RECORDED MUSIC

Timaru Herald, Volume CXXV, Issue 18629, 26 July 1930, Page 11

RECORDED MUSIC

The Rotorua Maori Choir are responsible for two more splendid items on Columbia D 054, and must be added to the list of records that must not b« missed. The songs are “Pokarekare” and “Te Taniwha”—admirable contrast and admirable singing.

(1) “My Old Shako”; (2) “The Windmill.” Sung by Malcolm McEachern, bass. Malcolm McEachern Is finely rumbustious in Nelson’s “The Windmill,” and even manages to impart some life into the faded Trotiere success of our youth, “My Old Shako.” Not a singer in the world can touch him for sheer depth of tone that remains true and rich at whatever depth he reaches. He phrases well, and should be heard in more serious

The intrepid “Johnny” has, as one expects, inspired the doggerel and fox-trot writers to produce dance music in her honour. We fear that they are commercially-minded rather than air-minded—but that doesn't hurt the songs much! They are two fox-trots. “Johnny, Our Aeroplane Girl” and “The Lone Girl Flyer”— quite as good as most fox-trots and better than many of them. They are sure to be a success. Amy Johnson’s story of her flight is told on one side of ten-inch DOSO. Most people will want to hear it. On the reverse is another of “Johhny, Cur Aeroplane Girl,” sung by Jackie Lumsdaine.

(1) “Cavatina” (Raff); (2) “Ave Maria” (Schubert). Clifford E. Ball on the Croydon Foundry Bells. In spite of the often very beautiful tone that Clifford Ball achieves, in spite of the lovely melodies he has chosen, it may be doubted if the problem of carillon recording is yet solved. Bells require space. They be played from a height in the open, and it is not sufficient to get far away from the gramophone to get the same effect. However, this disc has much to recom-

iend, it, and may quite easily be jpular.

“Happy Days Are Here Again” and “Lucky Me and Loveable You" are two popular hits sung by the coloured duettists, Layton and Johnstone. They perpetuate “A Little Kiss Each Morning” and “I’ll Be Reminded of You”— two song hits from “The Vagabond Lover.” on Columbia DO3l. Turner Layton and his partner are always worth listening to. They can make any jazz and theme songs sound interesting, and this month’s items are by no means at the bottom of this class.

Voyage in a Troopship. Played by the Band of H.M. Grenadier Guards, with Vocal Quartette. This new Grenadiers’ disc is an ingenious combination of the “medley” and “descriptive” styles of records. Such songs as "Then Fare Thee Well” suggest the troopship at the wharf; “Bay of Biscay” and

“Rule Britanni” take us out to sea—and the singing cleverly conveys by its rhythm that the sea is not too calm; a beautifully sung player tells us of the end of the storm, and a cheery hornpipe put in mind of “Saturday night in the Fo’c’sle,” after which an expressive Finale suggests that the troopship has reached her destination. Playing and singing alike are firstrate.

All the beauty of the immortal melodies of Lehar is brought out in a record of selections from his masterpiece. “Merry Widow,” played by Marek Weber and his orchestra. This orchestra displays amazing versatility. It recently issued selections from

“Rigoletto,” “Pagliacci,” ana “Cavalleria Rusticana,” and now it has turned to the languorous Viennese melodies of Lehar. Of course, the famous waltz is included, but it is but one of the charming pieces of the selections. Throughout the two sides the continuity is maintained, and the collection is not a “hotch-potch,” but gives one the impression of a lovely overture.

La Gioconda—Dance of the Hours (Ponchielli). Cav. Lorenzo Molajoli conducting the Milan Symphony Or-

chestra. This graceful and ever-popu-lar work receives the most delicate of treatment at the hands of the Milan Orchestra—delicate at least in thought, though bold enough in execution. The Dance, curiously enough, is the solitary bright movement in a tragic opera which has long since sunk into oblivion. In the ballroom scene, the Lord of the Inquisition devises a ballet in which the dancers represent the passing hours of day and night. The players interpret this typically Italian music with a bravura and conviction Impossible .for musicians of any other coun-

