MUSICAL RECORDS.

New Zealand Herald, Volume LXV, Issue 20058, 22 September 1928, Page 8 (Supplement)

MUSICAL RECORDS.

The influence of the motor-car on everyday matters is more considerable than we sometimes imagine. The introduction of ft, new model car by a certain gigantic concern was an almost universal topic recently, now there is even a song about it. The Happiness Boys sing it with a gusto and cheerfulness that does not belie i their name. The variety stage, according to tlio old people, is not what it used to be, but to judge from a recent record it is a very healthy and jolly thing for all that. Among the most important records are those by the Salon Orchestra and the Salon Group. The playing and singing of "My Blue Heaven " and " Just a Memory " is amazingly good. It is really " highly-polished " music. I'attman can always be relied upon to provide good fare, and his latest organ offering is no exception, to the rule. The melodious " Snlut d'Amour " sounds truly, what if- is—ouo of Klgar's gems—instead of a hackneyed tune. The tone is rich and sonorous und Pattman's registration exceptionally clear. On the reverse side is the famous Saint-Sacns piece, " Lc Cygne." Though born in Russia, Sophie Braslan has enjoyed most of her successes in the United States, where her art is greatly appreciated. In the production of her chest notes she much resembles the more famous Clara Butt, but her style is all her own. Her delicate and sorrowful treatment of the traditional Hebrew melody: " Eili, Eili," stamps her at once as a great, artist. On the reverse side, of the. record she sings Rubeustein's " Romance." For the ".Blues" there is a tine record in the Rio Grande Tango Band's excellent. recording of the Yale Blues dance numbers, " Blue Serenade" and " Lulu Wail." And thero is also " Rainoua," said to be a greater success than " Yalencia." One can well believe it. It has just been issued as a double-disc number, on one side as a song by Gene Austin and on . the other, finely played by Paul Whiteman's Orchestra. " Serenade —Nocturne " (Abt), and " Contredance—Russian Songs " are sung by the Kedroff Male Quartette. The magnificent matching of timbre in each of. these vocalists' voices is equalled only by their magnificent balance of tone. The most delightful ease is observable in both of these numbers, and one can almost fed the enthusiasm they each seem to ■feci for the splendid harmonies'they produce. Those who possess Don Coassack records arc sure to revel in-theso two items. To be acclaimed as the most- gifted pupil of Leopold Aner. most distinguished of all violin teachers, is evidence of something more than passing greatness. Toscha Seidcl is certainly the most brilliant of the younger violinists. Intensely j emotional, his interpretations are pervaded by sincerity and boundless feeling. His treatment of Slavonic Dance No. 2" (Dvorak-Kreisler) and "Hungarian Dance No. 1." (Brahms-Joachim) is most artistic, and in the Dvorak he produces 1 some extremely rich and beautiful tone. The popularity of Mr. John Goss's Sea Chanties " is well established. He will give still a further addition to the series. Ilis latest record, in which lie is accompanied by the' Cathedral Male Voice Quartet, has exactly the same gusto and heartiness that makes all his performances so pleasing. Two of the songs—there are four on the record — " Blow the "Man Down," "Tom's Gone to Hilo," " Lowlands," and " Highland Laddie" —are not quite in the same category, but the record has an irre- , sistible atmosphere of the open air. These will be here shortly. | The waltz " Together " had a great I vogue, and it is already issued by Waring's Pennsylvanians. There appear to lie three more on the way. First we are to have it played by Jack Hylton and his orchestra, which might be termed the English dance band version. Next we have it recorded by Paul Whiteman and his concert orchestra, which is done in the very best Whiteman manner. Finally, we have a very fine recording by De Groot and the Piccadilly Orchestra. " Together " is the most popular waltz now being played in America, and it is predicted that it will have an equal success here.

In spite of the excellent work produced by the recording companies-—it has never been better—the sensation of the musical month for New Zealanders should be the magnificent series of New Zealand I records. Ernest McKinley,< who sings I them, is well-known in this country, of j which he is a native. At present lie is principal tenor to the Westminster Glee Singers, now touring Canada. He has a warm and colourful voice, and a fine sense of the dramatic. Some of his recordings are almost electric, particularly the great " Ka Mate." with its rousing liaka. Just as stirring is " Wbaka Ariki," from Alfred Hill's well-known Maori opera, " Tapu." McKinlev's pronunciation of Maori, by the way, is wellnigh faultless. One notices this particularly in the. lovely Maori lullaby, " Iline E Hine." a dreamy and soothing song with a gloriously simple melody.