MUSIC IN THE HOME

Taranaki Daily News, 7 December 1929, Page 27 (Supplement)

MUSIC IN THE HOME

GRAND OPERA DUETS.

(1) “Barcarolle,” from “Tales of Hoffman” (Offenbach). Isobel Baillie and Nellie Walker. (2) “Gjive Mo Your Darling JJands,” from “Madame Butterfly” (Puccini). Isobel Baillie and Francis Russell. (Columbia 02915.) These duets in English are sure of a wide acceptability, especially when sung with such warmth and sympathy. Bella Baillie has been acclaimed by English critics as the vocal find of the year, and ’her gloriously flexible and sympathetic soprano on this record certainly seems to jutify their eulogie. Nellie Walker is another recent find—a contralto reminiscent in richness and purity of diction of the one and only Clara. Butt. The little “Madame Butterfly” gem is given by Bella Baillie and Francis Russell, the tenor who will be remembered for his stirring version of Wagner’s ‘Steersman’s Song” last month.

“KIND’S THANKSGIVING” RECORD.

(1) (a) National Anthem; (b) Psalm of Tiianksgiving. (2) Coronation Offertorium (Elgar). Sir Walford Davies conduction the Choir of St. George’s Chapel, Windsor. (Columbia 02930.) Who more appropriate than Sir Walford Davies, Master of the King’s Musiek, and the choir from the King’s own chapel, to engrave the nation’s tiianksgiving on a record? The National Anthem has rarely sounded more thrilling, Exhilarating, too, is Walford Davies’ own “Psalm of Thanksgiving,” a masterly pattern in the blending of voices. But the palm must go to the stately and majestic Elgar “Offertorium,” a triumph of spiritual insight and tonal magnificence. A grand record from what is admitted to be one of the finest choirs in the world.

THE INFECTIOUS NORMAN SONG.

(1) “Aren’t We All?” (2) “That Little Back Garden of Mine.” Norman Long, entertaining at the piano. (Columbia 01678).

It’s a sad month that goes by without a Norman Long record —the only complaint being that they are all too short. Norman has an irresistible vein of her own, and strikes an original line of humour. “That Little Back Garden of Mine” is not such a tender ditty as it sounds —its reference is mostly to the empty tins that find their way over the fence. Well sung and well played. THEME SONGS FROM TALKIES The Four Aces, a capital quartet, give excellent versions of two of the most popular of recent hits, “When My Dreams Come True” and "Reaching for Someone, and Finding Nobody There” — cleverly played, with the best of vocal choruses. (Columbia 07024.)

“Fox Follies” gives Layton and Johnstone material for a capital pairing of “Breakaway” and “Walking with Susie,” sung with their usual vein and rhythm on Columbia 01053. Len Maurice, the popular baritone, takes the popular “Louise” from “Innocents of Paris,” and pairs it with “On Top of the World Alone.” (Columbia 01665.) GLADYS MONCRIEF SINGS. (1) “Where is tho Song of Songs for Me?” (2) “I found Happiness When I Found You.” Sung by Gladys Moncrieff, soprano. (Columbia 01689.) The popular Australian “Queen of Song” is at her golden best in two charming theme songs which she offers this month. In the popular’ “Where is tho Song of Songs for Me?” from the motion picture “Lady of the Night,” she exhibits not only a glorious liquid quality of voice, but a genuine capacity for tenderness. “I Found Happiness’ comes from the picture s“The River,” and ! s one of the most tuneful of the recent

spate of theme songs. Gladys’s voice is as perfect as ever.

MORE FROM MENGELBERG’S BATON.

“Oberon Overture” (Weber). 'Willem Mengelberg conducting the Concertgebouw orchestra of Amsterdam. “Slavonic Dance in G. Minor” (Dvorak). Sir Henry Wood and the New Queen’s Hall Orchestra. (Columbia 04347-48.) The famous Amsterdam orchestra excels itself in Weber's lovely and spirited “Oberon” overture. The piece shimmers with a dainty fairylike atmosphere, which is caught with infinite tenderness and fancy. The horn passages, signify ing the presence of “Oberon,” are in par-

ticular charged with that “other-worldli-ness” which informs the whole music. Exquisite, too, is the fairy music leadup up to tho fortissimo chord, and listeners will also appreciate the brief reference to the chorus sung by the spirits when they are directed by Puck to raise a storm. Mengelberg is especially brilliant in the tumultuous coda—one of the most remarkable combinations of fantasy and technical skill in modern music. “Oberon” occupies three sides of two records and as a make-weight we are given a vigorous but poetic Dvorak dance from the baton of Sir Henry 'Wood. FRAGMENTS FROM BRAHMS.

Hungarian Dances Nos. 5 and 6 (Brahms). Sir Hamilton Harty conducting the Halle orchestra. (Columbia 01677.) Columbia’s policy of introducing some of the finest orchestras in the world in their Standard Section lias rarely given better value to the gramophone lover than in a December record of two Brahms dances by the Halle orchestra. The dances are among the most popular the most melodious that Brahms ever wrote. No. 5 in particular is thrillingly impetuous, and exhibits in fascinating degree the beautiful string quality for which the Halle orchestra is famous. Both dances are vivid and tuneful, and played with such verve and distinction should win for this record a wide popularity. Recording is first rate.

MARCHES BY THE GRENADIERS.

Among the most popular records of the month will be a series of stirring marches by the ever-popular Grenadiers. Tho first is a pairing of “Naval” and “Military” Marches—a medley of the traditional tunes associated with these services (Columbia 01640.) An “AngloAmerican” and “Scottish” march pairing brings in many famous national tunes ’ played with infectious rhythm (Columbia 01641.) A French pairing that should be enormously popular is a coupling of “Marche Lorraine” with “Belphegor,” the first introducing the tuneful French song, “En passant par la Lorraine,” and the second being a quickstep of irresistible verve. * (Columbia 01642.)

EXQUISITE "WOODWIND PLAYING.

(1) “The Merry Brothers’ (Jean Gennin); (2) “Echoes of the Valley” (Jean Gennin). Fluto and piccolo duets by Jean and Pierre Gennin accompanied by Sir Dan Godfrey and tho Bournemouth orchestra. (Columbia 02930). No two woodwind soloists have achieved such fame for themselves as tho brothers Gennin, who play in Sir Dan Godfrey’s Bournemouth orchestra. In “The Merry Brothers” these talented instrumentalists play a dashing piccolo duct full of the liveliest fancy and repartee. On the reverse side is another of Gennin’s sprightly compositions for a flute echo-flute, a piece of captivating charm that sets off wonderfully the beauty of these instruments. Sir Dan Godfrey provides just the right amount of orchestral background. One of the most charming records for many a month.