MUSIC AND RECORDS.

Dominion, Volume 21, Issue 84, 7 January 1928, Page 18

MUSIC AND RECORDS.

By

C.J.M.

Music—Heavy and Light. Interviewed on his return to Australia after an absence of nine months in search of attractions and artists for tile Firm’s various theatres, Sir George Tallis, chairman of directors of J. C. Williamson, Ltd., said:— “I have been fortunate in being able to secure a wonderful selection of plays, musical and other, sufficient to supply our various theatres with attractions for at least two vears. The past year has been prolific in musical comedies, and my list includes the five outstanding successes of the past and present London season, namely, ‘The Desert Song,’ now eclipsing ’Rose Marie’s’ record (this musical comedy will be presented by our ‘Rose Marie’ company, now in New Zealand) ; ‘My Girl Friend,’ from the Palace Theatre, London; ‘Hit the Deck,’ from the London Hippodrome (with Miss Annie Croft and Mr. Reginald Sliarland, London musical comedy favourites, also Miss Lorna Holms, a clever little Australian, who has made quite a hit in London) ; Miss May Beatty will also appear in ‘Hit the Deck.’ Another delightful musical production is ‘Prince Channing,’ which will be presented early in the New Year Then there will be ‘The Vagabond King,’ the Winter Garden’s biggest success, which is more ambitious, musically. Twenty of the very best plays have been selected for Australian and New Zealand production. These include dramas, comedies, and farcical comedies, and make quite a lengthy list. “Of course, the outstanding event of 1928 is the big grand opera company, which will eclipse anvthing of the kind ever attempted in this part of the world, and for which the rights of all the principal grand operas have' been purchased, and some of the most famous singers in the world engaged.”

Grand Opera de Luxe. Mr. E. j. Tait, interviewed recently regarding the coming grand opera season, discussed the question of admission prices. One of the operas to be presented is Puccini’s “Turandot.” A replica of the scenery in the original production at Milan is to be brought to Australia. Similarly from abroad will be the scenery for some of the other operas. “The cost of the European scenery,” explains Mr. Tait, “will be £2-500. Australian-produced scenery will easily total £20,000; wardrobe, £25,000; steamships will get £lO,000. Altogether we know that the expense for the sixteen weeks’ Australian season will total over £lOO,OOO. It is a tremendous risk. “We cannot state definitely what our admission prices will be until we know the total liability we are under. We are not out to make huge profits. But we naturally expect a fair return on our investment.

“Further, we know by experience that the public are ever prepared to show their appreciation where the quality justifies it.” Sir George Tallis and Mr. Nevin Tait have been negotiating for artists for the past twelve months. Engagements include Toti Dal Monte, Hina Spani, Lombardi, and Scavazzi (sopranos), Cattaneo and De Cristoff (mezzo-sopranos), Merli, Minghetti, Lamouto, and Cesabianchi (tenors), Brownlee, Granforte, Beuf, and Morelli (baritones), and Autori, Di Lelio, and Azzolini (basses), with Gaetano, Bavagnoli, and Antonio Fugazzola as conductors. “The company,” added Mr. Tait, “is practically formed of singers from La Scala (Milan) —in itself a sure recommendation of the highest experience. Owing to the fact that many of the artists were booked for that theatre for the coming season, arrangements had to be made for their release for Australia. “Very high salaries had to be paid. “But we were prepared for the outlay, because the firm is determined to outvie anvthing that we have ever done before in the history of opera in Australia.” Prices for the opening nights of the last Melba grand opera season in the various cities range up to £2 2s. (a.s. and d.c.). Later fbr first nights, when a change of opera was made, £1 Is. For the Gonsalez Opera Company Sir Benjamin Fuller is charging 12s. 6d. for the first night in each city, with 10s., 65., and 3s. the fixed rate throughout the remainder of the season. Nor will there be .any booking fee with any of these prices. “Before leaving for Italy,” adds Sir Benjamin, “Mr. Gonsalez assured me that, whatever the financial result of the tour, it would certainly be an artistic success. He pledged his word that he was bringing the best available artists in Italy—in name and independent of name. All we hope is for a fair return, with a satisfactory profit for the company, if only to encourage visits by the Gonsalez and other operatic managers.” As We Used To Do. The Songs of Other Days.—How cordially they were accepted I (writes “D.K.S.” in the “Christian Science Monitor”). We never doubted they were entirely adequate, beautiful. No one dreamed that they would ever lose their appeal. Many of us felt we were musicians merely because we could sing them to our own accompaniment, but small was the demand they made on our talents—those “songs of other days.” How few of them we can remember now, how fervently we sang them then; like the three-volume novels of the same date, they had a plot full of incident and romance. Often an unexpected tragedy would make us start uncomfortably on our gilded cane chairs, those hirelings that would be brought in on the day of a musical party. Slender chairs they were that looked almost too frail to bear the strain of stately Victorian matrons in their massive ornaments and heavy velvet dresses.

