GRAMOPHONE NOTES

Manawatu Times, Volume LIV, Issue 6954, 6 July 1929, Page 5

GRAMOPHONE NOTES

La Scala Chorus. Otello (Vciii). “La Tempcsta ’ (■>) “Tuoeo di gioia.” Sung by La Scala Chorus of Milan. Columbia [ OC7C3. ! Here is an amazing record by the La j Scala Chorus of Milan. The thrilling mngnUicenee of the voices, the dramatjic intensity of the music, and the spirjited playing of the orchestra have I made this a gloriously outstanding re;cording achievement. Some of the ': most striking of Verdi’s *‘Otello” I music was written for the chorus at the commencement of the opera, and ; “La Tempest a” and “Fuocu de gioio’ ■ (tempest and tire) choruses are won- , dcrful examples of his genius. The raging of the storm is marvellously pictured iu the choral and orchestral colours, and the singing is of an extraordinary line character. An astonishingly realistic record. Beethoven’s Second Symphony. “Symphony Ao. 2in D ’’ (Beethoven). ’ Sir Thomas Beecbam conducting the London Symphony Orchestra. Columbia L1864-(i7. The Second Symphony is a product of Beethoven’s first period, but while tho influence of Haydn and Mozart are still noticeable, this is far more individualistic than any of his earlier compositions, and foreshadows the grandeur and energy of the fertile period that was to follow. Sir Thomas Bcecham’s performance is a famous one—his own favourite and tho one particularly suited, to his temperament. How he revds in that pointed, witty, and boisterous Scherzo. How affectionately he plays with the delicious theme of the opening Allegro. Beecham is a temperamentalist with a horror of the hackneyed, and Iris readings are always alert, individual and energetic. He makes the Second Symphony a bright and bold exposition of fine melodies handled with a due sense of dynamic S. A Ukelele Wizard. (1) “Me and the Man in the Moon” (2) “I Can’t Mako her Happy.” Sung by Clifford Edwards (Ukelele Ike). Columbia 01400. One of tho most attractive of the “confidential’ singers is Ukelele Ike, whose contribntion this month is a pairing of “Mo and the Alan in the Moon” and “I Can’t Make Her Happy.” Besides being a fine singer with real feeling in his voice, he is a brilliant exponent of the “Uke,” and his snappy accompaniments lift him right out of the rut. An Irish Tenor. (1) “The Shepherdess”; (2) “My Little Maid.” Sung by W. E. Watt, tenor. Columbia 01344. W. F. Watt, one of the leading Irish tenors of tho day, offers a capital 10inch disc with two superb Tenderings o.: his favourite Irish songs. His hint of tho brogue, and the suggestion of a laugh or a tear that comes so readily to his voice as occasion demands, makes his rendorings typically Irish, These are two fine songs, and are sung in captivating style. A Real Humorist. (1) “Casey’s Birthday Party”; (2) “Casey at the Hospital.” Humorous sketch by Michael Casey and Co. Columbia 01395. Michael Casey’s latest sketch is enough to wipe tho blues away in a jiffy. This is a real success as a funny record—new jokes and an old humorist, the best combination of all. A “Faust” Selection. “Faust” (Selection —Parts 1 and 2) (Gounod). Played by the Columbia Symphony Orchestra. Columbia 02708. “Faust” is undoubtedly the beat known of all grand opera. For its name’s sake there will be many who will fry this record, and they will not be disappointed. The Columbia Symphony Orchestra have been doing good work fer some time, and excel themselves m this occasion. The selection i 3 very bright, admirably played, with a crisp attack, tone always kept interesting and subtle, and reproduction well-nigh perfect. Are coed that will be in great demand among all classes.