The Gramophone Corner

Star (Christchurch), Issue 17905, 22 July 1926, Page 6

The Gramophone Corner

By

Turntable

Weber's “ Oberon " overture has been recorded fairly frequently of late. The 12-inch Parlophone disc is outstanding mainly because it is recorded by the Berlin Opera House Orchestra. conducted by Edouard Moerike. one of the greatest European conductors. This recording. which occupies both sides of the disc, is a grand piece of work, as is to be expected, and will find many admirers. The following is a translation of the Italian singing version of the very beautiful words “A Tanto Amor”* from ”La Favorita, ” and of which Stracciari has given a splendid rendering for Columbia: For such love do not be ungrateful To such love, Leonora, let yours respond. When he has only you for his sole happiness; When he, in his happiness, finds life When he trusts that he will be always loved Fondly encourage the hope within his heart. Do not ever drive him from your heart That he may never, never have to curse your faithlessness. From "Patrie!” an opera by Paladilhc, founded upon Sardou's moving spectacular play, have been made two 11.M.Y. records of some interest, chief- ! \y for the personality of the singers cne ILmil de Gorgorza’s “ Air du Sonneurw (D.B. 625), the other Titta | Ruffo's “ Pauvre martyr obscur! ” Each exemplifies good singing and good recording. Side by side with these may ■ be coupled two more records of a favourite excerpt from a more than half- i forgotten opera, to wit, the “ Bour- i bonnaise.” otherwise “ L’Eclat de Rire,” 1 alias “ G'est l’histoire amoureuse,” from ; Auber’s “ Manon Lescaut” made fori H.M.V. by Galli-Curci (D.A. 215) and Evelyn Scotney (D. 968).

“ The secret of broadcasting, or of making a gramophone record,” said Sir Ilarrv Lauder in an interview recently— after “ a week's rest to make thirty records.” as he phrased it—“ is to remember that you are not singing in a hall, or a theatre, or an opea house. I just imagine that my audience is listening to me. It’s a lot more free by the new electrical method than it used to be with your head glued up against the recording trumpet. By the old way you were like a lion in a cage; now r 1 can walk about and warble like a ‘ linty ’ (linnet) among the heather. You just telephone your voice on to the recording wax, and there you have a positive negative of the human voice.” Apollo Granforte, the distinguished South American, who delighted Zealand audiences when he visited us with the Melba Grand Opera singers, has an excellent bracket in the ‘'(.'redo” from Verdi’s “ Othello,” and “ O Monumento! " ("La Gioconda”). Here Granforte has made a splendid record of two A ery dramatic arias. He excels in declamation, of which the arias are composed, and his voice records exceptionally well. The ballet music from " Gioconda ” is a light concert piece. It comes from Act 3 of the opera, where is introduced not only for the entertainment of the operatic guests, but to form a contrast to the dramatic events which follow. The music, well recorded, provides a pleasapt diversion from more serious things. The Gieger Orchestra play in inimitable Viennese style and excel in their interpretations of the true waltz rhythms and langour one associates with music emanating from this centre. They are particularly .effective with the creations of that master of this fascinating type of music—Johann Strauss. Many of his 'melodies have world wide popularity, and never are they more sympathetically treated than by this clever combination recording (in Vienna itself in many cases) for Columbia. Lovers of waltz music in its most artistic dressing will appreciate to their versions of the following;— “ Lagunen ” and “ Voices of Spring ” (both bv Strauss) and Petra's beautiful " Moonlight on the Alster ” bracketed with “ On the Beautiful Green Narenta, ” by Komzak. Each is a performance pleasant to the verge of fascination. Miss Evelyn Scotnet-, who has delighted so many gramophiles. is an Australian by birth. She has made manv fine records for ILM.V. and not only for her excellent voice but also for the beautiful reproduction her records are worth hearing. Miss Scotnev, as a girl, rode five miles every morning, she relates, to a country singing master—he was also the local shopkeeper, postman, chemist and undertaker—for her singing lesson. Later, however, she was able to come to Melbourne, where she devoted almost all her time to singing. Last rear she visited old haunts. Her preparation for recording is every bit as severe as her training for a concert and for weeks she trains, she says, because she believes that singing to an unknown, that is a gramophone, audience, is far more fascinating than singing to an Albert Hall. “ Generally before recording,” she says, ” I pick tip some kiddies from near by and bring them into the recording chamber. The appreciation of classical music by little childen is really amazing, and it is truly delightful to sing to an audience of wondering little ones—a sensation not easily- imagined.” Columbia declare that their 12in Grand Opera record of two arias from Lohengrin ” marks an epoch. They are right. This is a remarkable record, with a wonderful group of English operatic vocalists singing the solo and ensemble parts. The artists are: -Miriam Licette, Muriel Brunskill, Frank Mullings, Kingsley Lark and Thorpe Bates, with the Grand Opera Chorus assisting. The two songs are from the finest scenes in Wagnerian opera. The record is astounding. The volume is at times tremendous, but the quality is upheld throughout and the oloists are heard clearly. Thorpe Bates, baritone, who sings the part of he King, is sonorous all through and s.as a bass quality in his lowest notes, ihe two arias are “ The King's Prayer ” and "Finale” (Act I.). The rerecording could hardly be bettered and one must say that the gramophile who misses this will be missing a treat.