Come back with me into the past. Look! Someone is opening the grand piano, no boudoir or baby grand, but a “full length” in handsome rosewood case. Two candles in heavy silver candlesticks are lit and placed upon it. The cut-glass sconces are carefully lifted over the flame and removed, else they will presently cause a jangling noise from the vibration of the piano when the accompaniment asserts itself in the appassionato passage at the end of the song. The accompanist sits down. See how elegantly she removes her bangles and half-moon rings. She twirls the piano stood round, higher or lower, according to the need. The green paper candle shades are tilted back to cast more light on the music. The singer stands up now, a tall voting miss, her coronet of hair bound with a chaplet of green leaves. Her long dress spreading round her forms an island of white satin on the parquet floor. If she steps forward you think she must trip, if she moves sideways she will surely be entangled, backward tier train presents a further difficulty to you, perhaps, but not to her ■ See, she moves as freely and as gracefully as any miss of 11127. She smiles at us—Hush I Listen!—-as a tew soft luscious chords on the piano, the pleasant buzz of conversation comes to a sudden end The soft light from the wax candles, the genial heat of the coal fire, the all-pervading scent of hothouse blooms will help to put this audience into the mood to enjoy the

songs they are to hear. A sweet, soprano voice rings out, not highly trained but pure and strong, not quite sure of itself at the start, perhaps, because there is always some apprehension concerning the very high note which lurks toward the end of every ballad. Hush! Listen! “She wandered down the mountain side. . . .” This sounds to you a happy, breezy song, but soon you will have an uneasy feeling all is not going well with this poor girl. She was to meet someone and from what I recollect of the construction of songs written some fifty vears ago 1 feel positive the young man never turned up. ‘•‘He is coming, lie is coming, he is coo tn tn m i u g” (on A natural) a most piercing note. I can distinctly hear it now, followed by much clapping from Victorian mammas, much agitation of heavy gold and cat’s-eye earrings, oi amethyst and pearl pendants. Our singer adjusts herself after this effort and relapses into the pathetic tempo . . ■ the song dies awav. It is all very exhilarating and very sweet, but bow uncomfortable the lads and lassies of to-day would feel at such devastating exhibitions of feeling. How conscientiously docs Miss follow in each song the printed directions on the music. ‘Gravioso. Con fuoco. Appassionato. Dolcissimo ppp Doloroso.” You may wonder why in these English songs the directions are all given in Italian, perhaps 'a further bint will be given in English "very quietly,” “plaintively,” “in a whisper” (the composer, to make sure of the collaboration of the singer, makes his wants known in both languages). Gradually, mercifully, the change came about. Gounod was taken to our hearts. Rippling accompaniments had to be mastered; we became cheerily sentimental in French. Musically we hud to take it all a little more seriously, still, there was nothing to daunt anyone. Then floods of foreign songs washed away the old English ballads. We must sing French, Italian, or give up the whole thing. Dear little Tosti—he came to London and changed our taste with bis Italian stornelli. How England loved his melodious songs, with the sunshine of his own golden country lie flooded our foggy drawing-rooms. Nou senti tu ue I’aria Non senti tu ue-l’anima E I’April! .. e I’April .. e I’April. lie tried so hard at first to give us the fare we were accustomed to and produced for us “For ever and for ever.” I think of all thou art to me, I dream of what thou can’st not be For ever and for ever. He even gave us, “Bid me good-by,” with this refrain: You do not love me. No Bid me good-by and go 1 By this time we knew