MUSIC AND RECORDS.

Dominion, Volume 21, Issue 120, 18 February 1928, Page 18

MUSIC AND RECORDS.

s Opera in England. g In pre-war days opera in England, = or at anv rate at Covent Garden, was g one of the most brilliant events of the gg London season, and the great singers g of the day could always be heard in the g metropolis at this time, but since these g halcyon days opera has had a more or s less hand-to-mouth existence, although s intermittent attempts have been made g to re-establish the old order of things, s The London Opera Syndicate has done g a good deal to re-establish opera, and f strangely enough this syndicate came i into being as a result of the season | which took place in Australia in 1924, § as the success attained in Australia had g been discussed in London musical ? circles, and Mr. Nevin Tait (of the well- | known firm of J. and N. Tait) was ap- | proached to form a company for the ? London season, but circumstances arose ■= to prevent this. The syndicate, howg ever, has been faced with a loss each | season. This is not actually due to the f lack of public support, but rather to ? the fact that the Covent Garden Theatre | is not large enough to accommodate the i public in sufficient numbers to make ? the season pay its way. Although the ; auditorium and stage of this theatre : are commodious enough, the seating ; capacity is exceptionally small as it can : only accommodate something like 1750 ; people, so that when, as has been the i case, the public wish to attend certain I performances a large number are disi appointed in not being able to secure I seats. Important artists can now coni- : mand high fees in various parts of the i world, therefore it is not easy to induce them to come to London for the brief season of six weeks and sing for lower ' fees than they can secure in other opera houses. At the present moment many schemes are being formulated to once more place opera on a proper footing, and I Sir Thomas Beecham has made a direct appeal to the public to subscribe for I seats for a period of five years, at a cost of 10s. each, and in return this subscriber is to receive certain benefits in booking, but even if this anpeal is successful_ it seems obvious that the theatre will not be large enough to make, the performances pay, so that tl e principle adopted appears’to be wrong from _ its mception. London, after all, is still the largest city in the world, and with its cosmopolitan public it could easily support opera for six months of the year ,and if a season of this length could be arranged it is obvious that the costs of production would be averaged, and the cost of each performance would be reduced. It therefore looks as if wants someone with a proper vision to tackle the operatic situation, and certainly an Opera House with a larger capacity appears to be an absolute necessity. Sir Thomas Beecham appears to take the view that the public wants to hear opera performances in English, with British singers, and whilst this might be a laudable scheme it does not appear to be practicable. The London public tn particular, is surely educated enough to appreciate opera in whatever language it_ is sung, and those who know anything about opera are quite familiar with the various operatic dramas, and as the music and singing are of primary importance the question of language is really a secondary consideration. There is no operatic “tradition” actually in England, such as there is on the Continent, because there are no great English composers of grand opera, and therefore English singers devote their attention particularly to the concert platform, and very few are fitted temperamentally, artistically, or even nationally to this form of musical art, and it is no reflection on the abilities of British artists to state these facts. Artists of British origin who have succeeded on the opera stage have all practically gained experience on the Continent, and have gone through the operatic mill, so to speak. Opera in all countries, more or less depends upon the “star” system, and this can never be eliminated from opera wherever it may be given. The word “star,” after all, only means superiority and efficiency, and in order to secure artists of such capacity Impressarios have to search the world for the best singers of the day, and the success of the Metropolitan Opera in New York, 1 the Colon Theatre, Buenos Aires, and La Scala, Milan, is due to the fact that 1 the best artists in the world are en- 1 gaged to appear there, so if there is 1 to be any operatic rennaissance in Eng- 1 land it will be due to the fact that the i greatest singers are engaged to give performances, irrespective of their na- ‘ tionality, as if the great composers be- f long to the world, so do the great interpretative artists, and music is un- 1 doubtedly the one universal language. ' De Paclimann Confesses. c When de Pachmann, the incomparable player of Chopin, appeared at ' Carnegie Hall, in New York recently, 1 a leading music critic went out before ' the end, growling, “This is an out- c rage!” De Pachmann had dared to c "be himself”; and every one knows 1 he likes to talk while he plays. An- r other critic, perhaps under the spell s of the pianist’s introductory tussle c with the piano stool, began his critique / with, “There was murder done at Car- - negie Hall last night.” That phrase, 1 of course, made everybody read on, c though what it had to do with musi- \ cal criticism didn’t develop. De Pachmann was once put in a verbal straight- j packet by his manager and ordered not t to talk while he played; when the concert was over the ban was removed f and he was besought to talk in future - to his heart’s content. It is likely [. that America will never again hear the magical tones of his pianoforte, for t the musician is seventy-nine and hates , the ocean; but lie is at present tour- f ing England and “The Daily Chronicle” (London) has ,induced him to tell why e he talks when he plays: c

