GRAMOPHONE NOTES

Greymouth Evening Star, 26 November 1927, Page 4

GRAMOPHONE NOTES

(By “Record.”)

A Delightful Overture.

State Opera Orchestra, Berlin, conducted by Dr. Leo Blech, in “Mignon” Overture (Thomas). The Overture to “Mignon” is constructed from the principal melodies of the opera, and forms, therefore, a kind of Pot-pourri. This electrical recording is said to be one of the finest examples of orchestral reproduction yet issued; a fact which, coupled with the melodiousness of the music and the brilliant performances, promises a great popularity for the record.

Marek Weber.

“Tales From the Vienna, Woods,” (Strauss). —Marek Weber’s Orchestra. This is Marek Weber’s first “His Master’s Voice” record to be issued in New Zealand, but there is little necessity to “introduce” such a famous player or his orchestra. Weber and his Orchestra have a European reputation second to none in the performance of light music.and his rendering of this lovely old waltz gives an excellent idea of his peculiar powers.

Two Fine Songs.

Browning Mummery (tenor) in "My Lovely Celia” (arr. Lane Wilson), and "The Love Lily” (Thompson). Browning Mummery, an Australian bv birth, is one of the finest operatic tenors of the day. For once, however, he has given us two ballads, but the opportunity to display his superb voice is there, and he makes a fine thing of them. Browning Mummery has been enjoying remarkable success at Covent Garden this year. Gems from Famous Operas.

Light Opera Company in vocal gems from the “Waltz Dream” and the “Merry Widow.” These will be much enjoyed. Of their kind, Strauss’s “Waltz Drcam” and Lchar’s “Merry Widow” are two of the finest and most successful light, operas ever staged. They are full of melodious and haunting airs. The recording, too, is excellent. The Promise of Good Things.

The December records which will be available next week, make a very attractive list. In addition, there is to be a special Christmas issue of good things appropriate to the season. Meanwhile the sales of the record, “Hear My Prayer,” are still soaring, and the makers are almost at their wits’ end to cope with the demand. Fresh stocks are regularly coming to hand, but many are on the waiting list. A Fine New Jeritza Disc.

“Herodiade,” il est doux,. il c.st bon (He is kind, He is good), in French (Massanet).—"Jeanne d’Arc,” Adieu.

A New Tenor Disc From Schipa.

“Lakme,” Fantaisie aux divins mensonges (Idle Fancies) sung in French), (Delibes)—“Wcrther,” Pourquoi me reveiler? (Ossian’s bong) (sung in French), (Massanet) —Tito Schipa, tenor. x Schipa makes his appeal through a delicacy and restraint not. always found in Italian tenors, together with a decidedly individual and beautiful voice. He has made a fine record of the lovely “Pourquoi me reveiller?” and also of the seldom heard excerpt from “Lakme.” Philadelphia Symphony Orchestra. “Rienzi,” Overture (three parts) — “Twilight of the Gods” (Wagner). Philadelphia Symphony Orchestra, under Stokowski. ” Leopold Stokowski and the Philadelphia Orchestra of over one hundred players have made a fine electrical recording of the overture to Wagner’s first successful opera, “Rienzi.” The opening theme of Rienzi’s prayer played by the lower strings, reveals a quality and richness that, surely, brings something new to recorded music. In’ the in-spring concluding scene of the “Twilight of the Gods,” Brunuhilde has leaped into the funeral pyre of the slain Siegfried. The castle of Walhalla, paid for with stolen Rhinegold treasure, is burning with its gods and heroes. The Rhine has overflowed its banks, and the three Rhine maidens come to reclaim the King of the Nibelungs. The tottering majesty of the Walhalla motive, the floating song of the maidens, the curse of Alberich, die out beneath the pure and exalted strains of Wagner s greatest motive, the “Redemption of the World by Love.” Two Kinds of Fine Organs.

Reginald Foort, on the organ of the New Gallery Cinema, London, in Ketelhy’s “Sanctuary of the Heart,” and “In a Chinese Temple Garden. The record made on the Wurlitzer organ of the New Gallery Cinema organ by Reginald Foort have become very popular. The very wide range of quaint “effects” which can be obtain ed have made the records some of the most popular on our list. r Phe uew record of two familiar descriptive pieces will attract a large number of people. Arthur Meale on the organ of the Central Hall, Westminster, London, in “Vesper Song” (Meale) —“Fountain Melody” (Meale). Arthur Mealc’s intimate knowledge of the manner in which to make organ music truly popular is masterly. He knows the exact way in which to make each piece most attractive. For this record he has played two melodious little pieces of his own. It would be difficult to find a more delightful record—to play, shall wc say, at evening as the long shadows come slowly creeping over the lawn? The “Jewel Song.”

Mavis Bennett (soprano), in the “Jewel Song” from "Faust,’ 1 and Dell Acqua’s “La Villanelle.” Mavis Bennett requires no introduction, but it is always a pleasure to announce a new record by this attractive young singer. This time she has entered the domain of opera in. one |)f her pieces, for she has chosen the brilliant “Jewel Song,” from “Faust,” a display that is dear to the heart of all coloratura sopranos, though it must be confessed that they do not all succeed as well as Mavis Bennett has. No less brilliant is her singing of the ever popular “Villanelle.”