RECORDED MUSIC

Timaru Herald, Volume CXXXIV, Issue 18832, 21 March 1931, Page 11 (Supplement)

RECORDED MUSIC

Clarkson Rose can always be depended upon for a “lively disc.” His latest offering is “Wallahmalaka Lucy” and “All in Favour,” in which this irrepressible and irresistable comedian raises quite a few smiles. This is a record of most unusual interest by the creator of “Shelock Holmes,” the late Sir Arthur Conan Doyle, in a talking record. Thousands of admirers of Conan Doyle’s books will find in this a unique memento of the gifted writer. Morton Downey (tenor), in “Say a Little Prayer for Me” and “Horatio Nicholl’s Gipsy Melody” (Nicholls). Two tuneful ditties in the modern style, artistically sung, make this a good disc for those who like this class of entertainment. “Puttin’ on the Ritz" had a great run as a movietone spectacle, and some of its most popular hits are well worth hearing. “Singing a Vagabond Song” and “Puttin’ on the Ritz”; “With You” and “There’s Danger in Your Eyes,” are four of the best. For the atumn days on the yacht, the riverside, the beach and the veranda, harmonica music is a novel break. The “Two Williards,” harmonica duettists, give us a taste of their unique quality in “Handsome Gigiolo,” a tango, and “Polly,” the well-known foxtrot. Rosie da Costa, whose clever pianoforte work in the realm of “popular hit” renditions have gained for her many friends among gramophone listeners, has now given us a sparkling medley of selections from “The King of Jazz,” introducing “It happened in Monterey,” “Ragamuffin Romeo,” “A Bench in the Park,” and “Happy Feet.”

Jack Hylton and his orchestra have recently recorded an excellent set of dance records which include fox-trots “Our Jack's Back”—“Tid-dle-id-dle-

um-pum!”; “Scottish Medley"—“Chum Song”; “Over the Garden Wall”— “There’s a Good Time Coming”; “The King’s Horses” —“Adeline"; “Body and Soul”—“Falling in Love Again,” the latter a waltz from “The Blue Angel.” A basket of good things, this lot.

The duettist style of entertainment in recent years seems to have become a popular vogue in the United States. In two recent discs we have this characteristic form of entertainment presented by Bud and Joe Billings—- “ When It’s Springtime in the Rockies” and “Sleepy Rio Grande,” and by Bud Billings and Carson Robison, “Never •Leave Your Girl Too Long” and “On Top of the Hill.”

One of the noons conferred upon humanity by the gramophone is that it enables artistic genius to bequeath its delights to posterity. Melba, the glorious and great, has passed from the scene, but in records she can be recalled, and her marvellous vocal technique studied and enjoyed by students, teachers and the public. Her records is a very long list of solo performances, in addition to which she has been recorded in duets, quartets and sextets with some of the greatest artists of her generation. In a subsequent note there will be given a list of the most famous recordings of her voice that are still available. Melba recorded very clearly, and her singing affords a perfect example of vocal technique.

The main features of the SaintSaens’ opera, “Samson and Delilah,” are embodied in a selection from the work played by de Groot and his orchestra. Naturally, the renowned air,

“Softly Awakes My Heart,” is prominent, and the ballet, “Bacchanale,” is also effectively introduced. De Groot’s violin adds distinction to the passionate music. On the other side there is a 'selection from Charpentier’s “Louise,” which the composer has called “the lyrical impression of the sensations I reap in our beautiful, fairy-like modern life.” The lovely soprano air, “Since the Day,” is fascinatingly played, and the whole performance is very graceful. The standard of recording is high.

Theodor Chaliapin, in “Faust”—Vous qui faites d'endormie (Mephistopheles' Serenade) (Avt IV). Theodor Chaliapin and Cozette in “Faust” —Le veau d’or (The Calf of Gold) (Act I). (In French). This is a striking disc. The “Faust” music and atmosphere are altogether to the great Russian basso’s liking, while the duet number with Cozette is a great effort. Art Gillhajn is starred this month with two more clever discs. “Confessin' ” and “My Heart Belongs to the Girl Who Belongs to Somebody Else” are paired on one record and “Just Forget” and “To-night” are on another. The novelty accompaniment of the latter two songs is really well done, and Gillham’s piquant style is sure to bring him a host of new admirers.

