MUSIC AND RECORDS.

Dominion, Volume 21, Issue 126, 25 February 1928, Page 20

MUSIC AND RECORDS.

By

C.J.M.

Moiseiwitsch. Benno Moiseiwitsch, the famous pianist, who will shortly enter upon anothei tour of Australia and New Zealand under the management of J. and N Tait, tells an amusing story in connection with his last visit to Melbourne. One morning he found amongst his mail the following letter: “Dear Mr. Moiseiwitsch, I read in the paper the other day that no one has ever walked out of one of your recitals. Last night you may have noticed that a gentleman walked out just when you had finished playing a number. I was that person, but lest you should think that my action was intended as an expression of criticism of your music, I hasten to say that I was called away by a proud domestic event. Both are doing well, and, with your permission, we are going to name him Benno.” Most of the principals of the Fuller Grand Opera Company (the Gonzales Company), have sung important roles in tlie great opera houses of Italy and South America. Margherita Flor, for instance, was the first soprano to sing the title role in Puccini’s “Turandot” at Trieste. She is of Danish nationality, and studied first in Copenhagen, then in Milan. Only three years ago she made an exceedingly successful debut in “La Boheme” at the Dal Vernie Theatre, Milan. Rosita Silvestri, the principal dramatic soprano of the company, studied at the Conservatorium of Pesaro under the personal direction of Mascagni, and was specially chosen by this composer to sing last year in a series of performances of his “Cavalleria Rusticana,” which he personally- conducted at the San Carlo Theatre, Naples. _ She. has appeared at this theatre also in “Aida,” “La Tosca,” “Un Ballo in Maschera,’’ and “Andrea Chenier.” Olga Poletti, a coloratura soprano, made her debut eight years ago at Florence as Gilda in “Rigoletto,” and has since won popularity both in Europe and in South America—notably at the Colon Theatre, Buenos Aires—as an exponent of the principal role in Verdi’s opera, “La Traviata,” which is to be the second of the operas presented at the St. James Theatre. Nina Algozzino, the principal contralto, has won high praise from the leading Italian critics for her interpretation of the title role in “Carmen.” A Sicilian by birth, she has toured North and South. America twice, besides having BL„g in Rome, Milan, Naples, Palermo, Turin, Venice, Genoa, Vienna, and Bucharest. . The male principals are similarly distinguished. There is Brandisio Vannucci, who studied under the same teacher as Dani, and made his debut at Florence five years ago as the Duke in “Rigoletto” with such success that the public besieged his hotel afterwards and gave him an ovation when he appeared on the balcony. There are -Arturo Tamburini, who sang Don .Jose in “Carmen” last year at Turin ; and Franco Izal, an Argentine baritone, who has sung in the foremost theatres of Italy and South America. Altogether, the opera season must be of great interest in the array of new artists it will bring forward. London Street Music. The English have few claims to distinction where classical music is concerned. They have <few great composers, and fewer great artistes. But what a wealth of music abounds in London streets and squares (writes a correspondent of the Newcastle “Weekly Chronicle”). To be sure, it is not always the kind of music that has charms. Some will say unkindly that it is no music at all. But that is going too far. One cannot harshly call it a noise. Let us be content, and call it not good music nor bad music, but street music. You will hear it first in London when the milkman calls. There is the patter of his pony's feet, a rattle of bottles and cans, and then a high-pitched call of “M-i-l-k!” or rather husky yodel. Most milkmen prefer yodelling. Next, probably when you are dressing, you will hear the rumble of a heavy cart and the slow, “plop-plop, plop-plop” of a heavy horses’s shoes. Then comes a drawn out, not unmelodious cry of “Coal!” a mournful, poignant cry, that strikes a note of melancholy, and is sometimes followed by a quavering, plaintive “Who’ll buy ?” and the ding-dong of a heavy handbell. But no one buys, and the coal man plods wearily on, his doleful cries fading with the distance. Street cries in London are mostly monotonous. In a dreary monotone the blind beggar with his shivering dog, calls “Pipe-lights, cigar-lights, pipelights, cigar-lights,” and old women call “Buy a box of matches, sir!” in tones which express neither hope, despair, nor the faintest interest. Barrel-organs are everywhere in plenty; loud ones, soft ones, with new tunes and old tunes, sprightly tunes, and dreary tunes. They make the air hideous in some silent, solemn square until bribed to depart, or else compete madly with the roar. of traffic in busy streets, aided by flapping spoons or tremulous strident songs. Brass band, too, are much in evidence, on week days thumping and blowing martially through the streets, and on Sundays droning out hymns in the smug respectability of Bavswater. Cornets also are plentiful on Sundays, as well as harmoniums and wailing violins. As evening draws on most street musicians retire. But there is always to be seen the old and bent mouth-organist, playing wheezily in the open doorway of the public-house, till warin air and strong beer mellow men’s hearts and open 'their pockets. Al) this is but a fraction of London’s street music,.which is heard day and night equally in the broadest street and the meanest alley. Much of it is dull and most of it doleful, but it is a music all by ’tself—such as is heard in no country but England and no town but London. And London would be a sadder place without its sad street music. Mr. E. J. Tait, managing director of J. C. Williamson, Limited, who is over here partly on holiday and partlv on business, expressed in an interview, the hope that the Italian Grand Opera Company, which will open its season in Melbourne on May 12 will be heard in New Zealand end of the vear. Some members of the J. C. Williamson-Dame Nellie Melba Grand Opera Company, includ Toti Dal Monte, Aranghi Lombardi. Francesco Merli, and Bagabnoli, the musical conductor, were commanded br Mussolini to appear at the opening of the new Theatre Reale in Rome. This necessitated the opening of the sersnn in Melbourne two or three weeks later than the date planned The season will, therefore, commence at His ty's, Melbourne, on May 5 or 12, vith “Tutrndot.” Puccini’s last opera Sn nor Zucci, the chorus master, and S.g nor Colucci, one of the musical direc tors, hav- already arrived to commence immediately preliminary preparations for tlie season. RECORDED MUSIC Splendid Mass Music. The only Arnold Bax work available to the gramophonist is “Mater «ra fili,um,” which is sung bv the Leeds Festival Choir of 1925 on H.M.V. D. 1044-5 “Mater ora filiuin” is founded on an old carol in manuscript form in the library of Balliol College, Oxford, and is written for am unaccompanied double