better and were glad to accept of his best. For many years a royal lady paid him some hundreds of pounds each year to come and sing to her but once a week between the hours of 5 and 7, herself often the only audience. He made us love the things he loved, he made us see the things be saw; but another change was coming, a further effort had to be made We must become French again—French in a way we never had attempted before. Faure, Hahn, Duparc, Ravel, Debussy—many of us drppped out, alas I We could” no longer master this new stvle of accompaniment Debussy’s scale was too much for us, the race was for the strong swimmers only, the serious ones alone remained, but what had become of the audience that would sit rapt by the songs and singers of old ? Gone. Not one left 1 No one now would listen. There are no hired gold chairs, no musical evenings, no enthusiastic au dience We listen to the wireless, we listen to the gramophone, we even listen to the electric piano, but we will not listen to rhe amateur singer. Twice lately when visiting a friend’s house I have exclaimed, “Your piano! What have you done with your piano I” “Sold it” (apologetically) “We wanted an electric refrigerator and they jre so expensive” (briskly) “We must take you into the kitcen and show you ours, it is quite wonderful You just do this, or you just do that, or put in that plug, and out of this white enamel drawer come oblong cubes of green ice. We are never out of ice now Do take this illustrated advertisement, vou will certainly want to have one yourself.” Sadly I leave these houses. Yes, even “In the gloaming, oh! my darling, when the lights are dim and low.” was preferable to me than this. I gaze more affectionately than usual at my Bechstein grand when I return to my own home. I feel annoyed to find it so entirely covered with gramo phone records and other mess left there bv my young family. How long is it since it has been opened ? Not since the piano tuner was last here. Impossible. Not once all last winter. Impossible! In fact, I cannot recollect when it was last opened Mealtime comes —the butter seems terribly soft. This reminds me the cooksaid onlv this morning the butter will not keep fresh this muggy weather— No! I will not open that catalogue I will not look at the price of that new-fangled contraption—l will not be tempted. Though every other piano is scrapped, mine shall remain a treasured possession.

Mr. E. J. Carroll, the well-known impressario, who is now in London, cables his Sydney office that he is limiting his concert activities for 1928 to Erica Morini, the young Viennese genius, who will give a limited number of violin recitals in Australia and New Zealand. RECORDED MUSIC A Brahms Trio. “Trio in E flat” (Scherzo and I'inale) (Brahms). A Catterall (violin), W. H. Squire (’Cello), and Wm. Murdoch (piano). Columbia L 1602. The Brahms Horn Trio (with ’cello in place of the wind instrument) is played with tine vigour, tiiougli with a certain roughness. There are, here and there, some not very musical sounds (e.g., near the end ot the finale), and the pianist plays a wrong note or two. But these, however, are but spots on a very bright sun. Air. Murdoch is an admirable partner for siring players—keeping Ins end up well, but never stealing the other fellows’ thunder. I like the way, too, in which the strings make the most of the light and shade of the music. Altogether a most deligbtfud record. A Mozart Masterpiece. Quartet in D Minor (Mozart). Played bv the Lener Quartet. Columbia LI96S-67. The crystal purity of the opening, both in composition and performance, is enchanting. It opens immediately a door to lovely and unexpected happenings. 'Though this quartet was written in 1773, and thus belongs to Mozart’s earlier period, it is generally considered to be the best of that period, if not of all Ins quartets It is simpler in form than the wonderful set dedicated to Haydn, but makes up for this by its overflowing stream of limpid melody..

