GRAMOPHONES

Sun (Auckland), Volume III, Issue 772, 19 September 1929, Page 16

GRAMOPHONES

Theme songs continue to provide the major fare of the song hits of the day. “The Shopworn Angel” is responsible for a charming little ballad, "A Precious Little Thing Called Love,” which Oscar Grogan sings with nice sentiment and pleasing vocalism. On the reverse side is "Caressing You." (Columbia 01516.) “The Children of the Ritz” gives us a melodious ditty called "Some Sweet Day,” which Art Gilham makes the most of in his intimate style. The whispering pianist pairs it with another popular hit in "I Love You, I Love You, I Love You.” (Columbia 01515.) For those who have acquired a taste for Ruth Etting, a vivacious American comedienne, whom we saw and heard on the talkies recently, she gives us her best in "I’m Bringing a Red, Red Rose” and “Love Me or Leave Me.” (Columbia 01499.) Dance Records The following are a few selected dance records from the latest H.M.V. issue:—"l Fell’ Head Over Heels in Love,” fox trot, with vocal refrain, played by Johnny Hamp’s Kentucky Serenaders. and “Sweet Sue, Just You,” fox trot, by Ambrose and his orchestra: “Carolina Moon,” waltz, vocal refrain by Burt Lorin, by the Troubadours, and “When the World Is At Rest,” fox trot, with vocal refrain, by George Olsen and his music: In the Box,” by Zez Confrey and his “Jumping Jock,” fox trot, and “Jack orchesera; "Glad Ray Doll,” fox trot, refrain by Bert Lorin, by Nat Shilkret and his orchestra; “I’ll Never Ask For More,” fox trot, vocal refrain by Bob Borger, by George Olsen and his music: “Where is the Song of Songs For Me.” waltz (theme song of motion picture. “Lady of the Pavements”), vocal refrain by Joe Cassidy, by Johnny Hamp’s Kentucky Serenaders, and "Betty,” fox trot (from motion picture, “Synthetic Sin”), with vocal refrain, by Nat Shilkret and his orchestra. . * • That inimitable pair, Mr. Flotsam and Mr. Jetsam, give of their best in two numbers of their own composing —"We Never Know What to Expect” and “When I Grow Old, Dad.” (Columbia 01530.)

The Vienna Philharmonic Orchestra is one of the great musical combinations of the world. Vienna has always been a centre of culture, and its famous orchestra is imbued with wonderful traditions. It has enthusiasm and a permanent conductor —Herr Franz Schalk. Schalk, who has been in control for many years, has moulded the instrumentalists into an ensemble of great ability with all the polish, style, and combinative excellence which results from close rehearsal under one baton. How true this is can be judged by the first records of the orchestra just issued by His Master’s Voice Company. These hold the Beethoven “Pastoral” Symphony (No. 6), which, by the way, had its initial performance in Vienna the year it was written (1808), and is one of the few works to which Beethoven gave a descriptive title. Herr Schalk gives a bold interpretation of these countryside emotions. The orchestra has a fine unity and tone. These five records are a valuable contribution to the gramophone library of master works. (D 1473-4-5-6-7.) •» • • A month or two ago Columbia made a happy experiment in presenting a complete revue on a 12-inch disc, “How Do You Do?” They called it. Its huge success has emboldened them to repeat the disc. The same company—Billy Leonard, Mark Daly, Raymond Newall, Emmie Joyce, Norman Williams, chorus and orchestra under Stanley Holt —give a series of sparkling songs and dialogue, complete with plot and patter, entitled “The Balcony Girl.” One has only to mention that the book is by Harold Simpson, and the music by who are responsible for half of London’s revue successes, to guarantee a firstclass entertainment. (Columbia 02878.) Norman Long is great fun, and is at his very best in his latest record, on which he gives a burlesque “1929” Overture, which “takes off the mannerisms of different composers.” "The Turkish National Anthem” turns out to be a bit more familiar than the title indicates. On the other side is a modern version of “The Village Blacksmith,” deliciously funny by reason of the various mistakes that Norman makes. (Columbia 01528.)

