RECORDED MUSIC

Hawke's Bay Tribune, Volume XVII, 5 September 1927, Page 7

RECORDED MUSIC

— THE WEEK'S NEW RECORDS. TWO POPULAR SONGS. “Lonely Eyes” (Davis and Akst). ‘‘Sonny Boy” (Hay), sung by Arthur Cox. tenor. Zonophone, 2679. Very popular vocal numbers rendered in the most satisfactory manner. Attractive record for those requiring vocal versions of these songs. | MARIO PERRY (PIANO. ACOORDEON DISC). “Over the Waves,” waltz (Rosas): “Sirens,” waltz (Waldtenfel). Played by Mario Perry. Zonophone, 2881. Two waltzes played on me accordeou bv a master mind. Perfect rhythm, clever harmony, strong tone, every feature in fact that the record should have is here, and the music is of the good old-fashioned kind. TWO GOOD WALTZES. “The Skaters.” and “Efudiantina” (International Concert Orchestra). Zonophone. EF6. Two waltzes in the great Viennese style which every old-fashioned waltzer has danced and thrilled to. There are beautiful string melodies, slighbells, a delightful xylophone, some lovely high violin countermelodies, a bit of schrammel effect when an accordeon appears in the first number, and musicianly colour and performance throughout, Cnamnets appear in the second. These are good tunes. ■ “Chimes of Normanby,” wal'v (Planquette)•_ “The Lovers,” schot tische (Shilkret-Green). Played by the International Novelty Quartet (instrumental). Zonophone, 2876. Chimes of Normanbv is a brilliant arrangement of a familiar orchestral .work. “Cloches de Corneville,” adapted as a waltz of delightful rhythm and rich in instrumental colour. “The Lovers” is also a charming piece with some unusual instrumental effects. A BEETHOVEN QUARTET. “Quartet No. 6” (Beethoven, Op. 18, No. 6). Played hv the Virtuoso String Quartet. H.M.V. 1206-1209 (four double 12-ineh discs). The six quartets included in Op. 18. represent Beethoven’s first published attempts at this most difficult form of composition. His success was complete. as the example before us amply demonstrates He seems to have been conscious that this last-mentilned movement was of an unusual kind, and so he has taken the unusual step of giving it a title. “La Malinconia,” to provide us with a clue to his intentions. It Is nut till we reach the Finale of Op. 135. the very last of his groat works that we finlT him adopting the same procedure again in a quartet. On the eighth side of this set of records is a delightful arrangement for string quartet of Schubert’s over-fresh “Moment Musical” in F Minor.