MUSIC AND THE STAGE

Manawatu Standard, Volume XLVI, Issue 28, 2 January 1926, Page 4

MUSIC AND THE STAGE

WEEK’S NEW RECORDS. Paul Whiteman and liis orchestra have introduced the yodel war billing cry into a gramophone fox-trot called “I Miss my Swiss.” It is very unlikely that anybody has ever danced before to the music of the yodel.

A new gramophone, which Sir Edward Elgar declares to bo the most important invention in gramophone history, has been evolved by the cooperative effort of more than 100 workers in tho research department of His Master’s Voice gramophone company, at Hayes. Orchestral instruments, which, hitherto, have been either indistinct or not hoard at all, are now for tho first time reproduced at their true value. Tho problem before the research workers was to rdjust tho balance so that bass and treble would be in their right relation. They carried out their experiments on a series of specially-made records, each of which had a complete range of notes from tho musical instrument that was being tested, and tho result is a. machine with a new tone-arm, a new sound-box, and a special tonechamber, which gives equal prominence to the whole scale, from low bass to high ticble. Every typo of drum can now bo heard by the gramophone, not to mention deep bass instruments, like tho bombardon, tho Sousaphone and tho Sarusnplione, none of which until now had ever been produced in this medium.

It is not eo long ago that the gramophone was considered an instrument of affliction. Now the work of tho great gramophone manufacturers has brought both the records and the models to such perfection that the daily papers nre publishing weekly articles in their musical columns on tho latest gramophone productions (epiys a London paper). Mr Percy Scholes has written two books on the subject. Dr. Wolford Davies has long been teaching music via the gramophone in the schools of Wales. Let no one be surprised to learn, then, that a Cambridge University Gramophone' Society is about to be founded.

On the way are four new records by Jack Hylton’s ‘‘Kit Cat Club” Band among the features of this month’s issue of dance tunes by the His Master’s Voice Co. They are a comparatively now band to the gramophone world, but the fine syncopation and excellent solo parts comprised in tho numbers will quickly find favortr with dancers.. Tho titles “Can’t Your Friend Find a Friend for Me,” and “Alone at Last” and “Milenburg Joys” and “My Sugar,” and all aro fox-trots. A Frontiersman now on leave in London from India recently purchased 400 new gramophone records, which, carefully arranged in programmes, will give him a new entertainment every night for several months. His nearest friend is at the other end of a day’s journey—the next white man is 100 miles awuy. “The gramophone has helped to keep mo sane,” js his tribute to tho instrument.

During the past few seasons there has been no rival to the fox trot, except an occasional waltz. But now it really looks as if tho tango has come to stay. Viraldi’s Tango Band (from tho Savoy Hotel) besides being one of tho world’s three premier tango bands is tho first tango band to visit England. Their services having been secured by the Gramophone (H.M.V.) Company, have resulted in the issue of six firstclass tango tunes on three doublesided records. Besides tho conventional piano, played by Varaldi, tho conductor, tho six other players perform upon bandoleons, harmonium, guitar, symphonia, mandoline and concertina, with a tenor who chants the tango themes. Eight years of performance at Cannes and Deauville have perfected tho most essential and fascinating rhythm, in. which piano and bandoleon predominate. Although all tunes are excellent, “Pajores de Fueza” and “Hasta la liuelta” deserve special commendation.

Savoy Orpheans, the inimitable, seem to scorn tho use of vocalists. Two records, “AVait Till it’s Aloonlight,” with “I AVant to See Aly Tennessee,” demonstrate their perfest ensemble and orchestration. There is a quaint opening on piano, with good saxophone work, and a novel introduction of “Alediation,” from “Thais,” on violin, while tho reverse has excellent trumpet and saxophone. Another introduction is tho “Storm” (from “AVilliam Tell”), also piano and banjo in “Row. Row, Rosie,” and the reverts, “Can t Realise,” has wifih bell effects a compelling rhythm. Jack Hilton’s Orchestra provides three records of the high quality expected from it. “Alercenary Mary” (from the new play, has a catchy melody, with the only acceptable vocal chorus of .the list, and “You Forgot to Remember” (vocal), is an appreciated waltz. That this orchestra is a past master of saxophone and trumpet work is hero illustrated. “Some Other Day” (vocal) provides violin , and piano episodes, while on the reverso the band despises unnecessary stunts to mar the tuneful rhythm of “Land of Dreams” (waltz). “Stamboul” (a haunting tune) opens with a quaint Oriental phrase, and “Chick, Chick, Chicken” (vocal), onds their list. A record by Mme Galli-Curci is always a joy, aid her latest, “Come d’aurato sogno.’ d “Timor dime?” is no exception. j.ney aro both from “II Trovatore.” Her voice is, in a reviewer’s opinion, infinitely better through the modiurn of the gramophone than in a concert hall, which is an inversion of tho usual practice.

There is pathos about AAL B. Alanson’s “Songs of Lovo and Youth,” because tho composer was one of thoso who fell in tho war. Like so many others, lie has loft his work to show what might have been. His interpreter, AV’alter AViddup, is a newcomer, but ho shows that H.M.V. knows how to choose an artist. Really humorous records are difficult to obtain. Hero is one by the Stanton Bros., who provide excellent mirth in “English as she is not spoken.” Brooke Johns, from the Kit-Ivat Club, plus banjo, gives “Hotsy-Totsy” in characteristic stylo. “1 Aliss My Swiss” lias been produced at the Strand by “Lo Cliauve Souris,” and the Happiness Boys give a clever interpretation. There is a novel accompaniment with ukulele to “Ukulele Lady,” as sung by Frank Cummit, which is sure to be popular. John Henry needs no introduction, and although not up to wireless standard is amusing ill his latest issue, aided by Blossom. Alelville Gideon, of “Cooptimists” fame, sings “You Forgot to Remember” and “I Fell in Love with a Voice” well up to his usual standard. He accompanies himself in both pieces.

