MUSICAL RECORDS.

New Zealand Herald, Volume LXIII, Issue 19502, 4 December 1926, Page 8 (Supplement)

MUSICAL RECORDS.

Few British vocalists have leaped to fame with tho certa-nty and speed of Hex Palmer, whose fine, easy diction, plus a most pleasing baritone voico, result in records always worth having and 'taking care of. He is equally at homo with almost anj type of song—sent) mental, old-English or sacred. In "the latter sphere his versions of " Abide with Me," and ' Neart>i, my God, to Thee," are very good. Jack Smith is a " whispering baritone." He is also *" American," as you will note from his diction In his latest disc, "Poor Papa" has the sympathy oven of his chil dren, who see him as head of his family, consumed like some of the insects iri Fabre's entomological researches. "Don't bt a Fool" is a ditty of the pro-divorce period in marital life. Both songs are superbly enunciated; in the former one, a true whisper is recorded with ease. . Both have catchy melodies, sung to the accom paniment of the piano, and both are faithful to life. The success that is attending the manu facture of gramophone records in coun tries until recently entirely dependent on imported records is shown by the fact that one new Australian factory recently turned out over 7000 records in one day This is 3000 over the original estimate for this factory, fox the company considered that 4000 records per week would meet the demands for Australia and New Zealand. This estimate has thus been found to be inadequate to cope with sales that are making enormous strides The Australian branch has turned out aB many as 9000 records in a day by overtime working. v Ever since Miss Doris Vane sang for that excellent record of "I Love the Moon," the many lovers of her fine soprano voice have been on the look out for more bearing her name. Just Is.tely she has picked upon two hackneyed, but ever-popular favourites, " Because," and " I Dreamt that I Dwelt." The last named, at least, is seldom sung nowadays, but it wears a new freshness and charm as sung by Miss Vane, for hei rich and round tones make the most of its graceful stanzas and give it something like a new lease of life. Quite recently, too, she sang Haydn Wood' 3 arrangement of the charming "O Flower Divine," and proved the fine vitality of her voice in the companion number on that record—the haunting " Waltz Song," from Tom Jones. The male voice quartet, The Revellers, has achieved remarkable fame in England and America. The combination consists of two tenors, Franklyn Baur, and Lewis James, a baritone, Elliot Shaw, a bass, Wilfred Glenn, and an accompanist; Edwin Shalle, who also sings tenor. These artists have frequently appeared as individual soloists, and as members of other combinations. It is said to be a commonplace in the United States for singers of •syncopated music to appear also in more serious music, and all four (incidentiallv having graduated as soloists in famous Church Choirs), have appeared as soloists in Oratorio and festival work, as well as with the renowned Mendelssohn Choir in Toronto, the New York Philharmonic, the Chicago and the Philadelphia Orc'bestra and the Now York Oratorio Society. " Rose Marie" is one of London's most successful theatrical productions, 'now approaching its 1000 th performance. This charming Drury Lane musical play has Jed to a popular disc. This has, on one side, Derek Oldham singing the titular air, " Rose Marie" his rich and flexible tenor voice havir as a colourful background th- playing of the Drury Lane Theatre Orchestra conducted by Herman Finck, who is not only one oi tho best conductor? in thi world of music, but a composer of wide enown as well. Coupled with it ii a duet by Oldham arid Edith Day, one of London's most brilliant sopranos, and the heroine of many great musical corned\ successes. They give the lovely "Indian Love Call" with an artistry and professional atmospheri; that help to mak it one of the most attractive records of its kind produced during this year. Haydn's early " Quartet in F," from Op. No. 5 has a first movement that skip* blithely along with typical Haydn daintiness and the Lener leader's little trick ot soloing fits in very aptly The" second movemen of this happy productioi> played by the famous Lener String Quartet, is writter in an unusual way for a movement--as a solo with pizzicato accompaniment throughout; Its rhythmic grace is appealing The usual minuet takes up part of the third move ment—suave and courtly—and the trio • ontinues to sustain the atmosphere of dignity and charm that Haydn so ably incorporated in many of his works. There is a general liveliness and a regard more for tune than for form in the fourth movement—a sort of dance suite, melodious and of the type that isi good to hear in one's moments of depression, for it is both fheering nnd