GRAMOPHONES

Sun (Auckland), Volume IV, Issue 1062, 28 August 1930, Page 16

GRAMOPHONES

Charles Coburn, undisputed king of the music hall in -the dear old days of 30 years ago, and still something more than an interesting relic, “takes the chair” in the goqd old style in this old-time “Sing-song.” Sure enough, his two great triumphs are here—“ The Man Who Broke the Bank at Monte Carlo” aud “Two Lovely Black Eyes” and there are eight or nine other imperishable chorus songs. The company sings w r ith great gusto and conviviality. (Columbia D0X20.) The famous “Flower Song” from “Carmen” (Bizet) has now been recorded by the Spanish tenor, Antonio Cortis, who is supported by the La Scala orchestra under Carlo Sabajno. The voice is as big as any now heard on the gramophone, and in many respects reminds one of Caruso. Even in the strongest notes the rare timbre is never sacrificed.. Tlie aria is sung in a remarkably effective scene in the opera. Carmen taunts Don Jose with placing his duty before his love for her. He draws from his breast the flower she gave him, and, showing it to her in proof of his passion, sings the pathetic air. In the second piece, “Ah, Dispar, Vision,” from “Manon” (Massenet) tile drama of the scene is fully realised. Des Grieux, iu despair of ever seeing Manon’ again, has determined to take holy orders, but her vision is ever before him, aud in this famous aria, which Hislop sang frequently during his New Zealand tour, he Implores the image to leave him. The song is vivid, and the deft touches in the orchestration enhance the record. (H.M.V. DB 1363.)

The Milan Orchestra plays the Mignon Overture (Thomas) Cav. Lorenzo Molajoli. (Columbia 05055.) Really, the Milan Orchestra is too big, musically speaking, to content itself with this rather small music. It does it admirably, no doubt, but one doesn’t use steam hammers to crush nuts. It has all sorts of skill, and produces a tone that calls up sunny skies and strong, bronzed toilers. None the less we must be grateful for tlie inmitable delicacy with which it serves up this neat and flower-like overture.

A number of beautiful melodies liave been grouped together by Leslie James for a splendid Wurlitzer organ recording. Excerpts from such eternal favourites as “Poet and Peasant” overture (Suppe), “Leibestraume” (Liszt), “Moment Mtisicale” (Schubert), “Melody in F” (Rubinstein), “Hungarian Rhapsody” (Liszt), “La Paloma” (Yradier), "Minuet” (Boccherini), “Hungarian Dance” (Brahms), and “Blue Danube Waltz” (Strauss) make up this amazing organ "switch,” and James uses a wide range of tone colours with extremely artistic effect. (H.M.V., 83213.)

Walton O’Donnell conducting the 8.8. C. Wireless Military Band (Columbia D 044), gives us the Black Domino Overture (Auber). Auber’s opera, first produced in 1537, was popular for many a generation after, but now all except the lilting and delicate overture has lapsed into oblivion. Lovers of clean romantic music, gay and sparkling and wittyy will thank the powers that this captivating gem has survived to be recorded in such crisp and masterly style. The mysterious woodwind passages which suggest the masked lady only serve to heighten the romance.

The English lyrical soprano, Mavis Bennett, has made a delightful number of Carew’s tripping little song "Love’s a Merchant.” In spite of the rapid tempo every note is crystal clear and musical, and Miss Bennett sings with a fascinating verve that has made her an artist of distinction. Her other piece “Mifanwy” (D. Forster) is equally attractive. Among the many gramophone artists there is no voice quite like hers, and with the beautiful voice there is also personality. (H.M.V., 83095.) In view of the Delius Festival in England, the H.M.V. Company has Issued very appropriately a group of records, in which the composer’s genius is well represented. His “In a Summer Garden” Is played on three sides of twelve-inch records by the Dondon Symphony Orchestra under Geoffrey Taye, and on the fourth side his "Song Before Sunrise” is played by the New Symphony Orchestra, conducted by John Barbirolli. (DI69G--1697.) There is also his “Sonata No. 1,” for violin and piano, played by May Harrison and Arnold Bax. Delius is primarily a musician of poetry and atmosphere, and the two orchestral numbers are full of elusive beauty and suggestiveness, with constantly changing harmonies that enchant the ear. None of the poetry of the music is lost in the recording. The sonata is played with complete insight by both artists. The first movement is one of long-drawn-out loveliness, and the mood of the more vigorous finale is admirably realised. C 1749-50.)

“It’s a Beautiful Day” and “Lighterman Tom” are sung by Harry Dearth, baritone. (Columbia DOX18.) Is it the same old Harry Dearth, has been the question of his old host of admirers. Fortunately this new disc of his gives a decisive answer. He has lost none of his old power to please and charm us. Mr. Dearth gives to all the vast army of light ballad singers a perfect lesson in artistry, In his handling of sentiment, in sincerity and enthusiasm. “It’s a Beautiful Day” is one of his old favourites for which his admirers have been clamouring for a long time, and “Lighterman Tom” is a spirited contrast.

Vocal gems from “lolanthe” (Gilbert and Sullivan) are sung by the Columbia Light Opera Company. (Columbia D0X16.) Fifty years old, and yet this lovable old comic opera is just as fresh as ever, and this new disc, replacing an old acoustic recording, is likely to be among the best sellers of the month. The pii k of the songs are here; the soloists are excellent; the choruses are even better; and the orchestra lends admirable support throughout.

