GRAMOPHONE RECORDINGS.

Taranaki Daily News, 21 December 1929, Page 11 (Supplement)

GRAMOPHONE RECORDINGS.

DAWSON IN SACRED NUMBERS. The issue of “Nazareth,” by Gounod, and “Gesu Bambino” (The Little Jesus Child), by Pietro Yon, sung by Peter Dawson, is very appropriate this mouth. The magnificent timbre of Dawson’s bass-baritone voice expresses with true reverence these two sacred numbers, and he is assisted by a nicely toned organ accompaniment and a wellbalanced choir. It is certain that Dawson has not done anything finer, and, as he lias made more records for the gramophone than any other artist, that is saying a great deal. (H.M.V. C 1582). SIR HARRY LAUDER. Sir Harry Lauder has re-recorded one of his most populars songs, “Wee Hoose ’Mang the Heather”; this time with, a ’cello obbligato. Lauder's fine voice and his gift of blending comedy and sentiment have made him the greatest entertainer pf his kind the stage has ever known, and the electric recording of “Wee Hoose” has made the song typical of the Scotsman at his very best. On the other side Sir Harry makes merry in “Portobello Lass,” which has a fine, swinging rhythm. (H. M.V., D 1623). . GLORIOUS PONSELLE. The singing of Rosa Ponselle is a thing of beauty that should not be missed. Few sopranos of the present day have that rich quality that can convey emotion without seeming to strive for it. This month she sings the “Costa Diva” arid from Bellini’s opera “Norma,” which was especially revived at Covent Garden for the prima donna’s benefit. In this aria Norma, as is her right as High Priestess, re; fuses tn declare war on the Romans. She sings this very number to the Queen of Heaven, calling upon her .to "bring peace on earth, and to guard them against war. Norma also prays for her lover, the Roman pro-Consul. The melody is one of the most remarkable in all opera, developing from the first notes to the finale without once repeating. There are extreme difficulties for the singer in the rippling coloratura passages that call for perfect breathing, but Ponselle ascends into the higher registers with the same ease that she descends to the contralto scale. The soprano is supported by the full orchestra and chorus of the Metropolitan Opera House, and the martial finish by the orchestra is particularly fine. (H.M.V., DB1280). POPULAR ARTISTS. Two of America’s most popular vaudeville artists, Jack Smith, the original whispering baritone, and still the best, and Johnny Marvin, the silver tenor, contribute an outstanding record to the lighter class of this month’s issue. Both have now had a long run of successes on the gramophone. Smith sings with orchestral accompaniment “She’s a New Kind of Old-Fashioned Girl,” and his inimitable tone shadings give a pleasing touch of sentiment. Marvin’s number is “Down Among the Sugar Cane” (When I’m Walkin’ with my Sweetness), another song with a melody that will be popular. (H.M.V,, EA564). MEDLEY FOXTROT. Jack Hylton gives the dancers a lot for their money in “Medley Foxtrot,” made up from tunes out of the talking picture,. “Fox Movietone Follies of 1929.” The pieces introduced are “That’s You Baby,” “Walking with Susie,’’ “Breakaway,” and “Big City Blues,” all of which have been popular as individual numbers. The orchestration is ingenious, and Hylton’s sense of rhythm never fails. (H.M.V., B 5658). NURSERY RHYMES. The merriest collection of nursery rhymes imaginable is given on a record that has come to hand this month. The singers are Uncle George’s Party and their jollity is truly infectious. Nothing could be more suitable for children. The pieces include “Humpty Dumpty,” “Little 80-Peep,” “Old King Cole,” “Sing a Song of Sixpence,” “GooseyGoosey Gander,” “Twinkle, Twinkle, Little Star,” “Three Blind Mice,” “See . Saw, Marjory Daw,” “Little Tommy Tucker,” “London Bridge is Broken Down,” and others. Here are the old nursery rhymes given with the proper intonation. (H.M.V., 82866). GEM FROM “MESSIAH.” The English tenor, Walter Widdop, who has played a big part in the successes of the Wagnerian issues of the last few months, ie also one of the foremost of England’s oratorio singers, and has made notable appearances at several of the big English musical festivals in “Messiah.” His voice is cast in an heroic mould, powerful and resonant in the fortissimo, and capable of the softest pianissimo without loss of character. This month he gives, perhaps the most famous tenor passage in oratorio, the recitative “Comfort Ye My People,” and the following air, “Every Valley Shall be Exalted,” from Handel’s “Messiah.” In the recitative there is a philosophic calm in even the most emotional moments, and the aria is characterised by an exaltation that carries, with it the listener. Widdop receives, splendid support from the orchestra under John Borbirolli. The strings which play an important part are . particularly beautiful. (H.M.V., DIG2O). STIRRING MUSIC. Those who enjoy straightforward, elean-cut, vigorous and resounding performances of rousing tunes by an army band (and who doesn’t?) will like the marches “Gridiron Club” and “The National Game,” recorded by Sousa’s famous band. These are just the things for schools or summer camps, or under any other conditions where rousing and stirring music of a rhythmical character is required. (H.M.V., EAS9I). CHRISTMAS HYMNS. Six of the most popular Christmas hymns are sung by the Westminster I Central Hall Choir under Arthur Meale, and admirably. arranged on to one Record. The purity.and balance of the tone,is very fine indeed, and the inter-:

pretations are true to English tradition Nothing in sacred musie’is more simple or more beautiful than these old hymns that breathe the sprit of the English Christmas. The organ accompaniment is clear and helps to give atmosphere to the singing. Among the hymns are “While Shepherds Watched,” “It Came Upon the Midnight Clear,” “Hark; the Herald Angels Sing,” “0 Come, All Ye Faithful,” “The Message of Christmas,” and “Christiane Awake.” (H.M.V., C 1589). OLD FAVOURITES. Recently Derek Oldham and Winnie Melville gave us two very enjoyable duets from the old favourite light opera, “Veronique.” On top of this comes a record containing the vocal ffcms from the same work sung by the Li<rht Opera Company. These include “Take Estelle and Veronique,” “Then Come Girls,” “Donkey Duet,” and “The Bloom of an Apple Tree.” Nothing could be more delightful. Equally attractive are the vocal gems from “The Arcadians” on the other side, including “My Motter,” “The Girl with the Brogue,” “Pipes of Pan,” and “Charming Weather.” (H.M.V., C 1684).