THE GRAMOPHONE

Southland Times, Issue 20525, 29 June 1928, Page 3

THE GRAMOPHONE

RECORDS OF THE RECORDINGS

(By

“Vox Populi”)

Some years ago H.M.V. issued a series of records covering the Wagnerian “Ring” and these were among the most impressive gramophone achievements of their day, but nowadays we know how much of Wagner they missed, and so the issue of new recordings is an event of some importance. Tne electrical process and the new machines have given us new standards, and these latest Wagnerian records are really magnificent in places. H.M.V. has completed the series covering “The Valkyrie.” Fourteen double-sided records are required for this purpose and these are issued in an album accompanied by a pamphlet describing each number fully and also setting out the various motifs. Half of the records were made in London under the baton of Albert Coates and half in Berlin with the State Opera Orchestra under Dr. Leo Blech. This has resulted in two Brunnhildes appearing, Mmes Frida Leider and Florence Austral, both of whom have are acclaimed as magnificent interpreters of the role. Their singing throughout is very stirring. In the big moments I think I prefer the German soprano, but certainly in the earlier portion Florence Austral is equally impressive. Walter Widdop is a little over-weighted with the music of Siegmund, especially in the scenes with Brunnhilde, but his singing is characterized by persistent skill, a nice appreciation of dramatic comparisons. Widdop is singing in strong company. Frida Leider is an heroic Brunnhilde, and Geota Ljungberg is a dramatic Sieglinde, though she makes that character slighter than Wotan’s daughter. But the brightest star is Frederick Schorr, the Wotan. This is the first time I have heard Wotan on the records sound as a living being, capable of emotion. Schorr has a magnificent voice, and he is, in additions to being a sound musician, a singer of fine imagination. Wotan’s Farewell is simply glorious. The scenes with the Leider Brunnhilde are striking, too, for the grandeur of the singing. The temptation to compare the Ride of the Valkyries with the Beyreuth recording cannot be resisted. There was more power in the Beyreuth Valkyries, but in the H.M.V. version the scene is presented more effectively. The Valkyries appear, some calling from the distance as they gather on the mountain crag to meet Brunnhilde returning from earth. The Coates records seem to me to be a little faster than Dr. Blech’s. The Berlin conductor is less hurried and his singers are made more effective as a result of his more dignified method. Among the records which seem to stand out in this extraordinary collection is the Love Duet by Sieglinde and Siegmund, a beautiful scene, and The Combat leading to the outburst of Wotan’s rage as he vows to punish Brunnhilde for her disobedience. The finale and the other scenes between Leider and Schorr I have already mentioned. The recording throughout is excellent.

With the H.M.V.’s from Dickey’s Ltd. is a delightful recording of Brahms’s “Variations on a Theme by Haydn” by the London Symphony Orchestra, conducted by Pablo Casals. This I think is the first recording by Casals as a conductor. The

Variations are built on an old “Chorale” tune, “St Anthony,” which Haydn probably borrowed in the first place. There are eight variations passing through differentmoods, and these with the introduction, which sets out the theme, and the finale complete a work that has always been popular. The recording is very fine. That effortless avoidance of flourish which is the characteristic of Casals’s ’cello playing is noticeable in these records which will make a host of friends among music-lovers (D 1376 to 1378). Harpsichord records by Wanda Landowska, who is one of the greatest performers on this instrument the world has known, are not common, and they are precious. Wanda Landowska has wonderful fluency and an exquisite touch which is exemplified in the clear gaiety of her solos “The Harmonious Blacksmith” (Handel) and the “Turkish March,” which is a portion of Mozart’s Sonata in A, which is wonderfully Turkish in spirit and sound under her dexterous fingers. This is a record to hold jealously—the reproduction is worthy of the occasion (D.A.860). The Sixth Hungarian Rhapsody is recorded by Mischa Levitski (D 1383 This is his first work for the gramophone and as he is well known in New Zealand it is sure to attract a great deal of attention. Levitski is a brilliant performer and in this record he gives out magnificent tone. Attention should be given to the splendour of the pianoforte reproduction of this record. A pianoforte record of an arrangement of a violin solo reverses the usual order, but that is the case in Sergei Rachmaninoff’s recording of Kreisler’s “Liebesfrcud” (Love’s Joy). The arrangement is probably Rachmaninoff’s own work and he has made this violin solo into a very fine concert piece which will make a first-class record. (DA7B6).

