MUSIC AND RECORDS.

Dominion, Volume 19, Issue 155, 27 March 1926, Page 20

MUSIC AND RECORDS.

By

C.J.M.

The Don Cossack Choir. An important contract, which will add materially to the interest in the coming musical season, is that entered into by the Don Cossack Choir for a three mouths’ tour of /Australia, under engagement to Mr. E. J. Carroll, as announced in a recent cable message. These 38 Russian artists , have been singing recently in many cities in Europe, with remarkable success, and of a concert given in Leipzig, the critic of the “Neuste Nachrichten” wrote: — “The choir exhibits such a mastery of sound that its beauty and subtlety of tone bear comparison with the results attained by the best orchestras.” .It was this subtlety in vocal meaning which again impressed the London critics when the choir, conducted by Serge Jaroff, appeared for the first time in that city in May last, at Aeolian Hall. The volume of sound was likened to that of a rich organ, by the “Times” reviewer, who then . described the fortissimos and soft whispers as wonderfully telling, as the singers ran the gamut'from A below the bass to D on the fourth line of the treble clef, while the pitch never departed from accuracy by’ a hair’s breadth. The “Volga” Song,” by the w’ay, is among the features of the work of tliis -choir. So great was the demand for seats in London that two extra concerts were arranged. The conductor, who is only 27 years of age, has had a distinguished career as a student at the famous Church Music Academy of the Holy Synod of Moscow. The members of the choir all took their part in the great war, and fought under Deniken and Wrangel; but when the Russian offensive broke down, they went to Sofia, and there the choir was formed. Their .first big concert success was gained in Zagreb, in Serbia, and when Vienna confirmed this verdict, the future of the organisation was established. Feeding Music to the Young.

The gramophone is the saviour of modern music. Now, one can afford to hear the music of his choice repeatedly. The boy in the middle of America can satisfy .that longing t know about the music of which he has read and expects so much. He senses its kindred appeal to something m him which is urging for expression. Then he makes his first efforts at composition, which are imitative, because he is overwhelmed by some . mustc of his acquaintance. I am making this ana y sis, not merely from psychological principles, but from experience. The school of his imitative efforts is of relatively long duration. As ins. mind develops along ever expanding lines, in hearing new music and new ideas, he is making himself original by developing the power to reason for himself. He can start with Debussy’s second Arabesque,” “Submerged Cathedral, listen to Casella’s “Puppazetti” on the reproducing piano, also the Rhapsody in Pine,” both on piano and gramophone. As his apperception Don Tuna,” “Ariane - et Barbe-Bieue, '•L’apres-midi d'un Fann*:,’’ “Firebird "Fetrouchka,” “Verklarte. Nacht ” and many others bring him into a state where he begins to know himself and his capacities and limitations. From that point of development he strikes C Wh°o r can "imagine the number of reniuses who have not been added to the known list, merely because the? were Sed ami had no chance to be Stirred bv the efforts of others ? Debussy is the first to claim him. Stravinsky follows, then Schonberg, dependent on type of ’H ln \V£ el a t 1U f nt el--stimulus. Others claim him at inter vals De Falla fascinates him in ran ’ tasfe Baetica,” Ravel in “Ondine” and

"The Fountain,” Musorgski in songs and orchestra music, d’lndy in “Depart Matinal,” Lili Boulanger in “Nocturne” and “Cortege,” Delius in “Brigg Fair,” Gershwin’s jazz, Palmgreti in “La Mer,” Albeniz in “Malaguena,” Scriabin in “Pathetic Study,” records of music of the Oriental countries, Scriabin’s “Poeme de I’Extase,” all build strongly within him. The gramophone can do the highest service of any to the young composer. There are no schools in the world which can as effectively develop the mind musically as the gramophone service. The gramophone offers an inducement to composers in another fashion entirely. It is evident that this tvpe of reproducing instrument has its peculiar qualities of tone. Why should composers not write music with this thing in mind, that it should be gramophonic in character? We can see that eventually all music of account shall be recorded, so instrumental and arranged music must be of 'the highest order. Composers can study each other’s methods and idioms more easily by having records of. their music. Debussy’s string quartet, in part, is a very good recording example. It sounds as though it was written for the gramophone’s special tone qualities. More of this kind of music should be recorded. It is noticeable that modern muric records better than the older, as a rule. That fact alone explains why records of modern music can be sold in abundance. Composers should be consulted about interpretations, though it is not necessary to abide by their own interpretation, as there have been known cases of improvement over the author’s idea. It is good for the writer to hear his own works. He can not plav them to himself and grasp the situation.- —Ernest Brooks, in ihe Gramophone.”

