MUSIC and RECORDS

Dominion, Volume 24, Issue 184, 2 May 1931, Page 22

MUSIC and RECORDS

Bv

C.J.M,

RECORDED MUSIC Harry Lauder Favourites. In the vogue of old-time songs, there is assuredly room for a vocal pot-pourri of the favourite songs of the veteran Sir Harry Lauder, and a wide welcome for the Border Singers’ vocal medley of such a selection on Columbia this month is a certainty. Eleven of the songs popularised by Lauder are given, including such old favourites as “Roamin’ in the Gloamln’,” “It’s Nice’ to Get Up in the Morning,” “I Love a Lassie," and “Stop Your Ticklin’ Jock.” —(Columbia DOX 107). Exquisite Doris Vane. Molloy’s “Kerry Dance” and Grimshaw’s setting of “Songs My Mother Sang” are two of the most delightful successes of the end of the last century, and their Issue will be hailed with delight, particularly by, the older generation. They have been sung exquisitely by Miss Doris Vane, on a 12-inch dark blue, the passionate memories of the “Kerry Dance” and the tender joys of the other song being reproduced in the most charming manner.—(Columbia DOX 138). Old-time Favourites.

Ask any middle-aged man if he remembers “Two Little Girls in Blue?” The old songs, brought back again, never fail to hold their own with old and young, and particular instances of this are “After the Ball” and “Two Little Girls in Blue.” These popular ballads of thirty years ago have been convincingly sung by the Maestros and make a most welcome addition to the already lengthy series of old-time memory songs made available on Columbia records. —(DO 290).

A Comedy Turn. A record affording the utmost pleasure is that by the two new American artists, Burns and Allen, in a multifarious discourse called “Dizzy." These delightful people alternate their subjects by singing and talking in Intimate undertones, and Miss Allen, by rather frequently interrupting Mr. Burns, or innocently taking the sting out of his witticisms, is told she Is “dizzy.”—(Columbia DO 288). Children’s Singing.

There is in Manchester a choir of two hundred and fifty school children. They are trained by a lady who is not only a fine musician, but also a musician who knows how to get real results. A special Columbia release this month pairs two recordings by this extraordinary juvenile choir. The items are Purcell’s “Nymphs and Shepherds,” and “The Dance Duet” from Humperdinck’s fairy opera, “Hansel and Gretel”—based, of course, on the Hans Andersen, fairy tale. The choir is accompanied by the Halle Orchestra, conducted by Sir Hamilton Harty.—(Columbia DOX' 117). “Gorgonzola”—a "Strong” Hit.

Two light-hearted pieces of vocalism are the comedy hits (1) “Gorgonzola” (Moore and Sarony); (2) “W6 Must AU Pull Together” (Weston, Lee and Weston); sung by Jack Morrison, with-orchestra. These are given by the now famous Jack Morrison in his best style.—(Columbia DO 274). Brilliant Boy Soprano.

One of the most Inspiring versions of the great Haydn aria “With Verdure Clad” (from "The Creation”) (Haydn) yet heard on records is this performance by young John Bonner in Manchester CathedraL The exceptional purity of his voice is heard at its best in this lovely cantilena melody, favourite for over a century with both singer and listener alike.—(Columbia 02570). Dora Labbette.

Perhaps the loveliest record Dora Labbette has ever made is her magnificent singing of the glorious Bach air “Comfort Sweet, My Jesus Comes." It is taken from Bach’s 159th church cantata and has a flute obbligato—play-i ed on this disc in a masterly manner by the famous Robert Murchie.—(Columbia 02597). An Edgar Wallace Thriller.

“The Man in the Ditch” is a Wallace thriller, told by the great Edgar himself; of the man iu the ditch, of the woman with a gun behind the hedge, and of the part played by the author himself.— (Columbia 01852).