choir. The singing of this difficult and exacting work is magnificent. No trace of flattening of pitch can be found, and the sustained high notes of the sopranos and sonority of the basses are positively thrilling at times. The quality of the recording is also very fine, and if in one or two places perfect balance in this complicateed texture of sound is not achieved, we have the consolation of knowing that this must be a rarity even at an actual performance. This music needs to be lived with before full appreciation can be realised,, and it is in a work of this nature that the greatest benefit is derived from the gramophone. Some Good Hylton Discs.

The renderings by the English dance bands have been well up to standard in recent H.M.V. issues. Jack Hylton and his orenestra must be mentioned early on, as the fine quality of his orchestrations makes his fine combination play well. “Da-da-da” is played with a great swing and ’fine variety. The two pianos have a revel, an attack on the trombone, a “hot” sax. joins in near the finish, and the number is, by the way, one of the loudest that is to be heard. Also on B 5296 is “My Heart Stood Still,” which introduces a bit of nice viola solo, with “hot” fiddles intruding. The Hyltonians put plenty of snap into “South Wind,” a fine, breezy tune (sorry), on B 5287, with “Lily,” another fox-trot that introduces a novelty spoken effort, with guitar and “hot” fiddle accompaniment. “Hallo! Cutie” (B 5277) is well played by the same band.

