GRAMOPHONE NOTES.

Auckland Star, Volume LXI, Issue LXI, 12 July 1930, Page 8 (Supplement)

GRAMOPHONE NOTES.

ARTISTS AND THEIR RECORDS.

(By SOUNDBOX.) This week's definition :—Concerto, a composition for a solo instrument, with orchestral accompaniment ; hence a double concerto has two solo instruments. The most popular vocal setting of the well-loved "Londonderry Air" is "Danny Boy," which is sung by Trevor Watkins, tenor. He has assured a warm welcome for this, which is, I think,' his first record, by choosing as the companion piece that most delightful of SpanishMexican serenades, Freire's "Ay, Ay, Ay." (Columbia, D.O. 6, 10-inch.) Here's a record by the fine Vienna Philharmonic Orchestra that will surely <nve pleasure to many. On one side fs Mozart's "Turkish March," and on the other Beethoven's "Turkish March," from his overture "Ruins of Athens." Both are tunefully interesting and strongly rhythmic, and very well played. (H.M.V., B. 31S8, 10-inch.)

Tho Gil Dech Ensemble is a light orchestra playing under the lead of the musical director of Columbia's Sydney recording studio, who is in real life Gilbert Dechelette, but prefers to bill himself with the double abbreviation. The ensemble play two tunefully fascinating waltzes by Roberts, "Valse Parisienne" and "Italian Nights." (Columbia, 01923, 10-in.)

There seems to be quite an .interest in English folk dancing these days, if the records we have been getting may be taken as an indication. Both recording companies have sizable lists, and now Columbia add "Hey Boys, Up We Go," "Rufty Tufty," and "Parson's Farewell," all arranged by Cecil Sharp and played by the National Military Band. (Columbia D.O. 10, 10-inch.) While on the subject of folk dances it may be of interest to mention that tho newlyformed W.E.A. Music Club intends to include folk dancing in its activities, a move for which I think the committee is to be commended.

This month.Columbia, in continuance of their policy of doing the thing thoroughly, give us a full recording of Puccini's opera, "La Tosca," in an album of fourteen records. The cast includes Bianca Scacciati as Tosca, Alessandro Granda as Cavaradossi, Molinari as the villainous Scarpia, with Venturing Baccaloni, and Baracchi in minor, but important, parts, while the orchestra is the famous Milan Symphony, under tho baton of Lorenzo Molajoli. It is a wise and far-seeing policy that enables Columbia to offer such mammoth issues as this under the ordinary dark blue label.

Tho Don Cossacks Choir may perhaps never succeed in capturing the public in general again as they did with their "Volga Boatmen" and "Monotonously Rings tbe Little Bell," but the perfect artistry that marked their most popular record is as apparent as ever in their present offering. Those who appreciate male part singing at its best should hear them sing " God, Hear My Prayer" and " First Psalm of David." In the latter there is a wonderful bass opening on which is later imposed a particularly striking tenor voice. Both sides indeed are marked with the striking effects Serge Jaroff, its capable conductor, always produces from the Don Cossacks. (Columbia, D.O.X. 6, 12inch.)

Have you ever considered a gramophone needle as a long 'distance traveller? It is rather a remarkable performer. Imagine the.grooves on an ordinary ten-inch record as* a continuous straight line—l haven't'worked out the length, perhaps a reader, with a fondness for such little problems will oblige. Consider then the length of this straight road along which the needle is to travel and don't forget that our long-distance traveller always carries his "pack" in the form of a soundbox weighing anything up to four ounces. And don't forget that at the end of the long, long trail his feet are somewhat the worse for wear—which again points the moral that needles are cheaper than records. It is well to start a new traveller on the road when you turn the record over.

The famous trio, Thibaud, Cortot and Casals, whom I have already referred to as the three musketeers of the gramophone, appear again in the current His Master's Voice supplement, though in somewhat varied roles. Thibaud (violin) and Casals ('cello) play the "Double Concerto" of Brahms, with the Pablo Casals Orchestra. It is not perhaps generally known that Casals ds as famous as conductor of his orchestra as an instrumentalist, while his friend Cortot/ the pianist, is also a competent wielder of the baton,, and on such occasions as this "doubles" for him. So Ave have the famous three in another happy association, as the work they perform represents the great Brahms with his powers fully developed, and their playing of it is all that could be wished. (D.8.13111314, 12-inch in album.)

Victor Herbert was an American composer with a gift for melody. Hi* "Suite of Serenades" is deservedly popular, and the London Regal -Cinema Orchestra have recorded the first two, No. ly Spanish, and No. 2, Chinese. In each the composer seems to nave succeeded in using the idiom of the country in which the scene is laid.. (Columbia, D.O. 1, 10-inch.) Opportunity occurs this month to hear Malcolm McEachern in a couple of "straight" songs. He is the Jetsam of Flotsam and Jetsam, whose very fine bass voice makes such a valuable contribution to their concerted offerings, and it is certain that hie admireres will be glad to hear him in "My Old Shako" and "The Windmill," particularly as the two eongs, differing widely in'style, provide a well-contrasted coupling. (Columbia. D.O. 3, 10-inch.)

If it interests my reader* to know of m T gramophone nights, here Is another. (You may remember that I had something to say recently about a great night I spent at the house of a gramophone friend.) On the present occasion I was host. The index to my little collection -was passed round. From a grant of delight at the "K." page, I felt sure one of my friends had discovered tho "Kreutaer Sonata," He asked for "the movement that goes like this. It was the last and I played the firs* side. An encore was demanded. Mrs. Soundbox then engineered an amendment to play the whole work, to which I, having an 'appreciative audience for one of my favourite works, very willingly consented. And so it was played right through, to be followed with various single items selected by the visitors, with a final request for Schubert's "Unfinished Symphony" to bring a jolly good evening to an end, although

I say it myself. We hav» promW H selves, another such evening & tie a future, when the programme is tn elude Schubert's "B Flat Trio" Grieg's Piano Concerto. *"*