Undoubtedly the deepest basso in England is Malcolm McEachern. The mellow richness of his voice is a neverending pleasure, and never has his singing been so well exemplified as in his pairing of “Drinking” and “I Am a Friar of Orders Grey.” The traditional "In Cellar Cool” is given a most extraordinary performance, and Reeve's song of the comfortable Friar is subjected to an intriguing if unconventional version. No admirer of this basso’s singing should fail to hear this disc.

Anna Case, one of the finest sopranos living to-day, is without doubt best represented gramophonically by her most recent disc. This is a pairing of Handel’s familiar “O Sleep, Why Dost Thou Leave Me?” (from the opera “Semele") and the aria, “Knowest Thou the Land?” from Thomas’s opera “Mignon.” Both of these glorious tunes have been in the repertory for longer than any of us can remember, and even yet their beauty is as fresh as ever. Seldom has Anna Case sung so well, or her voice been recorded with such perfect fidelity.

Of all operatic overtures, “William Tell” is perhaps the best loved. It belongs to that class of orchestral thrillers that can be enjoyed thoroughly by everyone on first hearing, and that subsequent hearings only serve to endear more fully. The four sections of the overture—“ Dawn,” “The Storm,” “Pastorale,” and the Finale, are comfortably packed on to two sides of a 12-inch disc. The players are Clarence Raybould and the Classic Symphony Orchestra. Their playing is one of the most exciting things of the month, and in spite of the fact that this is a low-priced record, we get extraordinary value for money.

Hubert Eisdell and Norman Allin are, as everyone knows, two of the finest singers England has produced. To hear either of them individually is a vivid pleasure, and to have them paired in two of the most popular duets ever written is a treat indeed. I Balfe’s “Excelsior” and Bonheur’s | “Battle Eve” are their choice, and | there is no question about their version being the finest we are ever likely to hear. Their voices blend magnificently, and the ghostly echoing cadences in Longfellow’s famous poem are wonderfully done. This disc is

quoted in the supplement as being a record that should be added to every collection. It is certain that very few on hearing it will be able to pass it by.

There is in Manchester a choir of two hundred and fifty school children. They are trained by a lady who is not only a fine musician, but also a musician who knows how to get real results. A special release this month pairs two recordings by this extraordinary juvenile choir. The items are (1) Purcell’s “Nymphs and Shepherds,” and (2) The Dance Duet from Humperdinck’s fairy opera. “Hansel and Gretel"—based, of course, on the Hans Anderson fairytale. The choir is accompanied by the Halle Orchestra, conducted by Sir Hamilton Harty. Sedom do we hear such vivid singing as this—even from adults. No praise it too great for this performance, the record of which should be »in the hands of everyone who loves or has anything to do with children's voices.

A striking tribute to the recording of Rossini’s overture to the "Barber of Seville,” by the New York Philharmonic Orchestra, under Toscanini, is paid by Compton Mackenzie in “The Gramophone.” The noted critic writes: “A disc which I am tempted to call the best orchestral record ever published crept modestly out in the middle of last month. This is a record of Arturo Toscanini, conducting the New York Philharmonic Orchestra in the overture of the ‘Barber of Seville.' The combination of discipline with what may be called mesmerism that can compel a large audience to play such perfect crescendos in the recording studio belongs to Toscanini alone of living conductors. ... I do not know how many recordings we have of the ‘Barber of Seville,’ but after this one none of them will have for me any more life than an empty soup plate. Here is a standard by which we shall be able to judge any performance of this overture for years to come, and I wish that Rossini hirriself in his old green coat could hear this performance, which has all the precision of a perfect mechanism, and at the same time an abundance of authentic life. In these days when, if we may believe the literary critics, works of genius are being spawned as fast as herrings, the superlative is losing its meaning, and I shall not attempt to compete with their encomiastic orgies. I hope, however, that I have said enough to persuade readers to lose no time in obtaining this record, and if they already possess records of the overture to the ‘Barber of Seville,’ so much the better. They will appreciate ; this version all the more. 1

I Some of the best cinema organ J records in recent months have been | from Edward O. Henry, the talented | organist at Madame Tassaud’s cinema 'in London. In his latest disc he gives us a tastefully arranged medley of Wilfred Sanderson’s fine songs, delightfully played. Another popular artist of the same class is Jesse Crawford, whose latest contribution to recorded music is “Little White Lies” (one of Donaldhon’s songs), and the cabaret ditty “Confession.”