“To the Savoy For Dance Music.” “We will now go over to tlie Savoy for dance music till midnight.” The well-known formula can almost be taken literally (says a reviewer), for there is a pleasing touch about most “Savoy” efforts. The Sylvians are nicely to the fore with “Some Day,” a sweet fox-trot that is going to be a hit later on. I heard the Orpheans play the numbed the other evening, and, apart from tlie identical arrangement the rendering is very much like this recording. On the reverse of 85271 is “I Need Lovin’,” which introduces for the last chorus rhythm, four in a bar by the guitar, but I’d like the “Savoy” explanation for the way the break is taken. The Sylvians also have a couple of numbers from “Whitebirds” in “I’ve Got a Wonderful Girl” and “Sing a Little Love Song” (B 5285), the former being the better of the two. The original Sylvians combination without brass has apparentIv disappeared—a great pity. The. Savoy Havana Band give a nice version of “Side by Side” (B 529-1), with "At Sundown” on the reverse. The former as a vocal intro that leads straight in a vocal chorus. Original idea. “At Sundown” is a fine melody number with a lilt, but I’d like to hear the more ambitious arrangement played by the Orpheans on wax. It’s worth hearing. The Gramophone Company has already tried the experiment of having the same number done by an English band and an American band in the same issue. If thev let both Savoy bands have a cut there should be some excitement. The Havana Band plav "Since I Found You” neatlv on B 5272, and the reverse is the Orpheans in “Tea-time To-iuor-row,” a tuneful fox-trot played in very good style. The trumpet has one or two bursts of enthusiasm that lend brightness, too. Also B 5290, which has “I Need Some Cooling Off” and “Doll Dance,” which feature piano solos that have been done artistically. I don’t think any other can be used; the expression put in'these bits is without parallel. Still the Best. The last time I wrote about records (says a London reviewer) I said that the three H.M.V. discs of the “CasseNoisette Suite,” conducted by Leopold Stokowski, provided the best orchestral records up to date. After three months I don’t feel inclined to retract. A Zippy Disc. Frank Crumit (tenor), in “Crazy Words, Crazj' Tune,” and “High, High, High Up in the Hills.” There is something which, the Americans call “zip,” and for which we have not an adequate word. Frank Crumit has “it,” and he gets his personality “across” in the most wonderful manner, bv cheering up everybody. —(H.M.V. B 2440.) Church Choir Music. Church Choir with grand organ—“O God, Our Help in Ages Past” and “Jesus Shall Reign.” The latest addition to the magnificent Church Choir records which have created such a sensation during the past few months. The following is one of many testimonials actually received by us daily concerning these records: "My friends who have heard them second my opinion that there are none better, even at higher prices. They are so perfect that one may close one’s eyes and really imagine one is in church.”—(Zono, 2846.) A Good Clarkson Rose. Clarkson Rose (comedian) with orchestra, in “Ma, Look at Charlie!” and “How Does a Little Liver Pill ?” Here is a comedian who never palls because he knows how to choose a song and how to sing it. The Zonophone catalogue contains many of this comedian’s records which are in constant demand.— (2978.) Nectarines and Plums. A superlatively great performer, Pablo Casals, has given us “O Star of Eve” and “The Prize Song.” I should be inclined (says a reviewer) to nominate this 12-inch Red Label disc as a standard for all ’cellists who want to know how much fruit is allowed to their instruments. “Under the bow of nearly every ’cellist I can think of,” he says, “the lusciousness of this version of ‘O Star of Eve’ would have been too much for us. Casals remains a nectarine where others turn into over-’ ripe Victoria plums ” Another Temple Church Choir Disc. From the point of view of tlie general public, the most important item on the latest H.M.V. list is the record by the Temple Church Choir. The first record made by them, Mendelssohn's “Hear My Prayer,” created tlie big gest sensation in gramophone history A second beautiful performance was issued in September. The anthems chosen for this third record are again (rom Mendelssohn, “I Waited for the Lord,” and “O Come, Everyone That Jhirsteth,” and in these Master Lough shares tlie solo parts with another boy chorister Master T. Mallett The performance is a splendid example of what church choir singing should be. A Fine Disc. “The Jewel Song” (from Gounod’s “Faust”), witli orchestra, and “La Villanella” (Dell’ Acqua), with piano. H.M.V 0338 (12-inch) The second Mavis Bennett record arrived later than tlie first, and calls for a revision of a little I’ve said If she is skimping some of tlie finer work, she is putting the verv last finishing touch to other work. In case Mr Klein is not reviewing the “Faust,” I must say that I can hardly imagine a better record of it—more subtle perhaps, in places, but not more satisfying all round. As for the “Villanella”—for ringing high notes, agile passage work, and bright tone, this is one of the most brilliant records I’ve ever heard.

