RECORDED MUSIC

Evening Star, Issue 19310, 24 July 1926, Page 15

RECORDED MUSIC

In their newly-published catalogue for 1926 the His Master’s Voice Company joins the ranks of the anthologists , with a list of -‘Records Which Should be in Every Collection.’ There are actually 102 of them, grouped as follows;—Operatic, 22; songs and ballads, 21; sacred songs, oratorios, It); military bands and orchestral pieces, 23; instrumental solos and quartets, 13; in lighter vein, 13. Peter Dawsou is represented by five, Caruso by tour, Melba, Galli-Curci, Chnliapine, John M'Cormack, Florence Austral, and the English singers bv two apiece. Paderewski, Kubelik, Ivrcisler, Heifetz, De Pachmann, Jcntza, and 'loti dal Monte are amongst those who contribute to the selection.

One of the most impressive scenes in Gounod’s ‘Faust’ is_ that in the church, where Marguerite goes to pray and is thwarted by Mcpbistopbcles and the chorus of Demons as the organ peals out tlio‘‘Dios Irao ’ from the ‘Mass for the Dead.’ The new H.M.V. disc of the church scene records Chaiiapino as Mcpbistopbcles, Florence Austral as Marguerite, accompanied by the Symphony Orchestra, organ and chorus conducted by Albert Coates. Chnliapine, the Russian bass, is recognised at the greatest living interpreter of tho character, and Florence Austral, in a difficult and almost overborne voice, is a great Marguerite. Amongst tho H.M.V. August records to be issued next week are some delightful tangos. The recrudescence of the tango lias led tho gramophone company to add to the dance records of this Spanish invasion. Veraldi’s tango band hns recorded on double-sided discs ‘La Mautilio ’ and ‘ Por Ti‘Sunny Havana,’ and ‘Viva el Principe’’; while the Rio Grande Tango Band has played to the Hayes recorder ‘ Garconniera ’ and ‘ Tus Ojos,’ all of them fine dance tunes.

For his August contribution Peter Dawson has chosen the popular ‘ Four Love Lvrics ’ of Amy Woodlord Finden. Ho indulges in a minimum of finesse, and that perhaps explains his great popularity'. Light orchestra music has a groat fascination for a_ majority of music lovers, and in this category not every combination lias attained the popularity of Jean Louscii and his orchestra. Their treatment of Paderewski’s dainty ‘Minuet in G’ and of Di Capua’s_ popular Neapolitan air, |Maria-Mari,’ is excellent, those subjects being bracketed on a nice Columbia record. Lensen now follows with ‘Chanson Hindoo ’ (‘Song of India’), arranged by Kroislcr and Tosellis, aiid ‘ Second Serenade ’—pieces full of color and melody, and given excellent tone and expression. Also en route to this country is this orchestra’s playing of ‘None But the Weary Heart Rejoice’ and ‘ Les Trcsers do Columbine.’

Dvorak produced undoubtedly livelier work than his ‘Slav Dance,’ No. 2, but even if it is inclined to dullness Gordons playing of it is as good as anything this wonderfully good violinist has done. With this is bracketed Wieniawski’s tremendously difficult 1 Tarantcllo.’ For sheer brilliance of technique his playing of Bazzini’s amazingly difficult ‘La Rondo des Butins’ would be hard to counterpart. It is a mass of pizzicato and arco movements, only possible of true interpretation to a master musician. Gordon’s superb work hero at times strongly suggests the playing of two violinists instead of on®.

Exoellently done in all respect is Columbia’s ‘Betty iu Mayfair’—vocal gems—from the big Adelphi Theatre, London, success. This record gives the vocal art of the theatre artists themselves, and not of recording room deputies. Full of tune, well sung, and having ample volume, these orches-trally-aecompaniod selections are all good, particularly ‘ln Juno ’ and . Grandmamma’s Days.’ The orchestra is of a half-jazz typo, with a saxophouic element, and there is admirable balance maintained between instruments and voices.

Among light orchestral works that will shortly be in vogue here is Sir Henry J. Wood’s version of the overture, ‘Merry Wives of Windsor,’ played in great style by the New Queen’s Hall Orchestra. This record is full of that rich tonality and clarity of definition that makes 'so many Columbia’s of real value to graxnophonists. The introduction is slow and delicate, the theme being beautifully taken up by the' violins from the basses, and the allegro section, with its haunting principal subject, is a particularly happy piece of wwk. It takes a South American band to play a good tango, and records by such combinations of musicians are eager! v sought after. The Argentine Tango Band has made two discs, which have just been released by Homochord, which should prove popular. The titles are ‘ Mod re ’ and ‘ Martyr Tango ’ and 4 Tello Mio ’ (now fairly well known) and ‘ Sentiment® Gaucho.’ Other good Homochord dance numbers are ‘ Night ’ (fox-trot) and ‘Picador’ (Spanish one-

step) and ‘ Spanish Shawl’ and ‘You Forget to Remember’ (waltz), all by Eugene Brockman’s Dance Orchestra. Eddie Norman’s Dance Band gives two fox-trots. ‘Too Too’and ‘The Two of Us,’ hotli rather noisy. The best record in the Homochord lot is that tuneful waltz ‘Always ’ composed by Irving Berlin , and played by' Brockman’s Orchestra. The companion number is a fox-trot, ‘ Clap Hands, Hero Comes Charlie.’ ■ Those who like good_ comedy will thoroughly enjoy ‘ The Rich Man Rides By in His Carnage and Pair,’ a record by Bobby Foster, English comedian. The comedy is really good, as also is the treatment given by the artist. ‘Sally has Joined tho Russian Ballet’ is on the other side, sung by the same comedian. This Sally, it will ho remembered, lived round a corner some twenty-five years ago, her surname then being Horner. In these free-and-easy days, however, she is known as Sally, having again como into public notice about four years ago, when she went away somewhere, causing her swains to bemoan tho fact that tho sun had ceased to shine for them. However, all doubts are now set at rest as to her whereabouts, somebody of the ■name of Sterling, possibly a private inquiry agent, having discovered her living the life of a ballet girl. ‘ She’s Madame Bareskinski Now!’

‘The Wembley Military Tattoo’ has boon recorded by the new electric process on two Homochord lOin discs, with remarkably good results. The Imperial Drum and Fife Band, and the Orpheus Choir arc hoard in part 1, the Homochord Military Baud and tho Caledonian Pipers’ Band in parts 2 and 3, and the military band and choir in part I. Tho clarity of the recording makes these records, commemorating an historic event, well worth while. Besides, they are priced to suit the pocket of tho gramopliilo who' cannot afford to pay heavily for his music. Two popular songs, ‘ Because They All Love You’ and ‘I Don’t Care What Yon Used To Be,’ arc numbered among tho now Homochord releases. Gertrude Alice and ■ Harry Williams sing them as duets. Two Freebooter songs, ‘ Son o’ Aline’ and ‘Lowland Sea,’ arc well sung by Ceredig Jones, a bass-baritone, on a now Homochord disc. Ho has a voice of great depth ami good quality, and sings this bracket with the reejuisite amount of dramatic vigor. Stephen Arthur has two more discs in the Homochord issue. The best song he sings is ‘ The Prisoner’s Song° (Massey), which suits his baritone voice. Every word is clearly enunciated. Tho reverse side of the disc is occupied by ‘Moonlight and Roses, which he sings attractively. ‘ The Tincan Fusiliers’ and ‘ln the Gloaming of Wyoming’ is a vastly different disc, hut the recording is good, and it probably will find admirers.