Sea Chanties by John Goss and the Cathedral Male Voice Quartet give us “Shenandoah,” “Rio Grande” and “Billy Boy” with a salt smack about them (82646), and in the same breath, though they differ widely in type, one may mention Master Ernest Lough in “Hear Ye, Israel” (82627), the boy soprano whose records have been as keenly welcomed. This record gives the second part “ I am He That Comforted.” There is less emotionalism than in “Hear My Prayer” and the singing is pure all through. Peter Dawson does a very creditable version of “The Song of the Volga Boatmen” in English, and marked by some magnificent phrasing. (C 1342 With it is “The Dear Homeland,” an old patriotic song by Walter Slaughter who composed “The French Maid” years ago. Derek Oldham’s singing of “Take a pair of Sparkling Eyes” from “The Gondoliers” is very attractive, the best version I have heard on the records (C 1450 The Victor Mixed Chorus has given us “Songs of Ireland” and “Songs of Scotland” on one record, medleys of wellknown airs (E 8323 and the Light Opera Company is excellent in the vocal gems of “Lilac Time” (C 1450 singing “Four Jolly Brothers,” “The Flower,” “I Want to Carve Your Name,” “When Skies are Blue,” “Girls and Boys.” “I Ask the Spring,” “Oh, What is so Sweet as a Golden Song,” “Dearest, all is Ours.” This opera, of course, is built round Schubert, whose melodies are used to provide the score. A spirited record of the “Zampa” overture is given by the Band of the Coldstream Guards (C 1421 From the Victor Symphony Orchestra at a popular price is an interesting new recording uf the Prelude to “Traviata,” one of the few’separable preludes Verdi left in all his fairly long array of operas. Its chief melody, sung by the strings against an engaging but simple rhythm, is one of the best known airs in the whole of the work. With it is the “Procession of Bacchus” from Delibes’ “Sylvia.” (E 823

Among the eight H.M.V. music received from Dickey’s Ltd., is a record of The Happiness Boys “Henry’s made a lady out of Lizzie,” a neat piece of propaganda for a new car come out of Detroit (EA 308). Frank Crumit sings “I miss you Lize” and “That old wooden rocker” with good effect —I invariably enjoy his touch (EA 298). “Oh Susanna,” a vocal trio by Vernon Dalhart, Carson Robison and Adelyne Hood is very pleasing, and it is associated with an attractive duet “When the sun goes down again,” sung by Dalhart and Robison (EA 309). “Rain,” in addition to being among the dance records is sung by Johnny Marvin and Ed Smalle, who also do “After my laughter came tears” (EA. 307). The organ records include “Souvenirs” and the waltz “Diane,” which is having a big run lately, played by Jesse Crawford on the Wurlitzer Organ (EA 302). Crawford also gives us “Dancing Tambourine” and “Mary” both very good (EA 301). A selection of the vocal hits of “Rio Rita” and “Princess Flavia,” the musical version of “The Prisoner of Zenda” is well worth having in a record by a light opera chorus (F 22 and I recommend C 1306 “Princess Charming” and “Queen High,” selections played by the Savoy Orpheans. These are the H.M.V. dance records from Dickey’s Ltd., fox trots unless otherwise stated•

