’NEATH IHE NEEDLE

Manawatu Times, Volume LIV, Issue 6997, 24 August 1929, Page 14

’NEATH IHE NEEDLE

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 arc “Love's Dream," an arrangement of Liszt’s beautiful “Liebestraum, ’’ and “The Old Sweet Song," an arrangement of Kreislers exquisite “Caprice Vicnnois." The blend of two sweet voices is admirable and they sing witii a sincere appreciation of both sentiment and melody. The pianoforte accompaniment is very clear. (H.M.V., 82937.) New Baritone. A robust English baritone, Keith Falkner, makes his debut on the gramophone with three of Keels salt-water ballads which are grouped on a teninch record. These are “Port of Many Ships," “Mother Carey,” and “Trade Winds. The thing that strikes the listener is the singers sincerity. He uses his fino voice with an artistry that rings true, and his diction is exemplary. The contrast in themes end tempo give variety to a most pleasing record. One looks forward to further contributions from such a splendid singer. (H.M.V., 2917.) Dance Records. Dance enthusiasts will find a good selection in the latest releases by Zonophone. Outstanding are the waltzes “Sweet Hawaiian Dream Girl," and “Sleepy Honolulu," by the Hilo Hawaiian Orchestra. The native instruments are used with beautiful effect. Other recommended discs are “Dont Be Like That," fox-trot with vocal refrain, played by the Rhythmic Eight, which is coupled with “Anita," waltz, by the Arcadians Dance Orchestra. I Two excellent numbers by the Arcadians are “Pokee-okee-oh," fox-trot, with vocal' refrain, and ‘ ‘ That Old-time Organ Melody." Sir Harry Lauder. Two old favourites from Sir Harry Lauder’s repertoire, “It’s Just Like Being at Hame" and ‘ ‘ Tobermory. ’ ’ have been re-recorded and have come to hand this month. Lauder was recently in England, and those who saw him on the stage were unanimous that ho was as good a 3 ever. Lauder is irresistible, and he has the ability to create atmosphere. (Zonophone, G. 0.85.) Detriot Orchestra. A vivid and colourful work, Ohabvioufs “Spanish Rhapsody," is played by another famous American orchestra, the Detroit Symphony. The attractive music well displays the resources of the orchestra, which, by the way, plays under the oonductorshdp of Ossip Gabrilowitsch, who, it may be remembered, was the pianist responsible with the Flonzalez Quartet for the Schumann Quintet. (H.M.V., 8522.)

Piano and Violin Sonata. The pianoforte and violin recitals by Miss Una Bourne and Miss Marjorie Hayward have been for some time one of the outstanding features of the London concert seasons. These two artists are poetic interpreters, both equally skilled in the technique of their respective instruments. Above all, they maintain a perfect balance. Their approach to the lyricism of Greig is ideal, and the three records they have just issued of the Scandinavian composer’s “Sonata in C Minor" is full of musical quality. The beauty of the work is extraordinarily impressive, and the couch and tone of the instruments gives it an added charm. The first movement, allegro molto ed appassionato, is a sheer joy, but it is only the beginning of a performance that holds one enraptured. The second movement, allegro expressivo alia romanza, is full of delicate passages, but it never loses character or becomes insipid, and in the playing there is a sensitive and accurate sensibility to rhythm. Again in the allegro animate, the third and final movement, there is the same grace and discrimination in tone colour. The whole is a gorgeous picture of the awakening ar spring. (H.M.V., CI3BB- - A Schubert Mass. Schubert’s music is agaiu prominent, and there are three records of his Mass in G Major by the Philharmonic Choir [under the control of Mir Kennedy Scott. I Such accomplished artists as Elsie Suddaby, Percy Manchester, and Howard Fry sing the solo parts with tuneful dignity, and the choir’s efforts are marked by a reverent restraint and beauty of tone that makes the work one of inspiring grandeur. (H.M.V., D1478-79-SO.) “D’Alvarez. Marguerite D’Alvarez, whose success in New Zealand some seven years ago is well remembered, chose “Softly Awakes My Heart," from Saint-Saens ’ “Samson et Dalil'a," to display her beautiful mezzo-soprano voice, which has lost none of its warmth and resonance. In the Seguedilla “Pres dea remparrts ’ ’ from Bizet’s ‘ ‘ Carmen ’ ’ Mme. D ’Alvarez sings with her usual dash and vigour. The choice of the piano as accompaniment is rather strange, but it is well recorded. The mezzosoprano’s versatility in suggesting the most varied emotions is always evident in her singing, and accordingly she sings the Seguedilta with the complete abandon of the passionate Spanish Gypsy. Her French pronunciation is perfect. (H.M.V., DAIOOO.)

