HIS MASTER’S VOICE

Horowhenua Chronicle, 6 December 1929, Page 7

HIS MASTER’S VOICE

Four Fine Songs. Poster Richardson (bass), in “All Through the Night” and “Savoureen Dolish.” Destined to be a groat favourite. Grand songs. A deep rich voice, enhanced by chorus and orchestra. (Zoncr phone 5351). Norman Blaim (baritone), in “In the Heart of the Sunset” and “When Little Children smile.” (Zonophono 5352). Sentimental numbers by an unusually sympathetic voice. Result, a charming record from start to finish. Good Old Popular Hits. Jack Hylton and his orchestra, wiiU vocal refrains, in “Good Old Songs,” introducing “The Man Who Broke the Bank,” “Daisy Bell,” “Lily of Laguna,’ ’ “Down at tlie Old Bull and Bush,” “Tara-ra-boom-de-ay,” “After the Ball,” “A Little Bit off the Top,” “Dear Old Pals,” “The Trinity Church I Mot My Doom,” “The Minor’s Dream of Home,” “Delaney Chicken.” H.M. V., 0151)2. Jack Hylton and Ids orchestra must have had a wonderful time when they made this record, for it is obvious that they enjoyed every minute they were plaving it. You in your turn will .enjoy listening to the jolly “old songs” of the last two decades.

English Folic Times. 'J'he very soul of English music lies in her folk tunes, the songs that were sung in. the fields and in the homes; the songs that were sung in the manor houses by the troubadours aiid by the wandering minstrels at the fairs. For manyy years these old tunes were neglected, and in the last 20 years some of the most eminent musicians hare realised their value and have conducted long and painstaking researches into their origins and construction. The simple charm of these songs is illustrated in the ten records issued by the iI.M.V. Company. On the Nortluimbian pipes Tom • Clough • plays “The Keel Row,” “Ho’ley Ha’penny,” and “ Elsie Marlev.” "The Folk Dance Band includes in nine records such pieces as “Pop Goes the Weasel,” “Speed the Plough,” “Apley House,” “Old Noll’s Jig,” “The Triumph,” “The 29th of May.” “Oaken Leaves,” “Hey Boys, Up We Go,” “Kufty Tufty,” “The Maid Peeped Out,” “Shepherd’s' Holiday,” “Parson’s Farewell,” and “ill? Phoenix.” These are fine Christmas records. (11.M.V.)’ Supreme Moments From Wagner.

A notable batch of records —indeed a real recording achievement —is a gronj> of extracts from “The Twilight of the Gods,” the concluding part of Wagner’s “Ring”; some recorded in Berlin, some in London. In the last -'t the great “Ring” operas the drama moves swiftly towards its appointed end. The music of the “Twilight of the Gods,” magnificent as it is, has an atmosphere of sombre foreboding, of impending tragedy. As a piece of musical architecture, it is the supreme work of the “Ring,” for Wagner has gathered up the familiar motifs of the earlier operas, and has presented them in a now and more significantly dramatic force. Nothing short of glorious is “Hagen bids the Vassals Prepare for Feasting,” by the Berlin State Opera Orchestra and chorus under Leo Blech. The soloist is Ivar Andrcsscn, a splendid bass. The chorus is a big factor in a fine and stirring record. No loss good in its quieter way is the disc bearing “ Rhincmnidens foretell Siegfricnd’s death” and “Rhinemaidcns'beg Siegfried to give up the ring.” The Siegfried is Laubenthal, and the Rhincmaidens arc do Garnos, Kindeamann, and Marker. The results are strikingly vivid. The other record made at- Berlin is a line one of the Siegfried Funeral March, Karl Muck being the conductor. The four English recordings arc every bit equal to the German, and that is saying a great deal. In the Norn s’ Scene the three singers have colour and conviction. There arc a couple of scenes with Brunnhildo and Siegfried, wherein Austral is at the top of her form, and Widdop sings splendidly. His voice has the required size and heroic character. In the record “Siegfried takes the oath on Hagen’s spear,” Austral and Widdop are heard again, witli specially good marks for the former. Finally, Austral has the field to herself in Hie scene where Brunhiide lights the pyre and rides into it. The orchestra in the English performances is the London Symphony, and the conductor Albert Coates. (11.M.V.)

ZONOPHONE

A Popular Contralto. Vaughn Do Leatli (contralto), in “Old-fashioned Lady” and “The Toymake’s Dream.” Zonophone, K.E.10-1. The rich contralto voice of this artiste, coupled with her perfect enunciation aided by the melodious orchestral accompaniment, makes this a very interesting record. The two si<V s ;iri ’ distinctly varied, each having its own appeal. Salon Orchestra Music. Zonephone Salon Orchestra, in “Mighty Dak’ a Rose” and “Love’s Garden of Roses.” Zonophone, 5357. Salon orchestra music is very popular. Here we have two tried favourite tunes excellently played and rendered. Two Fine Old Hymns. Church choir, with grand, organ, in ‘God be with You Till We Meet Again” and “Peace be Still.” Zonophone, 5282. Rest and consolation are to be found in these lovely choir records of two fine well-known old, hymns.