Amongst the H.M.V. August records to be issued next week are some delightful tangos. The recrudescence of the tango has led the gramophone com* pan}* to add to the dance records of this Spanish invasion. Veraldi’s Tartgo Band has recorded on double-sided discs “La Mantillo" and “ Por Ti”; “Sunny Havana ” and “ Viva el Principe. ” while the Rio Grande Tango Band has played to the I laves recorder “ Garconneira ” and “Tus Ojos, ” all of them fine dance tunes. :*: Two beautiful selections from Donizett's “ La Favorita ” —“ Yien Leonora ” (Act II.) and “A Tanto Amor” (Act lll.)—make up Ricardo Stracciari's latest recording, on a lOin Columbia disc. Stracciari’s beautiful baritone voice is here heard to best advantage and his glorious tone and easy phrasing combine to make this one of his best records. These two dramatic airs from the opera are both sung by the King and are without doubt among Stracciari's best recordings to date. Dame Clara Butt has not made a Columbia record for some time' that suits her better than “ Ships that Pass in the Night ” and “ Peace.” The former is the better of the two, the

low notes at the end coming out exceedingly well, but “ Peace,” that beautiful poem by Sir Rhabindranath Tagore, has a beauty in which the singer excels. In both these records we hear those true contralto qualities of voice which Madame Clara Butt possesses, but has not let us hear of late. A discriminating critic once said ! that Malcolm M’Eachern possessed the best bass voice in England. It was a big compliment, but if your hear M’Eeachern in the latest. Vocation disc, which he has made, 3'ou may begin to believe it true. There are two songs which will commend themselves to singers, “ Good Fellows” (Lyall Phillips) and “ When the Sergeant-Ma-jor’s on Parade ” (Longstaffe), the latter by all means an addition to our too, too few attractive humorous members. The Londonderry Air has become widely known in recent months as “ Danny Boy,” but it is much older than most people think. When Fritz Kreisler visited Christchurch last year he played it and “ brought down the house,” for it is one of the most appealing melodies known to music. Columbia have made a new record of this, the London String Quartette being the recording artists. Frank Bridges, who has arranged it, has been particularly careful in his arrangement. lie does not mutilate the real theme, which is preserved throughout, though variations take up almost the whole of the first half of this 12in disc. a “ Rule Britannia ” and the “ Sailor’s Hornpipe ” are two melodies which reappear continually in “ Britannia,” Sir Alexander Mackenzie’s overture, which is in this month's Columbia issue. These tunes, however, are only \recurring strains and arc never heard in their entirety. The clever construction of this work, together with its tunefulness, excellent recording and magnificent orchestral rendition, make it a record of outstanding merit. The New Queen’s Hall Light Orchestra was conducted by the composer for this recording. Choral records, once so few and dis- | appointing, have gained such a filip since the first of the great choral recordings (4850 voices) was issued a fewshort months ago by Columbia. Then followed H.M.V. with their new process record taken at the Albert Hall, Louden. Since then there have been made