Dance and Talkie Records. Four new discs that are obvious choices for dancing to this season are .the following—each recorded in “hot” style and with all the frills that modern dance bands have led us to expect Paul Whiteman and his orchestra play the two foxtrots, “Wedding of the Birds” and “New Tiger Rag” on Columbia 07042. The waltz, “Underneath the Ukulele Moon,” is paired with the foxtrot “Baby’s Birthday Party," played by Guy Lombardo and his Royal Canadians.—(Columbia DO 245). Jack Payne and his 8.8. C. Dance Orchestra play “Say a Little Prayer For Me” (foxtrot) and “There’s a Good Time Coming”—6/S one-step (Columbia DO 221). Another of Guy Lombardo’s couplings gives us the foxtrots “My Love For You” and “You’re Driving Me Crazy” (Columbia DO 276). Every one of these recordings can be heartily recommended. Philadelphia Orchestra and the “Unfinished.” Schubert’s “Unfinished” is the one symphony which has Stepped, beyond the bounds of classic music, and become a universal favourite. That “His Master's Voice” should issue this work performed by the most famous of all orchestras —the Philadelphia Symphony, under its great English-born conductor, Leopold Stokowski—is a great event in musical history. (H.M.V., D. 1779-1781,) Peter Dawson Sings His Own Songs. The fact that Peter Dawson had of late turned his attention to composition was disclosed when we issued his stirring setting of Kipling’s “Boots." His pseudonym is McCall, and here are two more fine settings of Kipling poems, sung by their composer with all the richness of voice and clarity of diction that have made him the idol of all gramophonists and concert-goers. These songs have special significance in view of the Australian and New Zealand tour of this famous artist. They are “Route Marchin’ ’’ and "Cells,” both settings of Kipling (H.M.V., 8.3629), and “The Volunteer Organist” (Lamb) and “Brothers of the Empire” (Helmore-Thayer), H.M.V. 8.3630. Backhaus in Beethoven’s 4th Concerto. The ideal present for the real music lover! Beethoven’s “Fourth Piano Concerto” is second in popularity only to his “Emperor Concerto” (Nos. D. 11981201). Written at about the same time as the “Eroica” and the “Fifth Sym-I phonies,” B has in common with these]

works the beauty and nobility that are peculiar to the music of Beethoven’s so-called “second period.” From the quiet vision-like opening, bars to the exhilarating close of the final rondo it is music brimming over with delights for the listener. Backhaus, who has few rivals as a Beethoven player, and the London Symphony Orchestra under Sir Landon Ronald give a masterly performance of this glorious music. (H.M.V., D. 8.1425-28.) Rosa Ponselle.

Written by Spontlni, “La Vestale" was first produced by Napoleon’s order, against the wishes of the manager and critics of the Paris Academy, on December 15, 1807, but previous to this parts of it had been produced at the Tuillerles and was very favourably received by the Emperor, who said, M’sieur Spontlni, your opera abounds in fine airs and attractive duets. The march to the place of execution is admirable; you will certainly have the success you so well deserve.” The Imperial prediction- was justified by the reception it gained at Its complete performance. “La Vestale’’ was revived at the Metropolitan House, New York, especially for Rosa Ponselle, who has made a study of the part, and, needless to say, her performance on this record of two of the arias is brilliant (H.M.V., D. 8.1274.) Henry Ainley as Hamlet

“O, That This Too, Too Solid Flesh" (Act I, Scene 11, and “To Be, or Not To Be” (Act 111, Scene I), H.M.V., 8.3492; “Look Here, Upon This Picture” (Act 111, Scene III), and “How All Occasions” (Act IV, Scene IV), 8.3493.

“The most human, the most natural, and the most eloquent of all the Hamlets of our time. His range was almost a miracle. A perfect rendering, a noble piece of elocution.”—London “Daily Express.” “His splendid vibrant voice is made for the speaking of great verse. A truly great Shakespearean performance, worthy of English acting at its best” —London “Daily MaiL" A Protege of Melba

In spite of her Italian-sounding name, Elena Daniell is an American singer, l whose talent was discovered by Dame Nellie Melba. She sang at Covent Garden with Chaliapin in 1929, with such conspicuous success that she was at once engaged by “His Master’s Voice.” Her excellent voice and clear diction are admirably suited to the singing of the favourite ballads, “Rose in the Bud” (Dorothy Forster) and “Garden of Happiness” (Haydn Wood). H.M.V., 8.3567.. Father of Russian Music.

It is hardly an exaggeration to say that Russian music as jve know it today did not exist before Glinka (born In 1803) wrote his first opera, “A Life for the Czar.” In Russia, more than any other country, folk-music is a genuine manifestation of the national spirit and the racial feeling. Glinka, using this rough material—or rather drawing his inspiration from the nation’s life as expressed in musicr-created a new national art The fantasia “Komarinskaya” is an admirable example of his music—warmly romantic, logical in its construction—and its vivacious tunes are orchestrated with the utmost technical mastery. It is interesting to note that this work was the outcome of a desire to “compose works which should satisfy both the connoisseur and the ordinary hearer.” Until the issue of this splendid record by the London Symphony Orchestra the “ordinary hearers” were necessarily few; now “His Master’s Voice” gives them all an opportunity. (H.M.V., D. 1856.) From the Land of Burns.