Ugly Music. In “Music and Records” of last week (writes “J.M.”) there was an interesting paragraph on. “Ugly Music.” It was only an echo of what one has found in other magazines of late years —that music is deteriorating. None of our modern composers seems to be able to give us the satisfying music of the old masters. Now, what can be the cause? Is it the “rush” of the present age with its motor vehicles and machinery, crushing out the voices of nature? Take even the motor horn, which is dinned into our ears from daylight until dark. Has anyone eve? heard a musical motor horn ?. Those in general use seem to shriek, grunt, groan, howl, yell, sob, roar, and even wail like a soul in anguish. The writer of this happens to live near cross-roads, and sometimes the din of the motors can onlv be likened to pandemonium. Even the birds are silenced. A few years ago it was a joy to listen to them in the early . summer morning, singing and answering each in their bird fashion. Now, although birds are there, one hardly ever hears a chirpeven on a Sunday when motor vehicles are fewer.

Schumann’s “Old Bogie* * (Knecht Ruprecht) could only convey a faint idea of the ghastliness of the motor horn, and one hardly likes to think of the terrible wrath to which Beethoven might have given expression if he had lived in this age. There could be more music from a herd of cattle than from a concourse of motor vehicles. Kingsley must have listened to pleasant sounds when he wrote “The Sands of Dee.” And if the poet who wrote “The lowing herd winds slowly o’er the lea” had lived in the present day he might have seen his “lowing herd” rushing for dear life, and giving vent to cries which rivalled the motor horn behind. Trumpets and bugles are generally melodious, and the hunting horn must have given forth cheerful sounds for generations—since songs have been written about it. “The Merry Mountain Horn” and many others. Even John Peel’s horn has been thought worthy of a place in song. In countries where sleighs are driven the bells they use are so musical that Edgar. Allen Poe has described them in his poem, “The Bells.” There is piano music entitled “Sleigh Bells.” Could anyone imagine what music entitled “Motor Horns” would be like ? Yet school children imitate them every day, and what the outcome of this will be remains to be seen—or, rather, heard.

It would make this letter too long to write about the effect , which machinery has on musical sensibilities. Suffice it Jo say that music cannot be manufactured. Rimbault. when explaining natural harmony in his little book, says, “Thus it will be seen that harmony (in music) is not of man’s invention, but of Him Who made all things.” It may take all the time until the world’s supply of oil ceases, and perhaps another ice-age occurs, before music can regain its natural footing, unless musical legislators come into power who understand how to deal with the situation. RECORDED MUSIC H.M.V. Wagner’s great festival opera “Parsifal,” as recorded in brilliant fashion for H.M.V. by Albert Coates and the Symphony Orchestra, with associate soloists and chorus, is now available for New Zealand gramophonists. It is. of course, too much to expect that the work should be complete; but H.M.V , in this, the most complete version yet produced, have given a very good sample. The Prelude, which "occupies, the first three sides, is recorded in its. entirety. Side 4.— Gurnemanz reproaches Parsifal for slaying the Swan. This commences with the uproar, of the esquires at “ein Schwan.” It is a great pity that the whole of Act I prior to this point is cut out; the only compensation we get is that for the complete omission of the -story of Kundry, as this occurs in essence on the Red Label record to be referred to in a moment. Gurnemanz, in the person of Robert Radford, sings with great power, pure tone, and a wealth of dramatic expression, but he is at; times rather inclined to hurry and slur the words. Walter Widdop, as Parsifal, has exactly the right calibre of delicate tenor for the part. Side s.—Here, with Gurnemanz leading Parsifal to Montsalvat, we take a big jump. The only fault I have to find with this is that Radford appears to be having his work cut out to make himself heard above the .orchestra in some passages, while in others he gives

a rather careless reading in the way of false notes.

