GRAMOPHONE NOTES.

Auckland Star, Volume LIX, Issue 77, 31 March 1928, Page 8 (Supplement)

GRAMOPHONE NOTES.

ARTISTS AND THEIR RECORDS.

(By SOUNDBOX.)

Music's the med'cine of the mind. —Logan. The reappearance of Monty in two more records of his "Meanderings" was a welcome event. Schubert's "Ave Maria" and Schumann's "Traumerei" were beautifully rendered by Claire Dux, one of America's leading sopranos. (10249, lOin.) A delightful playing of Poldini's delightful "Dancing Doll" was given us by Sascha Jacobseu, a violinist of ability, with C'adman's "At Dawning" 011 tho reverse. (0793, lOin.). Notable as far ahead of most music recorded on cinema organs, Reginald Foort's playing of Luigini's "Ballet Egyptien" on two lOin records was a : welcome change. _ I The sextet from "Lucia de Lammer- ! moor," by Maria Gentile, soprano and able support, is, I think, the best recording of this marvellous bit of concerted vocal writing. (04025, 12in.) Among complete works the British National Opera Company's "Pagliacci" in English was a notable effort. Opera is essentially a story acted and sung, and English ears miss much if the sense of the words is not available. A delightful piano record by Una Bourne must not be forgotten. Her playing of Scharwenka's "Polish Dance" (Op. 3, No. 1) and Mozart's "Rondo Alia Turca" was, if I may quote myself, "high artistry at a low price." (82492, lOin.) Capiton Zaporojetz, a Russian bass, a real bass, too, gave us "Song of the Flea" and "Drinking," both in their own way remarkable. Let us hope we shall have more from this splendid singer. (04028, 12in.) The Albert Sammons (violin) and William Murdoch (piano) complete recording of Beethoven's sonata usually known as the "Kreutzer" was a notable major work. Five 12in discs containing some of the finest music ever couiposecf (LIBB4-8.) Edgar Coyle's "Sea Fever" and "Sieppin' Down Along the Road" (0795) was a, welcome addition to the recorded repertoire of this stalwart of the gramophone. It would be interesting to know into how many homes Edgar Coyle's delightful voice has brought pleasure.

Anew recording, and one of tho best available, I think, of Rossini's "William Tell" overture, was given us by Walter B. Rogers and his concert band, who do justice to the diversity of tonal eolour contained in the four sections of 'his popular work. (3429 and 3450, lOin.)

An outstanding example of perfect singing was the pair of negro songs by Harold Williams, Boy" and "Steal Away." These are not quite spirituals, but there is a close affinity, and the artistry of Williams' interpretation showed a wonderful understanding (0823, lOin.). b

"Little Cattle, Little Care," sung by Norman Allen, with the short chorus repeated by a mixed quartet, is one of the gems of recent issues. I like it particularly well. The completing item, ' Tho' Faithless men," is sung as effectively, and both are marked by artistic bass siniring of a very high order (04049, 12in.)

Undoubtedly ; an event not to be overlooked was the issue of a first record from the San Francisco Symphonv Orchestra. One of the finest symphonic bodies in the world, the high merit of its k work was strikingly apparent in the dance of the dolls and waltz from the "Coppelia Ballet" (Delibes) and Kreister's "Caprice Viennois."

No review of the quarter's issues would be complete without reference to Alfred O'Shea, who has continued to give us fine tenor songs of great variety. I find it difficult to decide which of his offerings to mention. Perhaps God*rd's "Berceuse" from "Jocelyn" and Bizet's "Agnus Dei" will meet with general approval. (04013, 12in.)

The descent of "Two Black Crows" on New Zealand may be accounted something of more than passing interest. At a first hearing one was incline! to wonder why the comedy efforts of Moran and Mack in negro dialect had been as successful as report had it. Repetition showed, however, that the work of these humorists does not stale, but can be heard again and again. There are now three records by this lazy drawling darky and hi 3 clever foil, parts 5 and 6 having been released recently. It maintains the high standard.

. My notes this week comprise a selection of the quarter's new issues that occur to me as worthy of special mention. It will l>e understood that only records sent for review are considered, and of those the ones now referred to represent my own preference. It is likely that a dozen readers asked to select the best would all produce different results. That is partly the reason for the persistent charm of music to those fortunate enough to have fallen under its sway —its infinite variety. So if we differ as to what is best, let us each enjoy whatever appeals to us and be each well pleased.

I expect shortly to have the pleasure of hearing the records made at last year's Bayreuth Festival. In the meantime a preparatory note regarding the origin of this festival may be interesting. It seems that genius and poverty are inseparable. Certainly Warner was no exception—far from it. Midway in his career, or rather earlier, Wagner's material difficulties had so disheartened him that inspiration seemed to depart, and, as one commentator has it, "the fight was knocked out of him." Then happened an accident that was to smooth his path of all obstacles to the progress of his remarkable genius. Ludwig IL of Bavaria ascended the throne, and immediately sent post-haste after the composer, who was fleeing from his creditors, to return and continue hi 3 work safe from further embarrassment under royal bounty,! a pension being provided. This action led eventually to the fruition of the Bayreuth project, consisting of the erection of a theatre especially designed for the production of Wagner's operas, at Bayreuth. Here the four operas which comprise the cycle known as The Ring," which would probably never have been composed but for the generosity of a half-witted royal patron were performed in their entirety at the nrst beyreuth Festival of 1876. <