GRAMOPHONES

Sun (Auckland), Volume IV, Issue 1068, 4 September 1930, Page 14

GRAMOPHONES

SEPTEMBER RECORDS CARUSO NUMBER Although Caruso is dead the great tenor's voice lives on. With the September releases, the H.M.V. Company has released the final Caruso record, made at his last recording session, during the week of September 16, 1920. Hearing Caruso’s voice again revives pleasant memories of him. He sings from Meyerbeer's “L’Africane” the solo “Deh! ch'lo litorni” ("Lead Me Toward the Vessel”) and on the reverse side. Tosti’s “Good-bye.” Once again we hear the old familiar ting and detect the phrasing that seemed to be Caruso’s alone. Nine years after his death it is indeed an interesting record. (D.B. 1386.) Fernando Autori, the Italian bass now appearing at Covent Garden, who was recently in Australia with the Melba-Williamson Grand Opera Company, has recorded Mephistopheles “Serenade” from “Faust.” Autori has a fine voice and is a splendid actor. His deep rich voice suits this heavy number admirably. The sardonic laughter at the end is excellently done. This is one of the best of the September releases. (C 1842.) Essie Acklaud, whose appealing contralto is winning her many admirers, contributes “Easter Flowers" by Sanderson and “There is No Death” (O'Hara). This contralto’s voice is very even in quality and is devoid of any suggestion of a break in the registers so apparent in many contraltos. (3339.) Strauss’ Waltz from “Die Fledermaus” makes a very tuneful record, particularly when played by the Vienna Philharmonic Orchestra. In light opera Strauss is almost incomparable. This number has all the Viennese lilt and rhythm and it is excellently played. (C 1676.)

The following are some of the outstanding dance records in the H.M.V. September catalogue:—“She is My Slip of a Girl” (fox-trot), and “In an Old-World Garden” (fox-trot), played by the New Mayfair Dance Orchestra (EA723); “The Kerb Step” (fox-trot) (the official song of the “Look Both Ways” Club), and “Punch and Judy Show” (fox-trot), played by Jack Hylton and his orchestra, with xylophone solo by Harry Robbins (EA72I); “Bunkey Doodle-I-Doh” (fox-trot) and “We’re Uncomfortable” (fox-trot), played by Jack Hylton and his orchestra (EA722); “Moanin’ for You” (foxtrot), played by Coon Sanders’ Orchestra, and “Molly" (waltz), played by Ted Fiorito and his orchestra (EA7I7); "Dancing to Save Your Sole” (fox-trot), and ‘‘All I Want is Just One” (fox trot), played by Gus Arnheim and his orchestra (EA743); “Any Time's the Time to Fall in Love” (fox-trot), played by Philip Spitalwy and his orchestra and “Sweepin’ the Clouds Away” (fox-trot), played by Coon Sanders’s Orchestra (EA724); “Tea for Two” (fox-tro-t) and “I Want to be Happy” (fox-trot), played by Waring's Pennsylvanians (B 5803). “Softly Awakes My Heart” (SalntSaens) and “Serenade” (Tosselli), as played by Albert Sandler and his orchestra. (Columbia D 037.) The British talkie—“Comets”—which is shortly to be exhibited in this country, gives that popular and tasteful violinist, Albert Sandler, a chance to display his refined art in a violin solo of Saiut-Saeus, “Softly Awakes My Heart.” On a new record he gives the same number with his orchestra, and pairs with it the well-known "Serenade” by Tosselli. A truly charming record, charmingly played, and one that will be snapped up by those who enjoy the more popular classics.

An American paper recently gave a ] list of the highest paid artists in the world, and at the top of the list was John McCormack, whose minimum fee is £I,OOO a night. The great tenor has been paid as much as £IO,OOO for a concert over the air, and it is little wonder that he cannot be induced to make a tour of this part of the world. However, the talking picture has given him another medium for his art, and he appears as the star of “Song o’ My Heart,” - charmins Irish picture which will be shown throughout New Zealand, and furthermore .the numbers he sings in the Aim have been recorded by the H.M.V. Company. These songs are typical of his art. Their appeal is irresistible, for there is no voice in the world today that treats a ballad with more sympathy. Nothing could be more delightful than McCormack’s interpretation of “A Fairy Story by the Fire” which is grouped with Quilter’s “Now Sleeps the Crimson Petal,” a rare gem indeed (DAllll). "I Feel You Near Me” and “A Pair of Blue Eyes” are supg with iniiuite charm and delicacy (DA1113), and there is beautiful Irish sentiment in "Ireland, Mother Ireland” and “The Rose of Tralee” (DA1110).

