of Strauss’s “Morgen” was one of the most delightful records imaginable, and the singer’s wonderful voice lost absolutely nothing in the reproduction. Another vocal record the effect of which was far ahead of the average gramophone, was a negro spiritual, “I Got a Home,” sung by Marion Anderson. The full, florid tones rang out splendidly without the smallest lisp or diaphragli interference. The valse from Tschaikowsky’s “Sleeping Beauty Suite,” and the finale to Grieg’s pianoforte concerto, the first by the Hollywood Bowl Orchestra, and the second by De Greef and, the Royal Albert Hall Orchestra, were two charming numbers; and two Shakesperean soliloquies spoken by John Barrymore demonstrated the clarity of the instrument’s reproduction. Several jazz items were also played, and came out with good tone and strength. The programme was as follows: Military band, “Rigoletto” (Verdi), Creatore’s Band; song, “Kol Nidrei” (Cantor), Cirota and chorus: ’cello solo, “Hungarian Rhapsody” (Popper), Lauri Kennedy; operatic chorus, “Aida, Act, II.” (Verdi), Berlin State Opera Chorus; orchestra, “Serenade” (Schubert), Salon Orchestra: negro spiritual, “I Got a Home,” Marion Anderson; piano, “Rhapsody No. 6” (Liszt), Levitski; soprano song, “Morgen,” (Strauss). Elizabeth Schumann; orchestra, “Toccata and Fugue in D Minor” (Bach), Philadelphia Orchestra; violin solo, “La Capricciosa” (Ries), Master Yehudi Menuhin; grand organ, “Piece Heroique” (Franck), Marcel Dupre; vocal quartet, “O Miss Hannah,” The Revellers; orchestra, “Song of the Bayon,” prize composition (Bloom). Victor Salon Group: elocution, ‘“Gloucester’s Soliloquy” (Shakespeare), John Barrymore; valse from “Sleeping Beauty Suite” (Tschaikowsky), Hollywood Bowl Orchestra: vocal gems from “Desert Song,” Light Opera Company: piano concerto, “Finale” (Greig). De Greef and Royal Albert Hall Orchestra; baritone song, “Song of the Flea” (Moussorgsky), Pete.r Dawson: elocution. “Hamlet’s Soliloquy” (Shakespeare). John Barrymore: jazz orchestra, “Tschaikowskiana." Paul Whiteman’s Orchestra; “God Save the King.”