After a gap of several months, another record of the famous Russian basso, Thectiore Chaliapine, is to hand. Those who heard and saw Chaliapine during his New Zealand tour will remember his skill in dramatisation. By uncanny artistry he has transferred

this to the gramophone, and nothing could be more graphic than his interpreation of “The Old Corporal.” by Dargomwijsky. It is the story of an old corporal who is about to be shot for insulting an officer while under the influence of drink, and whose last thoughts are for his regiment, his mother, and his old pipe. It is sung in Russian, but with Chaliapine language is no barrier to understanding. His interpretative powers are in evidence again in “The Horn” (Flegier), a hunting song, in Which the horn in the orchestra also plays a part. The wonderful voice, resonant and free in its big moment, and intense in the quieter passages, has never been heard to greater advantage.

| The tour of the Don Cossacks’ Choir round the world was something j like a devastating wind among the ! schools cf choral singing. With their : hitherto undreamt-of ideas of unison 1 and of dynamic, they suddenly made many a famous choir wake up to j their antediluvianism. And the Cos- . sacks’ work could still be reconciled | with clean, honest chorus work, j Doubtless their favourite disc in the popular ear is that of the “Volga Boat Song.” The gripping simplicity of the tune never fails to stir, and the Cossacks make the most of its unequalled chance of crescendo and decrescendo. Paired with this is that master piece of dramatic writing, solo work, and bouche fermee background, "Monotonously Rings the Little Bell.” Next to this, their most stirring record is the “Signal March of the Cavalry.” The military rhythm, the heartening tune, and the fine manliness of the singing combine to make it an outstanding example of chorus work. Its pairing is “The Imprisoned Cossacks.” “Platoff’s Song” is an excursion into realism, and tell the story of the cruel Platoff with gruesomely vivid yelping of hounds. In wonderful contract is the peaceful Easter hymn, “We Praise Thee, O Lord,” by Tchaikowsky.

From a tenor of the first rank (as Fleta undoubtedly is) the air “Celesta Aide,” from Verdi’s opera “Aida,” becomes one of the most thrilling moments in all opera. The long melting phrases and high pianissimo in B flat at the conclusion demand thorough vocal proficiency and a high degree of artistry. Fleta's singing is flawless. His voice has been cast in an heroic mould, but he uses wonderful variations of light and shade and beautiful lyric touches. On the other side he gives Una Vergine, Una Angiol di Dio,” from Donizetti’s “La Favor - ita.” In this aria Fernando describes the beautiful maiden whom he has seen going to the church every day and with whom he has spoken. In this air he have a fine, cleanly limned melody typical of Donizetti’s most inspired pages, and Fleta rises to the occasion.

Dr Stanley Marchant, at the organ of St. Paul's Cathedral, London, in

“Postlude in C” (Smart) and “Basso Ostinato” (Arensky); “Bridal March and Finale” (Parry) and “Fugue in D Minior” (Bach). These grand organ numbers are recordings of the highest standard and display the art of Dr Marchant to the best advantage. They are separate discs.

The Italian tenor, Aureliano Pertile, has great dramatic opportunities in “Un di all’ azzurro spazio,” from “Andrea Chenier” (Giordano). In this aria Chenier, the poet, is called upon to improvise, and he complies with this famous and beautiful air. Love is his theme, but gradually hla mind returns to the idea uppermost in his head and by the time he has reached its conclusion he is condemning the artistocrats and their cruel and haugty treatmen. On the same record he gives the famous “Vesti la Guibba” (On With the Motley), from

"Pagliacci.” and his powerful voice gives with dramatic intensity the anguish of the spurned Canio. His wife has deserted him, but he must don his motley garb and smile and grimace to the amusement of the audience, even though his heart is breaking.

Jack Hylton and his Orchestra, in more old songs (vocal refrain) introdusing “My Irish Molly O,” “Following in Father’s Footsteps,” “Sue, Sue, Sue,” “Silver Threads Among the Gold,” “She Cost Me Seven and Sixpence,” “We All Go the Same Way Home,” “I’ve Made Up My Mind to Sail Away,” “Waiting at the Church,” “Two Little Girls in Blue,” “Killamey,” “I Want to Go to Idaho,” “Let’s All Go Down the Strand.” Hylton’s previous record of “The Good Old Songs” made a great hit. Here. Jack Hylton and his popular band give us an even better recording of these familiar old tunes.