“ ‘You are a showman first and a musician afterwards.’ “How often has that accusation been made against me by critics in all parts of the world 1 They would have me march on to the platform, perhaps in a uniform instead of Chopin’s inspiring old coat, stride to the piano, and without any adjustments of the stool sit down and play. Not a word may I speak until the concert is finished. If I am pleased, I must not smile; if I am angry, I must hide my feelings 1 “Nonsense! One would do better to listen to a concert on an automatic piano! I like to gamble, and once, for a wager, I did not speak one word at a concert. Next day Mr. Powell received two or three hundred letters from disappointed people, asking why I was silent. Thev came to hear my music, but they also like to hear me talk, because I can in that way explain the composer’s thoughts.

“A stockbroker from London once wrote to me asking why I indulged in 'preliminary fuss and adjustments of the piano stool’ at my concerts. He said that if he fiddled with his desk as I fiddled with mv stool his clients would think him mad and never do business with him again 1

“Ah, my friend, I think you must be one of those who would put a pennv in the slot and turn on the music! Art and business are verv different. You would not fill the Albert Hal! with people to see you fiddling with your desk—and I do not fill it because I wear an old coat nr take half an hour to adjust my music stool. I fill it because years of practice have

I

developed my genius until I caa play perfectly.” “I never consciously posed in my life,” declares the pianist ; and doesn’t lie deserve to be taken at his word? As he says:

“I turn tlie piano stool this way i and that because it is necessary. I i can not interpret the music of the ! great composers until everything is to my liking. If the piano stool >8 too high, I am distracted all. the time I am playing, and my performance tails short of perfection. “Often my audiences take me too seriously. lam not always Pachmann the great musician and friend of Liszt and Wagner. Sometimes lam Pachman the jester. I creep on to the platform and look at the great audience. ‘What!’ I exclaim aloud. ‘I have been playing in Britain for more than forty years, and you still come to hear me? Marvellous!’ Then I turn to the piano and give a start. ‘A piano"! What is that for ? Surely you do not expect an old man like me to play My fingers are stiff, and I have not practised for six years!” “The audience is laughing. I like to hear them laugh, and get angry if they do not respond. I know that they have come, perhaps from a hurried luncheon, and have had to scramble for a ’bus in the rain. Naturally they are depressed 1 But when they laugh, then I can take them into my confidence, introduce them to Liszt and Chopin and Beethoven. “When people laugh they forget to sit straight up in their seats, and become more human.

“Most people think that music and humor can not walk hand in hand. Whv not ? Wagner and many other great giants delighted in a little musical horseplay. So sometimes when I play, lam merry. I hold my right hand high on a rest and when it seems too late, strike the note just in time. Then I turn round and smile at the shade of Liszt, saying, ‘You dared not do that!’ I do not boast when I say that to-day I am the only pianist with a great platform personality. My so-called eccentricities, my little jokes, mv whirling of the piano stool, my smiles and my grimaces, they are ail the expression of my personality. Paderewski is grand and majestic—but the others are all wooden. They are afraid to be human with music. It is the human touch that binds me to mv music and my audiences. I love them, and I want them to love me.”