Famous Poet’s Message. Rabindranath Tagore, the aged poetphilosopher of Bengal, who recently expressed a wish to leave behind him a spoken message for posterity, has been recorded bv the Indian branch of “His Master’s Voice,” and will be available here in due course. Tagore spoke certain lines exhorting man to cease chanting in a dark corner and to seek God in the world of toil: — “Where the mind is without fear and the head is held high; Where knowledge is free; Where tireless striving stretches out its arms towards perfection; Where the mind is led forward into ever-widening thought and action.” A Calcutta message says the gramophone record is remarkable for its clear English diction and the fire of the poet’s delivery. “Do’s” and “Don'ts.” Gramophone “do’s”: (a) Have your gramophone attended to by an experienced mechanic twice a year, (b) Find out the playing capacity of your gramophone and' see that it plays the full number of records at each winding, (c) Play records at the correct speed; to test speed wind up machine, place record on the turntable, and insert a pieec of white paper under the edge of record, and then play in the usual manner, counting the number of times the paper passes a given point, namely, 78 or 80 times per minute, or adjust as necessary. “Don’ts”: (a) . Don’t forget all machinery requires lubrication periodically, (b) 'Don’t leave the spring wound up when not in use. (c) Don’t wind after each record (except only single spring machines). (d) Don’t run machine too fast and then complain about blast and screech. (e) Don’t use steel needles more than once; needles are less, expensive than records, (f) Don’t interfere with the sound reproducer, as this is the soul of the gramophone and has been assembled and tested by a specialist. A Good Johnny Marvin. Johnnv Marvin (comedian), in “Ain’t that a Grand and Glorious Feeling?” and "Magnolia (Mix the Lot—What have You Got?”). Here we have Johnny Marvin in new songs of an attractive character. Splendidly recorded accompaniments.— (E. A. 215.) Quartet Singing. Peerless Quartet —“If You See Sally” and “Swanee River Trail.” New class “harmony” quartets with H.'Burr. the great master of sentiment, singing most of the solo parts. “Sally” may be considered a sequel of “I Wonder What’s Become of Sally,” though it is not by the same composer. It has a good harmony of the popular order, and the accompaniment is well set for the orchestra. The coupling number is of a similar type, and both are splendidly recorded.—(Zono. E.E., 57.) Two Fine Organ Pieces. Spencer Shaw, A.R.C.O. (grand organ solo)—“Tannhauser” March (Wagner), and “Finlandia” (Sibelius). Both pieces are famous for tremendous passages, and provide splendid opportunities for the powerful voice of the organ. “Finlandia” will appeal to many as the better played piece, its fine mixture of violence and softness being well accentuated.—(Zono. A 316.)

Tenor and Wurlitzer Organ. Gerald Griffin (tenor) with kinema organ in “When You Played the Organ and I Sang the Rosary” and “Old Names of Old Flames.”

Here are really delightful renderings of these popular songs. Gerald Griffin’s expressive voice and the wonderful kinema organ accompaniment give most original and striking results.—(2972.) More From Alfred O’Shea.

(1) “Life or Death” (Coleridge-Tay-lor) ; (2) “You Lovely Thing.” Sung by Alfred O’Shea, tenor. Columbia 03509.

