MUSICAL RECORDS.

New Zealand Herald, Volume LXVIII, Issue 20988, 26 September 1931, Page 10 (Supplement)

MUSICAL RECORDS.

A West Coast boy from the Granity district is featured in a record put out by the St. Ivilda Professional Band. John Robertson joined this band some time ago, and on this Regal record is a cornet duet with Jack Mackintosh. The title of llie piece is Hie " Merrymakers." On the reverse side of the record William Oughton and Jack Mackintosh make a recording of " Rippling Riplcts." Both these lilies are played ns only the St. Ivilda Band can, and it is unlikely that there has ever lieen a finer record of this description put 011 the market.

It is not often that a composer, even of dance rocords, is immediately recognised, but a young English writer of dance melodies, Ray Noble, has sprung to the front with romantic swiftness, and his first composition, " Good night, Sweet heart," a fox-trot, was the most popular piece played at a recent ball at Huckinghain Palace. This number has now been recorded for His Master's Voico by the New Mayfair Dance Orchestra, oiio of London's most popular bands, and the record is now enhancing the writer's reputation. It is an ideal piece for dancing. having an attractive theme and an infectious rhythm. On tho revfrso side of the record the orchestra plays "We Two," a charming waltz.

John llenry and Gladys Horridge (Blossom) make merry in "The Story of tho Pied riper." A disconcerting mouse gives Blossom an excuse for recounting to an unwilling listener in John Henry the old legend, and his desire to interrupt tho tale with a song uud his ludicrous interjections are extremely funny. It is evident that the hen pecked John Jlenry is distinctly sceptical about the authenticity of the story, and his-fire of comment is embarrassing to the persistent Blossom, but she never allows him to stray into irrelovancies. This pair'lias now made a long list of records, and this is certainly one of their best. It is 110 wonder that thev are great favourites over (he wireless in England. The recording is by His Master's Voice.

A young Folish pianist, Vladimir Horowitz, makes his first appearance on the His Master's Voice list this month, and his playing of Listz Busoni transcription of Paganini's " Etude in E Flat Major " leaves 110 doubt as to his technical resources—they appear to be infinite. But lie has more than technique; he has superb vitality. Ho plays tho " Etude " with a bold freedom which reminds one of his countryman, Paderewski, and like Paderewski he never allows his theme to lose its significance. His second piece is Debussy's " Serenade for the Doll," from " Children's Corner Suite No. 3, J ' which is played with a deep understanding of the composer's idiom. Horowitz's-play-ing lives as much in a rhythmical freedom as it does in finely { articulate line—it liberates tho imagination—and for this reason his Debussy is especially interesting. There is little doubt that the pianist's first record will make a deep impression, and his future recordings will bo eagerly awaited.

Walter O'Donnell and the British Broadcasting Company's Wireless Military Band excel themselves in this month's recording for Columbia. They have chosen for performance the best fantasia ever culled from tho score of " Carmen " such a pastiche as Bizet himself would have made, had he set himself to the task. The overture moves on into tho Habanera ; thence to the Toreador's Song and Carmen's Dance; from there to the Entr'acte to Act IV; and then through the thrilling ' Here They Come " to the vivid Finale to the opera. Only Leoncavallo's " Pagliaeci," Mascagni's " Cavaleria Rustic-ana," and two or three of Verdi's earlier operas can compare with " Carmen " on the score of popularity. And of all these popular operas there, is none of greater musical value'than Bizet's masterpiece. Everything—from the arrangement of the music to the playing and recording—is so fine that any improvement would be hard to imagine.

A recent cable from the Australian headquarters of the His Master's Voice Company states that the brilliant solo pianist and accompanist, Isidor Goodman, is now to make a series of records. This move will no doubt be hailed with delight by the large number of music-lovers who enjoyed his masterly performances during his recent tour of Australia and New Zealand with Joseph Hislop. The decision, it is believed, is the direct outcome of Goodman's success in the Dominion. Born in Cape Town, South Africa, in May, 1909, Goodman started his musical career at an early age, being awarded the bursary at the South African College of Music while only five years old. Two years later he performed the Mozart Concerto in D Minor with the Cape Town Symphony Orchestra. Further studies at the Royal College of Music in London gained for him the open scholarship for the British Isles when only 16 years of age, as well as the Chappell and Challen gold medals. From this time on his success in his chosen field was assured, and his recent successful tour was the peak of a very brilliant career. Goodman's first releases aro expected to arrive in the Dominion shortly, and a large demand for the first recorded works of this new musical slur is anticipated.