GRAMOPHONE NOTES

Greymouth Evening Star, 11 June 1927, Page 10

GRAMOPHONE NOTES

SOME NEW RECORDS. Two Worth While Discs.—“Elegie” (Massenet) —“I’ll Not Complain” (Schumann); “Invictus” (Huhn) — “Trees” (Rasbach). Jbhn Brownlee, baritone. These records have been the subject of previous mention. The more one hears of them, however, the more the quality of the singer and the music impresses one. “Elcgic,” and “Invictas” arc particularly fine numbers. Zimba'list’s Le-tcsl. —“Persian Song” (Glinka). —“Waltz in G. Flat” (Chopin) Those who had the privilege of bearing this distinguished and brilliant vistuoso in Wellington, remarked, no doubt, upon the delightful class of his waltz numbers. We get a glimpse of this in the Chopin “Waltz in G Flat,” a fine example of the player’s easy vivacity and extraordinary fidelity of rhythm. Peter Dawson Recordings.—“ The Fiddler of Dooney” (Dunhill)—“Molly of Donegal” (Austin); “Hore of Mine” (Stewart) —“Wood Magic” (Shaw). Peter Dawson, baritone. Here we have this popular singer of rousing songs in his right vein, especially in the two Irish numbers. Dawson’s hold upon the gramophone public is a. puzzle, sometimes, but it is a fact, nevertheless. The Banjulele Banjo.—“Banjulele Banjo and Ukulele Instruction Record Alvin D. Keech. Mr Keech is the inventor of the “banjulele” banjo, and his instructions

on the correct playing of the instrument ami the ukulele may. therefore, be considered authoritative. The record will no doubt aid many to learn to play this extraordinarily popular instrument. A descriptive, illustrated instructional chart is issued free with this record. Near Perfection.—The two marches, “Sesqui-Centennial” and “Under Double Eagle,” played by Sousa’s Band, are really exhilarating affairs. From the viewpoint of performers and recorders both, they are as nearly perfect as anything one hopes to hear on the gramophone. Coloratura Singing.—Amelita GalliCurd's voice, the most perfect and flexible of musical instruments, is heard to the fullest advantage in the “Shadow Song” frfom Meyerbeer’s “Dinorah.” It is a brilliant, example of coloratura, singing, and the recording lias caught every accent with remarkable accuracy and clearness. Peer Gynt Suite.—ln a few weeks’ lime there should arrive here what has been described as a magnificent performance of Grieg’s “Peer Gynt” suite is that, by the Royal Opera Orchestra, Covent. Garden, under the baton of Eugene Goossens. The tonal qualities of this fine orchestra have been commented on before, but they have never been more strikingly evidenced than in the present issue. Two records comprise the suite of four movements. All the romance and legend of the work are beautifully interpret "d from Ihc “Morning” until the final crash in the halls of the “Mountain King.” The percussion in the last, is exceedingly well done. As usual, when speaking about these instrumentalists, the greatest credit is

due to all concerned —not forgetting the recorder. Orchestral Music. —A wealth of orchestral recordings is offered, all of them, of course, electrical—and the best among these is decidedly the rerecording. under Sir Landon Ronald, of Debussy’s beautiful “L’Apres Midi Dun Faune.”, Exquisite music this, full justice being accorded to it in the recording, and serving to illustrate the fact that this electrical recording not only scores in massed effects, but in making crystal clear, dainty passages hitherto quite obscured. Albert Coates conducts a three-sided record ing of “Talmhauser” Overture, completed by the “Apprentices Dance” (Mastersingers), and also the fourth number from “Hoist’s Planets.” Eugene Goossens directs the Covent Garden Orchestra in a complete version of the “Unfinished Symphony.” A ten-inch record of the Cavalleria “Intermezzo” and Hoffmann “Barcarolle” very notably completes the orchestral issues, and a fine record it is, too.