GRAMOPHOMES

Sun (Auckland), Volume III, Issue 926, 20 March 1930, Page 14

GRAMOPHOMES

“Rolling Down to Rio” (KiplingGerman) and “Border Ballad (Scott-Cov.-ne), are sung by Fraser Gange, baritone. Columbia 01718. This is a magnificent example of ballad-singing, by a baritone whose recent visits to

this country have already converted us into his warm admirers. The songs rank almost as national folkmusic, so familiar are they now in English-speaking countries, and it is interesting to note that Gange’s recent tour of Scandinavia met with unqualified success, on the score of his ballads being so representative of British music. Fraser Gange sings these two in manly martial style. They make good hearing.

From the latest revue and talking picture “hits,” the following H.M.V. dance numbers are recommended in view of the approaching winter when bright and tuneful music will be in demand: “Softly as a Morning Sunrise” (fox-trot) played by Nat Shilkret and his orchestra and “One Kiss” (waltz), played by the Troubadours (E.A.632) ; “Too Wonderful for Words,” (fox-trot), and “Steppin’ Along” (fox-trot), played by the AllStar Orchestra (E.A. 621); “Let Me Have My Dreams” (waltz), and “Am I Blue?” (fox-trot), played by Nat Shilkret and his orchestra (E.A. 627) ; “Gay Love” (fox-trot), played by Leo Reisman and his orchestra), and “My Song of the Nile” (waltz), played bv the Troubadours (E.A. 625).

Master John Bonner has chosen two delightful songs, well suited to his fluent soprano voice. The Purcell song, “Nymphs and Shepherds,” is a typically pastoral composition of the seventeenth century, while “Should He Upbraid?” on the reverse side, has the same simplicity of construction. In both cases the piano accompaniment forms a perfect background. (Columbia 02988).

The exquisite overture from Weber's fairy opera “Oberon,” played by the Berlin State Opera Orchestra under Dr. Leo Blech, is one of the gems of the month. The keynote of this work is the fairy king’s horn call, followed always by a fluttering passage fur wood-wind. Weber was one of the first to discover the magic of the horn and, simple as this phrase is—merely three successive notes —it has a poetic force that at once conjures up a vision of a supei-natural realm. If the horn represents Oberon, then the tender melody that follows, and is first heard as a clarinet solo, surely typifies Titania, the fairy queen. In contrast to this, a brilliant melody with a strongly marked march-like rhythm is also heard, and the overture concludes with a vigorous coda. The overture is played with deftness and balance and the crispness and delicacy of Weber convey unalloyed pleasure. (H.M.V.., D 1.316.)

Two classic dances, “Dance of the Dwarfs” (Greig) and “Polish Dance” (Scharwenka) are played by Walton O’Donnell conducting the 8.8. C. Military Bajid. Columbia 05004. Scharwenka’s first Polish Dance —a piece that has delighted the pianist since the IS9O’s —and the “Dance of the Dwarfs,” from Grieg’s “Lyric Suite,” are two popular numbers in the repertory of the 8.8. C. Military Band. One might argue that the Scharwenka sounds more Hungarian than Polish, but, anyway, they make it a fine, impetuous, colourful recording, with some bonny work among the clarinets. O’Donnell shows sound musicianship in his handling of the “Dwarfs” rhythm.

A superb record is mode of the duet in the second act of Puccini’s “Manon Lescaut,” between Manon and Des Grieux, where the latter finds Manon, is reconciled, and sings with her an impassioned love duet into which Puccini lias put considerable beauty as well as passionate ardour. Margaret Sheridan and Aureliano Fertile sing this music splendidly; they sing it expressively and agreeably, and do not enter into the sort of competition one hears sometimes. The orchestra of La Scala, Milan, is capitally recorded. (H.M.V., D 81251.)

“The New Moon” —from its huge success in London and New York, will probably find its way to New Zealand very soon —is a musical romance of the time of the French Revolution. It is more than ordinarily attractive in a musical way, and has already beaten the records set up by “The Vagabond King” and “The Desert Song.” There is a fine series of records by the original Drury Lane artists, put out by Columbia.

Evelyn Laye. the most bewitching leading lady of today, sings the two love songs with utmost grace and sweetness on Columbia 05002, with the support of the Drury Lane chorus. The titles are “One Kiss’” and “Lover, Come Back to Me.”

The humorist of the piece, the infectious Gene Gerrard, sings two of the comic numbers, “Gorgeous Alexander” and the “Wedding Chorus.” (Columbia 01757.)

We hear the charmingly pure voice of Evelyn Laye again, with Howett Worster as the young aristocratic lover, in two tuneful numbers, “Wanting You” and “The Girl on the Prow,” on Columbia 05020. Howett Worster, with Ben Williams and a male chorus, sings two rousing numbers, “Marianne” and “Stout-hearted Men,” on one side, and a beautifully melodious number, “Softly as in a Morning Sunrise,” sung with a wealth of harmony and effect, on the reverse. (Columbia 05021.)

