DISC MUSIC

Stratford Evening Post, Issue 73, 22 June 1928, Page 3

DISC MUSIC

GRAMOPHOffE NOTES. SOMETHING ABOUT RECORDS. In view of the popularity in Australia of the musical comedy, “The Girl Friend,” some mention of the recordings from this latest stage success should be of interest. The list is as follows:—' Blue Room,” The Revellers; fox trot, Savoy Orpheans; "Girl Friend,” F. Crumit; fox trot, Olson’s Orchestra. “Girl Friend”—Medley Fox Trot, parts 1 and 2, J. Hylton’s Orchestra; “Mountain Greenery,” Crumit; fox trot, R. W. Kahn’s Orchestra; “Vocal Gems,” Light Opera Company; “What’s the Us e of Talking?” (fox trot), Olsen’s Orchestra. * * Hf Albert iCoates, known in every home, largely through his many splendid records, recently accepted an invitation to conduct a series of performances of grand opera at the Marinensky Theatre; Moscow. During his stay he conducted '“Roseenkavalier” —the first time that this opera has ever been performed in Russia — ‘Johnny Spielt Auf.” the sensational opera by Krenek, and Prokovioff’s “The Love of the Three Oranges,” the march and scherzo of which Coates conducted at the memorable Chaliapine appearance at the Royal Albert Hall las,t October. Albert Coates is the only British conductor who has ever wielded a baton In Russia, * * » It is surprising to hear that Toti dal Monte’s records had not attained that wide popular vogue which the merit of the singer and the remarkably successful quality of her (recordings deserve. Her “Mad Scene,* from “Lucia di Lammerfaioor,” is the finest one could possibly hear anywhere. In view of her Australian tour in the Williamson Graild Opera Company, her listed records are of interest: “Lucia di Lammermoor”’ (Donizetti), Mad Scene, Parts 1 and 2; “Carnival of Venice” (Benedict), Air and Variations, Parts 1 and 2; “Barbiere di Siviglia’ (Rossini), Una voce poco ifa; ‘ Rigoletto” (Verdi), Caro Nome; “Gugliclmo Tell” (Rossini), Salva Opaca; “Howie’ di Figaro” (Mozart), Deb v;, 'ni. •(FeM“rti). ‘ - Roam-” (de Lorenzo ihuris). « * * *■ (1) ‘Tolichinelle”. (Rachmaninoff); '2) "Prelude in B Flat” (Rachmaninoff) Pianoforte solos by Leif Pouishnoff. That fine Russian pianist, Leq Pouishnoff, for his Columbia record this month, has recorded n couple of most attractive and wellcontrasted solos. The first is Rachmaninoff’s humorous an dfascinating ‘Policninello,” a whimsical little fancy that Pouishnoff plays with a great sense of fun. The record is the composer’s beautiful B Flat Prelude, one that, in musicianship and inspiration, is streets ahead of the hackneyedl “Bom, bom, bom” thing in C sharp minor. The piano tone is remarkably rich. Pouishnoff made his first London visit in February, 1921, and has been a frequent visitor since. * * * The latest danc e hits include:— Johnny Johnson and his Statler Pennsylvanians, in ‘Together We Two,” fox trot, vocal refrain, by F. Baur; “Give Me a Night in June,” fOx trot, with vocal tro. Jack Hylton and his Orchestra, in “Cuddle Up” (“White Birds”); fox trot, With vocal chorus; “Barbara,” fox trot, with vocal refrain. Roger Wolfe Kahn and his Orchestra, in ‘ The Hours I Spent With You,’ waltz, with vocal refrain; “An Old Guitar and an Old Refrain,” fox trot, with vocal refrain; The Virvinians, in “Did You Mean It?” fox trot, vocal refrain by Lewiss James, and (reverse side) The Troubadours in “Joy Bells,” fox trot, vocal refrain. Rio Grand Band in “Every Little Thing I Do,” Yale blues, and Jack Hylton and his Orchestra (reverse side), “Souvenirs,” fox trot, wtih vocal refrain.