MUSIC and RECORDS

Dominion, Volume 23, Issue 169, 12 April 1930, Page 24

MUSIC and RECORDS

By

C.J.M.

Backhaus. Wilhelm Backhaus, the world-fam-ous pianist who created such remarkable enthusiasm on the occasion of his first Australia and New Zealand tour four years ago, is opening his second tour on Saturday, April 2G, at the Sydney Town Hall, and will probably visit New Zealand at the end of June. Clarence Lucas', Parisian associate-editor of the “Musical Courier” of New York, recently wrote: “Backhaus never throws the coloured light on a peculiar temperament upon the composer’s landscape. His emotional nature is so finely balanced and subservient to his imagination as an artist that he renders unto Caesar the things that are Caesar’s, and plays the mighty Beethoven like Beethoven, the soaring and enraptured Chopin like Chopin, and the romantic, warm-hearted Schumann like Schumann. No higher tribute can be paid to an interpreter.” The Backhaus tour is under the E. J. Gravestock direction. Jazz—What of It?

“Jazz expresses with admirable sonorous eloquence that vertiginous mixture of blood and races which is the United States (writes Alfredo Casello In a Rome journal). Born in the jungle, tills art transformed itself in the heart and on the lips of the American negro so as to finally reach the North, and find its final expression in the works of the white man, such as Whiteman, who is a Christian, or Berlin and Gershwin, who are Jews. Jazz is to-day a form of art, the only North American art, I would say, which has been able, in less than fifteen years, to conquer the world with a success which has not been previously recorded in the history of music; “The derivation of the word ‘jazz’ is obscure, nor is it definitely known where it had its origin. There are various stories of little importance which try to clarify this fact. The important fact of jazz is that it rests upon two essential, characteristic elements : the syncopated negro rhythm, • and the instrumental technique. The syncopated rhythm was introduced to North America by the negro and the Mexican, and was prevalent even before the Civil War; but in speaking of jazz it is necessary to establish a dividing line between the rhythm of ragtime, such as was prevalent fifteen or eighteen years ago, and that of the fox-trot which is the real typical • rhythm of jazz. In ragtime the syncopation exists, but it is limited to some spots here and there, in the melody, without this melody assuming an antagonistic character toward the accompanying bass, while, on the contrary, modern jazz has introduced in the accompanying polyphony a melange of rhythms, which adapt themselves to the general rhythmic development of the piece, but which individually live their own life within this medium.

“As to the technique of jazz, it is to be said that it constitutes a new manifestation of the American mentality, a mentality which does not know the past, and which can therefore dare certain things which are totally impossible to the Europeans. It is because of this quality that the AfroAmerican was able to make use of certain instruments which the Europeans have known of for centuries, but which they obstinately refused to consider because of certain traditional aspects which the negro knows nothing about.

1 The European is born with the idea that the trombone must be solemn and majestic, the trumpet must be heroic, the oboe pastoral, the drum military, the violin lyric, the pianoforte romantic, etc., etc., and no European would ever have arrived at the point of creating an agile trombone, a trombone capable .of glissandi, one which can sing like a ’cello or laugh like a hyena, or to make of the trumpet a hysterical and chattering old woman, or to suppress in the piano any possibility of expressiveness, and to ’’mit its use to that of an instrument of percussion and of one totally antilyric. These ideas could only emerge from the. virginal minds of the enfant terrible of the new world.”

“The predominating element of jazz is the saxophone, which was invented in 1842 by Anthony Joseph Sax, and remained until the following century without use, with such few exceptions as in the Bizet Arlesienne or' in the Domestic Symphony of Strauss. It had to wait the coming of a new music ’to find its reason for being. It must be added that, used in a small ensemble of eight or ten instruments, and especially when combined with muted trumpets and trombones, the saxophone acquires a high value of expression. The art of the Afro-American also knew how to develop the technique of the saxophone in a very short time, utilising its full possibilities, its capacity for the expression of nostalgic and sensuous feeling which are basic feelings of jazz. “In Europe it is generally understood that American jazz is noisy. This is not true. Aside from a few wild moments this musie is sweet, velvety and soft as an Oriental carpet. There is nothing brutal in it, but instead a sweet, morbid and voluptuous sonority, at times sad, which often achieves the expression of real emotion. Jazz is also a spiritual expression, because there is no technique which has not a spiritual essence. It is an integral part of the spirit of a new country, of a new civilisation. Beneath its appearance the American life hides vast, nostalgic sufferings, infinite aspirations toward the unknown. An excellent example of this is Paul Whiteman’s sad gaiety. “Furthermore, jazz is above all a negro creation, and therefore a creation of a race which is most nostalgic and most unhappy; and has not this art been developed by another race essentially without a country, that is, the Jew. Grainger on British Music.