For the Wagnerite. Siegried Idyll (Wagner). Bruno Walter conducting the Royal Philharmonic Orchestra. —Columbia L 1653-4. There is a very general though mistaken idea that Wagner always wrote lor a mighty orchestra, with masses of brass instruments and serried ranks of wood-wind. It is true that he obtained some magnificent effects from a large orchestra, but lie was quite as successful when using u smaller palette. The Idyll was written in 1871 as a birthday gift to the composer’s wife, ami named after his son Siegfried, who was born while he was composing the music. The theoretic material is largely drawn from “Siegfried” in the “Nibelung Trilogy,” including the motive ftqni the love scene in the third act, phrases from Wotan’s Farewell and Brunnhilde’’s addresses. Interwoven with them is an old cradle song “Schlaf Kindchen Sclilaf.” The various motives are worked up with consuniate skill and with as much ease as if the Idvll had been written for a large orchestra. The first performance was given in the outside staircase of the chalet where Frau Wagner was living; hence the Idyll is often referred to as “the staircase music.” Bruno Walter plays it delightfully, with wonderful delicacv and expression. The notable features of the recording are the fine string tone and the beautiful quality of the oboe, clarinet and horn in their respective solos. Stracciari. 'T’amo ben io” (Catalinic)— “Gia di Dicotl venal” (Puccini). Sung by Riccardo Strecciari, baritone.—Columbia X 320. “T’amo ben io” is an ana from La Wally,” a story of love and death in the Tryrolean Alps, and musically is full of”distinction. The singer has a powerfull resonant voice that is heard to grand effect, and leaves little doubt that he ranks among the very greatest of living baritones. He would be even better if he could cure a faint emotional vibrate to which he is prone in moments of stress. But be provides a nice gradation of emphasis. The Puccinin aria, of course, comes from "La Tosca,” and is still more pleasing. A Remarkable Violinist. “Menuett” (Handel • Burmester) ; “Rosamuudc- Ballet Music” (SchubertKreisler). Violin solos by Yovanovitch Bratza.—Columbia D 1529. Bratza, the brilliant young Serbian violinist who toured Australia two years ago, continues to receive signa! recognition wherever be appears. He was recently specially invited to appear _in Prague at the 75th birthday celebration held bv the Czech Government in honour of his old master, Professor Sevcik. Immediately afterwards lie flew back to London to appear at the Beethoven Centennial, where lie played the Kreutzer Sonata with his brother as accompanist. As a famous Irish critic savs of him: “It is not necessary to hear his playing for long- to realise that here is a virtuoso that ranks among the highest.” He plavs the Handel tune most delightfully, and the novel treatment fullv justifies itself; but his treatment of Schubert—the best known bit of ballet music—l liked even better This is a jolly bit of fiddling that everybody will enjov—high-brow and low, and most of all, those who are not conscious of their brows at A Great Bass. “Edward”; “Myself When Young.” Sung by Norman Allin, bass.—Columbia L 1466. This is surely one of the most pleasing of ballad records that lias yet been issued. The songs are exceptionally fine. I see that “Edward” is given on the record as by Corder, but I rather fancy it is Swinburne’s finer version that Loewe has set to music Anywav, it is no great departure from the original form, which harks back to the mists of antiquity. On the reverse side, is Liza Lehman’s serene and thoughtful setting of some of Fitzgerald’s verses from “Omar Khavvani,” and is taken from the composer’s song-cycle, “In a Persian Garden ” I defy anyone not to be thrilled to the core by “Edward” at, sav, the second hearing, for lie will not catch the words too clearly first time. Allin surpasses himself in dramatic intensity, and most skilfully contrasts the two voices in the duologue. On both sides there is a particularly fat lownote for the connoisseur to smack his lips over, but all through the tone is meaty and satisfying.

