RECORDED MUSIC

Evening Star, Issue 19918, 14 July 1928, Page 17

RECORDED MUSIC

SOME COLUMBIA RELEASES [By Erato.] AN O’SHEA RECORD. There is more to admire in ,o’Shea’s voice than fine vocalism, though that is certainly nob wanting; hut what makes all his records so interesting is the fervour and intensity of feeling ho infuses into everything ho sings. Especially good is ho when he approaches such well-known ballads as ‘ Mother Machreo ’ and ‘ Tho Rosary,’ which he sings for Columbia. Tho way in which ho seems to caress tho familiar notes charges them with meaning. And yet, however tender his treatment, there is always the hint of tremendous, reserves of power. Ho sings a particularly round ami open note, and has a very fine range. TWO VIOLIN PIECES. Tho naively coquettish little ‘ Siciliano and Rigaudon ’ (Francour, arr. Krcislcr), played for Columbia by Joseph Szigeti. is altogether delightful, especially tho first part. llubay’s ‘ Zephyr,’ on the other side, makes an admirable foil It is a marvel of technical brilliance, whereas the other is no less remarkable for its airy poetic feeling. A FRENCH TENOR. Georges Thill is a tenor with outstanding depth in tho lower register, and still mure astonishing clarity higher up the scale. Like all French singers, ho is given to emotionalising his subject, but hero tho subject will stand it, and tho remorse and love in ‘ Jo sins aime do to}’ from ‘Traviata’_ become poignantly real. From ‘Herodiado’ he sings John tho baptist’s _ impassioned music with thrilling intensity. Thill is a gifted vocalist, This is the vocalist’s first appearance on Columbia. TWO OF THE ‘LOVE LYRICS.’ A London paper declared the other day that four artists could lill the Aliiert Hall, and Clara Butt was one of them, tho only woman of tho four. Without even being at her best in ‘ Less Than tho Dust ’ and Till I AVako ’ (from ‘ Indian Lovo Lyrics’)—and perhaps it is because she ought to leave tho ‘Lovo Lyrics ’ to lesser singers—she nevertheless proves yet again that she is peerless among singers,_ and this Columbia record should give infinite pleasure to all gramophemists. THE BASSOON CONCERTO. Tho ‘ Concerto for Bassoon and Orchestra ’ (Mozart) and ‘ Allegro Spiritoso ’ (Senaillo), played by Archie Camden (bassoon), with orchestra conducted by Sir Hamilton Harty for Columbia, should do good work in disabusing tho general idea that the bassoon is a “clown” instrument. Far from it. Tho beautiful “cantilena” effects in tho slow movements, ami the expressive tone-—like a reedy ’cello and rendering may conic as a surprise to many. The concerto date* hack to 1774, and is therefore a, fairly early work, but gives a fair idea of tho limpid clarity that makes Mozart's work so happy and fresh, and so eminently enjoyable. Soimille's ) Allegro Spiritoso,’ arranged by Archie Camden, who plays it. is niven as a make-wehdir on tho sixth side of Ibis coincide r<cording—an enjoyable little trifle. Mr Camden gives a delightful performance throughout. DEMAND FOR BETTER MIiMC. Tho heads of gramophone companies are not philanthropists. _ What Hie public demands is that which they propose to supply. True, sonic intensely musical member of such firm might shudder delicately as tho raucous sounds of a hand of ultra jaz/.iness stabbed its way through the walls of his private office, but there is little doubt he would reflect that healthy dividends make an excellent ainosthetic for a too sensitive oar, and’ I hat it the publtc is of a mind for jazz jazz it shall be given,' _ , Yet month by month in the lists ol records issued by ilio various gramophone companies tho _ proportion ol Jazz in relation to high-class music steadily grows less. Dance records are always sure of popularity, as tho gramophone is so largely used lor tho small-and-early informal dances, but the demand is over growing lor what is known as “classical music.” GRAND OPERA STARS. Amongst tho famous stars with i tno J. C. Williamson Grand Opera Company now in Australia are Apollo Granforte and Joseph ITislop, whoso best duet recordings are perhaps O Miini tn Poi,’ from ‘La Bohcme, "nd 1 Solemio in Quest ’Ora,’ from the Torza del Dcstino.’ £2OO REWARD. A reward of £2OO is being olfored by the Columbia Gramophone Company (says a South African paper) lor information that will lead to the discovery ol : a symphony written by beamhert in 182 G, all traces of which have been lost. , ABOUT THE WURLITZER. Wurlitzer organs are produced by an \inei’ican firm on the basic ideas and inventions of Hope-Janes an Englishman. Partly owing to tho import duty, but even more because they are so complicated and built of such m^tclass materials and with such exquisite workmanship, they are somewhat Expensive, with the result that, up to tho present, no really big ones have been installed in the United Kingdom. AU my recording,” says Mr Reginald Foort, “has been done, on a comparatively small-sized instrument containing only eight tone odours—-tuba-horn, tibia clausa, diapason, flute, clarinet, violin, violin-celeste, vox iiumana, in addition to tho following effects;— Xylophone, glockenspiel, sleigh bells, catsedrul chime, orcsestral celesta, tambourine, castanets, cymbals, Chinese block, triangle, and four dilChiuoso block, triangle, and four different kinds of drums. It has only two manuals and pedals, so, to make successful records of such tilings as ‘ Ballet Egyptian ’ it is easy to imagine the immense amount of careful preparation and working out required. However, I believe tho clay is not far distant when I shall have tho pleasure of recording on a Wurlitzer organ with four manuals and twenty-five or thirty different tone colours.”