The Gramophone Corner

Star (Christchurch), Issue 17833, 29 April 1926, Page 6

The Gramophone Corner

By

Turntable

Orchestral records nowadays are al*most uniformly good, owing to the improved methods of recording. Therefore we do not now hail excellent records with half the praise that was the lot of less deserving discs in the days of pioneer recording. Every month’s issue has something really good in the way of orchestral work from one or other of the companies, and, indeed, sometimes from all. Among the recent Vocalion publications is a 12-inch disc by the Modern Chamber Orchestra, conducted by Stanley Chappie, containing two well-selected pieces, “Canto Popolare ” (Elgar), from the concert overture, “ In the South,” and “Two Interludes,” from “ Falstaff,” opus 68, by the same composer. The recording of these selections is up to the standard, and the orchest-a’s wellbalanced playing is a tribute to the tine work of the conductor.

Much has been said for and against fibre needles, but the most convincing argument against their use is contained in a photograph which appeared in the Sydney “ Sunday News” recently, showing the magnified points of a fibre and a steel needle after use. The former shows a very ragged edge, while the steel needle appears little the worse for wear. In an article on the subject “ Discobolus,” writing in the same journal, quotes a correspondent as stating: “You know a road strewn with loose stones will wear down more quickly than a clear one. Well, it is the same with a record on which a fibre needle is used. With a broad soft point, soaked in oil, the needle travelling along the groove gathers every particle of dust and grinds it into the record surface, just as pebbles ate, ground -in to the road.” This argument, backed up by the ' photographs, would make one pause and think. “ Burlington Bertie of Bow ” is considered to be the song that made Ella Shields famous—it certainly went well in New Zealand. She is expected to tour the Dominion again and will certainly sing her latest successes, “San Francisco,” “ Show Me the Way to Go Home,” and “ Jolly Good Fellows.” These have been recorded by Columbia and have now arrived. Ella Shields in private life is not at all like the dashing young fellow she impersonates* on the stage; but there she certainly knows how to catch the ears and win the hearts of her public, as the rage of “ Why Did I Kiss That Girl ” another of her recorded triumphs, proves.

A recent recording of interest, is that made by Isolde Menges (violin) and Arthur de Greef (pianist), of Beethoven’s celebrated “Kreutzer Sonata.” A review note says that the heroic mould of this sonata has been fully realised by its interpreters, and the}' give us a rendering that holds our attention throughout. Miss Menges plays with great insight and ability. . . . De Greef is a little rough once or twice in his dealings with his instrument and there are places where he seems to strive after an unneces-

sary effect —the passage of hushing triplets with which he concludes side seven supplies an example of this—but such defects of detail only throw into relief the excellence of most of his work.

Riccardo Stracciari can always be relied upon to produce records tliat will be treasured—kept in silken envelopes, so to speak. His latest records issuing exclusively from Columbia are from Verdi’s “ Othello.” They are “ Brindisi,” or drinking song, and “ Sogno.’* The contrast is striking in these two arias allotted to lago. In the first he intensifies the befuddlement of the pliable Cassio and in the second he works on the feelings of the jealous Othello by describing how Cassio talked in his sleep and what he then revealed. The Brindisi is /quite to the liking of Stracciari, for he loves a rollicking song. When he sings (even through the medium of the disc) the listener can enter with him into the spirit of the song or aria,

as the case may be. for Stracciari does master the sense and purport of all he sings, and he feels all he sings. For instance, how he revels in “ Largo al Factotum! ” So it. is in “ Sogno.” The orchestra gives out just one note, prephetic in its tone of the villainy afoot, and then Stracciari begins, “ Era la Notto,” describing in seemingly genial spirit the revelations that he says Cassio made in his sleep. Stracciari is not only a magnificent baritone, but also an actor of great intelligence and immense dramatic resource. So much is apparent from this one record, to say nothing of the many others he has made.

Julius Berger, a 'cellist who is ali ready well-known to gramophiles, has recorded still another fine disc for Parlophone in that popular song tunc “Caro mio ben.” The new* H.M.V. catalogue for 1926 is something more than a list of records—it is a valuable work of reference, and as such is to be recommended to all gramophonists. Some notable improvements have been made this year by incorporating the No. 2 catalogue of historical records and by grouping the operas under their composers’ names.

k A bass of exceptional gifts, M. Mur-ray-Davey’s beautiful and flexible voice has recorded well in the recitative and invocation, “ Si la Rigueur ” (If Just Decreed), from “La Juive,” by Halevy, and in “Ye Slumbering Nuns,” from “ Robert le Diable ” (Meyerbeer), which he has recorded for Vocation. Both numbers, which are sung in French, give the singer opportunities for displaying rare artistic feeling, grand dramatic power and giving full vent to the great volume of which he is capable. M. MurrayDa\'ey’s superb diction is also clearly brought out on this 12in pink-label disc, which can be recommended confidently to lovers of operatic music.