RECORDED MUSIC

More from Alfred O'Shea. (1) “Parted” (Tosti) ; (2) “I Hear You Calling Me.” Sung by Alfred O’Shea, tenor. Columbia 04024. The more one hears of Alfred O’Shea the stronger is the conviction that he is by far tlie most important male singer that Australia has ever produced. In Tosti’s melodious song, “Parted,” the lyric quality of his voice is beautifully reproduced, and his wonderful enunciation makes the record a joy to listen to. Besides the piano, this song is accompanied by a violin obbligato by Mowat Carter, which blends very harmoniously’ with O'Shea’s expressive singing. “I Hear You Calling Me” is an old favourite which he sings with sympathy’ and feeling, and also with that fineness of finish which is the hall mark of an artistic vocalist.

Eva Turner and La Scala Chorus. (1) “Aida”—Concerted Finale, Act 9 (Verdi) ; (2) “La Traviata” Concerted Finale, Act 3 (Verdi). Sung by Eva Turner and La Scala Chorus. Columbia 03512.

Another great grand opera concerted number on Columbia this month features Eva Turner as its soprano—the well-known finale to the second act of Verdi’s “Aida.” In this the King has just freed the Ethiopean prisoners and bestowed the hand of his daughter Amneris on the victorious general Radames. Aida sees Radames lost to her for ever, Radames is distracted by his love for Aida, Amneris rejoices that she has beaten her rival and obtained the man she loves, and the defeated King of Ethiopia whispers to his daughter Aida of his plans and hopes for amending his country’s fate. All these conflicting emotions Verdi handles in impressive fashion, and the act concludes with a stirring chorus, “Glory to Egypt.” On the reverse side, the finale from Act 3 of “La Traviata” leads out of the scene where Violetta has given up Alfred at the request of her father. Later the two meet at a ball and Alfred in a rage accuses her of deserting him for another lover. Violetta faints, and on recovering protests her love for Alfred. The record begins here, and it will be noticed how wonderfully effective is the gradual crescendo beginning with the weak accents of the barely recovered Violetta to the tense emotion of the’close. In both these numbers the electric recording lias retained in a remarkable way the “bigness” of the scenes, and Eva Turner’s voice comesout magnificently. A “Beethoven Centennial” Master, piece. “Trio in B Flat” (Bethoven, op. 97, No. 6). Albert Sammons (Violin), W. 11. Squire (’Cello), and William Murdoch (Pianoforte). Col. LlB5l-55 (Five Records in Album with descriptive notes). This, the greatest of all pianoforte trios, was written in 1811, eleven years after Beethoven had first felt the bitterness of deafness. Its Scherzo is not only one of the favourite movements from Beethoven, but one of the best known and most popular airs in music.

The first movement, an Allegro Moderate, is. cheerful and bold, consisting of two tunes quite clear in construction. There follows the famous Scherzo, gay and jesting in style, and towards the middle of the movement is a curiously creeping theme; in which each instrument has its turn in sequence. The third, Andante Cantabile, is a set of variations founded on quite a simple theme of an appealing nature, and the last movement is a Rondo with a Coda that winds up at full speed. One always hesitates to put a first, second or third against living artists, like examination candidates, but it is hardly too much to say that Sammons, Squire and Murdoch are the greatest exponents of their particular instruments in England. Their combination is faultlessly balanced and at every pluse of the playing we are treated ’to really distinguished tone and phrasing. This is a great recording.

Harold Williams in Negro Songs. (1) “Water Boy” (Negro Convict Song) ; (2) “Gwine Away.” Sung by Harold Williams, baritone. Col. 0823.

Iu “Water Boy” Harold Williams sounds surprisingly like the famous negro actor-singer, Paul Robeson. Nobody but another negro could be quite like him, of course, but Harold Williams is very good indeed. He is not only happy in obtaining just the right atmosphere, but he suggests a complete understandng, and with his fine voice and clear diction makes a most enjoyable record. I cannot trace any other record of “Gwine Away,” which has always seemed to me one of the best of the Negro songs.

