MUSIC IN THE HOME.

Taranaki Daily News, 4 September 1926, Page 20

MUSIC IN THE HOME.

fiRAMAPHONE NOTES. TO CLEAN AND PRESERVE RECORDS. A method of “dressing” records, recommended in a Home paper, is to sparingly apply a mixture of a good oil, such as “3 in One,” and white vinegar and water —very little water —about two parts of oil to one of vinegar. Rub well into the grooves with a very soft pad or cloth. Dry all superfluous dressing; play the record once or twice with, for preference, a fibre needle, which will absorb some of the oil in the grooves, then dry again as much as possible. Play the records again a day later, when the needle should bring out. the dirt and dust loosened by the dressing, reverting to steel needles if one is accustomed to using such. It is very necessary to dry the ' record as much as possible after applying the solution, and this, it must be repeated, should be very sparingly used. EDGAR COYLE. That very useful baritone, Edgar Coyle, who has a pleasant voice, a clear diction, and records well always, is to be heard again in a couple of newly issued Columbia records. Cue has a couple of Quilter’s Shakespeare songs—“ Take, Oh Take These Lips Away” and “Hey Ho, the Wind and the Rain,” and the other old numbers freshly arranged by C. A. Lidgey—“Earl Bristol's Farewell” and “'Now is My Chioris.” The last-named is a happy little effort, tfnd very successful. HOW TO HANDLE RECORDS. The old-time records soon wore out, no matter what amount of care one exercised. The modern product is differently fashioned, and with care should last for years. That care meet include, the avoidance of finger-marking. Never get your finger prints on to the playing surface. This readily absorbs the grease and acids being constantly exuded from the fingers, and if records are put away uncleaned, if so marked, a patchy roughening of the surface will soon become apparent. It is as easy to hold records by the edge alone, and this little care and thought will repay the owner by longer record life and preservation of tonality. THE STUDENT PRINCE Vocal gems from the Columbia “Student Prince” records are vrell named, for not for a long white has such effective concerted singing been recorded. The ‘‘Student Prince” Company, who have made such a “hit” with London theatre-goers in the light-opera of that name, accompanied by the theatre orchestra, form areally brilliant chorus. At His Majesty’s Theatre it is said that one is almost lifted from One’s seat by the sheer volume of sound these sixty or so singers produce. To a lesser extent one is similarly affected by listening to the records, especially _ to the famous and infectious “Drinking Song” and the “Students' Marching Song." This is, indeed; one of the most successful “chorus” records in lighter realms of music Columbia have ever done. There are four “Student Prince" records in all, with an extra record of two gongs as dances, played by Percival Mackey’s Band. The principals include Allan Prior as the Prince, whose voice has splendid quality as well as astonishing power. Another big London success, “Kid Boots,” at the Winter Garden Theatre, has led to Columbia recording some of its most tuneful numbers in » two-part disc (8989), and all who have had previous theatre records issued by this company, such as “Mercenary Mary,” “Betty in Mayfair,” etc., will find much to admire in their latest in this class. GOOD ORGAN RECORDING AT LAST. At last a real grand organ record, with the. real organ effects —Herbert Dawson’s “Allelulia” (Palestrina); “AU people that on earth do dwell” (Old Hundredth), “Christ the Lord is Risen to-day” (Sir George Elvy), and two numbers by H. J. Gauntlet. The grand organ is one of the most inspiring instruments. This bright attractive arrangement of. well-known Easter melodies is likely to have a warm welcome. It certainly deserves it;, the record reproduces faithfully the exact tone of the organ in the most wonderful manner; even the “pedal” notes roll out clearly in their ponderous richness. The organ is the famous one installed in the Kingswray Hall. HAWAHAN MUSIC. Hawaiian music, well conceived, well played, and well recorded, is really worth while for grainophonists. This is apropos of an excellent disc by the Hilo Hawaiian Orchestra—“Hakaiian Love,” waltz, and “Beautiful Gown,” fox-trot. These are two unusual records, played by a softtoned Hawaiian Orchestra —really an art-ist-orchestra with strings and the like, employing Hawaiian effects. The waltz is smooth-running and easily danced to; the fox-trot is unusual in that it has a rhythm in soft, musical Hawaiian, absolutely without raucousness. The records will round out your collection of dance numbers with something quite out of the ordinary. They are beautifully played. SEPTEMBER RECORDS. The Septemlter records have arrived. The budget this time is not a big one, but there are some bright features. Fresh supplies of the famous “Wembley Tattoo,” by the band of the Coldstream Guards, assisted by the First Battalion Band of the Grenadier Guards, are to hand. This set (two double discs) had a tremendous furore in England—sc much so that the first stocks which arrived in New Zealand disappeared in a day, so to speak. But you must still get in early. A FINE ’CELLO BRACKET. Good 'cello records are none so plentiful! that one can afford to pass one by when it comes along. This introduces Cedric Sharpe’s bracket, “Ave Maria" (Bach-Gounod) and “La Cinquantaine" (Gabriel Marie). Gounod’s “Ave Maria” should hardly require an introduction at this time of day. It finds effective foil in Marie’s jolly little “La Cinquantaine" (which, by the way, may be known to some by its “Anglice” title, “The Golden Wedding”). Both pieces have afforded Cederic Sharpe an opportunity to exhibit his prowess as a ’cellist: in the one with fine legato phrasing, in the other with the staccato bowing which demands such precision and firmness of wrist. The record reproduces the rich ’cello tone with rem arkabie fidelity. TUDOR DAVIES IN SONGS. That fine Welsh tenor, Tudor Davies, presents in the September list an excellent bracket—“ Thou Art Risen, My Beloved” (Coleridge-Taylor) and “Love Went ARiding" (E. Bridge). Frank Bridge’s song

“Love Went A-Riding” is one of the finest things in the repertoire of modern English songs. There is an irresistible elan about it which makes it worthy to rank with the greatest of “classical” lieder. Co-IBridgc-Taylor’s “Thou Art Risen” is in effective contrast to the exultation of Bridge’s song, for. it is in a more pensive mood. It is a most beautiful little song, and Tudor Davies rises splendidly to the occasion. The record is a remarkably fine reproduction.