Above all other examples of old English instrumental music (writes Percy Grainger in the “Musical Courier”), tower the Three, Four and Five Part. Fantasias for Strings by Purcell, recently edited and made available for modern string-quartets or string orchestras by Peter Warlock and Andre Mangeot (Curwen Edition). They are not only the finest showing of Purcell’s genius that I know; they are as good as the very best of Bach. They unfold a complex glory of polyphonic sonority for which many a modern ear is athirst, and, whether lively or solemn, are shining models of the most telling kind of writing for strings. • Moreover they point an interesting lesson on the subject of abiding national characteristics in art; for the moods of some of these Fantasias, written five years before Bach was born, are, in their calm rapture, surprisingly akin to much of Delius, Scott and Vaughan • Williams. The golden worth of

Vfiughan Williams’s music becomes more evident each year. His “Pastoral Symphony” seems to me the most successful essay under this title by any composer. None other seems so genuinely pastoral in mood—not a

pastoralness consisting of imitations

of bird-calls and other “natural sounds, nor claiming to paint rural scenes in tones, but the musical outpourings of an artistic soul into which the very essence of the country-side has entered. His Concerto Accademico for violin and strings is another happy achievement. Here is no barren “neo-classicism” born of flagging of the creative imagination resulting in a lazy harking back to certain wornout formulas of the 16 th century—the husk of the past, not the living past itself. Here is no breaking of faith with the urge of modem music, but a truly modern work into which certain fascinating archaic influences have injured a unique flavour. This is a work that should widely commend itself to violin virtuosi and to string orchestras.

A. delightful experience was the “Beggar’s Opera,” well sung, well played, well acted at the Lyric Theatre, Hammersmith (London). With unerring judgment and sensitive musicianship, Frederic Autsin has adopted and expanded this old music to suit modem requirements. These same and other fine qualities mark his own independent compositions, such as his C Major Symphony and Spring Rhapsodyworks that should become more widely known in the near future. An amazing compositional and orchestral virtuosity pervades the score of Eugene Goossens’s opera “Judith.” Only a keen, vigorous mind could have conceived this music; in the main somewhat unbending in its extreme austerity and conciseness, though flowering forth occasionally into brief moments of luscious sensuousness. It seems a little aloof from the main trend of British music, both in its masterly craftsmanship and in its lack of inner emotional melt. For let it be confessed that English music (the glory of which lies in its deeper human qualities, in its tender-hearted-ness, its knightliness and purity . of mood, its reliance upon sheer inspiration) is almost always married, on its technical side, by some amateurishness, some indifference to details of craftsmanship. Possibly Elgar and Holst should be partly or wholly exempted from this generalisation, both to their ' gain and. loss. The more representative and racially revealing English music is the more may these high virtues and accompanying defects be awaited without disappointment. Of short, telling pieces for smallish orchestras —of a type that appeals to most conductors in that it is effective with next to no rehearsing—Peter Warlock’s vividly scored Capriol Suite and Roger Quilter’s lovable Three English Dances struck me as outstanding. A valuable contribution to a curiously neglected field —that of concerthall works for voice and orchestra—is Quilter’s recently composed moving setting of Shelley’s poem, “I arise from dreams of thee”; fervent in melody, glowing in orchestration. , England has long been lucky in her song writers, quite particularly in her women song writers. How deeply yet unsentimentally emotional,' how harmonically poignant, are such gems of song as Maude Valerie White’s “When the Swallows Homeward Fly,” “Let Us Forget,” “We’ll go no more aroving.” What character struts in Ethel

Smyth’s “Anacreontic Ode,” what pathetic charm breathes in her “Cryscilla” (both for voice with chamber music accompaniment). Yet most English musicians are surprised if one ranks these, and Quilter’s, and others of the finest English songs, with Schubert, Schumann; Brahms, Faure and Grieg. I ask myself, what quality do they lack that they should be debarred from highest rank? None, to my ears. English musicians should wake up and realise that they already possess a great hoard of song classics that are the equal of any other penned.