Alfred O’Shea shows, once again, that his highly artistic singing fully entitles him to the reputation that he has earned of being “Australia’s greatest tenor.” The appealing quality of his voice, never better shown than in these two ballads, makes the simplest trifle in his hands a thing of intimate interest. He shows sound judgment, too, in his choice of material. “Life and Death’’ is one of the best of the many beautiful songs composed by Coleridge-Tay-lor. In the companion, “You Lovely Thing,” the smoothness of O’Shea’s singing is quite admirable, and his phrasing highly artistic.

The Lener String Quartet. “Quartet in F Major” (Rasoumoffsky Quartets No. 1) (Beethoven) — Five Records in Album, with descriptive notes. Played by the Lener String Quartet. Columbia L 1837-41.

The famous Lener String Quartet, who have just completed a tour of Great Britain, have added considerably to their laurels in that country. Mr. Ernest Newman, one of the most famous critics alive, says of their playing: “It has the ring of authority; to equal it one must take four virtuosi equally masters of their instruments, and compel them to play, as the Lener Quartet has done, in the same combination for fifteen years.” Sir Edward Elgar supplements this high praise by saying, “At last I have hopes for the future, popularity of string quartet music.” This is the first of the three “Rasoumoffsky” quartets, dating from 1806, called after the Russian Ambassador in Vienna, who presented his friend Beethoven with the Russian folk song which forms the subject for the finale. Mendelssohn said that this quartet was the most Beethovenish of all his works. Tlie principal subject of the opening movement is given by the violoncello, and there is a strong resemblance between it and the opening of the piano trio in B flat, reviewed last week. There is also a passage in this movement resembling one in tlie first movement of the fifth symphony. The persistent rhythm of the scherzo is remarkable, and the accompanied cadenza forming the coda occasioned much astonishment and adverse criticism when the quartet appeared. Tlie movement leads without a break to the finale, which begins with Rasoumoffsky’s Russian melody, given by the violoncello. A Remarkable Violinist. (1) “Poupee Valsante” (Poldini, arr. Kreisler) ; (2) “At Dawning” (Cadman). Violin solos by Sascha Jacobsen. Columbia 0793. Sascha Jacobsen lias proved himself to be a violinist of very first rank and this, the first record of his that I have heard, bears out the big name he has made for himself in U.S.A. Not only are his phrasing and technique well above the ordinary, but ,what is more important, he adds a wealth of life and colour to his interpretations. In Poldini's popular "Dancing Doll,” which cleverly suggests the automatic movements of a doll, Jacobsen’s tone is unusually warm and mellow. Cadman's melodious and romantic “At Dawning” is superbly played. How much is due to improvement in recording is hard to say, but the violin tone is reallv startlingly rich and deep. This is a record well worth purchasing. A Welcome Return. (1) “Calling Me Back To You” (Seaver); (2) “Dear Little Irish