C.J.M.

A New Tenor lor Columbia. (1) “La Tosca”—E lucevan le stelle (Puccini); (2) “Manon”—Dream Song (Massenet). Sung by Theodore Ritch, tenor. Columbia 03515. Theodore Ritch is a tenor whose voice, like his nationality, is unknown to me, but he is obviously a very gifted singer. The two sides of the present disc might have been sung by different persons, so unlike are they in almost every detail. The one I like is “E lucevan le stelle,” which, in its dark vowel quality, manly, unaffected style, and easy, powerful command of the loftier passages, is definitely redolent of the best modern Italian teaching. His French accent in the “Dream Song” is as good as his Italian in the Puccini piece, but his diction is not quite so good, and his tone is slightly nasal. Nevertheless, this is a striking record, and one that I unhesitatingly recommend to opera lovers. W. H. Squire.

(1) “La Provencale”" (MariMarias) ; (2) “Sleepy Song” (Jean Jean). ’Cello solos by W. H. Squire. Columbia 03514. The outstanding characteristic of Squire’s 'cello playing is the "singing” quality of tone that he draws from his instrument, and this has the happy knack of recording most admirably and with exceptional richness. One hears it to full advantage in the two light, but very pleasing, pieces that he has chosen to record for Columbia this month. The two tunes are so simple as to be almost like folk-songs. “Sleepy Song,” especially’, with its flowing sweetness, and phrased in Squire’s deft and confident manner, is quite irresistible. The Return of “Monty.”

“The Meanderings of Monty,” No. 14 —How America was Discovered. No. 15—How America was Found Out. Humorous monologues by Milton Haves. Columbia 0828.

The irrepressible "Monty” is back again, in better form than ever, and there is hardly a gramophile, highbrow or lowbrow, who will not welcome his return. This month be tells of his researches into the discovery of America with a pendant narrative on “How America was Found Out.” Quite in the original Monty vein is his quip about how Columbus cried “Dry Land,” when he sighted America. Ballads—New Style.

(1) "Love’s Old Sweet Song”; (2) "At Dawning.” Duets by Layton and Johnstone. Col. 0824.

Layton and Johnstone, the famous American duettists, are pretty high up, I believe in the list of the world’s “best sellers.” I wonder how their enormous public will take to this new venture of theirs ? In this new record they have subjected concert ballads to the same original treatment which they accord to popular songs. To say the ballads are unusually sung is hardlv enough; they are made expressive in a new way, and to many will come as a startling change from the slow and studied style in which these songs are usually sung. Personally, I find them most attractive, and certainly the vocalism is well up to standard. The Grenadier Guards’ Band.

(1) “The Midget and the Hippo potamus” (Kottaun) ; (2) “Marche Pompeusb” (Becher). Played by the Band ot H.M. Grenadier Guards. Col. 0821.

The quaint little caprice by Celian Kottaun played by the Grenadiers this month on this Columbia record has a most intriguing title, which it fully justifies. It provides some bs.ui humorous by-play and instrumental effects which the players evidently enjoy, and is one of the most popular numbers in the Grenadier Guards’ programme. The companion title is “Marche P.ompeuse”—a sonorous affair of imposing strains that is admirably suited to a great military band. This should certainly be one of me most popular records of the mouth. Something to Anticipate. Wagnerites will be delighted to hear of Columbia’s latest venture, which is due to be issued some time next mouth. This is nothing less than a complete recording, for the first time, of ths Bayreuth Wagner Festival. Beyreuth, the Mecca of all opera lovers, is the one centre where Wagner is played with a cast, orchestra and production regardless of cost, with one single aim in view—absolute perfection. The recordings include the greater part of "Parsifal” and . extracts from “Siegfried,” “Rhinegold” and “The Valkyrie,” and the Festival Orchestra by Siegfried Wagner, Dr. Karl Muck, and Franz von Hoesslin.