In recalling the most important musical comedy successes since the war, one cannot overlook one of the most melodious works ever presented in New Zealand, and a revival of which should meet with success — Cuvillier’s ‘Lilac Domino." Evidently London still favours this work, for recently two selections figured on His Master’s Voice records. Winnie Melville and Derek Oldham sing remarkably well the duet, “What is Done Can be Undone,” one of the big moments of the evening. Oldham in this duet and also in Chopin's Nocturne (in E fiat, op. 9), sings, artistically, and shows a fine vocal style. In the “Nocturne” he Is also supported by Miss Melville, who sings her part very sweetly. (C 1,690). The other record, by the Light Opera Company, features vocal gems from the “Lilac Domino,” embracing such popular excerpts as “For Your Love I Am Waiting,” “Let the Music Play,” “Lilac Domino,” and others, all of which are very well recorded. On the reverse side the Light Opera Company sings vocal gems from Oscar Strauss’s “Chocolate Soldier.” (C 1.705).

Songs of the Hebrides. “The Mull Fisher’s Love Song.” “Islay Reaper’s Song,” “A Fairy Plaint,” and “Pulling the Sea-Dulse,” are sung by Patui'fa Kennedy-Fraser, mezzo-soprano. Columbia 02986. These old traditional songs of the race apart that inhabits the Hebrides Islands off the West Coast of Scotland, might have been lost for ever but for the efforts of the Kennedy-Fraser family. Every year now, the Kennedy-Frasers give a London recital to a music-loving audience. Nothing is heard save tlia medolious and plaintive music of the Hebrides, of which these songs are the most typical. Patuffa, youngest of the family, sings them not only with an exquisitely pure soprano, but gives them the ethereal beauty proper to the music of a race of mystics. A Celtic glamour pervades the songs, like a twilight, and this almost “haunted” atmosphere she has captured to perfection. There is all delicacy and charm o£ Mozart in “A Little Night of Music,” which is played by John Barbirolli’s chamber orchestra. Barbirolli is one of the 3’oungest conductors who has ever been engaged at Covent Garden, but young as he is he is already an authority on Mozart. The playing is well balanced, clean, and rhythmic, and conti-olled by one who is alive to all the beauties in this lovely score. (H.M.V., C 165556.) Two catchy tunes with excellent vocal parts are, “If I had a Talking Picture of You,” and “Pickin’ Petals Off the Daisies,” heard on Columbia--01806. Good comedy numbers will be found in “My Wife is on a Diet” and “Riding on a Camel.” Columbia 01841. A popular foxtrot is “SunnySide Up,” which is paired with atuney ivaltz called “To be Forgotten,” on Columbia D 1794. Another good pairing of foxtrots that rank 100 per cent, for rhythm and tunefulness are “Button Up Your Overcoat” and “My Lucky Star.” Columbia 01833. The fifth complete Gilbert and Sullivan opera has been electrically re-re-corded on eleven double-sided discs, “The Mikado,” “The Gondoliers,” “The Trial by Jury,” and “The Yeoman of the Guard” are now followed by “The Pirates of Penzance” recorded under the personal supervision of Rupert D’Oyley Carte, and conducted by Dr. Malcolm Sargent. The cast has been carefully chosen, and compiises several favourite artists, who have made their names in the Savoy operas at Home, and are also well known to the gramophone public. It is amazing the way these records convey all the charm and vitality of this melodious and delightful opera. The wicked gusto of Peter Dawson in “It is, it is a Glorious Thing—to be a Pirate King” is very realistic. The hes.utiful soprano voice of Elsie Griffen makes “Poor Wandering One” a song of exquisite freshness. Nothing could be more appealing than Derek Oldham’s “Oh! Is There Not One Maiden Breast?” His tenor voice is singularly suited to G. and S. operas. Another who is thoroughly at home in this work is George Baker, whose “I am the very Model of a Modern Major-General” has a chuckle in every bar. Leo Sheffield as the Sergeant leads a splendid male chorus in “When a Felon’s not Engaged” and “When the Foeman Bears His Steel,” and the balance of men’s and women’s voices in the full choruses is excellent. Praise is also due to the orchestra. The tone is always crystal clear. H.M.V., D 1678SS.)

“Romanza Andaluza” (Sarasate) and “Mazurka” (Zarzycki) are violin solos by Bronislow Huberman (Columbia 04358). This is the first of Huberman’s Columbia records, and the debut is brilliantly successful. Huberman is without question one of the greatest living fiddlers. Warmth and humanity gleam in every note, and while he dazzles us with his fiery chromatic runs and amazing double stopping, his style is perpetually singing. There are no fireworks for fireworks’ sake. The Sarasate “Romanza” leaves one breathless. It glows with colour, personality, and vitality; there is an alluring Spanish voluptuousness curvetting throughout the sensuous rhythm. The mazurka has a Bohemian tinge, reminiscent of the wilder Liszt rhapsodies. Huberman’s clean vigorous tone records with astonishing fidelity. Giovanni Martinelli has reached a high artistic place in the operatic world, particularly at the Metropolitan Opera, where he has taken

Caruso’s place in the big dramatic roles. His last record of two arias from Giordano’s “Andrea Chenier” is a singularly successful one, being entirely free from the nasal quality which marred several of the tenor’s preelectrical record-

ings; his voice being clear, resonant, and the high notes of ringing quality. The passionate Improvisso “Un di all azzuro” is sung dramatically, and with force, while in the romantic “ Come un bel di,” sung in the last act of the opera by Chenier, who is awaiting his execution on the altar or revolutionary liberty, Martinelli uses his voice very artistically, and his expressive singing is supported by a superbly recorded orchestral accompaniment. (H.M.V., D 81143.)