GRAMOPHONES

Sun (Auckland), Volume IV, Issue 1074, 11 September 1930, Page 14

GRAMOPHONES

SEPTEMBER RECORDS H.M.V. LIST One of the best recordings done by John McCormack for a long time is of a Schubert bracket including “Holy Night,” “The Trout,” “Impromptu,” “To the Lyre,” “Hark! Hark! the Lark.” “Hedge Roses” and “Who is Sylvia.” (H.M.V. 1383.) Lieder singing is McCormack’s forte and it is rather surprising that we do not hear him in this more often. “Who is Sylvia?” is delightfully sting as also is “Hark! Hark! the Lark.” Schubert is always acceptable, especially when sung as McCormack sings him. Dvorak’s “Humoresque” and Kreisler’s “Caprice Viennois” arc tw'o expressive numbers in the H.M.V. September list. They are played by Fritz Kreisler (DB1091). Although the Dvorak number is becoming a trifle hackneyed the great violinist with his exquisite treatment gives it a ne.w lease of life. His own number is also beautifully played. A dainty little novelty is provided by the Palladium Orchestra with “The Grasshoppers’ Dance.” This is very cleverly orchestrated and the treatment extended by the Palladium Orchestra, which makes its recording debut with this number, is good. “La Siesta” (Barcarolle) on the opposite side is also an enjoyable number with a fascinating rhythm. Weiss’s descriptive music to Longfellow’s poem, “The Village Blacksmith,” makes a very appropriate number for Peter Dawson, who records it with his usual expression and fine clarity of tone. The diction, as usual, is almost perfect. On the other side is an old favourite in “Anchored,” in which Dawson exploits the full range of his magnificent voice. (C 1816.)

“Merrie England” contains some of Sir Edward German’s happiest melodies, and these tuneful fragments, sung by Miriam Licette, Clara Senera, Francis Russell, Denis Noble and Robert Carr, can be heard on a record that is bound to be universally popular. The selection includes “Love is Meant to Make Us Glad.” “God Save Elizabeth,” “O Peaceful England,” “Yeoman of England,” “English Rose,” “In England” and “Merrie England.” (Columbia 05026.)

If you cau doubt that everyone has a sneaking fondness for the old-time musical comedies, put some of the latest Gladys Monerieff records on your gramophone, and watch the effect. She sings in capital style a series of numbers from "The Merry Widow" and "The Maid of the Mountains,” and it is good to have a “refresher” of these tuneful shows given us by such an outstanding vocalist. The numbers are “Vilia” and "Love Will Find a Way” (Columbia 017S4): “My Life is Love” arid "Farewell” (Columbia 01885); “A Paradise for Two” (duet with Colin Crane) and “A Bachelor Gay” fsung by Colin Crane) (Columbia 01aS6). "■ The artistic work of Jacques Thibaud, the famous French violinist, is well known in Australia through his many flue records. This month Thibaud plays the fascinating “Hymn to the Sun,” from Rimsky-Korsakoff’s opera, “Le C'oq d'Or,” in Kreisler’s matchless violin transcription (His Master's Voice). In Bach's majestic Air on the G String (which is one of the movements from the Third Suite in D Major, written during the composer’s stay at Cothen at the Court of Prince Leopold), Thibaud plays the lovely melody with great breadth and a superb tone. (H.M.V., DB1017.) * * • Marie Burke, one of Australia’s idols of the stage and concert platform, makes another capital disc this month in "Body and Soul” and “What Have I done?” Those who like real drama and sincere sentiment put across by a soprano of great charm cannot do better than try this disc. (Columbia D 004.) ’ A new record by Wilhelm Backliaus has been released, and will greatly please his numerous admirers. This is the delightful serenade from Mozart’s "Don Giovanni.” The light and graceful character of the music is accentuated by the brilliancy of Backhaus’s own arrangement and the delicacy of his touch. On the reverse side the famous pianist plays Schumann’s beautiful “Widmung” (“Dedication”), arranged by Franz Liszt. 1-Ie played these numbers during his New Zealand tour. As a recording pianist Backhaus is one of the most successful artists. (H.M.V., DA944.) • * * We call Gaspar Cassado a new star, by the side of such fixed constellations who have shone for us these many years past; but really, to fix the metaphor, he has served at the Inner shrine some little time. If we examine his latest offering, a pairing of “Melodie” by Tchaikovsky with a

“Song Without Words” by Mendelssohn, we can discover what brings the raptures of the critics. A smooth, mellow, singing tone; a' subtlety of phrasing that charges the music with heartfelt meaning; a play of light and shade like the modulated voice of a great actor. There is a career of greatness in store for this warm young genius. (Columbia 04288.)

There is a brilliant record by the London Symphony Orchestra of Bach’s organ fantasia and fugue in C minor, as scored by Sir Edward Elgar. The fantasia is reflective music and is soberly scored, but when Elgar comes to the fuguo he gives it all the splendid colours of which the modern orchestra is capable. It is magnificent. The new record (which supersedes one of the same work made by the older methods) is conducted by Albert Coates. (H.M.V., D15G0.) Who does not know the warm and voluptuous music of Gounod's "Faust”? Most of us are accustomed to hear those old diehards, “The Soldiers’ Chorus” and “When All the World Was Young,” and it is a treat to hear Molajoli, who conducts the Milan Symphony Orchestra, give us two other melodious excerpts. The first is the “Valse,” a dainty, rippling tune in Act 2. On the other side is the “Prelude,” a spiritual and contemplative introduction to the opera, which introduces the melodious song, “Even Bravest Hearts May Swell.” Cav. Molajoli conducts with finesse and vigour, lending the music that homely common-sense touch which is one of the special attractions of Gounod. (Columbia 05009.) » • * Dora Labbetle and Hubert Eisdell are becoming just as popular in combination as they have made themselves individually. In partnership they

show a wonderful flair for blending and a rare joint understanding. The songs they have chosen are fetching ballads with a straight-forward sentimental appeal. On one side is “Love’s Old Sweet Song,” and on the reverse, “Moon Enchanted.” A moving accompaniment is played by the ever-popular J. H. Squire Celeste Octet. (Columbia 03027.)

Whittaker’s Almanac for 1930 gives news of a particularly interesting experiment conducted by Columbia by Professor Adrian and Professor Barcroft, distinguished Cambridge University scientists. It is a gramophone record of the human muscle at work, contracting and expanding in obedience to messages flashed from the brain at the rate of 50 a second. (Every muscle is a sort of electric battery, sending out minute electric currents as it does its work.) Professor Adrian stuck a long needle through his arm, and connected this by a thin wire to the amplifier. From the connected loud speaker came a series of metallic raps, which, as his arm moved, grew to a series of crackling raps like Morse code.