MUSICAL RECORDS.

New Zealand Herald, Volume LXIV, Issue 19608, 9 April 1927, Page 8 (Supplement)

MUSICAL RECORDS.

Two Negro spirituals, " Travlin' to de Grave " and " Tis Me, 0 Lord," sung by the Do Neogre Singers (male quartet), have recently been issued. The two spirituals which have been given us on this record are excellent pxamples of their kind, and, contrary to what might be expected, are enhanced by their arrangement in four part harmony. " 'Tis Me, 0 Lord " is especially delightful.

Tho recording of organ music continues to meet wi.h popular favour. Tho latest is a disc from STY. Reginald Goss Custard, F.R.C.0., who plays in the Kingsway Hall in London Bach's " Little Prelude and Fugue in G Minor," a record of unusual richness and sonority of tone. Mr. Herbert Dawson, also at the Ivingsway organ, gives us Mcndolssolin's "Wedding March " and Handel's " Hallelujah Chorus.ii

" Shall I be giving a secret away if I confess that I receive weekly all tho latest music from America, which is arranged and scored in precisely the same manner in which it is played in America?" says Jack Hylton; the wellknown British jazz conductor. " I examine all this music in detail, and have tried much of it in London. It has not appealed to the public. Before it can be played here it must be modified, given the British touch, which Americans and other foreigners never understand."

There are some discs in recent issues which nobody ought to miss. Perhaps the best of these was of De Gogorza singing "La Paloma " and a Mexican air called "La Golondrina." I hope (remarks Cpmpton Mackenzie in the Gramophone), this means that we are going to have reissues of a.l De Gogorza's Spanish records, the album containing which I regard as one of the most precious in my collection. Many singers, male and female, have given us " La Paloma," but when De Gorgorza sings it—" ah, the difference to me," This disc is in the very front rank.

"Carceleras" ("Prison Song"—not "The Prisoner's Song," thank goodness) and Tosti's "Serenata," are sung by Amelita Galli-Curci, with pianoforte accompaniment by Homer Samuels. This new record of "Madame Galli-Curci's lovely voice will probably be considered the finest record she has yet made. The limpidity of her tone and the unusual warmth of her low notes (which in the "Carceleras" are particularly in evidence) aro caught in this record as has never before been possible. Tosti's "Serenata" will scarcely need much introduction to music lovers. The brilliant "Carceleras," which comes from one of the most popular "Zarzuelas," or light operas, has a strong Spanish flavour.

"Elegie" (Massenet) and "Ich Grolle Nicht" (Schumann) are sung by John Brownlee, baritone. This is the first record of a new and brilliant young Australian baritone. He appeared with Melba during her farewell tour of the British Isles, and at her farewell performance at Covent Garden; he also appeared several times during the season as Marcello in Puccini's "La Bolieme." Since then he has made several very successful appearances on tho concert platform in London and elsewhere. Brownlee has, in addition, been appearing in leading roles in opera at both the opera and the Opera Comique, Paris. He has a voice of great beauty and roundness of tone, capable of great volume.

"Danse Macabre" ("Dance of Death"), Saint-Sacns, is played by the Philadelphia Symphony Orchestra, under Leopold Stokowski. This is a wild frenzy of orchestral fury. Of the "Danse Macabre," it has been written, in description: "A clock strikes the hour of midnight and a glimmering shape appears beneath the cypress trees in the graveyard. It waves its limbs with fiendish glee to summon its fellow creatures to the revels. Witches, vampires, ghouls and other unnameablo horrors flock to the grove and disport themselves in a demoniac orgy. Now and then skeletons can be heard railing their bones in the horrid dance. The dancers whirl faster and faster until, as the climax is about to be reached, a cock crows, announcing the coming of dawn, and the shapes fly shrieking _to their lairs." It is strong and rhythmic and full of voluptuous melodies in waltz time.

The success achieved during the last Covent Garden season by the Swedish tenor, Aroldo Liridi, was one of the features of a notable e/a, and the two magnificently rendered arias from V erdi s " Othello " that have lately been produced are, as far as gramophones are concerned. very welcome souvenirs. Lindi is at his best in dramatic music and the intensity and poignance he infuses into the famous death scene is thrilling in the extreme. This number, it will be remembered, comes at the end of the opera. Othello in his jealous rage has killed his wife and then learns, too late, of her innocence and lago's lies Overcome with remorse he stabs himself and dies by her side. The companion number " Ora e per sempre addio ' shows the first fruits of lago's treachery, that culminates in the double tragedy. It is Othello's first outhurst at lago's subtle suggestions. The peace of mind is gone and he bids farewell to all that has hitherto made life worth living. The bass is particularly fine in the orchestra, and the vitality has been retained by the recording in a wonderful manner. This is Arnoldo Lindi's first new-style record and fine as were his previous contributions is even more striking in its dramatic power.