Music from the Disc

Evening Post, Volume CXIII, Issue 30, 5 February 1927, Page 25

Music from the Disc

One of'the cauliest of the several attractive vay.deville "turns" that has helped the box-office of "Wellington's fino new cinema, The Begent, was the appearance there of the Big Four— known as The Harmony Boys. Thoy employ _ well-trained voices with genuine artistry and infuse new pep into whatever they sing. There are records of a number, of the Big Tour's best songs. "Sarah Alice" is one of them this is even catchier than this troupe's "Maggie, Yes Ma," which proved one of their most attractive.' With it is coupled "Thanks for the Buggy Bide," a number nominally on its last legs by this, but given such novel treatment in this record that a new lease of life is assured. A very novel "Katinka" is that having a bass accompaniment of "The Song of. the Volga Boatmen." This is a revelation in harmony and melody. "Mate o' Mine" and "Until," form subjects for yet one more Big Four disc.

I do not know -who designed Mr. 'Wal-lace-Jones's "K<j<rpFit" records, biit they are aii unqualified success. Physical: culture is a subject which one might be forgiven for not becoming , enthusiastic about, but I strongly advise everybody to make an opportunity of hearing the records. Once heard they ■will be purchased. They consist of 12 exercises, set to appropriate music. But : this is a tame way of describing them. I wish I could'make you hear Mr. 'Wal-lace-Jones's clear, cheerful voice, conveying, almost startlingly, the impression that he is talking to you, and tlie nice, friendly, atmosphere of the records. Each exercise is described on a slip of thick paper, pasted inside the nice fold.over album containing the . records. Then, on the actual disc, you hear this firm, resonant voice give simple diree;tions for the first exercise. After the ;wbr& "commence," at which you should !be in position, the music starts, in exactly the right time, of course, and so on during the entire set of 12 exercises, ' which, with an introduction, coyer two I records. The band which plays is a trained one, and nice stirring pieces have been chosen. It turns the business of morning physical culture into a pleasant chat, with an instructor who is entirely at your disposal. The effect of intimacy which Mr. Wallace-Jones has produced is almost uncanny. If I broke one of the records' I should feel as though a friend had gone away, and morning exereisea would never be the same till I had replaced him. The production of this little set is work well done, and if I had to choose between most ordinary, "entertaining" records and these, I would have these,

Two of the liveliest fox-trot records the New Year has given us are "Looting at the World Through Bose-Colour-ed Glasses." t This is a piece of constructive art^ as far as orchestration 'is concerned, and is splendidly played by the Paul Ash Orchestra. The companion number is the tuneful "Baby Face."- On the second disc is "Bye Bye Blackbird" and "Hi Ho, the Merry O," both full of music as well as "go," and both played, by the fine Denza Dance Band;

Less than a year ago, before listening to an orchestral record, says a writer, one had to begin by making a mental readjustment to allow for wrong.colour values, but to-day electrical process and the new type of gramophone,have altered that. As an example, I would cite the new record of the Prelude to "-TristaK and; Isolde.'' .. Under Albert Coafces it is beautifully played with a ■sensitive rise and fall of tone in the sighing phrases and with a sweet effect in the climax. The point, however, is the truth in reproduction of the timbre of the different instruments. To follow the score as the gramophone plays is a delight. One small criticism is the want of body in the tone of the oboe where it takes up the motif, but this record is the high-water mark reached' so far by the gramophone in orchestral work. .

Last year's Covent .Garden Opera season was a success that is reflected in gramophone circles everywhere by virtue of the fact that there are records of the work of no less than eight of the famous artistes appearing. Incidentally, two famous conductors who have done brilliant recording work were also prominent at Covent Garden. These were Bruno Walter and Percy Pitt, the first being the brilliant leader of the Boyal Philharmonic Orchestra, and Mr. Pitt chief of the 8.8.C. Wireless Symphony Orchestra. Of the vocalists prominent was Norman Allin, England's supreme basso; Charles Hackett, the famous New York, tenor;'Zenatello, husband of Maria Gay, and one of the big figures in European opera circles, whose "Misere" duet with Emmy Destinn is one of the best records of this number we have had; and'Badini, the great Italian baritone, who has collaborated with Lena Lanza in excerpts from Boito's mystery opera, "Nero," and also with J?. Autori in other arias from the same work. A lesser known but still a great singer is Bianea Scaceiati, whose Hmpid voice was not long ago secured for twt> discs split between Maseagni, Puccini and Verdi. Then Francesco Morli; who gave us one of the best "Aida's" of last year, and who sings wonderfully well in Boito's "Mefistofele," was yet another of the London season's stars whom we know of in gramophone parlours. Morli is looked upon by the critics as the possessor of the three essentials to the true artist —a powerful voice of great quality, a fine sense of the dramatic, and art impressive stage presence.

Some very charming and attractive dance records are among the latest productions. The Rio Grande Tango Band provides "Paso-Doble," a Spanish onestep, and "Vito"; the Savoy Tango Band performs "Deception" and "Los Gauchos," two very tuneful and delightful dances, as well as "El Misionero" and "Valentino"; "Speak" and "Ninette Ninon," two very pretty waltzes, aro given by the Savoy Orpheans; while the Kit-Cat Band performs "Song Bird" and "Hawaiian Love Bird," both waltzes with some remarkable whistling solos by Margaret M'Kee. Of fox-trots there are many. Paul Whiternan and his orchestra contribute "Lo-Nah" and "Hymn to tho Sun" as well as "I Never Knew How Wonderful You Were" and "Sweet Child." There are some effective dances by Herbert Berger 's Corauado Hall Orchestra; Jack Hylton and his orchestra aro well to the front with "Surabaya Maid," Serenade from "The Student Prince," and other contributions; while the Savoy Orpheaiu, the Kit-Cat Band, and tho Savoy Havana Band ("I'm Knee-deep in Daisies") provides some very good work.

