RECORDED MUSIC

Evening Star, Issue 20032, 24 November 1928, Page 17

RECORDED MUSIC

[By EbatO.] NEW COLUMBIA?. A FAMOUS*"CHOIR. (1) ‘ The Radiant Morn Hath Passed Away’ (Woodward); (2) “ 0 Taste and See How Gracious The Lord Is (Goss). Sir Henry Coward conducting the Sheffield Choir. Two of the finest performances any choir has yet given us, and a new triumph of public hall recording. These two groat anthems recorded by the Sheffield Choir in _ Wesley’s Chapel provide magnificent singing. The ensemble is perfect, the words are really clear, and due doubtless to the wonderful precision of the singing under Sir Henry Coward, and the remarkable acoustic properties of Wesley’s Chapel, the volume and clarity are amazing, THE GREAT “CHORAL” SYMPHONY. ‘Choral Symphony, No. 9 in D Minor’ (Beethoven). Felix Weingartner conducting the Loudon Symphony Orchestra with Miriam Licette, Muriel Brunskill, Hubert Eisdell, Harold Williams and Chorus (Eight records in album with descriptive notes). * Beethoven’s Ninth and last Symphony is largely orchestral, but derives its title from the chorus in the last movement on Schiller’s ‘ Ode to Joy.’. This is the grandest movement in alt the composer’s work. The four solo vocalists givo a thriling reading, and the chorus work is magnificent. Hubert Eisdell is particularly fine, being unexpectedly spirited. The Adagio is an especially beautiful movement, and the theme is of ravishing charm, with a fascinating echo in the world-winds and horns. The whole Symphony is Beethoven’s crowning achievement. A HAPPY COMBINATION. ‘ Hungarian Rhapsody No. 1 ’ (Liszt). Played by tho J. 11. St]uire Celeste Octet. Liszt had such a liking for this moving tune that, after ho had written the Hungarian Fantasia, ho recast it in tho form of this Rhapsody. Perhaps the most striking section is the opening one, based on a stately old Hungarian tune, and given out with grand chords, but the brilliant finale is most exhilarating. The Squire Celeste Octet plays tho Rhapsody with virile strength. Recently they toured Italy with greatest success, which one can readily attribute to tho exceptional skill with which they arrange their music to suit flic personnel'of the octet. SIR HAMILTON HARTY. Romeo and Juliet ‘ Queen Mab ’ Scherzo, in two parts (Berlioz). Sir Hamilton Harty'conducting tho Halle Orchestra. This is one of tho best tests we could have of the new string tone. It is extremely difficult, in any performance, to get'the delicacy and elfishness, without making the music sound weak and thin. No recorded performance could give us better < tone-value at present. Those Halle strings are true and keen, without making harsh sounds or getting brittle. There is hero no room for the harsh criticism of a Parisian writer, when the piece was first hoard—that it. was'“a little noise like a badlyoiled squirt.” : UKULELE NOVELTIES. (1) ‘ Chiquita ’ (Wayne and Gilbert); (2) ‘That’s My Weakness Now’ (Green and Stept). Played by Ukulele Ike. In an age when almost anyone can strum something or other on a Hawaiian guitar it is not easy to gain fame with a ukulele. But Cliff Edwards, better known as Ukulele Ike, has accomplished this feat. There is a cheerful freshness about these two recordings that comes like spring weather after a season of whinning hula-hula lullabys. ‘ That’s My Weakness Now ’ is perhaps the better of tho two items. A GREAT VIOLINIST. ‘ Caprice ’ No. 24 (Variations in A Minor, Paganini). In two parts. Joseph Szigeti gives us an electrifying performance of Paganini’s ‘Caprice No. 24’ (in A Minor). Brahms took the theme of this work, as the basis for a series of brilliant variations for piano; here wo have it in the original version for violin. _ When it comes to fireworks, Paganini, witli Paganini’s own variations, is hard to beat, and the success with which Szigeti sets off one squib after another will excite universal admiration; the smoothness and accurate intonation of his octaves arc especially remarkable. LOUIS GRAVEURE. (1) ‘The Bandolero’ (Stuart); (2) ‘The Yeoman’s Wedding Song’ (Poniatowski and Hayes). Sung by Louis Graveurc, baritone. With consummate skill and heartfilling satisfaction Louis, Graveuro translates alike tho greatest operatic arias or the simple English ballads. His voice is vibrant and rich, full of colour, and pure and powerful as the finest tones of a lyric tenor. Tho two songs on this disc are sung with characteristic vigour and real artistic merit. SASCHA JACOBSEN. (1) ‘From tho Canebrake’; (2) ‘ Midnight Bells.’ Played by Sascha Jacobsen, violinist. His training and his studies, his remarkable ■ initial concert success, and bis instant acceptance as a great violinist are all incidents in the American career of Sascha Jacobsen, probably the first great master of the violin who achieved fame without stepping outside the bounds of his own country. Ho has recently made another fine series of exclusive records for Coumbia, of which thes two arc of the finest. , • TWO BRANSBY WILLIAMS MONOLOGUES. (1) ‘ The Difference ’ (Kelly and Longstaffc); (2) ‘ Not Old ’ (Julius Day). Monologues by Bransby Williams. Hero we have another rc-rccording of two prime favourites. Bransby Williams is undoubtedly an artist —ininimitable in his own sphere, and his popularity, in spite of passing years, goes on as strong as ever. The now process lias, of course, improved' the oramophonc enunciation enormously.