The piano works of Schumann have a charm of their own, and no one can deny that the poetry and romantic inspiration with which his early piano works are imbued, have been equalled by his later compositions with the exception of his songs. He it was who originated the style of piano cycles, consisting of a number of short piano works under one title. Of these so far only the charming “Carnival” op. 9. and the “Kinderscenen” (“Scenes of Childhood”) have been recorded, and now Alfred Cortot, the celebrated French pianist, comes to the fore with a magnificent recording of the lovely “Etudes Symphonies.” Those who are not acquainted with the work need not be afraid of the title, for the melodic charm and variety, as well as the exquisite refinement of the etudes, are

s apparent as in the better-known “Carnival.’ The work is based on a beautiful theme, sent to Schumann by his friend von Fricken (in remembrance of whose daughter the composer wrote “Estrella” in the “Carnival”). The recording, which is complete in six parts, should be of special interest to students of music, because Cortot has included, in addition, five posthumous variations, rarely played and little known. The piano recording is of exceptional quality.

There is a wide variety of recordings in the latest Zonophone list, and several of the most popular artists are well to the fore. The English contralto, Esther Coleman, adds to her listjpf successes Chaminade’s “Silver Ring” and the equally famous “Songs My Mother Taught Me” (Dvorak). Her tone is always expressive and nicely rounded. Two of Easthope Martin’s “Fair” songs, “Fairings” and “Come to the Fair,” are sung spiritedly as duets by H. Thorpe (tenor) and F. Richardson (bass). The vocal gem 6 from Wallace’s evergreen opera, "Maritana,” sung by the Zonophone Light Opera Company, should be widely welcomed. The gems include “Let Me Like a Soldier Fall,” “Hear, Me, Gentle Maritana,” “There Is a Flower That Bloometh.” and “Oh, Maritana." and the vocalists are first-rate. A nicelybalanced church choir, with appropriate organ accompaniment, sings two well-known hymns, “Onward, Christian Soldiers”, and “From Greenland’s Icy Mountains” ((Allom). Crisp and clear is the playing by the Black Diamonds Band of two splendid band pieces. “Entry of the Gladiators,” a spirited number, and “Distant Greetings,” which gives scope for descriptive playing. The International Novelty Quartet makes a great hit in

“Knocked ’Em in the Old Kent Road” and “Lustige Bruder” (Merry Fellows). All the charm and irresistible rhythm of the “Blue Danube Waltz” (Strauss) is brought out by the London Orchestra, which also plays another fascinating Strauss waltz, “Wine, Women, and Song.” The English organist, Archer Gibson, makes impressive solos of “The Perfect Day” and “The Old Refrain,” which are artistically played. Clarkson Rose, the London music hall comedian, is at his merriest in “The Barmaid’s Song” and “Our Clara’s Clicked Again,” two of his funniest numbers. The comedians, “Amos 'N* Andy.” have plenty of scope in “Is Everybody in Your Family as Dum as You Is?” and enhanced their reputation as clever entertainers. Two duets by Billings and Robeson, “By the Old Oak Tree” and “Moonlight on the Colorado.” are recorded with excellent blend of voices. The light tenor, Lewis James, sings the “hit” from the film, “Swing High”—“With My Guitar and You” —in inimitable style, and another popular tenor takes the other side of the record with an appealing number entitled, “I Remember You From Somewhere.” Lovers of dance music will find pleasure in a fox-trot, “Lo Lo,” from the film “The Sea Bat,” played by Green Brothers’ Marimba Orchestra, and “Forget You? Never” (fox-trot), played by the Marimba Centro-Americana.