From “The Gondoliers.” “No Possible Doubt Whatever”; “Take a Pair of Sparkling Eyes ” Sung by Harold Williams, baritone.—Columbia 3336. Williams, who has the reputation of being Australia’s finest baritone and who can look back on countless successes in grand opera at Covent Garden, more than pleases with these two delightful and wellknown extracts from Gilbert and Sullivan. His agreeably mellifluous intonation is exactly suited to the work he has in hand, and he is so unforced in his reading and puts so much warmth and character into it that none could fail to be charmed by him Indeed, he throws off these trifles with such good humoured ease that one forgets that “Take a Pair of Sparkling Eyes” offers considerable technical difficulties to any singer. Bratza the Brilliant. “Nocturne” (Boulanger) ; “Lied Onnc Worte” (Mendelssohn-Kreisler). Violin solos by Yvonovirch Bratza —Columbia D 1574. The wonderful young Serbian violinist, Bratza, has become a favourite everywhere, and one famous critic has gone so far as to rank him as the third greatest violinist in the world.The charm of his lovely tone and expressive phrasing is brought out to the full in this “Song Without Words” from the true and earnest Mendelssohn. Particularly rich and warm is his tone from the lower strings. Even if he does not quite succeed in persuading us that a Nocturne bv Lili Boulanger on the other side is interesting, at least he does convince us of his own musicianship and the high quality of the Columbia recording. Barnardo Handbells. "The Legend of the Bells”; “Chiming Bells of Long Ago.” Handbells played bv the boys ‘of Dr Barnardo’s Homes. 4362. The boys of Dr Barnardo’s Home have become quite famous at Home for their musical entertainments. One of their greatest successes is as handbell ringers, and here they provide a novel and attractive record of two specially suitable numbers, the popular bell theme from “Les Cloches de Corneville,” and the old song “Chiming Bells of Long Ago.” There is anv amount of “go” aiid spirit in their plaving, and the bells have a merry sound that makes the record distinctive and unusual. A Delightful Comedienne. "That’s a Good Girl”; Susie’s Feller.” Sung by Vaughn de Leath.— Columbia, 4'271. 'There arc so mativ excellent comedians, male and female, whose entertaining’ for the gramophone falls as flat ns the disc on which it is recorded, that one alwavs gives the warmer welcome to the select few who can, hke Vaughn de Leath, infuse the vital spark of a clieerv personality into their records Vaughn alwavs "comes off,” and here is yet another instance of it.

Excellent material and very well recorded. “I’m Gonna Dance wid de Guy wot brung me!”; “Just a Little Old School House.” Duets bv Vaughan de Leath and Frank Harper.—Columbia, 0811. Tere’s another—a better one still; at least, on the side that gives one of the most amusing bits of foolery 1 have vet heard—“l’m Gonna Dance Wid de Guv wot Brung Me!” Vaughn de Leath’s peculiar whining drawl adds considerable piquancy and character to the terse and vivid American slang tn which the number is couched. The other side rises up a certain amount of novel humour with a good, deal more sentimentality, but is pleasing enough even if it is not in the same street with its reverse. “The Mountains of Mourne.” “The Mountains of Mourne”.; A letter from Marv of Mourne.” Sung byEdgar Covie, baritone. —Columbia 2009. 'l'his is the sort of record that never is idle once it is added to a collection, for the tune never palls, nor does the whimsical Irish humour in the words ever grow stale. It is very feelingly sung too; Edgar Covie lias an intimate, agreeable voice that carries these sentimental ballads very well. The song on the reverse is sung to the same tune, and is intended as a reply’ from the sweetheart to whom “T he Mountains of Mourne” is addressed. It is well written and makes a suitable appendage; and what with the singing, the songs and the music, 1 can confidently recommend this as n record likely to be verypopular. Dvorak’s “New World. ’ A good many great compositions vield their treasures slowly, and are only felt in all their beauty and ranged emotion after many hearings . To come suddenly on clear, but unfading, loveliness is a rarer experience. In music, as in all things, easy familiarity often breeds contempt, as is shown by the killing of a fine tune by the familiarising process of jazz. The perpetual allurement generally lies in reticence, as it does in human nature. There are, however, inspired tunes which come easily to the ear, and yet retain their charm. And when I have a Philistine to deal with I shall tell him, with emphasis on the fearful word, symphony, and a mysterious reference to the even more terrible opus number, to hear the first movement from Dvorak’s No. 5 Symphony in E minor (“From the New World”). Op. 95. If he lasts as far as near to the end of the first side, I shall be sure of his conversion For that is where a good tune is transformed and extended into one that is stark loveliness itself. “Fluff’s” Record. I still keep hearing from various quarters (says a London critic) high praise for the Temple Church- London, recording of Mendelssohn’s “Hear My Prayer,” with its really remarkable solo part sung by Master Ernest Lough, a boy chorister with a sweet, pure voice and quite exceptional style and phrasing. It is satisfactory to learn that the sale of this record (H M V C 1329) has reached that attained a year ago bv the widely-popular “Valencia.” For a record of sacred music to do this is, I suppose, unprecedented At all events, Master “Fluff”—as we under stand he is called by his chums—has provided us with what is easily among the most notable records so far this year. To Elgar. No less an eminent musician than Mr. Ernest Newman has written regard mg Elgar and the II M.V Elgar Birthdav records in a special booklet. The records are by way of a commemoration of our great composer’s seventieth birthday (June 2), and ,with Mr Newman, “I’hope, and believe, that these records