Amongst the new arrivals is an attractive bracket from tho Peerless Quartette (male voices) —“AA’hen Aly Golden Hair Has Turned to Silver Grey,” Henry Burr (tenor), and “Heaven is Aly Home.” Hero tho voices blend sweetly together. Henry Burr, the tenor of the party, is heard in an effective 0010.

STAG ELAND. (By “Jack Point.”) To-night in Melbourne Gladys Aloncrielf will enter upon her last six nights in Australia in a revival of “The Merry Widow.” “The Maid of the Mountains,” in which she is supremo vocally and histrionically, finished last evening. Of all her numerous roles Miss Moncrieff seems to have more love for Sonia, the gay widow with tho dollars, than other characters of the improbable but highly delightful world of comio opera and musical comedy. Despite signed petitions from tho publidjJsGludys has remained firm in her request for more money, and, meeting refusal, has once and for all announced her determination to try her luck abroad. Theatregoers in New Zealand—everybody has liked her — will wish her every success. Australia is agog at the rumour that popular Dorothy Brunton, recently of “The Music Box Revue,” contemplates orange .blossoms. In the past newspapers havo rumoured her wedding bells rather often.' Madge Elliott and Cyril Ritcliard, last in New Zealand in “The Cabaret Girl” and “Kissing Time,” were dancing in Paris when tho English mail left. The success of Madge Elliott and Cyril Ritcliard in London was not outstanding. The former first of all appeared at the Hippodrome, in the West End, in revue, but left the cast to join a similar show at a smaller, but equally well-known, theatre. In tho latter revue, in which the principal attraction was Teddie Gerrard—tho war-time men who visited London theatres will well remember her—Madge danced with her old-time partner.

It is rumoured that Jean Robertson—in town with Maurice Aloscovitch—and Airs Pitt-Rivers will shortly play leads with Frank Harvey in sucli revivals as “The Prisoner of Zenda,” etc., for Aluriel Starr does not intend to continue her contract with the Williamson firm after the Sydney season. Society girls and others in Australia—and probably in Now Zealand —who have a hidden notion that they were intended for a stage career will soon be able to receive frank advice from reliable quarters, for Andrew AlacCunn, Williamson’s brilliant conductor, will shortly open a school in which aspirants may receive individual training for a 6tage career. Air AlacCunn hopes that in future) whenever the Firm is looking for musical talent, they will look no further than his school.

“Leave it to Jane,” the slight but snappy musical comedy tho AVilliamsons are staging in Sydney, has been going merrily with Maude Fane and Athol Tier as chief attractions, since October 24. Tho comedy was purchased by the Firm many moons ago, but was laid aside to await a suitable cast. The music is by Jerome Kern, who was ressponsible for “The Cabaret Girl,” “Sally,” etc., and tho book is by P. G. AVodehouse-, whoso humour some people think is wonderful. Alaude Fane was out of the cast recently. It is stated that in between waits one night, by mistake she gargled her throat with a disinfectant instead of the usual medicine. Athol Tier, many aro of opinion, excels Alfred Frith as a comedian. One of his songs now all tho rage in Sydney is: “I Aliss Aly Swiss, Aly Swiss Aliss Aiisses Ale.”

After being banned by tho censor for nearly 3U years," Airs AVarren’s Profession,” one of Bernard Shaw’s most famous plays, was produced for the first time in London at tho Regent Theatre in November. London playgoers were surprised to find it very harmless, after such daring and recent plays as “Fata Alorgaiiu,” “AVhite Cargo,” and “Cobra.” In fact, as one critic pub it, “they must have been disappointed . . . for there was not a lino that tho sophisticated damsel of to-day would not wish her mother to hear!”

AVlien tho last English mail left Noel Coward’s third play, “Hay Fever,” was running joyously with tlie favourite Alarie Tempest in the lead. Also, at the last production of “Fallen Angels” (by tho same author) at tho Globe there was a dramatic scene. A member of the Purity League or some such institution stood up in the box after the second act and denounced the play as indecent. A man sitting in the stalls told her to “shut up.” But the lady from the Purity Leaguo would not shut up, and there was quite a scene, in which she was booed and told to get out. Outside tlio theatre a young man, ' white with temper, ran round tho Purity Leaguo lady and abused her very definitely. The English censorship is so strict that “Fallen Angels” must bo quite in order to be produced and, further, to have had such a successful run.

There is a rumour in the Australian theatrical world that Bruce Bairnsfatlier, the famous creator of “Old Bill,” is sailing for Australia with two of his plays. It is said that negotiation were on hand a while ago to fix up a vaudeville contract, hut the Firm shied at tho rather frightening salary he requested. And now it appears ho is coming out to superintend his latest production, “ ’Ullo,” combining work with a health trip. TJits is tho second time Australian playgoers havo been promised a visit from the famous cartoonist, the first occasion being around tho period of tho Armistice, when sudden illness prevented the artist from proceeding any further than New York. Goodie Reeve, Ada Reeve’s daughter, who is now engaged in literary work in Australia, writes: “I have heard a lot of artists complaining lately that they were out of work (not a very general cry in this country) and one may believe it when one considers that such artists as Josio Alelville and George Gee aro still unplaced. AVinnie Collins, who came from Daly’s, London, and appeared in “Primrose,” “Leavo it to Jane” and other shows, has, of course', gone home. She understood that tho Firm intended taking up the option on her contract and, on the strength of it, brought out her father, mother and sister. But the powers willed otherwise, and so AVinnie, who was as pretty as she was popular here, had to return home, plus her clever husband, Charlie Brooks.