RECORDED MUSIC

Manawatu Standard, Volume XLIX, Issue 233, 31 August 1929, Page 7

RECORDED MUSIC

A Fine Austral Disc. —Florence Austral in Rossnini’s “Stabat Mater,” in which she has the assistance of tho Royal Opera Orchestra and choir under Mr John Barbirolli, is beautifully recorded. This is one of tho greatest moments in Rossini opera, and is emphasised by Austral’s singing. On the other aide is “Tho Night is Calm,’ from “Tho Golden Legend” (Sullivan). Lovely Irish Songs.—Margaret Sheridan gives ua an outstanding record in “Believo Me, If All Those Endearing Young Charms” and “Como Back to Erin” (both arranged by Byng). These lovely Irish song;s aro tenderly interpreted by Miss Sheridan. Film “Theme Songs.”—A new feature of present day recording is the transferring of film themo songs to the disc. These songs have a wide popularity in the film theatres, which is enhanced by the dies. Two motion picture theme songs, “Marie” (from the picture “Tho Awakening”) by Irving Berlin, and “Cross Roads” (from “Show People”) are finely sung by Franklyn Baur. The Berlin number is especially good. Clarkson Rose.—Clarkson Rose has a great vogue on the London variety stage. Two characteristic numbers, “We’re Living in the Cloisters” and “Our Avenue” are full of humour. From tho Nightingales.—Nightingales and Beatrico Harrison, in “Songis My Mother Taught Me” (Dvorak), “A Summer Night Idyll.” On one side of the lecord Miss Beatrice Harrison is heard with her ’cello enticing tho birds to burst into song; on tho other side tho distant pealing of mellow-toned bells forms a romantic background to the songs of the birds. “I Love the Mxxin.” —Walter Glynno (tenor), in “I Love tho Moon” (Rubens), with violin obbligato, Marjorie Hayward and “Jeuncsse” (Barry). This record of “I Love the Moon” shpuld bo widely popular. It has many points of groat beauty and attractiveness, not tho least of which is the charming way in which voice and violin obbligato blend together. The “Trout Quintet.” —Wilhelm Backhaus (pianoforte) and International String Quartet (Mangcot violin, Howard viola, Withers ’cello, Hobday double-bass), in “The Trout Quintet,” Op. 114 (Schubert). Schubert’s “Trout” Quintet is written as a quintet for pianoforte and strings, the strings consisting of violin, viola, ’cello and (instead of the more usual second violin) double bass.

Beautiful Duets.—The two London musical comedy stars Winnie Melville (soprano) and Derek Oldham (tenor) have added another disc of duets to their list. Their latest numbers are “Love’s Dream,” an arrangement of Liszt’s beautiful “Liebestraum,” and “The Old Sweet Song,” an arrangement of Kreisler’s exquisite “Caprice Vicnnois.” The blend of two sweet voices is admirable and they sing with a sincere appreciation of both sentiment and melody. Tho pianoforte accompaniment is .very clear. ■ New Baritone.—A robust English baritone, Keith Falkner, makes his debut on the gramophono with three of Keel’s saltwater ballads which are grouped on to a ten-inch record. These are “Port of Many Ships,” “Mother Carey” and “Trade Winds.” The thing that strikes tho listener is the singer’s sincerity. He uses. his fine voice with an artistry that rings true, and his diction is exemplary. The contrast in themes and tempo gives variety to a most pleasing record. Dance Records.—Dance enthusiasts will find a good selection in latest releases. Outstanding aro the waltzes “Sweet Hawiian Dream Girl” and “Sleepy Honolulu,” by the Hilo Hawaiian Orchestra. The native instruments are used with beautiful effect. Other discs are “Don’t Be Like That,” fox-trot, with vocal rofrain, playod by the Rhythmic Eight, which is coupled with “Anita,” waltz, by tho Arcadians Dance Orchestra. Two excellent numbers by the Arcadians are “Pokeo-okeo-oh,” fox-trot, with vocal refrain, and “That Old-time Organ Melody.” Felix Weingnrtnor’s Now Job.—Weingartner, the brilliant German conductor, who is possibly the greatest living authority on Beethoven, has just accepted the control of the, Basle Symphony Orchestra. Tho Basle is certainly the leading, as it is also the oldest, of the Swiss Orchestras, and the new combination 'should prove fruitful. In conjunction they have provided a gripping version of Weber’s fervent and romantic “Der Freischutz” Overture — a work in whioh the composer has forgotten his polite and pplished mannerisms and touches the imagination with almost ghostly significance. The work has power and intensity, and is played with keen urgency. Tonal . beauties reveal Weber’s marVollous gift of invention in this direction. Another of Wober’s Masterpieces.—The composer of “Oberon” wrote four works for the clarinet, of which the Clarinet Concerto, produced in 1811, is undoubtedly the most interesting, for it was the outcome of Weber’s association with Barmann, tho finest clarinet player of his time, and is therefore not altogether a mere show-piece for the olarinet alone, but rather a splendidly woven texture in which both band and solo play an equally important part. This Concerto is bound to procure for the famous French band many warm admirers; there is a vividly fine colouring by the great ensemble while the solo passages aro dexterously handled and have a limpid piquancy all their own. Wagner—by a French Tenor.—Covent Garden runs in such a well-worn groove— English season, German season, Italian season, rotating year after year —that it is seldom that tho top-notch French singers get a proper introduction to British publics. A new recording gives us a really splendid diso by J. Rogatchewsky, whose voice has a fascinating quality quite unlike the usual Italian school. It is at onco sounder and more penetrating, and has a peculiarly charming colour. He renders with spirit and passion two numbers from Lohengrin —“Farewell to the Swan” and “The Story of the Grail,” in French. Edgar Coyle.—lt is a long time since Edgar Coyle recorded, but his laid numbers have continued firm favourites. Now he gives us new versions of the most popular. He is accompanied by a male voice quartet in two poigant songs sung with deep sincerity—“ The Vacant Chair” and “The Slong That Reached My Heart.” On his second disc the songs are the old favourites, “A Farmer’s Boy” and “The Jolly Miller.” Entertaining Norman Long.—Norman Long is great fun, and is at his very best in his latest record, on which he gives a burlesque “1929” overture, which “takes off tho mannerisms of different composers. “The Turkish National Anthem” turns out to be a bit more familiar than the title indicates. On the other side is a modern version of “The Village Blacksmith,” deliciously funny by reason of the various mistakes that Norman makes. Herbert Browne and Gil Dech. —“I’ll Always Be in Love With You” and “The Lonesome Road” are made much of by Herbert Browno’s pleasing tenor. Gil Dech at the piano plays a quite important part in tho success of these two items. Peppy Dance Numbors. —Ben Selvin and his orchestra play “My Sin” and “Hooray”—foxtrots, both of them. “Guess Who?” is another novelty fox-trot, and is paired with “He, She and Me” —both played by Jan Garber and his crew. “Redskin”—theme song of a talkie of the same name —gives Hen Selvin another chance to shine. Tho Columbians on the roverse tell us that “Yo te amo” means “I Love You.”