GRAMOPHONES

Sun (Auckland), Volume III, Issue 838, 5 December 1929, Page 16

GRAMOPHONES

FROM H.M.V.

DECEMBER RECORDS Around about this time of the year "Messiah” records are always in fair demand. This year H.M.V. has catered for it with two numbers by Walter Widdop. They are “Comfort ye My People” and “Every Valley Shall be Exalted” (1620). Widdop, who is also a Wagnerian singer of note, has a quality well suited to oratorio and he sings these two almost perfectly. * * » Another record with a very seasonable flavour is by the Westminster Central Hall Choir under the direction of Arthur Meale. It contains “While Shepherds Watched,” “It Came upon the Midnight Clear,” “Hark! the Herald Angels Sing,” “O Come all ye Faithful,” “The Message of Christmas” and “Christians Awake.” The singing is of a high standard and the recording excellent. (C 1559.) • . * • Those fine singers, Walter Glynne and Stuart Robertson, have recorded two popular duets this month in Offenbach’s “Gendarmes’ Duet” and “The Larboard Watch" (Williams). In addition to the excellent combination of the voices these artists sing with delightful freshness. (B 3030.) Sir Harry Lauder has many followers in New Zealand and no doubt his two latest recordings “Portobello Lass” and “Wee Hoose 'Hang the Heather,” will be frequently asked for, particularly as the)' rank among his best numbers. (D 1623.)

Dusolina Giannini is tne star of a new complete recording of Verdi’s "Aida” on 19 records, with two albums (His Master’s Voice). The cast is a famous one, and includes Aureliano Pertile, the eminent Italian tenor, as Radames. Miss Giannini sings her part with intense feeling, and has some fine dramatic moments, as, for instance, in the duet with Amonasro. Her phrasing of “O patria mia” is very artistic. Pertile is a tower of strength, particularly in “Celeste Aida.” in the love duet and in the final, “O terra addio." which is very well done. Irene Minghini-Cattaneo as Amneris possesses a voice of very rich quality and sings with great feeling. Ingilieri (Amonasro) has a fine voice With a good beautiful register. The opera was produced in Milan with the cooperation of members of the La Scala Orchestra and chorus, conducted by Carlo Sabajno. The choral passages are admirably sung, and the orchestral support is excellent throughout. The triumphal march is very impressivelydone.

.No one can near Paul \\ niteman s Band without realising that he must have gathered together a company of the cleverest instrumentalists in America. Chester Hazlett, his saxophonist, is a brilliant proof of this rule. He plays with audacity and a great sense of rhythm. His choice of material is a cut above the average. Macdowell’s “To a Wild Rose” —a delicious favourite —is paired with Hazlett’s own “Valse Inspiration.” Easily one of the best “sax” records on the gramophone. (Columbia 01627.) Full of colour and brilliance is the recording of “Les Preludes” (Liszt) by the London Symphony Orchestra under Albert Coates. The key to the title of the work is to be found in the composer’s own words, “What is our life but a series of preludes to the song of which Death is the first and solemn note? . . . Love is the enchanting dawn of all existence. . . . Destiny is interrupted storm. . . . Beautiful illusions are dispelled. . . . Man does not resign himself. . . . When the trumpet sounds he runs to the post of danger and finds in the combat the true recognition of his own self and the full possession of his own powers.” This theme is followed in this composition, and so vividly has Listz interpreted his thoughts in beautiful music and so real and life-like is the tone of the great orchestra that one sits enthralled through the two records. It is also worthy of mention that, coinciding with the issue of these records, was the following announcement that the H.M.V. Company had guaranteed enough money to make the London Symphony Orchestra permanent institution. and it may be said that these records amply justify such a step. Under Coates the orchestra rises to the greatest heights of this work, and adds to the glory of British execution. (H.M.V., D 1616-17.) ... Alexander Kipnis, probably the greatest German basso of recent years, sings for us Schubert's great song, “The Wanderer.” This even eclipses his previous performances—if such a feat be possible. The attractive “dark” quality of this artist’s voice is admirably suited to this song; and for that matter, also to the aria on the reverse, “Within these Sacred Halls,” from Mozart’s “Magic Flute.” For sheer beauty of tone and ease of production, it will be a long, long time before this record is improved upon. (Columbia 04336.) Of the Kipnis discs two others are devoted to Schubert art-songs. Columbia 04115 gives us those two sombrely beautiful songs, “By the Sea” and “The Lime Tree.” “Der Doppleganger” (“The Phantom Double”) is sung with dramatic intensity on Columbia 04195. On the reverse is that haunting air, “Der Wegweistr” (The Signpost). The two Schubert songs, “Longing tc Wander” and “The Organ Grinder,” sung by Sir George Henschel, are, of course, combined on one of the most marvellously realistic discs of modern

* HI * The latest recordings by Igna-2 Friedman are Berceuse (Chopin) and Minuetto from Suite (-T. Suk —Op. 21). (Columbia 04346.) Chopin’s cradle-song is one of those classical works that everyone loves. The simplest of melodies is carried on dreamily against a glittering fairylike background of sound. Suk’s "Minuetto”, is a delicate little movement'•that is but little known, and is an admirable choice. No one should miss this particular disc. Seldom has Friedman played with more dainty sympathy. • * One of the big hits among the latest dance records is a coupling by Ray Starita and his Ambassadors Band, and the Piccadilly Players—two star organisations whose treatment of the latest dance music is always fresh and original. Ray gives us a snappy version of a negro spiritual, "Wake Up! Chill’un, Wake Up!” On the other side the Piccadilly Players play that tuney triumph “I Lift Up My Finger and Say, ‘Tweet, Tweet.’” (Columbia 01595.) * * * That brilliant young organist, Terrance Casey, who plays the Wurlitzer in the huge Tivoli Theatre, London, provides this month two excellent organ solos in “Devotion” and “Pleading.” The first, one of Ketelby’s shorter pieces, gives him a great chance for sonorous registration, and both of them have excellent melodies that are sure of instant popularity. Casey plays with great tenderness and feeling, and records exceptionally well. (Columbia 01633.)

Herman Finck and his orchestra play “Gaiety Echoes.” This is undoubtedly one of the most unique recordings, bringing back to the older generation as it does pleasant memories of the good old theatre days, when any new tunes were caught up by the audience and sung with goodhumoured gusto. A dozen of the most popular, and certainly most melodious, of these songs has been selected here from four of the successful, show-s of their day, and the choice reflects the greatest credit on Herman Finck and liis exceptionally fine orchestra, who have happily mingled the melodies so cleverly that we feel an instinctive desire to applaud at the end. (Columbia No. 02914). * * * The Garde Republicaine Band of France delights with its playing of excerpts from “The Two Pigeons” ballet, and offers further proof of its undoubted executant skill. The “Two Pigeons” ivas written by the same composer as “Monsieur Beaucaire” and is altogether a very intriguing piece. (Columbia Nos. 02924 and 02925).