Orchestral Delights. Victor Concert Orchestra, in “Amaryllis” (Air, Louis XIII) Ghys; Minuet in G (Paderewski). H.M.V. E.A.240.

The splendid recordings made by the Victor Concert Orchestra are looked forward to with great interest, because of the very high standard maintained by this admirable organisation. “Ainarvllis” is an exquisite and quaint oldworld dance, which will be found delightful Paderewski’s beautiful “Minuet,” known the world over, needs no comment, except that the orchestral arrangement, chiefly for string instruments, is most successfully reproduced.

Gems on the Wurlitzer Organ. Jesse Crawford (Wurlitzer Organ).— “Because” (Guy d’Hardelot) ; and “0, Promise Me” (“Robin Hood”), Reg. de Koven.—H.M.V. 1t.A.209; “A Russian Lullaby” (1. Berlin) and “At Sundown” (W. Donaldson).—E. A. 217. These are splendid organ records in every way characteristic of the popular movie-house style, which Jesse Crawford has developed to such a degree.

Music for Dancing. “Lucky Day” and “Wherever You Go” are two lively H.M.V. fox-trots by the George Olsen and Nat Shilkret dance bands respectively—E.A.l97. Other good dance discs on the new H.M.V. list include “One O’clock Baby” and “The Whisper Song” (foxtrots respectively), by Johnny Hamp’s and Art Landry’s orchestras, with vocal refrains.— E.A. 199. Shilkret’s Orchestra (E.A.202) gives us Irving Berlin’s “Because I Love You,” waltz, and the fox-trot, “When Day is Done”; the same orchestra, and Wolfe Hahn’s band respectively, present “Yesterday” (waltz), and “hollowing You Around” (fox-trot), E.A.206; Hahn’s Orchestra also present the fox-trots “Where the Wild, Wild Flowers Grow,” and “Calling-”

A “Humming Bird” Trio. Here we have the Californian Humming Birds (male trio with piano), in “The Whisper Song” (“When the Pussy-Willow Whispers to the Catnip”), Cliff Friend. As a companion number, Johnny Marvin—Ed. Smalle, in “Just Another Day Wasted Away” (“Waiting for You”). These are two enjoyable numbers admirably executed and recorded. H.M.V. E.A. 214.

Laughter on the Disc. Ernest Hastings (humorous) —“The Roast Beef of Old England’’ (Beck) — “There's Nothing Over Sixpence in the Store” (Wilcock). H.M.V. 8.2481. Ernest Hastings does his best to make us laugh in this funny record, and we do not feel his efforts will be fruitless. “There’s Nothing Over Sixpence in the Store” is simply priceless.

A Funny Zonopltone Disc. Joan and Doris Emney and Frank Leslie, in “The Arrival of a Rival.” This is the sequel to the Zonopltone disc 2931, “A Sister to Assist ’Er.” Once again Joan Emney keeps us in shrieks of laughter. Have these two records handy for your friends. They rank amongst the best humorous records ever issued. , Botli pieces feature the inimitable “Mrs. May,” who was immortalised by the late Mr. Fred Emney. Joan Emney provides an almost identical performance of her father’s masterpiece. Zonophone 2962. Four Lyrics from Gene Austin.

In two discs (H.M.V. E.A.207 and 208), Gene Austin gives us “One Sweet Letter from You” (Clare-Brown), “Yesterday” (with violin, ’cello, and p'.atio), “Forgive Me” and “Some Dav, Sweetheart” (Abel Baer at the piano). Gene Austin has attained enormous popularity. The above four numbers are certain to prove successful, the enunciation being particularly clear and fine. Gems from “The Gondoliers.”