A famous French soprano, Mile. Feraldy, sings “Blanche Dourga” and “Tu m’as donne le plus doux Reve.” (Columbia 03640.) French records are rare, and somehow it comes as a bit of shock to realise that singing is every bit as good iu France as in the more traditional Italian and German schools. Perhaps the unfamiliartty has been due to the internal politics of the gramophone companies. Now, however, Columbia have opened the whole field of French music to British music-lovers, and we may expect a new delight among records. Mile. Feraldy has qualities we never find iu Italian or British singers. Her method of enunciation, even of voice production, is quite different, giving a tlute-like delicacy. Her voice slides with effortless charm over these two subtly-spaced arias front Delibes’ “Lalune.”

A great gathering of over lour thousand voices, representative of the Associated Glee Clubs of America, jrrovided one of the features of the recent musical season in New York. This huge choir was assembled at Madison Square Gardens, and thrilled an audience of something like half a million people. Two of their numbers were recorded at the actual performance, and the realism of these is astonishing. In spite of the immense volume, the tone is clearly defined. In “Calm as the Night” (unaccompanied) there is a deep beauty that is truly moving. Mendelssohn’s “On Wings of Song” is sung with pianoforte accompaniment. The wonderful melody is given with infinito tono shadings, and the tenors are heard with wonderful effect. Few more striking records have reached this country. Generally with these huge choirs the music is of a much more commonplace nature, but in this case the glee clubs have soared to great heights. (H.M.V., E 845.)

Grieg's Ballade Op. 24' is tlie latest pianoforte solo by Leopold Godowsky. (Columbia LOX 16-17.) Readers of the English "Gramophone” will have been intrigued by the vigorous battle in Us correspondence columns on “the greatest pianist iu the world,” and will have noted the number of ardent supports of Godowsky’s claim to that proud position. We hesitate to give a verdict. But he certainly demonstrates in this lyrical “Ballade” a lofty stature of thought that ranks him as a pianist with few equals. Of the music, Mr. Fuller Maitland says in Grove’s “Dictionary of Music" . . . "It carries the fragrance of Grieg’s native pinewoods into the concert room.” It is a true landscape picture, fragrant with the open beauty of Nature.

It is interesting to note that the great war play “The Journey’s End” has been made into a talking picture, aud it is also gratifying to know that the theme song that accompanies the film is worthy of the great tkefie. Appropriate words are set to strong, virile rhythmic music, and when sung by Peter Dawson it becomes a great number. Dawson’s voice is admirably suited to this type of song, and he always maintains an artist’s balance between music and words. Very appropriately the other side of the disc is occupied by Trotere’s “Deathless Army,” and here again there is wide scope for Dawson’s powers of expression. Every word is clearly enunciated, and the final note of triumph is exalting indeed. The orchestral accompaniments are adequate and clearly recorded. (H.M.V., C 1505.)

Xot only educational bodies, but the thoughtful private collector, should make a point of exploring the wonderful list of international lecture records issued by Columbia. There are now well over a hundred of these discs. They range over an extraordinarily wide field or subjects, and in every case the speaker is a preeminent authority on his topic. Musiclovers will be particularly interested in How to Listen to Music,” by Dr. Percy Buck, of Harrow, aud a series of six great composers by authorities liko Sir Henry Iladow and Dr. Markham Lee. Sir Oliver Lodge gives a fascinating lecture on “Time and Space.” Literature is handsomely covered by such men as John Drinkwater (“The Speaking of Verse”) and Professor Ifor Evans (“Twentieth Century Poetry”). Sir John ForbesRobertson, the famous actor, gives a Shakesperian recital. Among the subjects treated are history, physics, chemistry, economics, Greek and Latin literature. Truly the eager explorer will find many treasures in this wonderful series.

The French soprano, Marise Beaujou sings from “Thais” (Massenet) "Dismoi que je suis belle.” and “L’Amour est uue vertu rare.” ((Columbia LOX 15.) Being French, Mile. Beaujou’s fame has not spread so rapidly as it would if she were Italian. But this record shows that she lias all the requisite vocal qualities for a front rank prima donna. Her chief quality is a singular sweetness of dictum. When you match this with the extraordinary purity of her notes—a purity far greater than the average standard demanded of front-rankers—you realise that here is something exceptional in operatic discs. She gives two lovely airs from Massenet’s most famous opera “Thais” in the title-role. Both “Tell Me I am Beautiful” and "Love is a Rare Virtue” are highly emotional and extremely difficult, but on every count she satisfies us completely.

Two “Elijah” numbers, "Thanks Be to God,” and “Baal, We Cry to Thee,” are given by Sir Henry Coward and the Sheffield Choir. (Columbia DOX 15.) This is a very enjoyable record, with a more telling orchestral part than is customary. As usual -with these Yorkshire choirs, there Is a wee bit of hardness In the women’s Voices when singing loud and high, but this seems a tradition, so we must assume that the North Country likes it that way. In “Thanks Be to God” the pace is maintained furiously; as the waters rush along, they seem to tak the voices with them. The “Baal” outcry is properly fierce and compelling, and unison all the way through is remarkable. Orchestra and organ provide the accompaniment.

Gladys Moncrieff, the popular Australian singer, has thousands of admirers iu this country, and they will be interested to hear that her latest venture is to record four of the best hits from the dear old “Belle of New York.” On 01889 she gives “The Purity Brigade” and “They All Follow Me.” On 0188 S she gives “Tell Me How to Low,” and as a duet with Colin Crane, “When We Are Married.”