It is a great pleasure to hear the splendid choral records now issuing from the Columbia Studios. There is no need to commend the great “Adeste Fideles” of the Associated Glee Clubs of America, singing at the Metropolitan Opera House, of New York, for it seems to have found its way in almost every home where there is a gramophone. Now the “ Hallelujah ” Chorus and “ Worthy is the Lamb,” from the “ Messiah,” are available. These choruses -were specially sung by the Sheffield Choir for Columbia, Dr- Coward conducting. The blend of voices is superb, the tone perfect, light and shade beautifully graduated. Accompaniments by the orchestra are a pronounced feature of these latest choral records. Hailed by London critics as the finest example of difficult male-voice work yet heard on the gramophone, the Parlophone record of the Jewish song, unaccompanied, “Weschumru,” should be here soon. The singer is Chief-Cantor Sirota, of whom one critic says: “I hardly know whether to describe him as a tenor or as a high baritone with a head voice, but I have no doubt whatever that # every male singer in the country w’ould derive profit from studying his brilliant workmanship. Borodin’s “Prince Igor” makes one of the finest band records conceivable and when it is H.M. Ist Life Guards Band that plays it, it may be taken for granted that the very best will be made of he music. Vocalion have just issued a 12-inch disc of the ballet music of “Prince Igor” by this band, which is sure to find many purchasers. This stirring music is perfectly interpreted by this band and the reproduction is so good that, if played with a loud needle, the tone volume is enormous.

York Bowen is an English pianist who is well-known to gramophiles through his fine recordings for Vocalion. His latest disc is Rachmaninoff’s “Prelude in G Minor, Opus 23” and Debussy’s “Second Arabesque in G,” both of which come off well. There is only the slightest suggestion on a couple of chords in the “Second Arabesque” which can be eliminated by the use of a soft needle. Otherwise the reproduction is excellent. Mr Bowen has many admirers who will welcome this record. No doubt for want of original melodic material the modern dance music composers are turning more and more to the classics for their tunes. Those they take and turn into fox-trot and blues. Charleston or whatever modern danc*> may be called, with considerable ingenuity. Moreover, scraps of great works are to be heard whistled by errand boys in the streets. Even Lemare’s graceful little organ piece can be recognised as the basis of “Moonlight and Roses.” Very soon Liszt’s lovely “Liebestraum” will follow, for it has been taken by the New Prince’s Toronto Dance Band, famous for their performances for Columbia, and appears in their programmes as “Love’s Dream.” In this case no trouble has been taken to mask the title of the original. Instrumental duets are not very common on the records though we have any number of trios and quartettes. In the Homochord record of (a) “Garden Scene” from Part 111 of “Much ado about Nothing,” and (b) “Hornpipe,” and (a) “March of the Watchmen,” and (b) “Garden Scene,” Part I, Mr E. W. Korngold (piano) and Professor Robert Poliak (violin) are at their best. The arrangement of the music is by Korngold, and, as is expected, his execution is faultless. Professor Poliak is a violinist whose artistry has already commended in these columns dnd he gives no cause in this disc for the opinion previously expressed of him to be qualified. Another disc in which Professor Poliak, this time a soloist, is heard in some remarkably fine work is 4sieilienne (Bach) and “La Poupee.” (Drdla). His brilliant technique is made manifest in “La Poupee,” through which he makes his instrument sing. He possesses that inestimably valuable talent of being able to draw from his violin an exquisitely

The “Love Waltz” from “Betty in Mayfair” is described as the best tune from that London rage, judging from the recorded performance bv the Savoy Orpheans. The Homochord Grand Opera Band’s record of the overture from the “Merry Wives of Windsor” occupies both sides of a 12-inch disc, recently issued. Their interpretation of this selection is all that could be desired. « Jack Hylton's orchestra has scored with, “Where Does the Candle Light Go?” and “Paradise.” The superb quality of the second of these tunes (says a reviewer) -makes it impossible not to put this record first in spite of the deficiencies of the other. The tune is a good one; it is played without theatricality, has splendid volume, and a wonderful accompaniment; at the same time it is beautifully restrained.