Side 0. The Knights of the Grail assemble. I could not wish to hear a finer record of this scene. The record, moreover, continues directly according to the score, from the point where the previous side ends, except for-four or five bars. The rendering of the boys voices from the dome is the most delicate and clear piece of choral recording I have ever heard.

Side 7.—Amfortas’ Lament. It is a pity the voice of Titurel is cut out here, but it does not really interrupt the storv. Percy Heming, baritone, as Amfortas, shows real dramatic power, and on this record again the ethereal choir in the dome is wonderfully done. Sides 8,9, and 10.—The Grail Scene. This is recorded almost complete, save for the omission of the Knights’ chorus at the commencement.

Sides 11 and 12.—Klingsor’s Magic Castle. Here the curtain rises on act 11, immediately after the Grail Scene, so that the sequence of records is uninterrupted here. From this point onwards, however, the course of the opera itself is entirely abandoned, and we are left with oddments instead of sequences for the four remaining sides.

Sides 13 and 14.—The “Herzeleide” and Story of the Curse t Seit Ewigkelten) by Kundry. This is an old recording, red label, with Gota Ljunberg as the vocalist. The scene is the temptation of Parsifal. The singer’s German is very clear and pure. It is rather a pity, though, since' all the other vocal numbers in this series are in English, that this one odd red label should have been dropped in to patch up the sequences of the opera.

One’s opinion of the wonderful Good Friday music, which occupies the two remaining sides, may be summed up by saying that it is nobly played and nobly' recordad. Altogether, it may safely be said that this opera is the best piece of work Albert Coates and the Symphony Orchestra have yet done; their conception of its grandeur is quite adequate, as it ought to be, for they are at full Wagnerian strength.

The new arrivals introduce' a new contralto to music lovers in Jeanne Gordon, who makes her debut in two Bizet numbers from “Carmen”—the well-known “Card Song” and the “Seguidilla.” Both are sung in French. The "Seguidilla” is an old Spanish dance that goes back, according to “Grove,” at least as far as the time of Cervantes (the author of “Don Quixote”) ; possibly it was introduced into the country by the Moors. Be that as it may, it has established itself all over Spain as one of the most popular of the national dances. This particular example must not, however, be regarded as typical; Bizet for the purposes of his opera wisely declined to be bound by the strict rules of the “Seguidilla,” using the title merely as a guide to the general rhythm and feeling of the air. The two extracts are sung with an infectious verve by Jeanne Gordon, and their effect is notably enhanced by the piquant orchestration.

Florence Austral, who has a deserved reputation in the field of oratorio singing, is fine in the Mendelssohn number, “Hear s’e,_ Israel,” from “Elijah,” and the Handelian “From Mighty Kings he took the Spoil” (“Judas Maccabeus”). These two songs serve to illustrate once more the' undeniable truth that in oratorio music, at any rate, England is as rich as any country in the world. “Judas Maccabeus”, was written to English words. and for English audiences. Handel lived most of his life in that country The case of Mendelssohn is even more remarkable ; his home was in Germany and his language German; yet it was for the English city of Birmingham that he wrote “Elijah,” his greatest work, himself supervising the translation of the original German libretto into our tongue for the occasion of the first production in 1846. A higher tribute to British choirs and British oratorio tradition one could hardly desire.

