GRAMOPHONES

Sun (Auckland), Volume III, Issue 718, 18 July 1929, Page 14

GRAMOPHONES

The genius of Chaminade is revealed in “The Scarf Dance” (Chaminade) and “The Flatterer” (Chaminade), played by the Columbia Symphony Orchestra. (Columbia 01371.) It is curious that the whole history of music should have produced only one really capable woman composer—the celebrated Chaminade. As an executant she was incomparably brilliant; as a composer she was a typical woman—sparkling, decorative and romantic. These two favourites of hers have a truly feminine warmth and rhythm, vivacity and colour. That excellent organisation, the Columbia Symphony Orchestra, gives a happy lilting performance with a fine full tone.

Johnny Marvin, the American entertainer, who has been a popular artist in New Zealand on the sound pictures, gives two engaging numbers on his latest disc. He puts many new twists into the popular “All by Yourself in the Moonlight.” On the other side he sings sentimental “Sweetheart of All My Dreams” (I Love You—l Love You), and certainly makes a big appeal. (H.M.V., EASO6).

“Casey’s Birthday Party” and “Casey At the Hospital,” are Humorous Sketches by Michael Casey and Co. (Columbia 01395.) Michael Casey’s latest sketch is enough to wipe the blues away in a jiffy. This is a real success as a funny record—new jokes and an old humorist, the best combination of all. An attractive list of dance records is included in the June issue. The following have been selected for their melody, rhythm, and cleverness of instrumentation: “Shim -me - sha - wabble” (fox-trot), played by McKinney’s Cotton Pickers, and “Five Pennies” (fox-trot) by Red Nichols and his orchestra; “Shoe Shiners' Drag” (slow blues) and “ShreveportStomp,” by Jelly-Roll Morton’s Red Hot Peppers; “Blossoms that Bloom in Moonlight” and “My Varsity Girl I’ll Cling to You” (theme song of motion picture “Varsity”), (fox-trot), by Nat Skilkret and his orchestra; “Jimmy Valentine” (theme song of “Alias Jimmy Valentine”) (fox-trot), by Nat Shilkret and his orchestra, and “Love Dreams” (from Alias Jimmy Valentine”) (waltz), by the Troubadours (H.M.V.).

A “Faust" selection, parts 1 and 2 (Gounod) is played by the Columbia Symphony Orchestra. (Columbia 02708.) “Faust” is undoubtedly the best known of all grand opera. For its name's sake there will be many who will try this record, and they will not be disappointed. The Columbia Symphony Orchestra have been doing good work for some time, and excel themselves on this occasion. The selection is very bright, admirably played, with a crisp attack, tone always kept interesting and subtle, and reproduction well-nigh perfect. A record that will be In great demand among all classes.

The Maori race is one of the most naturally musical nations of the earth. All Maoris have a deep love of music, and this love, coupled with their tuneful voices, has led to their becoming the finest exponents of partsinging and harmony to be found in the Antipodes. The audience at the Auckland Town Hall upon the occasion of the Maori concert by the boys and girls of the two Auckland Maori schools recently found this to be truest of all with the rising generation. It will be remembered that when the Duke and Duchess of York visited Rotorua, Ana Hato, a sweetvoiced young Maori girl, and Deane Waretini, a fine baritone, together with a group of native singers, made eight thrilling records of songs, duets, choruses, part-songs, and hakas. These wonderful Parlophone recordings are in keen demand since the concert. (A.R. 100 to A.R. 107, Parlophone 10inch.)

The great negro bass, Paul Robeson, takes the solo part in a series of plantation songs, and is assisted by a fine chorus. There are many eternal favourites on this record, including “So Early in the Morning,” “Carry Me Back to Old Virginny,” “Old Folks at Home,” “Good Night, Ladies,” “Away Down South in Dixie,” “Poor Old Joe,” “Oh! Susana,” and “My Old Kentucky Home.” Apart from the popularity of these pieces, the big coloured bass lends distinction to them by reason of his effortless production and the manifest sincerity which marks all his renderings. (H.M.V., C 1585).