The Latest Endurance Contest. A new “musical” horror has appeared in the form of a “radio listeners’ endurance contest.” It was held in Louisville recently, and the winner among 60 contestants proved to be Mrs. Mildred Daniel, who “listened” for 106 consecutive hours, going without sleep during that time. After she won, Mrs. Daniel became delirious from exhaustion, but the newspaper reports do not say what happened to others who live in the vicinity of the radio which was used. Mrs. Daniel’s prize was a £4O radio. Presumably she will employ it for practice in trying to break her own record as a listener.

Picking the Composer’s Pocket. With the extension of gramophone recording, broadcasting and talkies music become a widely ramified vested interest. A performing rights society has been busy among the various consumers of music, natural and mechanical, and used allegedly “oppressive methods” to collect indeterminate fees. That, they think, ought to be stopped. There ought to be no surprise attack on those philanthropists who unwittingly perform copyrighted music. If a performing fee is demanded, they say, it ought to be stated on the music; and —here is a masterpiece of equity—such fee must not exceed twopence for every copy required in performance. The effect of the paragraph would be that, whether a jazz tune or a • symphony; the purchase of a copy plus ’ “tuppence” will give the purchaser a perpetual right of performance. Sir Edward Elgar would get twopence for a performance—or any number of performances —of his “Dream of Gerontius” by any given society. The storm of protest which intercepted this Bill between its second reading (passed without a vote!) and its final passing, ought to make the poor abused composer take heart. The most stentorian Halt! was called by George Bernard Shaw, whose letter to “The Times” is worth quoting in part, because it defines the composer’s position. “As it is considered desirable,” he says, “that composers of music should ' be able to live by the exercise of their talent, they have been given the right for a limited number of years to prevent any person from multiplying copies of their works or performing them in public without the composer’s consent, thus enabling him to attach to that consent the best price he can get for it. He has absolutely no other means of livelihood as a composer.

“Now it is extremely hard to make people understand that they have no more right to perform the work of a composer without contributing to his support than to pick his pocket They : inex his property without permission or payment by singing his songs at concerts, especially at the friendly smoking concerts and the like got up by the Labour organisations from which

Parliament is now recruited. When they have broken the law they are appalled to find some person, not perhaps the composer, but some petty trafficker in copyrights, who has bought the composer’s rights for a trifle, turning up and demanding a fee which is limited only by the ability of the offender to pay. There is a wave of sympathy with the popular singer and of indignation against the copyright proprietor. He is classed as an in-

famous blckmailer. . . .”—“Musical Courier.”

Where is Irving Berlin? What has become of a composer called Irving Berlin, once the outstanding favourite of those who like up-to-date music? asks a popular weekly. He was advertised as garnering enormous financial profits and bls tunes ruled in the theatre, the dance hall, the street, •in fact everywhere. He has not really disappeared, but he seems to be no longer writing the songs of our nation. A talent for obvious melodies that catch the ear too lightly, has its limitations, and such composers rarely hold enduring vogue. They fall into sameness of material and monotony of style, and both are quickly in the discard when some new tune-monger comes along with a novel twist of expression, some original chords, and a bit of unfamiliar rhythm, arrests the public that only listens and never thinks when it goes in for tonal regalement. Maybe Irving Berlin has retired and now enjoys the leisure of a great man who has done his job and made his pile. Let us hope so. He deserves it, for once he had the whole world hoofing to his stimulative Alexander’s Ragtime Band, and Everybody’s A Doing It. They were his earliest successes. and far better music than most of the-super-sentimental songs which formed his later output

For Whispering Baritones and Their Hk.

This for whispering baritones and other ridiculous slop-overs of that ilk: “Crooning” music and the kind of vocalism it engenders sicken the ears of intelligent music-lovers. It really is, in most cases, lush and drooling music. “Crooning” and “moaning” have come to take the place of real vocalism in our theatres, vaudevilles and on the phonograph and radio. Herd minded as we are as a nation, - have fallen victims to the new manner of quarter-, voice singing, which some performers with meagre tonal equipment started expediently for themselves.—“ Variations,” in the “Musical Courier.” RECORDED MUSIC Two Lovely Mozart Airs. (1) Andante for Flute and Orchestra; (2) Gavotte from “Idomeneo” (Mozart). Played by the Zurich Tonhalle Orchestra. Columbia 02978. This is the second of the Zurich Orchestra’s recordings, and, like the first, it is simple and fine in its sincerity. Lovers of Mozart will be delighted by the playing of the flautist, Jean Nada, in the Andante. This tune is quite naive, and the flute indulges in no frills, but just a homely little air of exquisite simplicity. The melody in the Gavotte is as clear as a beL on a still summer’s evening, and is an epitome of the gentle soul of Mozart. Dr. Andreae conducts with a steady sureness and wealth of sympathy, and the freshness of the great Swiss orchestra’s playing is a tonic. A Glorious Symphony.