. . . will do more to bring him into his kingdom than the all-too-few performances” of his works in the concert room have done. It must be recognised rhat the consummate artistry of Elgar in his mature works is not appreciated by the plain man—he lias not had the opportunity of "getting to know” it; these fine recordings are just what are wanted to alter that condition of affairs. Do You Know the Cimbalom? The ordinary gypsy band is composed of from two to ten players. The instruments used are strings and the cimbalom. This instrument, being practically unknown outside Hungary, needs description. In appearance it is like a baby grand piano, without either keyboard or lid. The performer plays diiectly upon the wires, using two tiny drumsticks for the purpose. The accuracy and speed with which the average player can manipulate these clumsy instruments are extraordinary. The notes ripple out in wonderful trills and sadenzas that would baffle an ordinary pianist, and the absence of pedal resonance gives the music a peculiar ethereal quality similar to the tone of the harpsichord. To hear the cimbalom played most exquisitely by Nitza Codolban, one should get “Rumanian Gipsy Air,” with a “Russian Gipsy Air” on the reverse (H.M.V. 8.2050).. These, demonstrate admirably the punctuating use of the instrument. The Art of Cyril Scott. Cyril Scott’s writing presents features of “modernism” which were much more novel and strange when he first came to the front 15 or 20 years ago than they are to-day. What sounded very complex then appears quite simple uow, and, as has been said, his music possesses “a strangely exotic charm; he has a horror of the obvious.” Of the two songs alluded to (writes Herman Klein in “The. Gramophone I prefer “My Lady Sleeps,” with its graceful curves in ■ the voice-part and piquant dissonances in the accompaniment; but would prefer a less languishing, slur- . ring deliverv than Svdney Coltham’s (H.M.V. 8.11968, lOin.), a suggestion of physical torment that, would be calculated to disturb my lady’s slumbers. On the contrary, one perceives both earnestness and conviction in Eric Marshall’s rendering of “Immortality” (H.M.V. E. 425, 10in.). The tone. is steady and strong, and one feels genuine force in the fine utterance, “There is no death; there are no dead!” Dvorak and His “New World." The “New World,” of course, is America, and the symphony is of intense interest as showing the reaction of a gifted and passionate musician from Central Europe when brought into contact with the elemental melodies and rhythms of negro and native America origin. It used to be said—but has been as strenuously denied—that Dvorak owed the captivating tunes with which this symphony abounds to actual negroid music heard by him during his sojourn in the United States. Upon this - point it may be observed that we possess the direct evidence of the composer’s sons, which is. po interesting as to be worth quotation here. Upon inquiry by William Ritter in 1907, they stated: “The passages of the symphony and of other works of this American period which, as some pretend, have been taken from negro airs, are absolutely our father’s own mental property;. they' were only influenced by negro melodies. As m his Slav pieces, he never used Slav songs, but, being a Slay, created what his "heart dictated; all the works of this American period—the symphony included—respond to Slav origin, and anyone who has the least feeling will proclaim this fact. Who will not recognise the home-sickipcss of the Largo of this svmphony? The secondary phrase of the first movement, the first theme of the Largo, which give a certain impression of the groaning negro song, are only influenced by this song and determined by change of land and the influence of a foreign climate.” New Zonophones.