Zonophone Light Opera Company in vocal gems from “The Gondoliers.” This is another superb record containing vocal gems from one of the most popular and melodious Gilbert and Sullivan operas (A. 325 A worthy companion to the already issued vocal gems from “lolanthe” (A. 312 “Pinafore” (A. 317 and “Yeomen of the Guard” (A. 321 This record contains all the favourite melodies which have helped to make “The Gondoliers” such a lasting success. The singing and recording are truly fine.

A Comic Dialogue. Sam ’n Henry (comic dialogue) — “Sam’s Big Night” and “The Morning After.” Zonophone EE72. How shocking it must be to have one of your best friends come home at 3 a.in. with one of his cronies from a secret society, both in a hilarious mood! Samuel Smith brings home the Brightest Diamond in the Order of the jewels of the Crown. Henry, who has been sleeping, objects to being disturbed. Amusing complications follow. Two Good Old-time Ballads.

John Turner (tenor), in “Nirvana” (Adams) and “Mountain Lovers” (Squire). H.M.V., C 1343. As this artist sings them, these two deservedly popular ballads will delight all admirers of John Turner’s fresh and sympathetic voice.

Moderate-priced Orchestral Gem. Victor Symphony Orchestra, in “Gioconda”—“Dance of the Hours” (Ponchielli). The “Dance of the Hours,” which is frequently played in most theatres and moving picture shows all over the world, is the ballet music from the third act of “Giocotida,” the dancers impersonating the hours of the day and night. The music is full of charm and grace, and the admirable playing of the Victor Symphony Orchestra is finely recorded. Zonophone EFI2. A Treat from the Orpheans. Savoy Orpheans—“Castles in the Air” —selection; “Lady Luck”—selection. Two splendidly played selections from popular comic opera successes. The selection from "Castles in the Air,” which is at present being played in

Australia, includes “Baby,” “My Lips, My Love, INIy Soul,” “Lantern of Love,” “Land of Romance,” and “The Rainbow of Your Smile.” H.M.V. C 1341. The Skirl of the Pipes. Here is a rousing disc for sons o’ the heather and all who can experience a responsive thrill to the skirl o’ the pipes. It comes from the massed pipe bands 6f the Aidershot Command, under Sergeant W. Ritchie, V.C., and Sergeant Piper D. Chisholm, and includes the following: March, “The 79th’s Farewell to Gibraltar”; Strathspey, “The De’il in the Kitchen”; Reel, “The De’il Among the Tailors”; March, “The Wee Man at the Loom”; March, “Hot Punch”; Slow March, “My Home.”—H.M.V., C 1374. Male Quartet and Trio Delights. Peerless Quartet (male quartet), “Lantern of Love” (“Castles in the Air”) ; Peck-Wenrich. Californian Humming Birds (male trio), “She Don’t Wanna,” Yellen-Ager. An exceptionally charming male quartet record of the principal number from “Castles in the Air.” In the coupling number, the Male Trio gives a clever, amusing and well recorded turn. H.M.V. E.A.220. Two Fine Military Marches. Coldstream Guards, “8.8. March,” and “East and West .March.’ These are two fine marches vigorously played and realistically recorded by this fine baud—H.M.V. E-A.239. Harry Lauder on Zonophone. Two of Sir Harry Lauder’s most successful hits, "The Pirate,” and “Oh, How I Weary, Dearie,’’ have been issued on a Zonophone celebrity disc (G. 0.75 This is exceptionally good value for the money. An Artistic Tenor. Franklyn. Baur is known to gramophonists as a graceful singer of light tenor songs. Here we have him in De Sylva’s “When Day is Done.” As a comparison number we have “The Revellers” in “Honolulu Moon.” These numbers exhibit beautiful artistic singing and skilful orches-tration.-H.M.V. E.A.203. Parlophone. Karol Szreter, accompanied by the Symphony Orchestra, gives us in four records Beethoven’s Pianoforte Concerto No. 4 in G. The first two records contain the first movement, Allegro Moderate”; the third gives us the second and third movement, . Andante con Moto” 'and “Rondo Vivace, part 1.” The last is the “Rondo Vivace, parts 2 and 3.” For ‘ our first Beethoven Pianoforte Concert recording, we have selected the fourth in G, for as Ernest Walker remarks, “No concerto in music gives more unalloyed finely artistic pleasure to the listener. The‘beautiful theme announced at the start by the soloist is then given to the strings and developed by the oboe, flute, and full orchestra. The latter also puts the second more vigorous theme before us, and then after this lon gexposition the piano strikes in again, lhe movement is full of romantic feeling and delicious touches of. colour. lhe slow movement is one of the most curious apd original in all Beethoven s works. The gruff phrases played, by the orchestra are answered by exquisite melting harmonies on the piano. Gradually the orchestra is lulled into a mere whisper while the piano sings ever more divinely. A brief cadenza leads to the coda in which the ’cello murmurs the first crude phrases, while the soloist gently closes the movement. It is easv to understand how many “programmes” this strange piece of music has given rise to, as, for instance, Schumann’s ingenious idea of Orpheus taming the beasts. There is no authority or need for these. The music tells ‘its own storv. The light-hearted Rondo which follows abounds in beautifully contrived sound, patterns and has an altogether captivating romantic gaietv. The soloist, Karol Szreter, plays with a delicacv and restraint altogeher admirable, and in keeping with the spirit of the work. He is excellently supported bv the orchestra, which makes its points without upsetting the balance between the. two. The piano tone is remarkably lifelike, especially where it might have been supposed to fall—that is in. the Cantabile passages. Indeed, the slow movement is the chief triumph ; the muted basses at the end come out very well. Edith Lorand plays “Liebesleid”. and “Liebesfreud,” and these two pieces, “Love’s Sorrow” and “Love’s Joy,” make an excellently contrasted pair. The sorrow is surely only that of a lovers’ quarrel, and who could long quarrel with one who played so entrancingly as does Miss Lorand ?

