MUSIC IN THE HOME

Taranaki Daily News, 6 December 1930, Page 11 (Supplement)

MUSIC IN THE HOME

ELGAR VIOLIN CONCERTO. Concerto in B Minor for Violin and Orchestra (Sir Edward Elgar, Op. 61). Played by Albert Sammons and the New Queen’s Hall Orchestra under Sir Henrv Wood. (Columbia LOX4I- - Here’s another one of these “Ops.” The man who can’t be bothered with Ops. can skip this paragraph. If he does, of course, and misses hearing these, wonderful records, it will be a pity, but nobody’s fault but his own. Of the half-dozen really great violin concertos in existence, -this worjc is the only one that compares in beauty of form and depth of content with those of Beethoven and Brahms. This is glorious music marvellously played; a work that one could hear daily and never tire of hearing. Those who approach this work for the first time might with advantage (in spite of the concerto’s somewhat cyclic form) listen to the second movement first of all. There is hardly anything more lovely in the whole range of violin music. Sammons plays as he always does —superbly; and as Elgar himself agrees, no one can play it better. THE INIMITABLE CRUMIT. In Jiis latest disc, Frank Crumit revives one of his best humorous songs with “The Return of Abdul Abulbul Amir,” and to make the tale complete Ivan Skivinsky Skivar comes back also. On the reverse side is “I’m Bettin’ the Roll on Roamer.” This, also composed by Crumit, has thei strong ,melody and clever interludes between verses that he works in so well. The finale of the “William Tell” overture conveys the right atmosphere of galloping horses, but Roamer's defeat is foretold with a snatch of “The Old Grey Mare : —She’s Not What She Used To Be.” Clever nonsense both sides. from an artist who can’t sing, but in spite ! of it can. entertain in a way all his own. His Master’s Voice, EA795, 10inch). “IN.GAY MADRID.” (Ij Sanitago (fox-trot); (2) Into My Heart (fox-trot); played by Paul Specht and his orchestra on Columbia D 0155. This famous American dance band ccmes well up to scratch in both of these items—bids fair indeed to the claim that this is so far the best recording of the two catchiest tunes from 1 “In Gay Madrid.” “THE ROGUE SONG.” Ben Selvin and his Orchestra make much of the “Rogue Song”—principal melody in the talkie of the same name. On the reverse they play the still popular “When I’m Looking at You” (Columbia D 047). This latter song is also well sung by Oscar . Grogan on Columbia DO 143. Paired with Tt is “If I had a girl like you.” “DREAM LOVER.” t One of the hits of “The Love Parade” is “Dream Lover,” which provides Edward O’Henry with fine material for a light organ record, its strong melody being suitably treated. The reverse is “Just As We Used to Do.” (His Master’s Voice, 83428, 10-ine) - '. “FOLLOW THROLC ..’ The various popular fox-trot songs that serve to pepper this successful musical comedy are in full force on Columbia discs this month. ,The Pic-c.-xlilly Players; with a vocal chorus make merry to the bracketed tunes of “You wouldn’t fool me, would you?” and “I want to be bad” (Columbia 01832—Ruth Etting sings “Button up your Overcoat” and Annette Hanshaw sings “You wouldn’t fool me” — both with novelty accompaniment. Lay- J ton and Johnstone on Columbia 01833 (rive “Button Up your Overcoat” and ) “My Lucky Star.’) ’

WONDERIFUL BARITONE.

Lawrence Tibbett was born in Bakersfield, California, and completed his school studies in Loe Angeles, where he later studied singing. Beginning his Stage career with a Shakespearean repertory company as lago in “Othello,” he later appeared as Amonasro in “Aida’’ ■at the Hollywood. Bowl. Determining to become a concert singer, Tibbett decided to go to New York in 1922 for further study . He borrowed on his life insurance in order to take his wife and twin sons with him. The following year he became famous overnight, after creating a sensation in Verdi’s “Falstaff,” at the Metropolitan Opera. To-day, Tibbett enjoys enormous popularity as singer, and actor. He enunciates every word with absolute clarity, giving its full meaning. Tibbett has made a wonderful record of the Prologue from “Pagliacci,” which was one of the sensations of “His Master’s Voice” releases of 1927. His discs include: D 8975 (Leoncavallo) — Prologue. DABB6—“Believe Me If All Those Endearing Young .Charms” (Mo-ore); “Drink To Me Only With Thine Eyes” . (Calcott). AN EPOCH-MAILING RECORDING. The Columbia History of Music by .Ear and Eye. To call this new Columbia enterprise epoch-inaking, is to state a simple fact. There have been and there are\ many musical history large and small—but they have suffered from a very obvious drawback. Whereas a History of Literature can quote any number of poetical or prose examples, and a History of Painting can reproduce . pictures of any period or style, a Musical History can only reproduce music in its printed form.. And music .< does not truly live until it is performed. In this Columbia History we can hear the music that we read about. In one album ( Volume I of an extended series) is a book by Percy A. Scholes, giving names, facts, dates, and everything of interest concerning the representative great works of music (in Volume I, up to. the year 1600); and in the same album are eight four-shilling records supplying the representative great works themselves.. The ’great works of this early stage of musical history are, of ■course, brief—none running to more than one side of a disc.- The greatest authorities in each department of music have collaborated in the making of the records. In this first volume Sir Richard Terry and his Choir give us the original Church music from which the modem musical art has derived. Rudolph Dolmetsch and his children play the Elizabethan instrumental music on the very instruments that were used in the early Tudor days—the Virginals, the Lute, and the variously sized Viols. Dolmetsch is a musician' living in the English lake country; and has devoted his many) years to the study and performance of almost forgotten instrumental music. His large family also are all engaged in this romantic recreation of the music of the middle ages. The St. George’s Singers, under the direction of Rev. Dr. E. H. Fellowesj give us beautifully sung examplbs from the Elizabethan madrigal writers. CARUSO LIVES ON THE DISC. Enrico Caruso, whose voice thrilled so many, passed into the great. silence in 1921. At Caruso’s last recording session in September, 1920, for His Master’s Voice, he sang from Act 4 of ■ Meyerbeer’s “L’Africana” “Deh! Ohio ritorni” (Lead me toward the vessel), : his role in the opera'being that of Vasco da Gama, who in the fifteenth ! century discovered the sea route to 1 India by doubling the Cape of Good Hope. Suitably the coupling chosen for this last record of a great artist is Tosti’s “Good-bye,” both this and the operatic aria being sung in Caruso’s native Italian. (8.8.1386, 12in).

unit aiiniiunuiiiiniiiiimiiitiiiHniiitiiiinintiiiniiHinintiiß out the best children physically and mentally, but through social conditions and other causes there are. children at- ■ tending our schools who need supervision. such as provided in health camps. They need proper feeding, rest, fresh air and sunlight. Without facilities, for treatment of such children what is to be their fate? Thousands in the Dominion have now an opportunity to help in some small measure to provide such facilities.