MUSIC IN THE HOME

Taranaki Daily News, 17 March 1928, Page 8

MUSIC IN THE HOME

GRAMOPHONE NOTES. HIGH PRAISE FOR AN ORGANIST. It is a. pleasure indeed to welcome from H.M.V. the first gramophone record of Messrs Willis’s magnificent organ in Westminster Cathedral, more especially as it is made by the honorary organist to His Eminence the Cardinal, Mr. Guy Weitz (says, a London reviewer of a fine record noticed last week). Mr. Weitz knows this organ as intimately as Cortot knows his Bluthner; also he is at once artist, virtuoso, and Catholic, brought up in the renowned Sehola Cantorum of Paris, under d’lndy, Bordes and Guilmant, themselves the spiritual sons of that great Catholic genius Cesar Franck. One had anticipated that Mr. Weitz would make his debut with Franck; his rendering of the three chorals recently at Westminster was memorable. Instead, he ‘has made a curious, but subtly artistic choice. 'He gives us Liszt’s fantasia and Fugue on iB.A.C.H., a work seldom heard, partly because of its enormous difficulty, and partly because the public does not easily associate the unhappy Abbe Liszt with Church and organ. But Liszt, artistically though not spiritually, was one of the formative influences in Franck’s life. THE CHERNIAVSKY TRIO. (1) “Spanish Serenade” (Charminade —Kriesler), violin solo by Leo Oherniavsky; (2) “Scherzo from Trio in B Flat Major” (Schubert). Played by the Cherniavsky Trio. Columbia 0894. Comparatively 'little-known in New Zealand before their tour, the brilliance of the Cherniavsky brothers came as a surprise to many of ns, and I would take an even bet that most of those who listened to them .'have secured one of their many Columbia records as a souvenir of their remarkable playing. This example would be hard to beat. Leo, the violinist, gives us a sparkling version of the highly ornamental Kreisler arrangement of one of the great Charminade’s most popular works, and the Trio combine in perfect harmony in a typically Schubertian extract —a lyric fragment from the Trio in B Flat. The violin tone is beautifully recorded on both sides. "ALMOST A GENTLEMAN.” (1) “She’s Mine”; (2) “Napoleon.” ■Humorous monologues by Billy Bennett. A really funny record is so scarce that one likes to pass the tip on when discovering something unusually good. Billy Bennett is a great humourist, and ids whimsical personality loses little or nothing in the recording. A trifle broad in parts, and never too subtle to be effective, he. sets out nut to tickle us with a feather, but to force a laugh out of us with a sledge-hammer. His soubriquet, “The Man Who Made the Queen Laugh” has almost become a title. Unlike a good many other humourists, Billy sounds every word distinctly.

POLLY WITH A PRESENT—AND A FUTURE. If you are anxious to have and possess th© latest dance hit, get “Polly,” the most popular of all the newest and most exhilarating of fox-trots. It is calculated to set the feet a-tingling, and is a most demoralising antidote to the blues. The companion number, which tells musically of one “M. yei,” is a worthy 'bracket. VOCAL GEMS FROM “GONDOLIERS." Another fine Zonophone record containing vocal gems from one of the most popular and melodious Gilbert and Sullivan operas. A worthy companion to the already issued vocal gems from "lolanthe” (A. 312 “Pinafore” (A. 317 and “Yeomen of the'Guard (A. 321 This record contains all the favourite melodies which have helped to make the “Gondoliers” such a lasting success. The singing and recording are magnificent. A. 325. GIOCONDA—DANCE OF THE HOURS. Tlie" Dance of the Hours,” which is frequently played, in most theatres and moving picture shows all over the world, is the .ballet music from the third act of “Gioconda,” the dancers impersonating the hours of the day and night. The music is full of charm and grace, and the admirable playing of the Victor Symphony Orchestra is finely recorded. (Zonophone, E.F.12.) THE ARRIVAL OF A RIVAL. Here is the sequel to Zonophone No. 2931, “A Sister to Assist ’er.” Once again Joan Emney keeps us in shrieks of laughter. Have these two records handy for your friends. They rank amongst the 'best humorous records ever Issued. 'Both pieces feature the inimitable “Mrs. May,” who was immortalised. TCHAIKOWSKY’S “1812.” (1) "Overture Solonnelle, 1812,” and (on 'last side) Chant sans Paroles (Tchaikowsky). Sir. Henry Wood conducting the New Queen’s Hall Orchestra. Columbia L 1764-66. How much more effectively the new process does the “1812” than the old. One can almost hear those cannon and smell the powder, so much of the realism comes through that we missed before. The good old row comes off A.l. The musically experienced are apt to dismiss it with a kindly smile for forgotten enthusiasms, but there is much in it that everyone can admire, and if it was worth the time of so great an artist as Sir Henry Wood to record it, it is certainly worth anyone’s while to listen to his version. The brass tone is very exciting, and all the thrilling “effects are exceedingly well managed.