An artist who has achieved a recent success in the recording room is Marcelle Meyer, whose “Ragtime” (Stravinsky) and “Navarra” (Albeniz), make a first class bracket (H.M.V.). This artist’s renderings of the most modern music have recently excited considerable interest in Paris and in England (says a reviewer). A single hearing gives the impression that her secrets are a finished technique and a fine instinct for rhythm. Her fine perpormance of “Navarra” will be readily appreciated; Stravinsky, of course, is more of an acquired taste, but, at any rate, Marcelle Meyer likes him, and her sympathy has the happiest results on her interpretation. The recording by the newest process does her substantial justice. Dance Notes. Success in recording dance music for the gramophone depends upon severla factors—first, an attractive title, second, a competent dance band, third, originality of syncopated treatment, fourth, brilliance of tone, and fifth, perfect dance rhythm, writes H.C.R. in an English weekly. The world is scoured for interesting and catchy tunes, British and American composers competing in producing new dances like the novel “ Speech ” —in which a man is represented as trying to make a speech—- “ Bambalina,” from “ Wildflower,” “ Ukelele Lullaby,” “ Babette,” and the Continental rage, “ Valencia.” Similarly. the world is ransacked for dance bands whose conductors can appreciate the need for novelty. The American experts, Ted Lewis and Paul Specht, thrill English dancers with their records, as does the novel XyloRimba orchestra in its Hawaiian music. Percival Mackey, the accomplished pianist-conductor of “ No No Nanette.” has created a new vogue by his clever pianoforte interludes in the dance records made by his band. Hal Swain and the New Princes Toronto Band have cultivated the art of incidental singing in fox-trots, while Bert Ralton is famous for his saxophone playing in the dance records made by his Havana Band. His famous “ Three O’clock jn the Morning ” w-altz became a world classic in dance records. Modern dance records are made to dancing itself. Professional ballroom dancers execute the steps in the recording studio while. the music is being played upon the wax. This is necessary, for because of the inclusion of incidental singing or novel instrumental effects, there might otherwise be a risk of the rhythm of the dance being disturbed. « » 38 New tangos are continuing to arrive, and should do much to popularise, or at least awaken interest in. the new dance during this season. Vocalion have two French tangos On a disc in their latest publications that should prove popular. They are “ Mai de Amor” (Jose Sentis) and “Julian” (Donato), played by Mario de Pietro and his Tango Band. Other good tangos include two Scala discs by the Moulin Blanc Orchestra. The titles of these discs are; “ Alba de Amor ” and

“ Viens Pres de Moi,” and “ La Seduccion ” and “ Tello-Mio.” Of these “La Seduccion ” is the best.

It seems that Marek Weber only has to put his hand to a thing and it becomes nearly perfect, says a reviewer. His orchestra’s Parlophone record of “Babette” is worthy of comparison with his “Tea for Two.” Another good rendering is “Bambalina” with “Parisian Blues.” Both are quite entrancing tunes played in such a way that one can either dance or listen to them and with equal pleasure.

“If I Can’t Have You” (LucasStept) and “ Golden Dream Girl ” (Morse) are the titles of two very good waltz records by Palala’s Hawaiians, on a 10-inch Vocalion disc.

*-* j.j “ Row, Row Rosie ” and “ I Miss My Swiss ” are two favourites with dance record buyers, and this Scala disc should prove popular. It is by Paul Allen’s Orchestra, and there are good vocal refrains to both tunes.

“ Cutie,” from the “ Blue Kitten ” (Friml) and “ Ida-I do” (Kahp-Jones) complete a good ten-inch Vocalion foxtrot disc. “ Cutie ” has a vocal refrain and both are pla}'ed by Don Parker and his band, of the Kit-Kat Club and the Piccadill}’- Hotel, London.

“ The Pal that I Loved Stole the Girl that I Loved ” is the long-winded title of one fox-trot on a Scala disc, played by the Hollywood Serenaders. “ Save Your Sorrow ” is on the reverse side. Both have vocal refrains.

Since the days when Thomas Edison invented bis first gramophone great strides have been made in the manufacture of sounds. But although progress by trial and error has led to big improvement in the purity of tone of music and song, yet there still remains a certain jarring, tinny confusion of melody that becomes a shrill shriek in the higher notes and in the deep bass bears more resemblance to a growl. However, a machine has now come to hand that represents progress, not so much by the path of trial and error as by way of mathematical calculations and careful designing along scientific correct lines. This machine is the product of His Master’s Voice Company, and a demonstration of its capabilities was given to representatives of the Press by the agents, Messrs E. J. Hyams, Ltd., in Wellington recently. Two machines were used in the demonstration—a sample of the best of the H.M.V. gramophones as at present known and the model just to hand. The contrast was striking and remarkable, says a critic. A wide range of records were played first on one machine and then on the other. On the new machine the notes of the singer came out with realistic clarity. There was no blurring or jarring effect, and even in the big choral numbers the crescendi of the sopranos rang out crisp and clear. In the records of John M’Cormack the traces of nasal in the reproduction, which have not been a trait of the singer, were entirely eliminated, and were replaced by the beautiful resonance of this artist. The lower register of Chaliapin comes forth in a rich boom. The notes of the piarto gave perfect pianoforte tone of the best grand piano. In the orchestral records the new machine made it possible to distinguish the individual instruments and gave an infinite amount of delicate detail and beautiful finish. This was noticeable in even the double forte