The orchestra of the State Opera House, Berlin, conducted by Eduard Moerike, plavs “Invitation to tho Waltz” (Weber), parts 1 and 2, and part 3, and the “Dance of the Appreutices” (Die Meistersinger) on the other side of the record. In this brilliant example of dance music, melody, rhythm, and colour unite in a perfect trinity under the hand of a great musician.. Weber gave his wife the following programme of the piece: “First appearance of the dancer —lady’s evasive reply—his pressing invitation—her consentconversation in regard to the dance—her reply—they take their places (these incidents are all in the opening bars). The dance—its conclusion—his thanks, her reply, and their retirement. _ The work has been called the transition of dance music; the fiery allegro corresponding to the quicker rhythm of life as lived in Weber’s day, in opposition to the tempo of the 17th century minuet. What would Weber think of to-day? Eduard Moerike invests his interpreta-i tion with rare point and charm, and; the remarkable clearness of the recording is best exemplified on the third side, where the themes are combined. The no less tuneful and well recorded “Dance of the Apprentices” from the last act of the Mastersingers occupies the fourth side. Wagner has invented a seven-bar measure which yet sounds perfectly smooth and natural. Notice a supplementary tune on the ’cellos about half way through. The stately theme of the worthy Mastersingers heralds their coming during the last part of the record. The same orchestra, conducted by Siegfried Wagner, gives us in two parts the “Ride of the Valkyries,” which forms the prelude to the third act of the “Valkyries,” and is one of the most graphic pieces of music ever written. Brunswick. Amongst the new Brunswicks there is a good comedian disc from Roy Perkins—“ Short and Sweet,” and “Do, Do, Do” (3378). A good record of “Me and My Shadow,” with “Broken-hearted,” is a fox trot (vocal chorus), played as a piano duet, with orchestral accompaniment (3592). Another likeable fox trot disc is “No Wonder I’m Happy” and “Just Once Again,” by Ernie Golden’s orchestra (3601). “Charmaine” and “The Doll Dance” came off verv well from a kinema organ played by Lew White.