GRAMOPHONE NOTES

Greymouth Evening Star, 10 December 1927, Page 4

GRAMOPHONE NOTES

The Gramophone in Church. A gramophone recital during Divine service was recently introduced at the Mount Pleasant Baptist Church, Merthyr. The selection chosen was Mendelssohn’s recitative, “Hear My Prayer.” with the air that follows it, “Oh, For the Wings of a Dove,” sung by the choir of the Temple Church, London. It is claimed that this is the first occasion in which a gramophone record has figured as part of a church service in Wales. Discussing the innovation with a “Western Mail” representative, on Monday, Mr J. Jones, of Merthyr, who has been closely identified with gramophone development, said: “This novel idea is one which the churches in general might copy with profit as a means of meeting a popular demand for brighter services.” In Lighter Mood. ! In lighter mood amongst recent arrivals arc the Revellers who display their peculiar gifts as a vocal quintet containing the quaintly humorous “So Blue,” and on the other side, “The Birth of the Blues,” which is described in some quarters as “the hit of the season,” and has a crooning, haunting quality. There are also light records by Derek Oldham (of “The Vagabond King”), the Smith Brothers, and the Light Opera Company (in “The Desert Song”), and, in instrumental records, the Savoy Orpheans in selections from “Castles in the Air” and “Lady Luck,” and De Groot and the Piccadilly Orchestra. Among the eight new popular 3s dance records two are of outstanding interest. Paul Whiteman shows fine rhythm and fresh effects in two fox trots, “The Birth of the Blues” and “It All Depends on You,” and in the w’altz “Shalimar,” and the fox trot “I’m Looking for a Four-Leaf Clover.” Jack Hylton’s band introduces an organ effect, which though interesting as a musical novelty and extension of the syncopated orchestra, seems rather out of key with the dancing atmosphere. There are three other popular dance records by Jack Hylton, two by the Savoy Orpheans, and one by Nat Shilkret’s Orchestra —a rich range of choice for the holiday season.

Gilbert and Sullivan. Light Opera Company, in Vocal Gems from “The Yeomen of the Guard” The recording entitled “Gems from The Yeomen of the Guard” is in the nature of snippets, but should not be despised on that account. The snatches of song and chorus, agreeably rendered by the Light Opera Company, with the help of a competent orchestra, are recorded. The makers deserve thanks for instituting this moderate-priced series of Gilbert and Sullivan selections and their reproductions of other favourite items, both vocal and instrumental, are of equally good quality. An Audience Thrilled. There were no singers on the stage nor any instrumentalists; yet an audience filling the Cardiff Empire recently was thrilled with the magic of melodious music. An unseen nightingale trolled its throbbing song from an disc, and the 'audience, conveyed by the magic carpet of imagination, travelled to an enchanted glade in a wood where the leaves were rustling under the stars. The nightingales sang in exultant chorus, and then fused into music played by human hand in a symphony of sweetness. Rousing Male Voice Songs. Orpheus Male Voice Choir (unaccompanied) —“March of the Men of Harlech,” and “Song of the Marching Men.” A powerful choir record of two wellknown titles. There is a quality and strength about this combination which should build them a fine following among phonograph enthusiasts. Julia Culp Records. Comes the glad news says a London paper, that three new electric Julia Culp records are already listed. In them Madame Culp sings “Der Tod und das Madchen” and “Der Lindenbaum” of Schubert, “Der Nussbaum” and “Du Eist wie eine Blume” of Schumann, “Feldeinsamkeit” of Brahms and “Verborgenheit” of Hugo Wolf; a very handsome contribution. Make a note of these.

“Jolly Good Old Hundredth.” The following letter addressed to “Honourable Stanley Roper, Organist and Composer, England,” has reached Mr Roper at the Chapel Royal, St. James’. His playing of the “Old Hundredth” and the chimes of Big Ben were recorded. “Honourable Mr Roper,—Nobility and gentry of Gold Coast is mad last moon with joy of your master’s voice gramophone music of Mr Big Ben and traffic noises and jolly good old 100th.' “J like you, am organist and choirmaster Westleyon Chapel and I beg you honourable Mr send me your music of your performance old 100th. Oh, it is very wonderfully. My choir of chapel like you royal choir of chapel is most excellent but no organ alas woe is us only drum and tambreen and school bell. It gives me most pleasure to demonstrate out. to you that 1 earnestly ask you one favour.— I remain in graceful anticipation, Enos Ajakaye.” A New Idea A branch of a well-known firm of gramophone record manufacture has converted a large audition room into a miniature theatre, with thirty ‘stalls’ and a, tiny stage. Visitors arc invited to scats in the theatre to hear the records played, and to gain the necessary “atmosphere” the senses of sight and smell are called in to assist that, of hearing. By means of clever scenery designed by a wellknown scenic artist, lighting effects, living tableaux and faint perfumes, the listener hears the record under the best conditions. A “Morning Post” representative was present at the first “performance.” He was presented with a printed programme, and shown to a stall. The lights were extinguished as a gramophone was set in motion, and with the first strains of the anthem, “Hear My Prayer” dim coloured “spotlights” gradually illuminated the stage where was seen a Crusader Knight in a listening attitude. This scene gradually disappeared and the next represented the interior of a cathedral, with the motionless figure of a choir boy in the foreground and a lighted altar as a “backcloth.” Incense floated across the room, and the illusion was complete.