GRAMOPHONES

Sun (Auckland), Volume IV, Issue 944, 10 April 1930, Page 16

GRAMOPHONES

APRIL RECORDS H.M.V. LIST WIDE VARIETY From the H.M.V. April list it should not be difficult for gramophone enthusiasts, however wide their tastes, to make a happy selection. It covers a wide range and contains high standard works in all classes. In a parcel sent for review Joseph Hislop, Kreisler, Essie Ackland, Peter Dawson and the Berlin State Orchestra, playing the overture to “The Mastersingers,” stand out prominently. When Wagner wrote “The Mastersingers” it was undoubtedly a reply to the critics who contended that he could not write music correctly or a beautiful melody without dependance on dramatic action. The brilliant overture to the opera which has been recorded this month by the Berlin State Orchestra, is constructed from some of the principal themes of the opera and none will deny its grace and beauty. It is very well handled, the stately theme of the Mastersingers and the love theme of Eva and Walther,*in particular, being very satisfying. This is a record well worth having. (D 1314.)

Peter Dawson rarely ever fails to please. This month his contribution includes “The Yeoman of England," from Sir Edward German’s “Merrie England,” and “Drake Goes West” (Sanderson). Both a.re good, rousing numbers well suited to Dawson’s resonant and stirring voice. He is undoubtedly a great recording artist for, in addition to a magnificent voice, he also has very fine diction. Ballad singing is his long suit. (B 3111). Two good instrumental recordings are given by the New Light Symphony Orchestra under Dr. Malcolm Sargent. The numbers are Bach’s “Air en the G String,” and Percy Grainger’s arrangement of “Londonderry Air,” The expressive Bach number, which was featured by the Bohemian Orchestra last season, is played with impressive and appropriate dignity and it is recorded with satisfying fullness. In lighter contrast is Grainger’s version of the popular old Irish airs. Both are well recorded. (B 2913.) John McCormack is heard to better advantage than usual this month, thin probably being due to the fact that he sings two numbers of a standard higher than his usual. They are the "Serenade” and “Ave Maria” of Schubert. They are two very beautiful numbers and McCormack, although still slightly nasal, sings them with artistic expression. He is supported by the Salon Group of male voices which gives satisfying body without obtruding too much upon the soloist’s domain. (D.B. 1297.) The more one hears of Essie Ackland the greater grows one’s appreciation for this fine contralto. Her numbers are “Melisande in the Wood” (Goetz) and “Time’s Garden” (Thomas). The first, a popular number with contraltos, is sung with undoubted artistry and it gives good scope for her full and very rich voice. The even quality of her registers is particularly pleasing. The second number, although well enough sung, is not a very attractive song. (B 3128.) Kreisler’s contribution this month is Drdla's well-known “Souvenir” and “Old Folks at Home.” Both are played with the great tonal beauty for which the violinist is so famous. The Drdla number, although so familiar, is played with surprising freshness. In his hands “Old Folks at Home” also gets a fresh charm. (D.A. 975.) Joseph Hislop demonstrates his versatility by singing two numbers from Wagnerian opera, “Walther’s Prize Song” from “The Mastersingers” and Lohengrin’s song “In a Distant Land.” Hislop sings these two famous numbers with very fine effect. In the Prize Song Walther’s love for Eva is very expressively portrayed, the tenor’s artistry also being in evidence in the Lohengrin number. With the Grail motif as its principal theme the song rises to a highly impressive cli max as the Knight announces 'that his father is Parsifal. Both numbers are ,a, fine test of a singer’s capability and in both Hislop acquits himself well (D.B. 1351.)

Best sellers on Columbia ave 01739, “Am I Blue?" and “Birmingham Bertha,” sung by Ethel Waters. Like the police, Birmingham Bertha “gets her man” in tile end. A most unusual song, and paired "with a hot favourite in "Am I Blue?” by one of America’s leading comediennes. “If I Had a Talking Picture” (01S06), “Am I Blue?” (01741), a fox-trot version of one of the big hits of the day, by Ben Selvin and his orchestra. “You’re Always in My Dreams” (01S1S), and “I’m a Dreamer” (07031), Paul Whiteman and orchestra. “Rio Rita” is so much liked by picture and theatre patrons who enjoyed screen and stage presentations, that the happy thought of issuing a medley with vocal refrains on a Brunswick record (20094) has been rewarded by big sales. The orchestral work is bright and snappy, while the singing is above the average.