Mother” (O’Brien). Sung by Walter Kingslev, baritone. Columbia 0809. Really good baritones are rare enough' in all conscience, and many of us noted with regret that the records of Walter Kingsley, one of the first artists who recorded for Columbia in Australia, were becoming few and far between. Now he is back, and the advance in recording shows us very clearly what we have been missing. He displays a fine round voice, and good enunciation in the verv attractive “Calling Me Back To You,” while in the emotional and sentimental ballad his rich baritone has the support of a violin and ’cello accompaniment. Famous Son of a Famous Father. (1) “Thousand And One Nights” —Waltz (Johann Strauss) ; (2) “Freuet Euch des Lebens”—Waltz (Johann Strauss). Johann Strauss conducting the Symphony Orchestra. Columbia 02526. If, as' is expected, the graceful waltz returns to its one-time favour, snrelv the beautiful playing of these classic examples of old Johann Strauss, by the orchestra under the baton of his son, the last Strauss of that name, will achieve it. The younger Strauss conducts his father’s famous waltz tunes with the utmost charm and sensibility, his orchestration, if not “clever” in the misused sense of the word, being exactly suited to the music. The “Thousand And One Nights” is a particularly fragrant favourite, being perhaps next favourite to the historic “Blue Danube.” A great record. The World-Famous Bonci. “Un Balia in Maschera” (Verdi). (1) Di tu se fedele: Duet, Alessandro Bonci, tenor, Aurora Rettore and Chorus; (2) E Scherzo od e follia: Quintette, Alessandro Bonci, etc., and Chorus. Columbia 04022. What a delight it is to hear again the familiar and robust accents of the great Bonci. I feared that he was lost for good, but perfect training, apparently, preserves a great singer for our delight far beyond the span allotted to the merely "gifted” vocalist. In this striking operatic quintette and duet Bonci figures in his first electric recording. The part of Richard in Verdi’s “The Masked Ball” is one of his greatest parts, and his glorious voice recorded to perfection. Both numbers are from Act 1. The great tenor naturally and rightly dominates the wonderful singing. This record leaves an old admirer of bis breathless, and I feel positive that all my readers, familiar with him or not, will draw equal pleasure from listening to it. The J. H. Squire Celeste Octet. (1) “1 Don’t Care”; (2) “Close to My Heart.” Played by the J. H. Squire Celeste Octet. Columbia 0822. The Celeste Octet are old Columbia favourites, whose clear playing and simplified arrangements have done much to popularise classical music. But in their latest record they have gone to a rather more popular type of music than usual. Their finished execution, however, makes very attractive things of these two airs. As one has learnt to expect from this clever combination, whose great success in Italy recently rather reverses the usual order of things, the pieces are most effectively arranged, and the combined string tone is extremely rich and satisfying. From a Famous Wireless Orchestra. (1) “Les Millions d’ Arlequin (Dngo) ; (2) “Minuet” (Boccherini). Percy Pitt conducting tlie 8.8. C Orchestra, Columbia 9092. During a recent stay in London I had the great pleasure of listening on the wireless, night after night, to the orchestra of the British Broadcasting Corporation, broadcast from 2LO, and it struck me that next to their versatility their one outstanding quality was

an unconquerable cheerfulness. They ewe this, I am assured, to their famous conductor Percy Pitt, who was controlling the great Covetu Garden Orchestra for so long and with such conspicuous success. All his renderings have a sort of authentic ring about them. He appeals to you directly, because, in his own words, he “likes a good, simple melody,” and makes sure that nis audience doesn’t miss the beauty of it. Maybe he over-empha-sises the pizzicato in the Drigo Serenade, but his tone is always crisp and his phrasing energetic, and he makes the frolicsome Boccherini “Minuet” ,i thine of whimsical light-heartedness. For the Wagnerite.

“Siegfried’s Death March” (Gotterdanunering) (Wagner)—ln Two Parts. Sir Hamilton Harty' conducting the Halle Orchestra. Columbia L 1552. In the whole literature of music there are few works more expressive ol poignant and majestic grief than this famous Death March, and certainly nothing so typical of Wagner in his most elevated moments. It has the stark grandeur of towering cliffs. Separately, and then most cunningly blended, one hears the deep “Wodin” motive on the lower brasses, the “Siegfried” motive on the middle brass, and the “Brunhilde” motive on the strings, each not only developing the story but also adding thematic richness to the music. It was in this interweaving ot themes and counterpoint that Wagner so immeasurably excelled, and this Death March is perhaps the finest, example in all his works. Sir Hamilton Harty conducts his famous orchestra with extraordinary understanding and subtlety. There are few conductors who can resist the temptation to emphasise the noisiness of Wagner; Harty is one of the few, and his interpretation is thereby given an almost spiritual significance. It is not that he does not make full use of his percussion instruments, but that he handles them with rare discretion. He is exceedingly well-served by the recording, which brings out all the delicacy of the strings, to which this solemn composition owes so much. A truly great recording.

Parlophone. The records of the Irmler Ladies’ Choir are very fine. Their recent novel and beautiful discs mark a very definite advance in the art of recordingfinances of expression, musicianly phrasing, and the pure tone. Moreover, they sing to a most artistically-con-ceived accompaniment of strings and piano. Th result is entirely delightful.

