’NEATH THE NEEDLE

Nelson Evening Mail, Volume LXVI, 23 December 1933, Page 3

’NEATH THE NEEDLE

Nursery Rhymes 4 splendid present for the children is provided by “Uncle Peter’s Nursery Sing Song,” which introduces some of the best-known nursery rhymes. Uncle Peter is assisted by an instrumental trio and be sings these delicious little songs with infectious enthusiasm. The numbers on the record include: “Boys and (lirls Come Out to Play,” “Little 80-Peep,” “Polly, Put the Kettle On,” “Ding, Dong, Dull,” “Jack and Jill,” “Sing a Song of Sixpence,” “Old King Cole,” "Tom. Tom, the Piper’s Son,” "Christmas Day in the Morning,” and "A Frog He Would A’Wooing Go.” Nothing could be more appropriate for children.

Lohengrin Prelude A magnificent recording of the “Prelude” from Wagner’s opera “Lohengrin” lias been made by the Philadelphia Symphony Orchestra under the baton of Leopold Stokowski. Wagner, himself, in his writings, lias given us the clue to the poetic meaning of this wonderful prelude. The music suggests a vision of the Holy Grail, the sacred cup descending from heaven glowing in splendour before mortal eyes, then fading away, slowly a'seending to the celestial heights. The prelude beautifully carries out this idea, for it is in the form of a great crescendo with a central climax; then a long diminuendo. The whole thing is founded on a central theme, that of the grail. This is first heard, distant, ethereal, on the highest notes of the violins, and hero the orchestra achieves a wonderful tonal quality which would he beyond any but lirst-rank players. Gradually the vision draws nearer to earth, the lower strings and the woodwind are added, till at last it blazes forth in inelfablo splendour with tlu: majestic entry of tlic brass. Then, little by little, the orchestral colours become softer, until at last wo come back to the stillness and calm of flic opening—the Holy Vision lias vanished mice more into heaven. The rendering by the. Philadelphia Orchestra is superb from every viewpoint. The conductor’s reading of Wagner's music is imaginative and convincing, and the orchestra is without a single weakness.

Dance Records The following dance numbers which have just been issued by 11.M.Y. should satisfy even the most fastidious: “Pettin’ in the Park” (fox-trot) and “I’ve Got to Sing a Torch Song” (foxtrot), played by Bay Noble’s Orchestra; “Shadow Waltz” (waltz), played by Don Bestor’s Orchestra, and “Thu Gold Diggers’ Song” (lox-trot), played bv Luo Reisman’s Orchestra; “Are You "Slakin' Any Money?” (fox-trot) and “Ah, but It Is Love” (fox-trot), played by Paul Whiteman’s Orchestra; “Jingle Bells” .(novelty fox-trot), and “Fox-Trot Medley,” played by Waiting's Pennsylvanians; "Let’s Call it a Day” (fox-irnt), and “Smoke Rings” (fox-trot), played by Leo Reisman’s Orchestra; “Why Can’t This Night go on Forever” (fox-trot), played by Isliom Jones’s Orchestra,* and “We’ll Have a Honeymoon Some Day” (foxtrot), played by Jan Garber’s Orchestra; “Old McDonald had a Farm” (comedy fox-trot), and “She’ll be Coinin’ Around the Mountain” (novelty (fox-trot), played by Charles Dornberger’s Orchestra.

Bach’s Mass in B Minor Bach’s Mass in B Minor, the greatest choral work ever written, has been recorded in its entirety, one of the most noteworthy achievements of a gramophone company. This truly noble and inspiring composition is perfectly recorded by ail assemblage of artists of to-day specially selected for their ability to sing and play the varying expression of Bach. Tlic solo parts are taken by Elizabeth Schumann, the world’s best lyric soprano; Margaret Balfour, the famous English contralto; Walter Widdop, the Yorkshire tenor of Covent Pardon and international fame; and Frederick School - , the leading Wagnerian baritone, who appeared at Covent Garden during the last live seasons. The London Symphony Orchestra, under Albert Coates, plays the glorious music, and the choral parts are admirably sulig by the Philharmonic Choir, one of the best-trained organisations in existence.

Captivating Songs Two Neapolitan songs of simple harmonic structure and appealing melody, “Niimn-Xanmi” (Beneto) and _“Ea la Nana, Bamhin’ ” (Sadcro), are delightfully sung by the Italian lyric tenor, Tito Scliipn, who has recorded several beautiful Neapolitan songs during the last few months. Both songs have a wistfulness which is expressively interpreted by a voice which has rare sympathetic qualities. Sehipa makes artistic use of light and shade, and sings with sincerity and feeling.

Gripping Music In the “Khowanstcina” of Moussorgsky, the Basskolnild, or “Old Believers,” play a prominent part, and much religious music is consequently introduced. The religious element of the impressive, wilder sort that one encounters in the East, not, absent even in the Persian dances, but they require a conductor of extremely line perception and uncommon force to make them evident. In the recording by H.M.V. of the dances, this barbaric religious sentiment underlying the music is evoked marvellously by Albert Coates. To hear the record is to undergo a unique experience, even though it comes from so familiar a band of musicians as the London Symphony Orchestra. Recorded without a single bad note, the music has an intensity and power which is gripping in the extreme.