EA 299—“ We’ll have a new home,” by Nat Shilkret’s orchestra, and “Rain, by Jacques Renard’s orchestra. „ EA 300—“ Girl of my dreams, I love you,„ and “I’m drifting back to Dreamland, waltzes by the Blue Steel’s Orchestra. EA 303—“ Together,” tfaltz, by Warings Pennsylvanians, and “Dear, on a night like this,” by The EA 304—“ I’m walking on air,” and “Bungalow of Dreams,” by Frankie Martin’s orchestra. EA 305—“ Mine, All Mine,” and “Is she my girl friend?” by the Coon Sanders Orchestra. EA. 306—“T0-morrow,” waltz, by Johnny Hamp’s Kentucky Serenaders and “Where in the world,” by B. F. Goodrich Silvertown Cord Orchestra, with the Silver Masked Tenor. „ EA 310—“Havanna nights,” and “Aloma, by the Hilo Hawaiian Orchestra. EA 311 —“Tin-Pan Parade,” by the Troubadours and “Chloe,” by the All Star Orchestra. EA 312—“ Ooh! Maybe it is you” by Paul Whiteman’s Orchestra and “Kiss and make-up,” by Jack Crawford’s Orchestra. EA 314 —“Varsity Yale Blues” by the Savoy Orpheans, and “Dear Child, waltz, by Jack Hylton’s Orchestra. EA 315—“ Rio Rita,” and “Te Kinkajou” by Nat Shilkret’s Orchestra. „ EA 316—“1f you’re in love you’ll waltz,” waltz, by Roger Wolfe Kahn’s Orchestra, and “Following the sun around” from “Rio Rita,” by the Jacques Renard Orchestra. Nat Shilkret’s band can be relied on always for good dance music and The Troubadours have earned the confidence placed in them. The Blue Steel Orchestra is an excellent combination, and they handle two waltzes with fine effect. “Is she my girlfriend?” by the Coon Sanders Orchestra is very good, and so is the “’Varsity Yale Blues,” while the “Rio Rita” numbers are sure to be taken up keenly. “The Tin-Pan Parade” is a snappy fox-trot and there is plenty of dash in “Ooh! Maybe is is you,” by Paul Whiteman.

Dickey’s Ltd. also sent to me a big parcel of Columbia issues and from them for first mention I take the ’cello records by Gasper Cassado, a pupil of Casals. Cassado produces a beautiful tone and plays with the restraint that characterises his master. Cassado, who has been winning laurels all over Europe and America is one of the great artists of the day and his records reveal him. His playing of the Largo (Handel), will be surprising to those who make it a tremendously weighty work, and its companion, the fifth Spanish Dance by Granados shows Cassado in a livelier mood. (04075) He also gives us Faure’s “Apres un Reve,” full of mystery, and Schumann’s

“Abendlied” (Evening Song), in quiet, reflective mood (03553). Joseph Szigeti’s technical skill is shown to advantage in Kreisler’s “Tambourin Chinois,” but I like Debussy’s delicate menuet much better (04076)—the recording is excellent. William Murdoch plays the softer passages of the Twelfth Hungarian Rhapsody (Liszt), wtih impressive effect, but the fortissimo parts are lifeless and give one the suggestion of inattention. I do wish Murdoch would go back to the airy mysteries of the moderns (02582). Mischa Dobrinski is a popular violinist and his record “Un peu d’amour” and the “Merry Widow Waltz” will be well received (0999).

In, the vocal section v of the Columbias from Dickey’s Ltd. I take up first Madame A. M. Guglielmetti, the coloratura soprano. She sings “Gli angui d’inferno” from “The Magic Flute,” and Proch’s “Air With Variations.” Here we have fire-works so simple 'that one does not realise at the moment how wonderful is this singing machine. Mme. Guglielmetti’s voice is liquid and pure, and her intonation is always beyond reproach. Technically it is astonishing, and the tone throughout is glorious, even in the striking staccato passages, which are electrifying. One of the finest, if not the finest of the coloratura records I have heard, and I recall the best of Galli-Curci and of Selma Kerz (L 2045). Charles Hackett sings “La donna e mobile” and the Sicliana from Mascagni’s “Cavalleria Rusticana” attractively—l think the weightier Muscagni aria suits him better (03541). Dame Clara Butt’s recordings are “Abide with me,” and “God shall wipe away all tears” (09503). Miriam Licette and Dennis Noble give us “Pronta io sou” (Can it be? Dare I believe thee?) from “The Barber of Seville” in English (02578). This duet is well sung, though the baritone is not flexible enough for the music. The soprano is really fine. Unfortunately the words are not always clear, but the ennunciation is every bit as clear as that of the Italians, who get away with a lot of slovenly diction (02578). Malcolm McEachern’s singing of “The Song of the Volga Boatmen” is lifeless, laboured, and marked by bad breathing. “The Mighty Deep” is much better (02583). The Sheffield Choir is responsible for two very fine anthems, marked by big tone and true, in “I am Alpha and Omega” (Stainer), and “The Sun shall be no more” (Woodward), given under the baton of Sir Henry Coward (02584).