Symphony No. 5 (From “The New World”) (Dvorak). Sir Hamilton Harty conducting the Halle Orchestra. Columbia 02973-77. .- .

It is surprising how many composers achieved their finest work in their fifth Symphony—Beethoven, Tchaikovsky, Dvorak. Dvorak’s Fifth, in particular, is on a melodic pinnacle high above the level of his average orchestral work. Suggestive of old negro and

American themes, it is one of the most richly melodious works in existence, and so inventively original and subtle in texture that its beauties hold a freshness and incomparabl lustre. The famous Largo—the second movement — is accepted as the most beautiful example of the use of wood-wind in the musical repertoire. Sir Hamilton Harty plays throughout with rich poetic insight. His wood-wind tone has a velvety softness almost creamy to the touch, and the famous Halle strings play up to them with even more than their usual success. This is a recording that will live, and now that it is available in the Standa-d Section at the lower price—12/6 is a big saving!— the popularity of this lovely work should be greatly enhanced.

Old-fashioued Melodies. Waldteufel Memories, Fantasia. Heiman Finck and his Orchestra. Columbia 02985.

Though Johann Strauss was known as “The Waltz King.” Emil Waldteufel, his disciple, wrote many that were still more famous and even more delicious in their sense of melod r. Herman Finck, the famous conductor, has arranged 23 of the most famous of them into a medley of irresistible charm. The majority of them are, naturally, waltzes, but one or two polkas and galops have found their way into this tuneful fantasia. The recording will stand by itself for sheer brilliance and tunefulness, and will come as a refreshing tonic after the jazz-ridden dance music of to-day. It harks back to the days when the popular music writers knew how to write a good tune.

The Milan Orchestra. Overture to “H Matrimonlo Segreto” (Cimarosa). Molajoli conducting the Milan Orchestra. Columbia 02877.

This overture is a happy example of the high-spirited Italian operas of the latter half of the eighteentii century, and is full of fun and dainty swagger, moving with a dapper sort of politeness very refreshing after the strained pompous period that followed it. The Milan Orchestra plays it with inimitable gusto. Though Molajoli controls with deftness and precision, the discipline does not show in the playing, especi:|.ly in the tine quality of the wood-wind, for which the orchestra is justly famous. The forte passages come out strongly, with a nice juicy quality that the recording brings out to splendid effect. Anyone with half an ear for light but well-construct-ed music will relish this happy recording to the uttermost.

Stracciari. “Pagliacci”—Prologue in two parts (Leoncavallo) (Riccardo Stracciari). Columbia 03603. - Riccardo Stracciari’s old version of the Pagliacci Prologue, on one side of a 12-inch disc, was one of the classics of the pre-electric days. Now he improves even on that magnificent performance, taking both sides of a 10inch disc. His art seems surer, his phrasing more confident, while his great baritone, with that attractive dark vowel quality and splendid ease of production, is as smooth and powerful as ever. Natqrally, the electric recording shows him up to even greater advantage.

Two Fine Tangos. (1) “That Tiny Teashop”; (2) “Crepuscule.” Played by the Elite Dance Orchestra. Columbia 01775. Though the Tango itself has faded for the time being from our dance floors, everybody loves the captivating lilt and rhythm of a good tango tune. Here is a pairing of two of the best “That Tiny Teashop” is very pretty and very French; its rhythm is a little faster than that of the suave rhythm of “Crepuscule,” which is interpreted by the somewhat Spanish composition of ’cello, strings and large accordeon.

Dvorak’s “Nigger” Quartet. ‘‘Quartet in F” (Dvorak)— Op. 96. Played by the London String Quartet. Columbia 04131 —33. Here is real chamber music that is understandable to all sections of the public, and which will add fresh laurels to those already held by this masterly string ensemble. This melodious and attractive music is played with delightful charm and finish, and the players have cleverly caught the negro ‘folk song atmosphere that was so cunningly evolved by Dvorak himself. The recording is very rich, and the tone of the strings is perfectly reproduced. Another three closely packed records that will find their way into many collections. An Australian Orchestra.

