MUSICAL RECORDS.

New Zealand Herald, Volume LXVI, Issue 20366, 21 September 1929, Page 10 (Supplement)

MUSICAL RECORDS.

Thero is always room for a new disc from Layton and Jolihstone, and in their latest Columbia recording thoy live up to their groat reputation. In both numbers, " Old Mau Sunshine," and " I'm Crazy Over You," tlio two fine voices blend to perfection, and flic piano playing has all its old brilliance.

Lovers of grand opera will be delighted with a uew Columbia record that gives two extracts from the first act of "Lohengrin." On one side 'lancredi Pasero, the famous bass, gives King Henry s prayer, " 0 re del Ciel " (0 King ot Heaven). Ilis dark vowel sounds give a sombre, moving quality to his deeply-felt version. On the reverse is " Grazie Signoro" (Thanks, Gracious King), sung by Armando Borgioli, a baritono who is making a groat name for himself in Italy.

Florence Austral's latest Ilis Master's Voice record is one that should appeal to a very wide public. She sings '' Souta's Ballad " from The Flyiug Dutchman," probably the most melodious and striking number from this early opera of Wagner's, an excerpt that bears separation from its context far better than many. It has for its companion number the delightful " Spinning Chorus " for female voices from tho same opera. The blend of voices and orchestra is artistically balanced, and tho reproduction is up to the best standard.

Two of the most delightful Italian ballads, " Non t'amo pin ' (Tosti) and " Mattinata " (Leoncavallo), are recorded for His Master's Voico by tho Covent Garden idol, Aureliano Pertile, whose robust tenor voice is capable of striking contrasts in light and shade. He is an interpretative artist of a high order. The delicacy and charm of the Tosti song should make it- a popular number. " Matt.inata" is sung with spirit, and 'is a contrast to its companion piece. Tho accompaniment by the La Scala Orchestra under Carlo Sabajano is a joy in itself.

Few modern composers have a wider public than Albert Ketelby, whose " In a Monastery Garden " and " In a Persian Market " are among the musical best-sellers throughout the world. He now --contributes to tho gramophone through Columbia his latest work, " The Sacred Honr," in which ho conducts his own concert orchestra, with organ and full chorus. It is sufficient to say that this will be as acceptable as his other works, for it has an equal ingenuity of effects, an equal richness and subtlety of orchestration, and tho real Ketelby flair for a good tune.

Most lovers ot good fiddling will be interested in an experiment bv the wellknown Musical Art Quartet. They pair two delightful compositions by modern American composers, " Mighty Lak a Rose,", by Nevin. and '• To a Wild Rose." by Both pieces have all the charm and naive freshness of folk music, and they are really enchanting little compositions. The quartet, which is led by the well-known violinist, ftnsoha achieves a striking warmth and variety of tone, and both Tor its materia! ami for its rendering this Columbia record should givo great satisfaction.

Covent Garden runs in such a .wellworn groove—English season, German season, Italian season, rotating year after year—that it is seldom that the top-notch French singers get a proper introduction to British public. Columbia's new policy of recording the best artists throughout the world opens new vistas A new recording gives a really splendid disc by J. Rogatchewsky, whoso voice has a fascinating quality quite unlike the usual Italian school. It is at once sounder and more penetrating, and has a peculiarly charming colour. He renders with spirit and passion two numbers from " Lohengrin " —" Farewell to the Swan " and " The Story of the Grail," in French.

Una Bourne, tho Australian pianist, who is making a big name in England, is featured on three lOin. records for His Master's Voice. Paderewski's beautiful " Legend,' Op. 16, No. 1, is coupled with the sanio composer's characteristic and animated "Crarovienne Fantastique," oue of his earlier works. Two melodious works by Chaminade, " Berceuse Arabe " and " Nocturne," are very pleasing. The last record consists of two of Una Bourne's own compositions, which are quite interesting, without being of exceptional artistic value, a " Nocturne," and " Marche Grotesque." Tho piano tone is well reproduced, with crispness and richness of voiume. The " Cracovienne Fantastique " was recorded many years ago by Paderewski on an old-process disc. The first His Master's Voice record by tho great contralto, Sigrid Onegin, is to hanu. Hers is a voice of captivating beauty and remarkable; range. Her head notes" have the qualities of a soprano, and the lower register is of a lovely rich quality that is full of expression. No more completely satisfying voice has been heard on the gramophone. Even on the fullest notes there is not the slightest suspicion of heaviness, and the half-tones and wezzd voce never lose their intensity or purity. Onegin, too, realises to the full the dramatic context of the music she is singing. There is conspicuous merit in her recording of the aria " Che faro senza Eurydiee " from Clock's " Orfeo." The interpretation of the poignant music has none of that academic dreariness which in less imaginative performers masquerades under . the title of tradition. Her second number is " Ah mon tils " from Meverbeer's " T.e Pronhete." The wonderful top notes flow golden arid flawless to the appointed end.