The Lohengrin Prelude by Mengelberg. “Lohengrin, Introduction, Act 1." In two parts. Willem Mengelberg conducting the Conoertgobouw Orchestra. Columbia 010469. This famous orchestra is ideally suited to tho ethereal atmosphere of Wagner’s exquisite Prelude. The richness of tho sounds of the strings and woodwind produce a delightful piece of tone colouring, as good as any yet heard on any record. The gradual crescendo movements reaching up to the fortissimo are managed marvellously by Mengelberg’s Orchestra. None of the loveliness of the music has been lost in this electric recording, which took place in a hall famous for its acoustics. A record which will be played many times. A Stracciari Re-recordiug. (1) Otcllo —“Credo" (Verdi); (2) “Ide-ale" (Toati). Sung by Riccardo Stracciari, baritone. Columbia 04776. This electric recording of one of Stracciari’s finest numbers is assuredly a work of flue art. His “Credo" alone would class him as the greatest living baritone. On the reverse is Tosti’s lovely “Ideale," sung in a manner that is likewise ideal. These Stracciari electric recordings are truly historic and take their place as standard interpretations on which the baritones of the future may base their own efforts to finest advantage. Maria Kurenko. (1) “Cradle Song" (Tchaikovsky); (2) “None But the Weary Heart" (Tdmikovsky). Sung by Maria Kurenko, soprano. Columbia 03576. Maria Kurenko, one of the younger Russian sopranos, is ideally equipped to sing songs by Tchaikovsky. All of her records are sung most artistically, displaying wonderful agility, and a perfect technique. She imbues these numbers with great feeling. Two Schubert Masterpieces. (1) “Dor Erl Konig" (Schubert); (2)“Tod und das Madehen ’ ’ (Schubert). Sung in German by Sophie Braslau, contralto. Columbia 04162. Sophie Braslau’s voice is one of the most remarkable contraltos now before the public, in its deep richness, its range, its extraordinary power, its expressive potency and colour. You will readily agree when you hear this rendition of “The Erl King" and “Death and the Maiden," both of which are indeed worthy additions to Columbia’s centennial edition of Schubert ’s songs.

The First Hungarian Rhapsody. "Hungarian Rhapsody Ho. 1” (LLszt). Played by the J. H. Squire Celeste Octet. Columbia 02520. Lisat had such a liking for this moving tune that, after he had written the Hungarian Fantasia, he recast in the form of this Rhapsody. Perhaps the moat striking section is the opening one based on a stately old Hungarian tunc and given out with grand chords, but the brilliant finale is most exhilarating. The Squire Celeste Octet plays the Rhapsody wiith virile strength. Recently they toured Italy with greatest success, which one can readily attribute to the exceptional skill with which they arrange their music to suit the personnel of the Octet. A splendid record. The Art of Albert Samons. (1) "Elegie” (Massenet); (2) "■Thais” Meditation (Massenet). Played by Albert Sammons. Columbia 02687. It has always been said of Sammons that he records better than any other violinist, and now that we are losing our prejudice in favour ef foreign names some London critics are even venturing to declaro that he plays as well as any foreign maestro. His phrasing is certainly as subtle as one could wish for, and his tone as gloriously mellow. Listening to these familiar numbers one realises how important it is to have them played by a violinist of first rank. The Genius of J. S .Bach. "Grand Toccata and Fugue in B Minor” (J. S. Bach). Organ solo by G. T. Battman. Columbia 9136. This is Baeh at his best, in the lovely organ music to which he, almost alone, could give warmth and deep interest. And Pattman, on the Libera! Jewsh Synagogue organ, St. John’s Wood, London, presents this Bach prelude to us in rich,. sonorous harmonies that Baeh himself would have given his eyes to be able to produce with the limited instrument at his disposal. A wonderful piece of playing magnificently recorded. Pleasing Light Vocal Music. Herbert Brown is a tenor with a charming manner, who shades his agreeable voice with nice discretion. In "I’ll Always Be In Love With You' and "The Lonesome Road”—two appealing ballads with a sentimental touch—he is accompanied by the everpopular Gill Dcch (Columbia 01570). Ernest McKinlay forsakes his wellloved Maori airs to give us two Scots favourites, but he docs it so well that we aro not disappointed. "Bonnie Wee Thing” and "The Auld Scots Songs” will appeal to more than Scotsmen, for they are good songs, sung with spirit and feeling. (Columbia 01552).