The latest contribution from Sir Henry Wood and•the New Queen’s Hail Orchestra is the “Prelude in C Sharp Minor” (Rachmaninoff) and “Introduction to Act 3 —Lohengrin” (Wagner). (Columbia L 1003.) Highbrows might cavil at Sir Henry’s “popular” choice, but is there any earthly reason why so orchestral a piano solo as the famous Rachmaninoff Prelude should not be enriched by this body of instrumental tone? Sir Henry’s arrangement is finely lyrical, anc is full of resound ing chords anc dramatic climaxes working to s grand close. The Lohengrin is one of the few Wagnei melodies that the man-in-the - streei can whistle. This fine blare that the N.Q.H. brass is famous for is well in evidence. Two bold bucaneering bits of playing that will appeal to everybody. These are re-issues of an old favourite disc of pre-electric days. Apropos of a recent note on the remarkable powers of Master Yehudi Menuhin, a juvenile violin virtuoso not yet in his teens, it is worth mentioning that he has recorded two sparkling numbers for His Master’s Voice —An “Allegro” from the works of Piocco, and Ries’s “La Capricciosa” (DA1003). Menuhin is of Russian descent, but was brought up in America and made his debut with the New York Philharmonic Orchestra in Beethoven’s “Concerto.” To get the gems of two popular Gilbert and Sullivan operas like “The Pirates of Penzance” and "The Gondoliers” on the six sides of three Brunswick records is heartening news for the uncountable host of lovers of our English national opera. We must make due allowance for unconventional American orchestral innovations, which, to anyone blessed with a sense of humour, will appear as being irresistibly funny. In their zeal to (as they thought) safeguard the traditional renderings, the original English authorities neglected to print any orchestral score whatsoever, with the result that conductors had either to score their orchestral parts from a piano score, or borrow them from someone who had already done this. (Brunswick, 20084-86, 12inch.) 9 9 9 Another big American orchestra, the St. Lbuis Symphony Orchestra, makes its debut this month. Under the leadership of Rudolph Ganz, famous as pianist, composer, and conductor, it has been carried to splendid levels of achievements. Their first piece is a facile reading of Mendelssohn’s “Fingal’s Cave” Overture. This and the “Midsummer Night’3

Dream” overture, which has also been recorded this month, stand out as the best overtures Mendelssohn wrote. In these are incorporated all that was beautiful in romantic music, and the rich, full tones of the St. Louis Orchestra, especially the strings, make this a very pleasing record. (H.M.V. D 1299.) • « • It is a long time since Edgar Coyle recorded, but his old numbers have continued firm favourites. Now he gives us new versions of the most popular. On Columbia 01531 he is accompanied by a male voice quartet in two poignant songs sung with deep sincerity—“ The Vacant Chair” and "The Song that Reached My Heart.” His second disc can be heartily recommended for the innovation of a voice singing to a string quartet. The effect is splendid, and now that Coyle has shown how pleasing the combination can be, the cult should be widely followed. The songs are the old favourites, “A Farmer’s Boy” and “The Jolly Miller.” (Columbia 01532.) Another familiar pair of duettists are the ever-popular Layton and Johnstone, without whom no Columbia Supplement is really complete. With their usual charm, agreeable singing and clever blending of voices and piano, they render “The Song I Love” and “Me and the Man in the Moon.” (Columbia 01522.) Florence Austral’s latest record is one that should appeal to a very wide public. She sings—and sings finely—“Senta’s Ballad” from "The Flying Dutchman,” probably the most melodious and striking number from this early opera of Wagner's, an excerpt that bears separation from its context far better than many. It has for its companion iiuiiiuer me ueiightful “Spinning Chorus” for female voices from the same opera. The blend of voices and orchestra is artistically balanced, and the reproduction up to the best standard. Ana and Deane is the title by which the well-known Mnori duettists, Ana Hato, soprano, and Deane WaretiiHj, baritone, have come to be known since their memorable appearance at the Auckland Town Hall. They have made a fine recording of “Te Arawa” (Arawa! Arm Yourselves) and the love ditty, “Hoki Hoki.” For this and two other new electrical recordings credit is due to the Parlophone Company of Sydney. These records make a unique souvenir of Maori songs and singers, and are much prized by those overseas to whom they are sent. (Parlophone, 2800, 10-inch.)