Harp records are so rare that lovers of this instrument, which was so popular with the Westminster Glee Singers, will be delighted with the record made by Mildred Billing, who plays the well-known “Arabesque,” by Debussy, and Zabel’s “At the Spring.” The new process of recording has certainly solved the problem of the harp, for it no longer sounds like a piano out of tune. The vibration of the strings has been successfully caught, and in the graceful appeggios and passages of “At the Spring” the instrument is heard to distinct advantage. Miss Dilling plays brilliantly. (H.M.V.j Columbia 018S5—“My Life is Love, and Farewell.” Two of the most attractive songs from “The Maid of the

Mountains,” and sung by Gladys jVloncrieff. This is the musical comedy in which Miss Moncrieff scored her biggest success. Two popular songs by William Heseltine are “Parted,” and “The Irish Emigrant” (Columbia 01746). There is always room among the record collections for a really good version of Tosti’s favourite “Parted,” a typical piece of fin-de-siecle sentiment that always “goes down big.” Heseltine gives ns what we want —a clean, straightforward version of the song, sung, if not with a Caruso’s voice, at least with perfect diction and with a fresh attractive voice. “The Irish Emigrant” is a spirited song of farewel, sung with great boldness and sincerity. The orchestral accompaniments are aptly in the right mood. Clara Serena’s powerful and at the same time emotional voice reveals many fine shades when she sings "Just for Today” and “There is No Death,” which are enhanced by flawless recording. This latter is the ballad that was specially sung to commemorate the Armistice. The beautiful lines will be cherished by all serious-minded people. (Columbia 01776.)) (1) “Overture”—Sir Henry Wood and the new Queen’s Hall Orchestra; (2) “Scherzo”—-Willem Mengelberg and Concertgebouw Orchestra. From “Midsummer Night’s Dream” (Mendelssohn). (Columbia 02780-81.) It was a happy touch of Columbia’s to provide us, on two discs, two different orchestras of such calibre, giving extracts from the same work. In the Overture, Sir Henry gives us, at the start, the busy sprites to the life, with just a trace of the clouds of faerie they trail behind them. The music of pomp is well controlled, and the balance of the various elements in the Overture is excellent. The recording gives an effect of distance and haziness that entirely suits the work. The “Scherzo” is not quite light enough— Mengelberg somehow congeals the insubstantial fabric of the dream, but his working out is otherwise musicianly and cultured.

“Fingal’s Cave” (Mendellsohn), “Spring Song,” and "Bee’s Wedding” (Mendelssohn) are played by Sir Henry Wood, conducting the New Queen’s Hall Orchestra (Columbia 05002-3). Many critics will place the short “Fingal’s Cave” overture as Mendelssohn’s finest work, and indeed it has a grandeur and depth of feeling that are often absent from this composer’s writings. The overture was a result of a visit to the Hebrides, and pictures, in the manner of a tonepoem, the lashing of the ocean around the rock-bound coast. Calm alternates with storm; lovely limpid melody with tumultuous and dynamic thunders by the full orchestra. Sir Henry’s attack is sharp and incisive. He wastes no time on Victorian sentimentality, and the music is all the healthier, and all the more manly, for leaving out this quality, which sugared so much of Mendelssohn’s writing. The overture occupies three sides, and the fourth is given to charminglyplayed versions of two almost inevitable Mendelssohn favourites, “The Bee’s Wedding” and “The Spring Song.”

“X Know of Two Bright Eyes,” and "Meet Me by the Moonlight,” are sung by Hubert Eisdell, Heddle Nash, Dennis Noble, and Norman Allin (Columbia 01745). The very names on this record make a music-love*r’s mouth water! Four ■of Columbia’s finest vocalists, united to give us what is surely one of the finest male voice quartets that the gramophone has given us! Of the two numbers — may there be many more in the near future!-—most people will probably prefer “Meet Me by the Moonlight.” The unaccompanied voices blend to perfection. Allin's rich bass “stopping the gaps” with infinite gusto. Clutsam’s popular “1 Know of Two Bright Eyes” is beautifully accompanied by a string quartet. If you don’t know what a'“Novelty Tap Dance” or a “Novelty Tap Routine” is, just listen to Bill Robinson's footnotes, “Aint Misbehavin’’ to the former, and "Doin’ the New Low Down” to the latter. Picture a smiling faced nigger, smartly dressed, cane, spats and all, who expresses his genial personality through the medium of his blunt-nosed patent leather encased toes, clicking in harmony with the blue notes of a hot jazzy orchestra. (Brunswick 4535.) The little lad who is known to millions of screen patrons as “Sonny Boy,” now having reached the mature age of four, makes his bow as a recording artist, with his own version of the bear story. The way he renders the fairy tale and song is quaint in the extreme.* This is a record that will be welcomed by al! young people. (Brunswick 4491.)