Parlophone records include two very flue concerted numbers from Verdi's “Un Ballo in Maschero” (The Masked Ball), sung by the principal soloists with full chorus and orchestra. The Sistine Vatican Choir has another particularly fine bracket in Palestrina’s “Introducit Me” and “Velociter Exaudi Me,” which afford an admirable glimpse of this famous old composer’s mass music. The Edith Lorand Orchestra can always be relied upon ■ for light music most capably played. In their latest discs we are given Waltenfel’s famous “Myosotis Waltz” and a bright selection from the “Dollar Princess. Wagner’s “Tristan” and “Isolde” furnishes the material for two admirable discs, on which are recorded .the “prelude” and Isolde’s beautiful ■ “Liebestod,” by the Berlin State Opera House orchestra. Tchaikowsky’s “Chant d’Automne, trio for violin, ’cello, and piano, is instinct with the melancholy of autumn,

and resolves itself into a duet for violin and ’cello, with pianoforte accompaniment. The way in which the instruments speak to and answer one another is most attractive. Coupled with it we have Schumann s “Dreaming,” which is a violin solo, the other instruments providing the background. Originally a pianoforte solo, one of the numbers in the “Scenes of Childhood,” it goes peculiarly well on the violin, and perhaps the reason for its universal appeal is the quiet, testful mood it induces. The mood in both pieces is beautifully caught by the players, and with the recording equally successful, the disc is certainly one to covert. Karol Szreter (piano) plays “Soiree de Vienne” (Strauss-Grunfeld), in two parts. A brilliant concert paraphrase by Grunfeld of the melodious waltz by Johann Strauss, “Soiree de Vienne (Viennese Evening). The first electrical Parlophone recording of a piano solo is a decided success, ihe tone, richness, and sonority of the instrument are faithfully reproduced, and the playing of Szreter is both artistic and brilliant, whilst the music is, needless to sav, very melodious and graceful. —Edith Lorand’s orchestra plays selections in two parts from “Boheme (Puccini). The charming melodies of Puccini’s most successful opera never fail to please, nor does the animated and artistic playing of Edith Lorand and her orchestra. The selection from “Boheme” opens with a bright motive associated with the four Bohemians, followed by an excerpt from the poets song, expressively played by Edith Lorand, with harp and orchestral accompaniment. The two themes of Mimi’s narrative from the first act, ill Chiamano Mimi,” are then heard, and conclude side one. The second side begins with the jolly music sung by the crowd of shopping people in the second act (Christmas Eve). Sadness alternates with brightness, and presently we hear Musetta’s graceful waltz, which happily terminates an enjoyable selection. The excellent recording and fine playing is decidedly enhanced by the personality of Edith Lorand, who infuses the music with sympathy, deep feeling, and temperament. Two favourite melodies. “Caprice Viennoise” (Kreisler) and “Humoresque” (Dvorak), chiefly known as violin solos, are played bv a brilliant Hungarian orchestra, the Dajos Bela Orchestra. Dvorak’s popular “Humoresque is played with grave and invigorating rhvthm, the intermediate section being interpreted with passion and vigour, which gives way to the returning charming melodvj rendered with a touch of wistfulness and sadness. In Kreisler’s “Caprice. Vennoise, the piano plavs a prominent, part in the accompaniment. The addition of string instruments gives weight and fulness to both works, and the placing is characteristically temperamental and expressive. The recording is very good and clear. Brunswick.

Two unusual Brunswick fox trots are the Washingtonians’ “Soliloquy”’ and “Black and Tan Fantasy” (3526). Another acceptable fox trot, disc is the Fess Williams’ Orchestra in Variety Stomp” and “Phantom Blues. (3532). , . . Eva Knox described as the singing comedienne, is pleasing in “One More Kiss” and “Forgive Me,” with violin, ’cello, and piano. Mick Lucas, the “Crooning Troubadour,” to the .accompaniment of guitar and piano, sings “One More Kiss” and the popular hit “Forgive Me.”