one or two other fine recordings, the latest being an H.M.Y. recording, of the Glasgow Orpheus Choir (unaccompanied). singing “Cargoes” and “Summer is Gone.” In choosing these songs the choir has secured music in which it excels. Their volume is not very great, but there is a pleasing suspicion of restraint and their rendition and interpretation are melodiously correct. The choir has only made one other record. which appeared mid-January in the special Scottish Supplement. After classical music the lighter moments. Yocalion have just issued two records of selections from popular musical comedies, which hll an idle moment agreeably. They are from “ Wildflower” and “ The Blue Kitten.” “ Wildflower,” by one of those theatrical whims, has just gone in London and is proving highlv successful. “ The Blue Kitten,” originally an American production, was played in the States for a long ps*iod, and now is amusing English audiences. Here they are, played by the Revue Orchestra, and both attractive. It may be added that the music of both discs is danceable if you desire. $$ « Mr Launcelot Gaunt, managing director of the Duophone Co., which is launching unbreakable gramophone re cords on the market, explains that the records are made of waste paper. The cheapest paper, says Mr Gaunt, makes the djest records, and these are printed

as easily and as quickly as a newspaper. The whole secret is the finishing process, and the secret is closely guarded. Out-of-date records can be recelled and reprinted at the cost of a half-penny. Mr Gaunt says that a double-sided record can be split to make two single records, whose excellence will not be impaired in the process. Mr Launcelot Gaunt is the youngest son of the late Judge Gaunt, of Victoria, and a brother of Sir Guy Gaunt, Sir Ernest Gaunt and Mr Clive Gaunt. He was educated at Melbourne Grammar Schopl ' and Melbourne University. For some time he practised as a solicitor in Gippsland and later at the Bar in Melbourne. Twenty years ago he went to the East, where he practised in the legal profession, and ten years later he left for England. Since then he has been engaged in several large financial concerns. Eighteen months ago he became managing director of Duophone Co. This company has already made preparations for the Australian market, a factory having been erected at Coburg, Vic. So far, however, the Australian Co. has not received a sample of the unbreakable record made from waste paper, and no details of its manufacture are known in Melbourne. Dance Notes. To the array of jazz records Yocalion have just added another which dancers will find worth while. It is one of those which have a soundly satisfactory dance number on both sides, and the names of the pieces recorded are “ Lonesome ” and “ Marguerite.” The first had a gay melody, which is later ragged, the second possesses a fascinating syncopation. It is a record worth the hearing. Another ’cellist. This time it is Jacques Van Lier, who has been recorded by Yocalion in two arrangements of his own from early composers. Mazzano and Mon tori o are the two chosen, and the minuet of the latter has its own appeal. Stanley Chappie should receive a bouquet of . his playing of the piano accompaniments. A beautiful and mellow contralto voice is owned by Paula St Glair, whom Yocalion have just recorded in two attractive ballads, “ Melisande in the Wood ” (Goetz) and “ Daffodil Gold” (Robertson-Hodgson). The melanchly charm f the first song is in contrast to the lightness of “ Daffodil Gold ” and both are clearly sung. The enunciation is particularly clear. **♦ ♦*» The Yocalion Company has a way of giving \is good band records, and here one of the Life Guards in the popular Edward German “Nell Gwvnn ” dances, lively, attractive music which fully uses up all the space available on a twelve-inch record. The band plays under one of the most famous conductors in the United Kingdom, and the present record is well up to its standard for the past. st Marek Weber’s orchestra has added to the list of tangos with four delightful dances. “ Melodic du Reve ” and “Le Lys Noir.” and “ Pajarito ” and “ Jueves.” These records, which are recorded on 12in Parlophone discs, are beautifully played by a symphony orchestra and are delightful to listen to as well as to dance to. Discerning gramophiles, who like to combine dancing with music, will not be disappointed with these discs.