In a recent Zonophone list will be found a record with two inspiring marches by the Legion Band—the best of its kind in America—“ Barnum and Bailey’s Favourite” and “March Salutation.” Two of the best songs from London’s latest musical success, “The Desert Song” and “One Alone,” are recorded by a clever young tenor, John Coleman, and two Indian Love Lyrics—- " Temple Bells” and “Less than the Dust”—get adequate and poetic expression on a grand organ played by Mr. Arnold Greir. Zonophone also introduces us to Eisteddfod minstrelsy with a disc giving two traditional Welsh songs bv .the soprano, Madame Megan Telini, whose Italian operatic training has not spoiled her zest for her native airs.

Elgar Birthday Records. On June 2 Sir Edward Elgar, 0.M., celebrate his 70th birthday, and as a tribute of homage the Gramophone Company have made a special issue of some of his principal compositions, in particular the “Second Symphony in E Elat.” This recording by the London Symphony Orchestra, conducted by the composer, occupies six large records, and is issued complete in a wellarranged album (H.M.V. D 1230-1235). This symphony is, perhaps, easier _ to understand, and, therefore, to enjoy, than the composer’s first svmphony, as there is less mvstery in it, and by placing the quotation from Shelley’s poem at the head of the score, “Rarely, Rarely Contest Thou, Spirit of Delight,” he has given a clue to. his own personal aspect upon the music. One feels that Elgar has, in his music gone in search of that elusive spirit of delight, and that in his last movement he has been successful in capturing it. The work opens, with a fine swirl of music, rhapsodic in character, which is splendidly recorded, particularly on the second side of the first record. Then there comes a sudden change to pensive larghetto, the second movement.'' The rondo, the third movement, is very fine, perhaps one of the brightest examples of rhythmic variety, with the composer quite obviouslj' letting his feelings have full play. So on to the magnificent last movement, in which Elgar seems to have enshrined the spirit of delight. The recording is beyond reproach, and altogether the work is a fitting tribute to a great British composer. Tito Schipa.

One of the first records to bring Tito Schipa, the Spanish tenor, into prominence was “Il Sogno” (the dream' from Massenet’s “Manon.” We recall also his delightful round and smooth rendering of “O Cohimbina,” from “Pagliacci,” and the lusty Granadinas” from “Emigrantes,” with the airy melodic “Princesita” on the other side. Schipa is now approaching his fortieth year of life, and, judging by his recent records, is singing better than ever. Remember, his splendidly dramatic recording with Madame Bori in the death scene from “La Boheme.” He enriches a recent H.M.V. list with “Pourquoi me reveiller,” from Massenet’s “Werther,” and “Fantaisie aux divins mensonges,” from “Lakme” (Delibes).

“Worth Having.” . Not long turned fifty, Martin Shaw (native of London and a pupil of Stanford at the Royal College) lias been exceedingly industrious throughout his career of organist and composer of