In reply to an ' enquirer asking whether old records of famous vocalists who aro either dead or no longer singing, can be reproduced by the new electrical system, an Australian journal devoted to the gramophone world remarks': "The electrical process means the actual recording, not the manufacturing process, of a work; heuee no records previously made could ever be re-made to-day, unless performed again by the same artists. Records of great historical importance made by some of the world's greatest artists, or composers, who are no longer living, like Greig, Saint Saens, Busoni, Jeachih, and Sarasato, cannot be re-recorded today. Fortunately, the electrical process does not make a great difference iti vocal renditions, so that most of the records by great artists of our generation are so remarkable that no re-re-

cording is necessary or desired, the only difference being in the orchestral accompaniment, which, by the new process, would be clearer and richer in tone."

De Gorgoza proides one of the best vocal works for some time. Never in all his previous efforts, and" what a number there are, did he sing so splendidly as in these versions of the favourite "La Paloma," and "La Galondrina." Their haunting rhythm, so redolent of Spain and Mexico, forms a delightful medium for a wonderfully pure baritone voice. May we hope for more?

Undoubtedly one. of the most remarkablo performances ever extracted from the saxophone is to the credit of the virtuoso of that weird and wonderful instrument, Rudy Wiedoeft. His name may; not be a household word in this part of the world, but it is one held in reverence by saxophonists everywhere. Ho recently played for a record that has no parallel in its class. On one side is Marie's rhythmic and tripping "La Cinquantaine," played with delightful care and artistry, and giving extraordinary proqf of the many unsuspected musical qualities of the saxophone. It is in the accompanying piece, however, Beethoven's famous Minuet in G—that this instrument is revealed as a thing of-beauty, and the heaier will be araazed at the remarkable resemblance, to the delicate string tone of violin, or 'cello that Wiedoeft succeeds in producing. Many will disagree with the Australian version that the new method does not make a great difference to vocal reproduction, but all will readily agree that when it comes 'to instrumental music the electric way is far in advance of the old style recording. One has only^to compare, say> the new 1812 Overture with any early band or orchestra disc-to note at once the wonderful definition and amount of detail m the former.

York 80-wen'a pianoiorte recordings must be anxiously awaited. There is a remarkably good disc of his playing in this -sy-eek's issue, the blithesome "Oarnival in Vienna" of Schumann, which is among the very pici.' The playing is admirably clear and dexterous, and the tone is unusually good. ' The reproduction is of the colourful' kind now proTided by the electric recording, and marks the record as .belonging to' the new era of gramophone craft. Incidentally, Bowen's interpretation and his .use of rubato in this number calls for study by pianoforte' players. Some of his departures from the usual method of playing the "Carnival?' are illuminating. ".'''. There is a big choral, record released this week—the massed . choir at the Aeolian Hall, with organ accompaniment, singing Kipling's "Recessional" set to. Dyke's "Melita" (better known to churchgoers- as. "Eternal Father Strong to Save"), -and Sir Hubert Parry's "Jerusalem." The latter is sung in harmony with the first part treated solo-wise by baritone and soprano, which is effective though not an improvement on the original, which is essentially a tune for a big crowd in unison. The "Eecessional" will commend itself to many grainophonists, and in both numbers the organ part comes through satisfactorily. Stirring moments are provided by the Band of the Life Guards in a series of famous regimental marches known to all the world. "Tho British Grenadiers,'?"Hieland. Laddie," "Donnybrook Fair," "Land, of My Fathers," and many more are to be heard on this excellent disc, which is interesting also as including the newly-approved march of the Boyal Air Force. The marches are given with great pep, and the brilliant and assertive band tone is yet another tribute to the strides which have been made in solving the problem of reproduction. Lieutenant Wi J. Gibson conducts the band in this recording. . The fox-trot which receives the order of merit this week is a well-balanced disc, "Lay My Head Beneath a Kose" (Madison-Falkenstein) and "I Wonder "Will You Think of Me" (O'Hagan). The first is a waltz of quality, the second has an insistent rhythm which conquers the dancer at first hearing.

Richard Wagner's only son, Siegfried, who by the way, is a nephew- of Franss Liszt, is now conducting the orchestra of the State Opera House,tßerHn. There has been considerable difficulty in securing the services of this famous conductor, as the Wagner family have always been conspicuous for their highly conservative policy in regard to the master's work. However, it would appear that they have realised the artistic value of the gramophone. Indeed, it is only fair to say they have acknowledged it. There are many releases of Wagner, but the new works of the Berlin State Opera House Orchestra, which are coming from under the baton of his son, should be just exactly as the composer intended they should" be.

One of the best Wagner records is "Parsifal." This is by the State Opera House Orchestra with operatic chorus. It is performed strictly in accordance to the actual Bayruth arrangements and tradition. These records, therefore, are authoritative musical documents of this opera. The "Raymond" overture, which is very popular with local orchestras, and is one which vies with the works of Sousa in its popularity, is played by the Parlophone Orchestra. The overtures of "Raymond" and "Poet and Peasant" should be educative to local players.