DISC MUSIC

Stratford Evening Post, Issue 98, 7 December 1928, Page 3

DISC MUSIC

GRAMOPHONE NOTES. SOMETHING ABOUT RECORDS. John McCormack (tenor), in “S'omewfiare a Voice )is' CUXaigv (Tate) and “Ear Away Bills” (Gordon). John McCormack sings these two. ballads with, great charm. The record j, s an important one, for tiro great tenor has given uts in “Somewhere a Voice is Calling” one of h.s most popular success.—H.M.V, D.A. ctu. XX X \ “In A Persian Market” (In two lU'rtis). A. W. Ketie’lbery tmd Omcielrt 'Orfchestra-. Columbia OSJbtiCi. The Columbia Company, in recording this Ketelbey' Album, has allowed the Composer to ‘spread himself.’ In this fairly {coloured musical sketch wo -Wear the “Persian Market” a.» it should he played; with a sureness of rhythm, a certlunty of effect and a precision in attack that is a ierelation. In this, more than in any other similar work. Ketelbey seems to hare brought an utterly foreign scene in front of us and mar’b it real. sx x x Peiter Dawscrai (jbasis-haritalne), in “Acis and Galrtaa,” Recit. ; I Rage, I Melt, I Burn,” Aria; “O' Ruddier It Iran the Chcjrry” (Haiadel), ana “Honour and Arms” (Handel). Peter Dawson has made) an extraordinarily fine record of these two famous Handelian airs. Either air is'an exceptional test for any singer, but, of course, the difficulties presented are

no 'difficulties at all 'in ti j? hltlads of Peter Dawson. The' immensely long, florid passages “came off” with wonderful effect, and, for once in a way, wo are allowed to enjoy Handel’s muffle, jand the singer’s art, with equal; cl.ithusfja.sm.—H.M.V. CISCO. XX X X “111 a Monastery Garden” (In twn parts) (Albert W. Ketelpey). Played by special Concert Orchestra, conducted by the composer. Cb-Inm-bia 02383. The issue cif a Ketelbey Album is a fitting tribute to the many year s of faithful service this composer has to,his credit as musical adviser to the Columbia Company. It is )ii tribute, too, that is certain of wciid-j.vide appreciation. for Kc(t:ll- , boy’s admirers are legion. This recording or his best Known composition is easily the best that has yet been hoard, and is a real credit to the especially chosen orchestra, that plays this delightful series. XX X X De Groot and the Picrl dilly Orchestra., in “If Only I had yon,” and “Lolita.” “Lolita” is a little ’ piece with a most intriguing Spanish “flavouring,” and it is most attractively

played. On the other side of the record is a pleasHntly-melodious piece enjoying considerable popularity. Da Groot plays, as only Do Groot can, and! the performance of both pieces has tho smooth finish, and that indefinable charm that is characteristic of him. —H.M.V. 82713. XX X X (1) otellj:i—“Grecßo” (Verdi) ; (S) “Ideale” (Tosti). Sung by Biccardo* Stracciarr, baritone. Col. 04170. This efcctri o [recording of one of Sfaraw ciari’s finest numbers 51-s- assuredly a work of fine art. His “Credo” alone would class film Us the greatest living baritone. On the reverse is Tosti’is, lovely “Ideale,” sung lu a 'manner that ia Lkefivise ideal.

I These Stracciari electric recordings (vide last week’s list) are truly hi»j toric, and) take their place las stand ar J d interpretations on which the baritones of the future may base their own efforts to' finest advantage. xx x x Tito Sdfyipa (tenor), in “Gfanadinas” tad “Princesita,” (sung in Spa(nish): 'Two of Schipa’s gßeatest successes, particularly ‘ ‘Princesita, ’ ’ for whose inimitable singing the tenor isi famous in the United States—.

H.M.V., D.A.534. XX X X Amongst the new H.M.V. dance records there i s Paul Whiteman’s orchestra i-u “My Angel” and “In My Bouquet of Memories,” with effective voclxl refrains. These are absolutely the) very latest hits (E.A. 352). Another goofd dance disc is fW’aring’s Pennsylvanians in “Laugh, Clown, Laugh.” (fwaltz) and “The p'ancia of th,e Blue Dirnubo” (foxtrot) —E.A. 379. Two excellent Argentine tango numbers. “Y Como le va?” and “Id Choilo” come front the International

Novelty Orchestra (E.A. 346). George I Olsen’s Orchestra is in great from j, in. “Just,Like a Melody Out of Sky’’ and) “Because My Baby Don’t Mean ‘Maybe’ Now” fox-trots, E.A. 376). The Hiloi Orchestiu (E.A. 374) pro sents “Lou’siana Lullaby” (waltz)

and “My Bird of P, iradise’’ (foxtrot). Nat Shilk.'et’s band and Waring’s Pennsylavnians, between them on disc E.A. 368, give us respectively the fox-trots “Got ;o'ut and Get Under the Moon” land “In the Evening.”

xsx “Sanctuary of the Heart” (In two parts). Albert W. Ketelbey’s Concert Orchestra, conducted by the Composer. Columbia (M 590. Another warm favourite, this third item in the Hotel bey Album is given a new significance through the composer’s own interpretation. Tho sincerity of feeling expressed in this majestic An-

cfante cannot?Jielp but bo respected, and/ in crchostrJxtion, in direction and in the solemn beauty of its vocal augmentation. thi, s record deserves a high place in the esteem of all those wh/oi hear it. (jl) “Washington Post. March” (Sousa); (2) “El Captain” (gousn,). Played by the National Military Band. Columbia 01130, Who does not enjoy the martial rhythm of Joh;n Philip fibusa—kb© thrill lof drums and rousing inarch time. The two numbers submitted here rank H',mongst the <&>ost ipofpuihj- o? (all Sousa’s (brilliant marches. The opulence of tone is all that could be desired. Truly, the National! Military Band have done these marches full justice.