Fritz Kreislcr is very welcome amongst the new arrivals with a “Cliansonette” (George Bass), and “Entr’acte” (Kramer). It takes a Kreisler to secure the full value from such dainty trifles as are contained on this record. Kreisler lias a special gift for extracting the last ounce of beauty from the music he interprets and no piece is too short or too simple to be worthy of his attention, provided he finds in it the requisite qualities of fancy or imagination, v

The Royal Albert Hall Orchestra’s new recording of Mendelssohn’s “Midsummer Night’s Dream” music is a brilliant piece of work. It is curious that Mendelssohn’s music to the Shakespearean comedy is not better known than it is. The overture indeed, that wonderful achievement of youthful genius, is familiar enough; but the rest of the music, which was written much later (in 1843, when Mendelssohn was at the height of his powers) is "terra incognita” to most people. Yet it contains some of the composer’s most inspired pages and shows admirably those gifts of melody, orchestration, and picturesqueness which are admitted to be his finest qualities.

The new arrivals from H.M.V. this month include, in addition to a splendid recording of Wagner’s Festival Opera, “ Parsifal,” a number of excellent discs. The favourite, “O, Sole Mio,” is sung by Tito Schipa, the companion number being two traditional airs, “La Farfalleta” and “ La Girometta.” “O, Sole Mio,” is a song that has attracted many of the world’s greatest singers, including the immortal Caruso himself. Schipa not only is the possessor of a voice and a technique that secure him a place apart even in a generation so rich in. fine tenors as our own, but he has interpretative powers that may without exaggeration be described as unique. This is especially true in the matter. of rhythm, that first essential of musical ait. It is the making of the two little songs on the other side of the disc. “ La Farfalletta ” means “ The Butterfly the strange hesitations, the sudden darts, the characteristic movements of the most graceful of insects, all are suggested bv Sehina’s subtle rhythm, and tiie result is not only a marvel, of artistry but a revelation of sparkling loveliness.

Aiken’s setting of the fine old Shakespearian song, “ Sigh No More, Ladies,” and Howard Fisher’s “Spanish Gold,” are George Baker’s contribution to this month’s baritone section. " Spanish Gold ” is a stirring ballad that is sure to become a universal fav-

ourite. George Baker obtains the effect in the best way possible, by a strong emphasis on the rhythm. In “ Sigh No More, Ladies,” lie adopts different means and gives us such an inspired piece of pure singing that lie easilv persuades us that this music of Aiken’s to the famous poem is fully equal to that of the better known setting.

Stanley Holloway and Melville Gideon are the “co-optimists” in two excellent discs from H.M.V. his month. It would require very confirmed pessimism to enable anyone to resist the charm of the “Co-optinusts. these records will fascinate, for in them is caught something of that air of which was a major factor m the Looptimists” popularity. The songs as here presented by two of the company are representative. Melville Gideon appears as a singer, an accompanist, and as a composer, and as he does all three on one record you will find it full measure! ' No one cap sing the sort of songs Gideon sings in quite the same whimsical manner, any more than Stanley Holloway can be approached in his'own particular style. These two records are brightly sung and are re a ‘* lv tuneful; fitting companions of that wonderful record of Melville Gideon s “You Forgot to Remember’ (B. 2119 issued previously.

The Gresham Singers should be welcome in their newly-arrived records of “Lassie o’ Mine” (E. J- Walt) and “Piccaninny Lullaby” (Macy). There is nothing abstruse, about these . two part songs, whose titles give a fair indication of their contents.. The uncompromising “high-brow” will. pass them bv, but "the uncompromising “highbrow” is a very rare bird and those less haughty (but not necessarily less less musical) will extract much pleasure from these simple settings of simple words and from the masterly singing. The way in which the. melody of the “Piccaninny Lullaby” is thrown from one voice to another may perhaps .be singled out as a particularly engaging feature of the rendering.

De Groot and the Piccadilly Orchestra in Coleridge-Taylor’s “Petite Suite de Concert” (No. 1), “La Caprice de Nannette” (No. 2), and “Demande et Reponse,” are very enjoyable. This very characteristic “Suite” is one of the many charming examples of light music from the pen of the composer of “Hiawatha.” De Groot’s record of it adds another to the list of his happy inspirations and the addition of the clarinet to his usual orchestral forces, leads in particular to some delightful effects, notably the solo near the beginning of the second side.