Other Columbias of particular interest from Dickey’s Ltd. were the “Dance of the Hours” from “Le Gioconda” played by the Court Symphony Orchestra under Norman O’Neill, a very attractive recording of Ponchielli’s music (02580), and the “Light Cavalry” Overture (Suppe), by the Columbia Symphony Orchestra under Robert Hood Bowers—a dashing piece of work (02559). Johann Strauss and the Symphony Orchestra have the “Radetzky” March and “Voices of Spring” one of the old waltzes (02585). Other waltzes are played by Jacques Jacob’s Ensemble: “Vienna Life” (Strauss), and “Over the Waves” by Rosas (02556) ; and “Espana” and “L’Estudiantina” by Waldteufel (02560). A very fine organ record is the “Offetory dn\ Two Carols” by Guilmant played on the 'fefnehester Cathedral organ by Dr. H. L. Wilson (02579).

A big group of ten-inch Columbia’s came this week from Begg’s and Dickey’s Ltd. Amongst these were two organ recordings, one of “Light Cavalry” by Quentin Maclean (01007), surprisingly good, and the other by Gatly Sellars (01008), giving “In Arcadia” and another “Storm.” The J. H. Squire Celeste Orchestra play Cooke’s arrangements of Rubenstein’s “Valse Caprice,” and of Weber’s “Perpetuum Mobile,” both very interesting (02581). Mischa Dohrinski, a popular violinist has “un peu L’Amor” and “The Merry Widow Waltz” (0999). Jean Lensen’s Orchestra has excellent light music in “Love Everlasting” and “Love, Here is my heart” (01006), and “The song is ended” and “Dear, on a night like this” (01013), while the guitar solos by Len Fillis from “The girl friend” are interesting (01010). The vocal numbers include some well worth while. Layton and Johnstone have four discs in this latest list of releases: “The song is ended,” and “Diane” (01000) ; “My blue heaven” and “Just a memory” (01001); “Russian Lullaby” and “I’ll think of you” (01004) ; and “Tired hands” and “When you played the organ” (01012). All these are pleasing. The laughing songs of Charles Penrose (01005) are passable, but Ukulele Ike (Cliff Edwards) in “After my laughter came tears” and “I’m cryin’ ’cos I know I’m losin’ you” is terrible (01018). Eileen Boyd sings “Surrender” and “Just a memory” in a manner that makes one wish she would select better material. The best of all these small Columbias is by Raymond Newall who does sea shanties with a chorus to help him: “We’re all bound to go,” “Johnny come down to Hilo,” and “The Hog’s Eye Man” (01024). Don’t miss these—add them to the valued collection. And now from Begg’s and Dickey’s Ltd., we have these dance records, fox-trots unless otherwise stated:— 0981—“ Baby’s Blue,” and “Soliloquy,” by Van Voorhees’ Orchestra. 0985—“ You’re so easy to remember,” and “Plenty of Sunshine,” by Will Quintrell’s Tivolians.

01011 —“Hush-a-bye (Island)” waltz, and “Caroli (Ay, Ay Ay)” by Albert Sandler’s Orchestra from the-Park Lane , Hotel, London.

