’NEATH THE NEEDLE

Manawatu Times, Volume LIV, Issue 6944, 25 June 1929, Page 2

’NEATH THE NEEDLE

THE GRAMOPHONE AND ITS MUSIC. - Piano Excels. A gallant adventure is that of Lna Bourne, English pianist, who gives us oa two records “Bohemian Polka (Smetana) and “Moresque” (Granada?) and. two numbers by Chanunade, “Ausbadc" and “Valse Arabesque. The piquant rhythm of the polka and the. abandon of the Arab waltz are delightfully expressed. Miss Bourne is a correct pianist, but sfie is not afraid to soar and she docs so with a certainty that bespeaks a mastery of her instrument. The recording has done her justice. The tone is uniformly clear. (11.M.V., 8249 S and B. 2490). Military Marches. One of the prettiest of the old marches “Hiawatha" (Indian Summer Intermezzo) by Moret has been recorded by the Band of the Coldstream Guards. The delightful interludes, by the wood-wind come out with astonishablcing clearness and the brass is in admirable balance. Another famous march, “Liberty Bell” (Sousa), on recording, is on the same record. Margaret Sheridan. Miss Margaret Sheridan has been called the John M’Cormack of the sopranos. She has the same Irish intonation as the famous tenor, the same Celtic interpretation powers. Miss Sheridan can show what the real art of sieging means. Her latest record ineludos°two of the sweetest songs of Irish ballads, “The Meeting of the Waters" and “The Lover’s Curse. These are given with beauty of tone, musicianship and high artistic feeling. The voice is fresh with youth, and perfect through its unusual range. lhe tender mezza voce notes convey a wealth of meaning, and in the “Lover’s Curse" there is just that touch of the dramatic which gives character to the song. (H.M.V. DA9SS.) Dramatic Intensity. There arc no more dramatic arias in all opera than “Vest! La Guibba and “No, Pagliaccio non son," front Leoncavallo’s “I Pagliacci." Grief, despair and anguish are intensely portrayed in the famous ‘ 1 On With, the Motley" with its almost shuddering laugh, and the groat outburst of the forsaken clown in the second aria is indeed, a gripping moment. Tlio music realistically depicts the situation. . These arias arc gloriously sung by Giovanni Martinelli, upon whom, as far as the big dramatic roles are concerned, seems

to have fallen the mantle of Caruso. He lives the part, and in “No Pagliaccio non son" is assisted by a full chorus. When he gives vent to his misery one can fed a note of aprehonsion that seizes the onlookers. (H.M.V., DB1139) Bach Transcriptions. One of the most outstanding orchestral records of the last six months is that ,of the Philadelphia Orchestra in two Bach transcriptions—-the Prelude in E flat minor from Book 1 of the “48," and the Chorale Prelude, “Ich ruf’ zu dir." At first sight it might seem that the E flat minor piece would not bear transference from the . keyboard to the orchestra; but it is remarkably effective. Of course, it loses in intimacy, but the loss is more than balanced by the epie character of the result. Much the same remark might be made concerning the Chorale Prelude. I started both sides of the record with misgivings, but was converted. Per big and intensely expressive playing, faithfully reproduced, this record will not be easily beaten. , Big Toned Contralto.

Few contraltos have the volume of rich tone possessed by Essie Ackland, v/ho this month has coupled Handels celebrated “Largo” and “The Lost Chord” (Sullivan) on one record. BotU have organ accompaniments. Not since the palmy days of Clara Butt has there been such astonishing depth of tone