Of “Martial Moments,” by the band of the Coldstream Guards (just arrived), it is said: “One of the most remarkable facts that emerged as a result of the recent array manoeuvres was the magnificent marching powers of the troops engaged. Listening to this splendid record we can easily understand it; when a fine band plays with such tremendous. rhvthm as this it is hardly possible to keep still.”

Negro spirituals appear in 'the latest budget of new H.M.V. records, the singers are Paul Robeson and Lawrence Brown, and the numbers “Bye and Bye” and “Were You There?” Robeson is one of the foremost negro actors of the day, and his fine bass voice, of exceptionally rich timbre, is heard to wonderful advantage in these two negro spirituals. The negro spiritual is really based on the African negro folk songs, sophisticated by the American negro, and used in the white heat of his religious fervour as a vehicle to express his emotions. There is rhvthm and melody in these two spirituals that Robeson has recorded which you will find particularly attractive.

Jim Miller and Charlie Farrell present (with mandola and guitar accompaniment), “Hay, Hay, Farmer Gray” and “By the Light of the Stars.” “Hay, Hav, Farmer Gray” is very reminiscent of a little nursery rhyme we used to sing, but it is none the less attractive and has a decidedly catchj’ tune. On the other side is a more dreamy song with a particularly haunting melody—a melody which is the more haunting because of its accompaniment of mandola and guitar.

In the dance section of the new H.M.V. list are the riot “I Miss My Swiss,” by Paul Whiteman’s Orchestra, with a vocal rendering on the reverse side of “The Happiness Boys”; the Savoy Orpheans’s “Panama” (foxtrot) and “Hong-Kong Dream Girl”; and Johnny Hamp’s Kentucky Serenaders in “The Promenade Walk” and “Cecilia” (fox-trot). Columbia. That accomplished band of musicians, the J. H. Squire celeste octet, has been exceptionally well recorded by . Columbia in the “Poem” by Zdenke Fibich. This delightful little piece in slow \valtz time was one of the gems played by the Serbian violinist, Yovanovitch Bratza, when he toured New Zealand, and is among his records. Later, it has proved one of the most appreciated of the smaller items in the repertory of the Argyll and Sutherland Highlanders regimental band at the Dunedin exhibition. The other side of the disc is occupied by “Love’s Old Sweet Song,” still a favourite after 40 years of hard wear. E- idcntly some new method in the making of records is being worked out by Columbia if the clearness and sonorousness of this record is anything to go by. Sibelius’s unconventional “Valse Triste,” together with the “Slav Dance” in E minor of Dvorak, will be found among the new Columbia’s records by the Cherniavsky trio. Both works are fairly frequently heard in the concert hall, and many who have heard them there, and were captivated by them will now have an opportunity of hearing them at will in the home through these records. “Katja the Dancer” is reported to be splendid business in Sydney, its lyrics are merry and bright, and it has its romantic moments. The dates of its production in New Zealand lie in the lap of the Gods. However, Columbia has had recorded “Katja” from the original Gaiety Theatre, London, artists, the principal solos and duets, also the “Leader” and “Just for a. Night,” fox trots, by the Hannan Dance Band. The Gaiety principals are Lilian Davies, Ivy Tresmand, Gene Gerrard, Rene Mallory, Bobbie Comber, and Gregory Strand.

The Gaiety Theatre Orchestra is responsible for performance of the recorded selections from "Katja,” Arthur Wood conducting.

