GRAMOPHONES

Sun (Auckland), Volume III, Issue 641, 18 April 1929, Page 14

GRAMOPHONES

A notable organ record is that of the j brilliant London organist, Arthur \ ■ Meale. playing on the organ of the ! Queen’s Hall, London, “The Pilgrim’s Song of Hope” (Batiste) and "March on a Theme of Handel” (Guilmont). ; This is one of the best organ records for a very long time, with enough echo to take off the “dryness” and not ' enough to confuse. Both pieces are i somewhat exalting in theme and I eminently suitable for the organ—this ] is more than can be said of a lot that i is being inflicted upon us. (H.M.V.. j C. 1277.) Two brilliaont fox trots are “Dusky j Stevedore” and “When Sweet Sue j Comes Stepping Along” (Columbia 01403). “Dusky Stevedore” has i caused a sensation in the dancing j world —harmony and rhythm make it easily the most brilliant fox-trot of re- ! cent months. The reverse side also [ gives us a snappy dance number.

The recording of the third act of Wagner’s “Tristan and Isolda” by Gota Ljungberg (soprano), Walter Widdop (tenor), Howard Fry, Edward Habich (baritone), Ivor Andresen (bass), and others, with the music by the Berlin State Opera Orchestra and the London Symphony Orchestra, is ! having a run of success. From the ; °P e ning prelude one is conscious of masterly conducting. The rhythms are alive and the protagonists are not merely recording their voices, but livi through the drama to the tragic end. Ljungberg’s voice has dramatic power, and Widdop is a passionate i singer who is always dead in tune, a rarer thmg in Wagner than most ; would imagine. (H.M.V.. D. 1413-14-15-161 ‘ > - - . '‘^ he „ Er! Ki Pg” and “Death and the i Maiden (Schubert), sung in German

by Sophie Braslau, contralto. (Cohic bia, 04162), are two very fine naE bers. Sophie Braslau is a GernaAmerican, and - considered by i inent critics a* * ing the finest <*; tralto cn the cert stage tcH* Her singing « ••Ed King * * dramatic if bed. could e have wished, provides us '■ easily the "g recording “ Mpr magt 1 ’ song now in existence. tif . cent control of voice in poet"*, gui* terrified child, the seductive and the uneasy father, is fid l praise. And on top of all £ tili ages the narrative passages _ le of different voice—a perfect e t fii dramatic vocalism. “Deatn. »»<! i Maiden.” provides an apt co P* coni ro | again Sophie Braslau sf 0 yor i• . gives us cause for wonder frecords such as this ate Ie | between.