church ..music,. ..light opera, incidental music, and vocal, pieces of every description. As a matter of course, he is inadequately recorded; but what there is is good and worth having, recommends Herman Klein in “The Gramophone.” In “Cargoes” Peter Dawson (H.M.V. 81930, 10-inch) infuses abundant spirit and swing. He is again excellent in his colouring of “Wood Magic” (H.M.V. 82154. 10-inch), a more elaborate song containing quick contrasts of feeling and rhythm, now mysterious, now full of fear that is dispelled by trust and loving prayer, a broad melody succeeded by a colloquial touch. This is as wefl recorded as it is well enunciated and sung. Gems from Grand Opera . “Celeste Aida” (“Aida,” Verdi) — “Una Vergine” (“La Favorita,” Donazetti). Sunc by Michaele Fleta. H.M.V., D. 8.1053. A new record by Fleta is always welcomed. This fine electrical recording gives us some remarkable singing. Especially worthy of notice are'some fine sfumature effects, in which the voice shades delicately from a fortissimo to the veriest thread of tone a difficult art in which Fleta is preeminent. A Fine 'Varsity Choir. St. John’s College Chapel Choir, Cambridge, with string quartet accompaniment, in “Have Mercy Upon Me, O God” (Byrd). H.M.V., 82448. These two records give us a very clear impression of the traditional style of church music as .preserved at the two greatest universities in the world. Ballet Egyptien, on the Wurlitzer. Reginald Foort (Wurlitzer organ), in “Ballet Egyptien” (Luigini). H.M.V., 82477. . , Reginald Foort has an exceptional faculty for the choice of melodious pieces. His choice is, indeed, infallible, and, since he is so completely familiar with the resources of his instrument, it is not surprising that his many admirers should automatically take the attractiveness of his records for granted. The first two parts of the tuneful "Ballet Egyptien” form excellent subjects for the Wurlitzer organ. A Great Opera Duet. Apollo Granforte and Hina Spani (vocal duet), in the “Love Duet” from “Il Pagliacci” (Leoncavallo). H.M.V., D. 8.1046. “Pagliadci” must always hold us by its swift action and the beauty of its lyrical moments. Of these, the “Love Duet” recorded here is, perhaps, the finest. The duet is between Nedda, wife of Canio, a strolling, player, and her lover, Silvio. Silvio, who has come to Nedda under considerable risk of discovery, urges Nedda to fly with him. As they converse together they are overheard b.v the hideous hunchback, Tonio. Tonio has been amorous.of Nedda, himself, and still smarts under her scathing repulse;. he takes bis revenge and brings Canio to witness proof of his wife’s infidelity. But Nedda has sharp ears; before. Canio can discover Silvio’s identity, Silvio is far away. The performance given by Granforte and Spani on this record is one of the finest it has been our lot to hear. Both artists throw. themselves whole-heartedly into their parts with such completeness that the listener realises that they act their roles as well as sing them. The dramatic situation is brilliantly realised. Parlophone. ■ - In recent Parloplione issues there are two vocal records to which one must draw attention, because they are two of the best of the year. In the first place, there is the pair of songs by Lotte Lehmann, the famous German operatic soprano and lieder-sing-er; Godard’S “Angels Guard Thee” (the well-known “Berceuse de Jocelyn”) and Jensen’s “O lass’ dich halten.” Lehmann’s voice is so lovely in quality, and her phrasing so perfectly poised, that the melodies should have no finer medium. This,. by the way, is a Parlophone Odeon disc, and costs 6s. 6d. Emmv Bettendorf is the other singer, and as she is one of the greatest that regularly contribute to the gramo- ■, phone lists, one need hardly say more of her singing in her latest record than that it is as beautiful as ever. Her songs (both ,in German) are Brahms’s wistful “Slumber Softly, Dear Love,” and Mozart’s exquisite “Sleep, My Princeling.’’ This will be a ■ favourite record in any. musiclover’s collection, and none will come more readily to mind when the mood is for something soothing and full of tenderness. Brunswick. » The latest Brunswick releases include an attractive bracket by the New York String Quartet (3211)—Bocchexini’s delightful and popular “Minuet, • and a “Spanish Dance,” by Albeniz. From the recent American musical revue hit, “Peggy Ann,” we have two fox-trot numbers, with vocal chorus by the Frank Black orchestra—“ Where’s That Rainbow?” and “A Tree in the Park” (3422). In “I’m in Love Again,” and Just Wond’ring” (3520), we have a characteristic selection by that popular comedienne, Vaughn de Leath.