(1) Hungarian March' (Berlioz). Coppelia Ballet (Delibes). Played by Symphony Orchestra of specially selected musicians. Columbia 05055. The musical crisis in Australia caused by the “talkies” has led to musicians there taking definite steps to make themselves indispensable. A Symphony Orchestra has been formed out of picked musicians, out of which It is hoped will grow a National Symphony Orchestra. Judging by their first record, they have not far to go. In Berlioz’s “Rakoczy” March, the intricate “Coppelia” music they show a discipline and firmness of attack that would reflect credit on organisations of many years’ standing. Albert Cazabon, who conducts the Berlioz, has drilled his musicians to produce a remarkably neat and suave flow of tone; and Fred Quintrill, handling the more difficult Delibes, fairly carries us away with his,exhilaration. Good luck to them I New Dance Issues.

dolumbla 01756. "Piccolo Pete” and “Collegiate Sam.” Fox-trots by Henry Reiser’s Syncopators. A pair of merry tunes by. one of the leading dance bands in America. The piccolo work in the first number is nothing short of sensational. Columbia 01755. “Candle Light Blue.” Fox-trots by Ted Fiorito and his Edgewater .Beach Hotel Orchestra. Clever bits of saxophone playing lift these numbers right out of the rut. Columbia 07029. “Love Me,” and “When You’re Counting the Stars Alone.” Paul Whiteman and his Orchestra. The first a waltz, the second a fox-trot, placed with consummate skill by the '“King of Jazz." Typically clever vocal choruses in tile Whiteman style.

Delightful Chamber Music. Virtuoso String Quartet, in Introduction and Allegro for Harp, with Strings and Woodwind Accompaniment (Ravel), and “Novelette —No. 3” (F. Bridge). H.M.V. C 1662-3. Maurice Ravel, the greatest of contemporary French composers, was born in 1875. Although always spoken of as the “Ravel Septet,” the score of this work. Of which this is the first electrical recording, bears the heading "Introduction and Allegro for Harp, with accompaniment of String Quartet, Flute and Clarinet.” The writing for the harp is particularly effective. On the fourth side is an extraordinarily attractive Novelette for String Quartet by Frank Bridge—a gem of British chamber music. A Lively Comedienne. Ann Penn (comedienne), in "A Dicky Bird Told Me So” and "That Monte Carlo Song.” H.M.V. EA6OO. This clever little lady is endowed with a very charming and alluring personality. This she manages to infuse into her records and we predict as great a sale for this second record as for her first number EA44O. “Rainbow Mau.” Salon Orchestra in “Sleepy Valley” and “Chinese Lullaby.” H.M.V. EA636. Anything done by the Salon Orchestra is bound to be good. Three of the above numbers are from films unprecedented In their popularity and have already had remarkable sales on vocal and dance records. They are played with', all the charm we look for from them and clever Instrumentation is again a feature of these particular records. Latest Dance Hit The Rhythmic Eight, in the “Honky Tonk” features, “I’m Feathering a Nest” (fox-trot) and “I’m Doing What I’m Doing for Love” (fox-trot). This is fine stuff to dance to. See them get up as soon as you put it on. You won’t beat it wherever you go. Zonophone 5457. A Laughter-Maker. Henry Hearty (comedian), in "I Ain’t Never Been Kissed” and “Where Did You Get that Name?” Hearty is one of the best modern comedians we know and he certainly “puts it over” in these numbers. Zonophone 5322. ‘ . A New Clarkson Rose. Clarkson Rose (comedian), in “Single and Married” and "Better than Nothing at AU.” Single or married, the men will enjoy this. And the ladies get their own back on the other side. Zonophone 5406. Two Rousing Marches. National Military Band, in "Belphegor March” and "Forward March.” Re-recording of a great favourite. A real "nugget” for the band-lovers. Zonophone 5391. Star Cornet Playing. Sylvester Ahola (cornet) in “Absent” (Metcalf) and "The English Rose” (German). How the cornet should be played. (Zonophone 5451.) Delicate Numbers. Concert Orchestra, in "Minuet” (Boccherini) and “Sous bois” (In the Forest) (Staub).

