GRAMOPHONE NOTES

Nelson Evening Mail, Volume LXI, 14 January 1928, Page 10

GRAMOPHONE NOTES

"FLUFFS'' RECORD I still keep hearing from various quarters (says a London critic) high praise for the Temple Church, London, recording of Mendelssohn's "Hear My Prayer,' with its really remarkable solo part sung by Master Ernest Lough, a boy chorister with a sweet, pure voice and quite_ exceptional stylo and phrasing. It is satisfactory to learn that the sale of this record (H.M.V. C 1329) has reached that atlained a year ago by the widely-popular "Valencia." For a record of sacred music to do this is, 1 suppose, unprecedented. At all events, Master Fluff"—-as we understand ho is called by his chums—has provided us with what is easily among the most notable records so far this year. AN EXCELLENT "MUSICAL • SWITCH" Columbia, 9196-97, A "Musical SwitchHumoresque, "in Three Parts—Lovers' Lane Minuet. Frank Tours conducting the Plaza Theatre Orchestra, London. This Is a most delightful sort of record, and I hopp we may have many more of them. Starting off with.'.'Soldiers of the Queen," the Plaza Theatre Orchestra, glides imperceptibly from one tune to another. Classic and comic, latest jazzhit and old fashioned waltz are blended together in.a- most intriguing way. This ingenious potpourri is most effectively given, with all" the finish and fullness of tone of a genuine public performance. TITO SCHIPA One of the first records to bring Tito Schipa, the Spanish tenor, into prominence was "II Sogno" (the dream) from Massenet's "Manon." We recall also his delightful round' and smooth rendering of "O Columbina," from "Pagliacci" arid the lusty Granadinas" from "Emigrantes," with the airy melodic "Princesita'' on the other side. Schipa is now approaching his fortieth year of life, and judging by his recent records, is singing better than ever. Rememberhis splendidly dramatic recording with Madame Bori in the death scene from "La Boheme." He enriches a recent H.M.V. list with "Pourquoi mo reveiller," from Massenet's and "Fanlaisie aux divins mensonges," from "Lakme" (Delibes). GUGLIELMETTI cio—Quando rapita in-Estasi. From Donizetti's "Lucia di Lanimermoor," sung by A. Guglielmetti, soprano. It ia extraordinary that so many singers choose to sing the rather insipid mad scene from "Lucia" and ignore this realty beautiful aria. The melody is typically Italian, and is decidedly pleasing. Though Gugliclmetli's voice is. lacking a- trifle in power and warmth, it is singularly delicate and sweet, and the coloratura passages are brilliantly sung. What abilities she has she knows how to make the most use of. Artistic treatment is always a welcome substitute for vigour, and artistry she certainly can and does bring to her renderings. One can understand her conspicuous success at Covont Garden this last season. Ihe orchestral accompaniment to "Quando Rapita," by tho way, is beautifully reproduced, especially the harp, and is well worth studying. DO YOU KNOW THE CIMBALOM? The ordinary gypsy band is composed of from two *to ten players. The instruments used are strings and the cimbalom. This instrument, being praelically unknown outside Hungary needs description. In appearance it is like a baby grand piano, without cither keyboard or lid. The performer plays directly upon the wires, using two tiny drumsticks for the purpose. The accuracy and speed with which the average player can manipulate these clumsy mtstruments are extraordinary. Ihe notes ripple out in wonderful trails and cadehais that would baffle an ordinary pianist, and the absence of pedal resonance gives the music a peculiar ethereal quality similar to the tone of the harpsichord To hear the cimbalom played most exquisitely by Nitza Codolban, one should get "Rumanian Gipsy Air, with a "Russian Gipsy Air" on the reverse (HMV B 2050). These demonstrate admirably the punctuating use of the instrument.