From John Coates we get “It Was a Lover and His Lass” (Shakespeare and Morley), and “Diaphenia” (Whitaker). (Columbia 01323.) John Coates has come to be recognised as the leading specialist in Elizabethan songs, and these two lovely examples he treats with authority combined with sincere feeling. He is famous in England for his regular Shakespearian recitals, and particularly admired for a certain elusive and intensely individual quality of care-free freshness. , The recording has caught this to perfection. “It Was a Lover and His Lass” in particular is pure John Coates at his best.

“Where the Shy Little Violets Grow” and “Away Down South in Heaven,” sung by George Sorlie, the comedian who really sings. When one contrasts this record with another new issue, "You Should See My Neighbour’s Daughter,” and “All By Yourself in the Moonlight” (2753 Parlo, 10-inch), some idea of George Sorlie’s many-sided talent may be formed. He sings the two little lyrics of the first record with inimitable grace, and the two other with that sense of comedy of which he is so well possessed. Sorlie’s Australian public is of vast dimensions. Once he becomes known in New Zealand, gramophone owners will follow the lead of their kinsmen across the Tasman, and take Sorlie to their hearts. (2740 Parlophone, 10inch.)

Two of Suppe’s famous light over- , tures, “Pique Dame” and “Morning, Noon and Night,” have been recorded by the Band of the 'Coldstream Guards under Lieutenant R. G. Evans. The second side is a brilliant piece of descriptive music, depicting the round of day. The band, under its artistic conductor, made the representations full of life and colour. “Pique Dame” is a delightful melody, full of pleasing contrasts. Suppe stands alone in music of this nature. He can be enjoyed by all, because be is easily understood. Yet withal his compositions are enduring. (H.M.V., C 1594). * * * The La Scala Chorus Is heard in the Otello numbers, “La Tempesta” and “Fuocu de gioio.” (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 “Fuocu de gioio” (tempest and fire) choruses are wonderful examples of his genius. The raging of the storm i 3 marvellously pictured in choral and orchestral colours, and the singing is of an extraordinary fine character. An astonishingly realistic record.

A topical hit is made' by the English comedian, Leonard Henry, in “The Tale of the Talkies,” one of his own compositions. Henry gets slightly mixed, and in attempting to extricate himself gets more mixed. “The Tale of the Talkies” will be greatly appreciated by ail who have heard the new entertainment. “General Post,” on the other side of the record, is a clever piece of humour. Henry has the art of making people laugh. (H.M.V., 82916). s- - - Elsie Suddaby, an English soprano, who is famed for her Gilbert and Sullivan work, now gives us two tender numbers by Schubert —“The Cradle Song” and “Faith in Spring.” The singer has succeeded where many of the more illustrious voices have failed. Her tone is rich and smooth, and admirably suited to these beautiful songs. Never has there been a greater writer of songs than Schubert, and in Miss Suddaby he has found a sincere exponent. The lyric charm of “Faith in Spring” and the soothing tenderness of the “Cradle Song” are brought out by this artistic singer. Here is a gem. i H.M.V., 82875.)

Felix Salmond, England’s greatest ‘cellist, is heard in “Kol Nidrei” (Bruch), Columbia 04190. This wellknown arrangement by Max Bruch of the old Hebrew aria, “Kol Nidrei,” provides an opportunity for that great master, Felix Salmond, to lavish hi* art on a work of greater length than has been the case with previous records. The broad, sweeping tone, and beautiful phrasing of the player, brings out all the beauty of the ancient tune, and there are numerous littk touches of individuality that revea the temperament of this incomparable artist. From the latest dance records the following have been selected as notable successes in England n D( - America: —“Was It Love” (wait*), vocal refrain by Frank Munn, by th H Troubadours, and “Just a Sweetheart” (fox-trot), vocal refrain by *■ Munn, by Nat Shilkret and his orchestra; “Sleep, Baby Sleep,” vocal refrain by Edwin J. McEnell} orchestra, and “I’ll Get By As Long As I Have You” (fox-trot), by xTV&b Aaronson’s Commanders; “There Are Eyes” (fox-trot) by the Rhythm Band, and “Why is the Bacon so Tough?” (fox-trot), with vocal refra-3-by the New* Mayfair Orchestra; My Blackbirds are Bluebirds Now (f° x trot), by Jean Goldkette and his or chestra, and “How About Me?’ trot), with vocal refrain, by faring 9 I Pennsylvanians. (H.M.V.)