The ballet music “Aragonaise” and “Castillane,” incidental to Massanet’s opera “Le Cid,” is conspicuous for its emphatically Spanish characteristics. These are brought out with musically splendid results as one might expect from so famous a body of artists as the Queen’s Hall Orchestra, conducted by Sir Henry Wood on the Columbia records. Massanet’s for gorgeous . orchestral effects are brilliantly exemplified in these dances. The former is dignified, even solemn in its opening with a suggestion of Moorish music, but the tempo is much accelerated towards the end. The latter is brighter and marked bj’ its abandon. Special attention is now being paid by Columbia to records for children. “The Inkwell Fairy” in s’ix parts includes the “Journey to Jungletown” and jazz band belonging to . the town, “Bobbie and Joan and the Fairy,” “The Magic Pen,” the “Fairy Toymen,” and “In Toyland.” The effects in the jazz band may not only greatly please the little folk, but will amuse their elders, for they are. cleverly obtained, and are full of musical humour of its genre. Billy Grey describes the fairy adventures with astonishing clearness in delivery.

The Geiger Viennese Dance Orchestra is responsible for two among several brilliant waltzes recorded by Columbia. The latest examples are “Moonlight on the Alster” (Tetras), and “On the Beautiful Green Narenta” (Komzak). The performance is noteworthy for the absence of blatantness and skilful orchestration. The Geiger dance records, exclusive to Columbia, make a place, for themselves in any gramophone evening’s entertainment b” lightening up a programme of mainly classical itms.

“Cavalleria Rusticana” overture occupies both sides of a ten-inch disc, recorded by Columbia from . performance by the Court Symphony Orchestra. This delicate work receives a fine interpretation by a combination that is invariably successful in the lighter kinds of operatic selections. Percy Grainger Recorded.

Although Chopin’s genius was not of the kind that expresses itself naturally within the strict limits of the sonata he has left us three specimens of this form; the first, in C minor, is seldom played, and perhaps deserves no better fate; the second, the one containing the Funeral March, is much better known and perhaps the finest of the three; but the third, the work before us, deficient as it is from the formal standpoint, includes nevertheless much that is in the composer’s most characteristic vein (states the critic of “The Gramophone Magazine”).

Side I.—The first subject is stated at the very beginning, a vigorous phrase that gives rise to some interesting if rather incoherent developments. About haif-way through the side there emerges a lovely, song-like melody, the second subject, and to this is added, a series of lyrical ideas, typical of Choipn at his best. The side breaks off one bar before the end of the exposition.

Side 2.—The working out is rather long, each subject being treated in turn, and somewhat chaotic; but the composer shortens his recapitulation by the singular device of omitting the first subject altogether and returning to his original material a little before the entry of the second. The break occurs .-about halfway through the recapitulation.

Side 3 —The rest of the recapitulation and a very brief coda complete the first movement and we pass to the Scherzo, a brilliant affair with a quiet trio in the middle that requires no further comment

Side 4.—The romantic melody of the slow movement is introduced after three and a half bars of preluding, and .pursues its languorous wav to the middle of the side, when a bridge-passage leads to the entrance of triplets and the second part of the movement.

Side 5 contains the remaining bars of the triplet episode and then conducts us by means of a most original modu. lation back to the first tune, a re-state-ment of which, with a short coda, brings the movement to an end.

Side 6.—The “Finale” shows us Chopin in an almost boisterous mood. Its structure is of the simplest, consisting merelv of the repetition (alternately) of two contrasted ideas—and a coda Of development there is none, although the first theme is given a more elaborate accompaniment each time it appears. But the swinging rhythm of the first subject and the brilliance of the second do much to make up for Hie movement s architectural deficiencies and give it a tonic quality that is wildlv exhilarating. The original statement of the first subject, bv the wav, is included on Side 5.

To have contained this sonata on three records is an achievement on which I congratulate the company I have no fault to find with the recording,' although there are moments when the surface is not quite up to the best. Columbia standards; but Percy Grainger’s rendering is not, I think, 'fry sympathetic. The first an dthird movements lack poetry and the pianist's excessive use of rubato and changes of tempo (which accentuate instead of concealing the'structural weakness, of the work), is only troublesome. He is more successful in the brilliant movements, the second and fourth. I recommend the use of a fibre needle throughout; with anything else the tone in the loud passages has a percussive force ‘hat few instruments will reproduce satisfactorily.

