MUSICAL RECORDS.

New Zealand Herald, Volume LXIII, Issue 19221, 9 January 1926, Page 8 (Supplement)

MUSICAL RECORDS.

On the occasion of the production of " The Pines of Rome" by the Symphony Orchestra, under Mr. Albert Coates, at the Leeds Musical Festival recently, a gramophone record of a nightingale s song was put on in the midst of the orchestra to a soft string accompaniments The nightingale was reared from a fledgling in the recording laboratory at Hayes in order that she might get used to the whirr of the recording apparatus.

Lovers of Old English dances cannot fail to be charmed among coming records with two of Purcell's bounces and " The Countess of Westmorland's Delight" (W. Shield), played on the piano by- Una Bourne. Isolde Menges, the violinist, also makes a welcome addition to her already long gramophone repertoire with three jolly pieces by Handel, namely, a Hornpipe, Rigaudon, and Passacagli.

A military band that is enjoying a new %'ogue with gramophone loves is that of H.M. Royal Air Force. This, talented group of musicians conducted by FlightLieut. J. Amers, has just recorded Moszkowski's gay composition, "Spanish Dance —Op. 12, No. 2," a very effective piece of orchestral music.

"I do not think I am going too far when I say that I have seen more' of tango dancing in London, than anyone else during the last three weeks, s.nd I should therefore like to give my impressions of what I think of London and the tango," writes Signor Varaldi, conductor of Varaldi's Savoy-Tango Band, in a letter to a London journal. " First, a very great many people are dancing the tango already; secondly, the number is steadily increasing every night both in ballrooms and to the gramophone at home; finally, most of them are dancing it very well. The Englishman, particularly, dances the tango well, the slow, effortless steps suit him admirably, and I am not going too far when I say I have seen as good, if not better, tango dancing in London than in Cannes, Deauville or Paris." Those who love the tango will welcome three wonderfully fine records made by the Varaldi Tango Band. " Hasta la Ruelta," by Canaro, and " El Panuelito," bv Filiberto make one record; " Marde " (Pracaniro) and " Pajoros de Fueza" (Eicardi) make the second; and "Julian" (Donato) and " Sentimienjo Gaucho" (Canaro) form the third. All the pieces have instrumental effects that will make them popular during the dancing season.

Another fine bracket which seems _to have been overlooked is Tudor Davies' "0 Vision Enchanting" (Goring Thomas), and " Bells of Brittany" (L. Phillips). Davies is easily Britain's finest concert tenor. He has a groat reserve of voice, never strains, and is a thorough artist. These two reoords are excellent additions to one's library.

A splendid performance of Berlioz' overture to " Le Carnaval Romain" is that of the Halle Orchestra, conducted by Sir Hamilton Harty. It is complete on one disc, and goes to tho full extent of the surface on both sides. It' is remarkable for the florid passages allotted to wood wind, which, in this instance, is perfectly rendered. The opening allegro assai con fuco section is masterly in its suggestion of rustic melody in classical setting, arid in the succeeding andante tho cor anglais, being the solo instrument, deepens the impression of Italian peasant music. The work becomes livelier as the allegro is reached, and incidentally reveals tho great skill of Berlioz ;in orchestration. . The music toward its close is astonishingly suggestivo of the jollity and noisy good humour of a carnival crowd, although that idea may not at first have been in the mind of Berlioz when he wrote the music.

Mr. Peter Leatham has determined to bring the beauties of the accordeon before the musical world. He is accompanied on 'the piano in his ttvo-sided record, on which he crams an amazing amount of variety. "Hornpipe Medley" needs nothing more than its name to describe it. Then there are "Humours of Dorny Brook," "Swallow Tail Jig," and "Biddy, the Bowl Wife." They are all delightfully original and most excellently played. Mr. Leatham is an artist with full knowledge and understanding of his instrument.

It is difficult. to over-praise the new record of the Associated Glee Clubs of America in " Come all ye Faithful, and " John Peel." A private hearing revealed the wonderful success that has attended this most difficult effort in recording. There were 850 voices in the combined choir of male voices constituting the Glee Clubs, but in the singing of the ancient Christmas hymn, familiar to all, the audience of 4000 took part. The English version of " Adeste Fidelis" is used, and this enables the listener to enjoy the astonishingly clear diction of so great a body of voices. Every word can bo clearly distinguished, and so, too, can the voices in their respective parts; but when the audience joined in, so stupendous was the volume of sound, that the parts are not so well defined. However, in " John Peel," there is absolutely clear definition. Did one know the singers one could almost distinguish them by their voices. As is often the way, in male part singing, tho melody is sometimes lost sight of in attaining harmonic effects. So it is in this case in parts; but the rise from the slow time, with which the second verse is sung, working up to a glorious crescendo in "His view halloa! would awaken tho dead," is something once her«rd, will never be forgotten. This is a glorious record for homo or school, especially for the latter. The applause at the end of " John Peel" sounds like a heavy fall of rain on an iron roof. It is in no sense disrespectful to the gramophone as an instrument, to say that this record does not sound at all as if heard through that medium, but rather as if in a vast hall close by. Of course, tho larger the room in which it is heard, the better will bo the resemblance to the real thing.