Joseph Hislop, who is one of the finest operatic singers Britain has produced, sings songs of his native land perfectly; and his altruism, in preferring that his records should be Issued at Plum Label prices in order that they may be within the reach of every purse, will endear him to all music lovers. Here we have Prelude to “The Loves of Robert Burns” (arr. Heward), introducing “Loch Lomond” and “Ye Banks and Braes,” “Bonny Mary of Argyll,,” “Annie Laurie.” and “Afton Waters” (H.M.V., 8.3264 and 8.32G5).

Songs From “Frederica.” The story of “Frederica” is an episode in the life of Goethe, the German poet—his loye for the kindly pastor's simple daughter, Frederica. The four recorded numbers will provide you with four of the lovelist melodies that have come from Lehar’s pen. Joseph Hislop renders these London successes in glorious style: “Wonderful” and “Wayside Rose” (H.M.V., 8.3589); “A Heart as Pure as Gold" and “Oh, Maiden, My Malden” (8.3590). A Great Operatic Tenor.

In the course of his career as a “His Master’s Voice” artist, Valente has made some wonderful operatic records, but never one in which the appeal of the titles and the quality of the singing and recording were as high as in this his latest contribution. These ardent declarations of love—the first from the greatest opera that France has given to the world, the second the favourite aria from “Tosca”—are sung with deep feeling and sincerity. Listening to this record we hear a man expressing his innermost feelings in the universal language—music: “Carmen" —Il fior che avevl a me (Flower Song) (Act II), Bizet, and “Tosca”—E. lucevan le stelle (The Stars were Shining) (Act III), Puccini (8.3487.) Brunswick.

Old-time melodies that will never die are now revived in the following recordings, on Brunswick: “Home, Sweet Home” and “Carry Me Back to Old Vlrginny," vocal duets by McFarland and Gardner (475) ; “Nearer, My God, to Thee” and “Softly and Tenderly,” Belcanto Male Quartet, with organ. (6011). A delightful rendition of the wellknown Hermann Lohr ballad, “Little Grey Home In the West,” is made by the Brunswick Salon Orchestra. This number is coupled with “My iXttle Persian Rose” by the Anglo-Persians. (6005.) Low White, the well-known Brunswick organist, is responsible for two old-time melodies, “My Old Kentucky Home" and “Old Black Joe.” (6019). A good Hawaiian disc of two wellknown melodies, “Cielto Lindo” and “La Golondrina,” is made by Palakiko and Paaluhi. (6001.) A good foxtrot by Earl Burtnett and His Orchestra, “The Little Things in Life,” coupled with “I am Only the Words” (You are the Melody), by Ben Bernie and His Orchestra. (4950 X. Joe Green and His Orchestra are responsible for an excellent recording, “My Missouri Home” Waltz and “It is Destiny,” the latter from the film “A Lady’s Morals.” (6000.) Two waltzes with vocal chorus by Carter’s Orchestra, “Cabin in the Hills” and “Alabama Lullaby,” are excellently recorded on Brunswick 6004. Two new releases of “Songs from Dixie” series on Brunswick are available. No. 467 consists of two songs, reminiscent of Boer War days, “Just as the Sun Went Down" and “Goodbye, Little Girl, Goodbye”; vocal diet's by F. and J. McCravy. The Kanawha Singers are responsible for “There’s Sunshine in My Soul To-day” and “If Your Heart Keeps Right,” male quartet with organ. (472.) Parlophone. '

A record of surpassing delight and melody is the Lieber Choir's singing of the original vocal version of the famous “Blue Danube” waltz. Gramophonjsts should certainly not overlook this fine performance. (Parlophone A 5019). Testi’s well-sung “Goodbye” is not often recorded by a tenor, but Tino Pattiero demonstrates that nothing is lost in the performance. As sung in Italian, under the title “Addio,” this makes an excellent record by a firstclass bel canto singer. With this is bracketed another Tostl melody “Vorrei Morire.” These numbers are enhanced by the lovely accompaniments played by the Berlin State Opera House Orchestra. (Parlophone 4275). Parlophone massed military band records have a popular vogue. The latest bracket of this class includes two Blankenburg marches, “Gladiators’ Farewell,” and “1001 March.” (A 4274 Two good waltz records by those unique instrumentalists known as the “Jolly Campers,” are “The Rocket” and “The Girl from Constance.” (A 3131