William Murdoch provides a first-rate record. He has selected from the works of AJbeniz and de Falla, two of the best representatives of the Spanish school, two pieces with strong, characteristic rhvthms, suggestive of Spanish dance music at its best,. and developed with skill and imagination The com noser’s intentions, we feel, are fully understood by the executant who possesses also the technical abilitv to convev his interpretation in his rendering. The recording is on a level with the music and the plaving; T exnerimented with a fibre needle in the Cubans and found it satisfactory, though the pianissimo passages become a trifle too soft.

Parlophone. Mozart’s brilliant overture to Don Giovanni” has been very well recorded by Parlophone. “The overture,” we are informed, “was written on the night of November 8; the first performance was on November 4. It is the most operatic of Mozart’s operas; it obtains nearly every effect which is possible in this form of art; almost every type of human character is depicted and every sort of emotion is explored ; the musical numbers include almost every form from the most simple aria to the most elaborate sceua, mcluling one air resembling early Verdi and another in the manner of Handel; at one moment the music depicts the light banter of a gallant and his manservant, at another the mystery of a cemetery at night, and there are elso passages where tte ujus-c .fa

dramatic in its absolute beauty; considered separately, many of the numbers are of the profoundest interest and loveliness, but taken as a whole the opera is somewhat disjointed ar.d must be considered simply as the. most dazzling and stimulating tour 'e icice which was ever accomplished for tne entertainment of mankind. It is, too, an entertainment of this kind, brilliant and intensely ‘operatic,’ that this overture is the fitting prologue; it raised tne most pleasing anticipations of wliat will follow when the curtain rises, it is in sonata form, preceded by an andante introduction of thirty bars; the introduction is founded on the music connected with the supernatural machinerv which, in the fable of the opera, provides the requisite, spice of gothic awe for this entertaining concoction.

Mr. Robert Howe’s record of “The Bosun’s Lament” and “The Longshoreman” is sung and recorded to perfection. Unjovable, too, is “The Arrow and the Song,” another exceptionally well recorded disc, which Mr. Howe shares with Mr. George Baker. ■ Another good split record from, the Parlophone has on one side “I he Lost Chord,” well sung by Miss Jessie Broughton, a contralto, and on the other a stirring rendering of Handel’s “The Trumpet Shall Sound” by Mr. Jamieson Dodds. Gramophone Recital. The fortnightly gramophone recital at the Red Cross rooms was unusually well attended on Monday evening, when those present were treated to an exceedingly pleasant entertainmept. The instrument and programme were provided by the Virtuoso Studios, the demonstrator being Mrs. Claridge, whose skilful manipulation of the records and gramophone was greatly appreciated. The progamme proved to be an extremely well balanced one, vocal and instrumental numbers being judiciously alternated, while all the leading makes of records were fairly represented. Julia Culp’s devotional rendering of Schubert’s “Ave Maria” was an excellent example of contralto singing, to which tlte full tone of the instrument did every justice. Of the male vocalists, Guiseppe Danise, who is ijew to Red Cross audiences, was perhaps the most successful, his rendering, of Di Provenja il Mar” (Thy home in fair Provence) from “Traviata” being warmly applauded, though in this respect. the honours of the evening were fairly divided with Chaliapine, who gave a very powerful rendering of “La Colunnia ’e un venticello” (Slander is a whispering zypher) from Rossini’s “Barber of Seville.”

The vocal portion of the programme concluded with two beautiful Hebrew laments exquisitely sung by Sophie Braslau, one of America’s most accomplished contraltos. Instrumentally there were many enjoyable items, not the least of which was W. H. Squire’s delightful ’cello solo, “Andante Religiso." A hearty vote of thanks was at the close of the programme accorded to the Virtuoso Company, and the hope was earnestly expressed that they would favour the patrons of these recitals with another programme at an early date. The next recital will be given by Messrs. Charles Begg and Co.