01013—“ Dear, on a night like this” and “The Song is Ended,” waltzes by Jean Lensen’s Orchestra. 01021—“ Waiting for the Rainbow,” by the Knickerbockers, and “Mine —All Mine,” by the Californian Ramblers. 01022—“ We’ll have a new home” and “When you’re with somebody else,” by Ben Selvin’s Orchestra. These are all worth having, though I confess to a preference for Sandler’s Orchestra and The Knickerbockers.

From Dickey’s, Ltd., has come a good selection of the latest Regal records. Mouth j organ solos may not sound impressive, but ! the records of “The Anvil Chorus’ from Michaelis’s “Smithy in the Woods” played by P. C. SpoUse, champion of Australia, 1925-1927, is so remarkable that one feeis like demanding a certificate that a mouth j organ only is used. The tone changes in | an extraordinary manner and technically ’ it is clear and clean. The second mouth | organ solo on this disc (G 20160) is I “Swanee River” with variations—very cleverly played. Giuseppi di Silva’s ’cello solos, 1 Gounod’s “Ave Maria” and Tschaikovski '

“Chanson Triste,” are simply played with good tone and in excellent style, though a bit coldly (G 20130). The Venetian Players, a string quintet, have two enjoyable numbers in “La Cinquantaine” and Nevin’s well-known “Narcissus” (G 20180). Another excellent Regal is Manuello’s violin solos, “Waters of the Perkiomen” and “Marcheta,” accompanied by the organ (G 20176). The White House Orchestra has added to the selections of the “Lilac Time” music, and their record is a very good one (G 20177). William A. Kennedy, a pleasing tenor, goes back to “When Irish Eyes are Smiling” and “I love the name of Mary” for his solos, which he makes entertaining (G 20187), but I prefer to hear Norman McLennan in “Caroli” and “When I met Sally” (G 20172). “Caroli” is the well-known “Ay, Ay, Ay.” McLennan has a fine big baritone, though his method is a bit stiff, especially for a rhythmic song of this time. The English words, of course, are atrocious. Robert Layton, another baritone, is thoroughly satisfying in “Out Where the big Ships Go,” “Time to Go” (G 20181), but why Eddie Morris should sing such dull nonsense as “Stewdle-oodle-oo” and “Clonk-er-ty-Clonk” (G 20183) is beyond me. “Robbie and Granddad,” a descriptive sketch by Hemsley and Whitlock, I found rather tiresome. With the Regals from Dickey’s, Ltd., were the following dance records, fox-trots unless otherwise stated: 20139.—“1 told them all about you,” by The Four Australians, and “Old names of old flames,” by Ramon Neuton, baritone. G 20161.—“ Where, Oh! Where do I live,” organ solo, by Pattman, and “Shalimar,” organ solo, by Jack Courtnay. G 20173.—“ Hush-a-bye (Island),” waltz, and “Dizzy Fingers,” Cinema organ solo. G 20175. —“Diane,” waltz, by the Raymond Dance Band, and “Saxophobia,” by the Raymond Dance Band. G 20178.—“ Diane,” waltz, and “Flapperette,” novelty fox-trot, and Cinema Organ solos by Stanley Macdonald. G 20182.—“ Mediterranean Blues,” blues, and “You don’t like it—not much,” by The Devillers. G 20185. —“On the dreamy Moana shore,” waltz, and “Tropical Hulas,” medley fox-trot, by the South Sea Islanders. G 20189.—“ Jovial Jaspers” and “Charleston Capers,” xylophone solos by George Hamilton Green. G 20191.—“ Jalousie” and “Creole,” tangos by the Orchestra da Ballo. The organ solos show great dexterity in the playing of fox-trot music, but I prefer the orchestra. Raymond’s records are excellent, particularly in the “Diane” waltz, introducing the organ with good effect. “The Devillers” are a good combination of fine players with plenty of tone, and the South Sea Islanders are well-known. The tangos are taken quietly and are effective dance melodies.