from a woman. Miss Ackland rises to the climaxes with a fervour befitting the lofty conception of these popular numbers, and she is aided by the realism and beauty of the organ. Miss Ackland has been a regular contributor to recent issues, but she has done nothing better than her latest disc. (H.M.V. C 1599.) Dee Groot and His Orchestra. The latest records by Be Groot and tho Piccadilly Orchestra will be welcomed by all lovers of the lighter type of orchestral music. Be Groot has been at the Piccadilly Hotel for -0 years and during that time has given over 15,000 concerts. But he is more than a restaurant performer, and his orc.hestra.tiou is world famous. this month’s catalogue contains a Be Groot disc, which iaeludos “None but the Weary Heart’’(Tchaikowsky) and “Friend o’ . Mine” ■; (Sanderson). .Through the music runs the melody of DC- Gfdot’s violin like a golden thread. (H.M.V. 82557 amt B 2501.) “Trial by Jury.” It is difficult to believe that “Trial by. Jury” is more than fifty years old, for it remains as bright and fresh as over. It should stand the next fifty years equally well, and no doubt it has an even better chance to survive the next half-ceniury, seeing it has stood the reetic period from which it now emerges with undimmed brilliancy. As the opera is entirely free from spoken dialogue, “Trial by Juiy makes excellent work for the gramophone, and the recorders have taken advantage of this fact to give a complete rendering of the play, under the supervision of Bupc-rt B’Oyly Caite. It has been done in the compass of four records, and the full wit and brilliance of Gilbert and Sullivan are recorded. (H.M.V. Dl4-GD-70-71-72.) Popular Dance Numbers. The following is a list ot tho best selling dauee records compiled from the latest retailers’ returns:—“Me and the Man in the Moon,” Olsen’s Orchestra; “Neapolitan Nights” (waltz), Troubadors; “Theres a Rainbow Bound Mv Shoulder” (foxtrot), All Star Orchestra; “Sonny Boy” (Foxtrot), Olsen’s Orchestra; “Dusky Stevedore” (foxtrot), Shilkret’s Orchestra; “High upon a Hilltop” (foxtrot) Warring’s Penns.; “Forty-seven Ginger Headed tailors” (foxtrot), Hylton’s Orchos-

tra; “Somewhere Someday" (Waltz), Troubadors; “A Room With a View”' (foxtrot), Rhythm Band; “Carolina j Moon" (waltz), Troubadors;" All by j Yourself in the Moonlight" (foxtrot), Aareason’s Orchestra; “Where the Shy Little Violets Grow" (foxtrot) Olsen’s Orchestra; “Jimmy Valentine" (foxtrot), Shilkrot’s Orchestra; “That’s My Weakness" (foxtrot), Shilkre-t’s Orchestra; “It Goes Like This" (foxtrot), Johnson’s Orchestra; “Cheerie Beorie Bee" (waltz) Whiteman’s Orchestra; “Bluo Grass" (foxtrot), Hamp’s Orchestra; “Just a Night for Meditation" (foxtrot), Shilkret’s Orchestra. (H.M.V.) Violinist Prodigy.

The twelve-year-old violin prodigy, Ycjudi Menuhin, is at present astonishing Europe and those who have heard his first'’record to roach New Zealand know that ho justifies the enthusiasm. The boy gives us “Allegro" (Fioeco) and “Oaprlcciosa" (Hies). In them ho combines the force and understanding of a' mature musician with completely effortless technique. His tone reminds one of Elman s, and ho has the firmness of Heifetz. In the words of the musical critic of the New York Herald: “The effect of his performances can be summed up in one word—amazement. Yejudi Menuhin plays as a stream flows, as shines the sun—his music is the forco of Nature.” (H.M.V. DA1003.) “Fountains of Rome.”

Respighi’s tone-poems, “Fountains of Rome" should ltave a wide appeal. There arc four pieces and four fountains—Valle Giulia, the Triton, the Trevi, and the Villa Medici. _ The effect of wafer is extraordinarily cleverly done without being too insistent, and the other external sounds, such as horns and bells, are perfectly mingled with the poignant emotion that is roused by these fountains at dawn, morning, mid-day, and sunset. Albert Coates conducts these two records. (H.M.V., D 1429-30.) Magnificent Bass Singing.

The sonorous sweep and majesty of the big basso voice of Ezio Pirza makes a noble aria of “Dormiro sol nel manto mio regal" (I shall sleep in my royal mantle), from Verdi’s Don Carlos. The air is strong and richly melodious and deeply dramatic in feeling. “Don Carlos" belongs to Verdi’s middle period, and on the other side of the disc tho singer gives “0 tu Palermo" (0 thou Palermo" from an earlier Verdi work, “I Vesperi Sicilian" (The Sicilian Vespers). This number is very seldom heard, but it is one of the finest ever written for tho bass voice. In fact Pirza on this record has given us two numbers off tho beaten track. (H. M.V., DB1087.) • - Irish Tenor. Another Irish tenor with the characteristic timbre-of the great voices of his race, Colin 0 ’More, comes forward this month with -two Irish numbers that form a striking contrast. The first is “Has Sorrow Thy Young Days Shaded," by Moore. This one of the sweetest poems ever penned, and the setting is an old Irish air. O’More makes artistic use of light and shade in tho voice. His second number, “When Irish Eyes are Smiling," was a popular song a few years ago, and it is ono of the few that bear revivalin fact it has never gone Out. The lilt of the music has been caught up by the singer. (H.M.V., 82776.)