Up to the present Bach's vocal music has been almost neglected by the gramophone companies, and thus a record by Elizabeth Schumann giving “For Love My Saviour Suffered” from the “St. Matthew Passion,” and “The End is Come, the Pain is Over” from the composer's “Cantata No. 139” is of special interest. Both are to orchestral accompaniment and the former air has a flute obbligato by John Amadio and the latter an oboe obbligato by Leon Gossens. Elizabeth Schumann’s voice is a beautiful instrument, its tone all freshness and sweetness, and the violin-like timbre of its middle register supplemented by high notes that fall upon the ear with caressing charm. We get from her the most easeful singing imaginable and even in the long phases of "The End is Come, the Pain is Over” none is too long for her gift of nuance or her sensitiveness to the mould and form of the passage concerned. To both numbers she brings a devotional atmosphere that is completed by the lovely instrumental backgrounds. (H.M.V., D 1410.)

“Dawn with Tier Rosy Mantle” and “Shall I Tell Thee the Name of Thy Lover?" are suns' by Heddle Nash, tenor. (Columbia D0X17.) Heddle Nash has been singing in the "Barber of Seville” with the Covent Garden Opera Company, and Columbia have now taken advantage of this to record two of his latest popular favourites. ‘■Shall I Tell Thee” is in the form of a canzonetta and introduces a popular ballad entitled “The Useless Precaution,” It has a harp accompaniment, which creates the right amorous and nocturnal atmosphere. "Dawn With Her Rosy Mantle” Introduces the persevering Count Almaviva serenading the ravishing Rosina. The orchestral accompaniment is particularly tine. Heddle Nash sings with flawless enunciation, and his voice 'is well modulated. New Hawaiian music is presented by Columbia in “Song of the Islands” and “Irui Au la Oe.” (King's Serenade.) (1)032.) These two delightful waltzes are given in the peculiarly appealing Hawaiian style. Both numbers are by King, acknowledged the best composer of this type of music. The first is by Ben Selvin and his orchestra, and the second is something of a novelty, containing a whistling solo by Carson Robison. Anyone who is after something novel and tuney should listen to these. Two good comic numbers, “A Few Drinks” and “Tell the Doc.”, are given by Leslie Henson and Company. (Columbia DOXO.) English readers need no introduction to Leslie Henson. He has dom in a ted the West End comedy stage ever since the war, " and London won’t let him go, so that we outlying parts of the Empire have little chance of seeing him. But now we can hear h i m. Columbia have issued one of the jolliest records of the year, giving a comedy sketch by Henson and Sydney Howard, entitled “A Few Drinks”-—a bibulous affair, which packs a laugh in every line. The reverse sees Leslie singing with a male quartet in one of the comedy numbers from “Funny Face.” Two airs from “Carmen,” "Gipsy Song” and “Card Song,” are sung by Muriel Brunskill, contralto. (Col. D 039.) First-class opera airs in English are always welcome, especially when sung by such an excellent vocalist as Muriel Brunskill. Her Carmen is a living, breathing creature; hear her in the famous “Card Song”; she is brooding in her mountain retreat; the cards have foretold a terrible death, and at first she is frightened, but grows more tranquil. Miss Brunskill, like a born actress, works all the emotions to the full without seeming to overdo it. The ‘.‘Gipsy Song” fascinates with its serious rhythm and tambourin beats, and makes a particularly fine contrast. Muriel Brunskill is in maghificent voice.

Two violin numbers of Albert Sammons that attract attention are Estrellita (Star of Love) (M. Ponce) and Prom ' the Canebrake (Gardner) (Columbia 01909). Sammons, whose true artistic life is lived with Elgar, Beethoven. Brahms and Bach, rarely touches salon music, except as a genial unbending in the moments of encore playing. Yet good salon music calls for the finest performers, if its charm is to be revealed to the full. Sammons, constitutionally incapable of any soft sentimentality, plays Ponce’s song in a mood of the most unrestrained rapture. His other piece, “From the canebrake,’’ is plantation music somewhat refined and undeniably charming.

Two more Ketelbey numbers are “The Clock and the Dresden Figure” and “Wedgwood Blue.” (Columbia DOX 21.) Ketelbey, our prime genius of descriptive music, paints a pair of musical pictures in delicate pastel colours on his latest Columbia disc. They are soothing, agreeable trifles. One can rely on him never to shock or surprise us, but his fertile imagination and really sound musicianship more than atone for his refusal to stampede us into excitement. He conducts the music himself. “The Clock” is a sheer joy of happy frolic.