Two delicate little orchestral-num-bers. An admirable record for those who are foud of light music attractively rendered. The minuet is the famous Boccherini, and the sylvan motif from Staub. (Zonophouo 5019.) Good Choir Music. Church Choir (with grand organ) in “Oft in Danger, Oft in Woe” and “Christian Seek Not Yet Repose. This is very good choir singing, excellently recorded. (Zonophone 52-16.) Sound Duet Singing. Barrington Hooper ami Foster Richardson (duet, with orchestra), In. the Valley Where the Bluebirds Sing" (Solman), “Genevieve” (Tucker). This is another re-recording. The voices blend ideally. (Zonophone 5417.) Fine Baritoue Bracket. Maurice Elwin (baritone, with orchestra), in “Am I Blue?” and “Let Me Have My Dreams.” This is a really fine baritone bracket. (Zonophone 5396.) Songs for Little People. Lewis James (tenor, with orchestra), in "Songs for Little People” (medley of nursery rhymes). A charming record for anyone with children and guaranteed to rejuvenate grown-ups. Treat the tots to it. (Zonophone 5245.) For the Easter Festival. The following is a list of some of the best Easter music that has been recorded for tI.M.V.: — Enrico Caruso, “Hosanna” (Granier), “Les Raineaux” (Faure), The Palms. (DB, 132.) . “Stabat Mater” (Rossini)— Cujus Animam, “Requiem Mass” (Verdi) — Ingemisco. (DB, 135.) - Enrico Caruso and Marcel Journet, “Crucifix” (Faure); Pol Plancon (bass), “Les Rameaux” (Faure). (DB, 591.) Herbert Dawson (organ), (a) “Alleluia—The Strife is o’er” (Palestrina), (b) “Alleluia—Old Easter Hymn’’ (Koln, 1623), (c) “All People that on Earth,” (a) “Christ the Lord is Risen To-day” (G. Elvey), (b) “Jesus Lives! No Longer Now” (Gauntlet), (c) “Jesus Christ is Risen” (Davidica), (82274.) Marcel Journet (bass), “Les Rameaux” (“The Palms”) (Faure), “O Salutaris Hostia” (Luce). (DB, 923.) Rosa Ponselle (soprano), “Ave Maria” (Gounod), “Elegy” (Massenet). (DB, 1052.) Gatty Sellars (grand organ), “Lost Chord” (Sullivan), C. Whittaker-Wil-son (grand organ), “Largo” (Handel). (C, 1237.) Choir of the Temple Church, London, soloist. Master E. Lough, “Hear My Prayer” (Mendelssohn), “O for the Wings of a Dove” (Mendelssohn). (C, 1329.) Royal Choral Society, “Behold the Lamb of God,” “Hallelujah Chorus” (“Messiah”). (D. 1108.) York Minster Choir, “God is Gone Up” (Gibbons), (a) “O Lord, Increase My Faith,” (b) “O Clap Your Hands” (Gibbons). (C, 1337.) Peter Dawson, "Jerusalem,” “The Palms.” (B, 2271.) Parlophone.

Alfred I-lonn for Parlophone more Chopin—two of the Etudes, Op. 25, No. 2, and Op. .10, No. 12, with a Tausig arrangement of a favourite “Pastorale” by Scarlatti (E 10915 12 in.) He touches both the. dainty and the stormy studies with a right-feeling finger. The spirit in both pieces is very praiseworthy. Ninon Tallin (soprano)—L’Automne (Faure-Sylvestre) and -‘Clair de Lune” (Faure-Verlaine), (Parlophone RO 20094). One often hears these songs of Faure’s sung over the Wireless. but seldom if ever with such purity of voice and style as in this record. Every- detail is perfect. Berlin State Opera House .Orchestra, conducted by Klemperer, “Till Eulenspiegel” (Strauss), (Pari. E10925/6). Klemperer is sound, conscientious and constructive. He makes you listen to the cleverness of the music, too. His orchestra comes out in full but not overwhelming size. About most Parlophone records there is never the feeling of a stunting orchestra. Berlin State Opera House Orchestra, conducted by Klemperer. “Invitation to the Dance” (Weber), (Pari. E 10927). A sound performance and an excellent recording. Dorsey Brothers and their orchestra. "Button .Up your Overcoat” (fox-trot) and "The Spell of the Blues” (fox-trot). (Pari. R 385). "Button Up Your Overcoat” is from the new musical show "Follow Through,” and the other number is already well advanced in age, as

popular music goes nowadays.. Notwithstanding, this is a splendid disc. The Dajos Bela Orchestra present Robrecht’s “Viennese Waltz Potpourri.” (Parlo. E 10913), with admirable lilt and precision; this and the previous disc (Pari. 102) should go into most collections. The Parlophone Company's Massed Military Bands are at very best in “Distant Greeting March” and “Marche Indienne” (E 6214 The latter is an unusual but good inarch, composed by M. Sellenick. one of the earliest conductors of the famous Garde Republicaine Band. The recording is superb.