THE GRAMOPHONE CORNER

Star (Christchurch), Issue 18448, 26 April 1928, Page 11

THE GRAMOPHONE CORNER

When three of the foremost gramophone companies established recording plants in Sydney, the prospect was opened up for New Zealand of being able to hear some of its own artists on the discs. This prospect has now become a reality, and the first records made in Sydney by a Christchurch singer arrived here on Monday. The singer is Mr Percy NicholLs, who was singing in opera in Australia at the time of recording. His first recording gives promise of finer things to come. Mr Nicholls has chosen Schubert's “ Ave Maria” and the popular “Vale” as his numbers, and has made a particularly good record. Ilis voice records well, and he sings with exceptional expression. Slight nervousness is noticeable at the opening of the “Ave,” but this quickly disappears. Mr Nicholla’s diction is particularly commendable, and he has made here a record which all New Zealanders will hope will be followed by many more. Three of the world’s instrumental giants—Cortot, the pianist; Cassals. the ’cellist; and Thibaud, the violinist form a mightly combination in Haydn’s Trio in G Major. A little fortune must have been taken in fees for the two lOin records on which the performance is contained, says a reviewer in London. Ensemble could not go further, neither could mutual understanding between players. The work is a gem among chamber music, the slow movement, as recorded, being particu larly beautiful. It is an outstanding instance of expressive play’ing. A judicious use of rubato in the bustling finale serves to remind one of a Hungarian flavour in the music.

Those who have delighted in the .splendid “ Mikado ” set recently issued tjy H.M.V. will be pleased to know that “ His Master’s Voice” issue of “The Gondoliers,” the famous Gilbert and Sullivan opera, has now been issued, and will be here shortly, one hopes. Extreme care, it is stated, has been taken to ensure that the recording should be in line with the strict traditions of the D'Oyly Carte management. Mr Rupert D’Oyly Carte himself directed the work, and the rendering can be taken as absolutely authoritative. The cast includes many brilliant artists whose names are famous for their association with Gilbert and Sullivan opera. The chorus of gondoliers, men-at-arms, heralds and pages is supplied by the actual chorus of the D’Oyly Carte Opera Company.

Aileen Stanley, whose 11.M.V. records are so deservedly popular everywhere, has given some remarkable figures about her “ sales ” in an article which appeared recently in “ Pearson’s Weekly.” “ Nearly £3,000,000 has been paid for 19,000.000 records bearing my name,” she said. “ I guess that is why I am known as ‘ The Gramophone Girl.’ ” For some months past “ His Master’s Voice ” has been preparing a remarkable series of Wagner records which, it is claimed, are altogether beyond anything of the kind yet issued. The first work dealt with is “ The Valkyrie,” and critics who have heard the pressings declare them to be of exceptionally high musical quality. It was to have been issued in London in January, but New Zealand supplies will not be to hand for some time. Two of the world's leading orchestras have been engaged for the performances, the London Symphony Orchestra (under Mr Albert Coates) and the State Opera Orchestra of Berlin (under Dr Leo Blech). The cast, which has been chosen with scrupulous care, is one that must rouse the admiration of every Wagnerian enthusiast. The vocalists include Gota Ljungberg, Walter Widdop. Florence Austral, Frida Leider, Friedrich Schorr and Howard Fry. There is also a special group from the Berlin State Opera chorus. Portions of the opera were recorded in Berlin, and the remainder in London.

“Two masterpieces of symphonic literature have just become available for the gramophone, thanks to ‘His Master’s Voice,’ ” (says the “ London DailyChronicle ” reviewer of the notable item in the April list. “ Cesar Franck’s magnificent 'Variations Sy’mphoniques’ for piano and orchestra, and Cortot as soloist and London Sy’mphony Orchestra, under Sir Landon Ronald, are superbly recorded. M. Cortot’s playing is masterly from beginning to end, and the orchestral part is beautifully finished.”

“ Rio Rita ” records will soon be crowding the market, and one may say in advance that some of the music is particularly bright. A fox trot bearing the title of this musical cornedv is an exceptionally good number. Gladys Monorieff will make her return to the Australian stage in “Rio Rita” at the St James Theatre, Sydney, on April 2S. Her records of numbers from this musical comedy will be released about the same time. A complete performance of “ The Messiah ” will soon be heard on the gramophone. The Columbia Company made a record of the performance conducted by Sir Thomas Beecham in the Central Flail, Westminster, -when the soloists were Dora Labbette, Muriel Brunskill, Hubert Esdell annd Harold Williams, formerly of Sydney. The discs, contained in an album, will probably’ be available in May. A novelty among new gramophones on the English market is one called the “ Picturegram.” This instrument is about the size of the average portable, and costs six guineas. The novel feature about it is that as the record is played small pictures “ illustrating ” the disc pass across the inside of the lid. The music and pictures keep perfect “ time.” The gramophone can be used in the ordinary way, of course, for all ten-inch records.

The Band of the Royal Air Force, conducted by Flight-Lieutenant J. 11. Amers, has made a series of four Regal records entitled Community Songs Selection. The numbers include: Drink to me Only, The British Grenadiers, Rule Britannia, Old Folks at Home, The Harp that Once, John Peel, My Old Kentucky Home, Keel Row, Annie Laurie, Danny Boy, Old Hundredth, All Thro’ the Night* Killarney, Marching Through Georgia, Song of the Volga Boatmen, and many others. Those liking band music will find this a very bright series. Another good Regal band record is one by St Hilda Colliery Prize Band, who play Sailor’s Life” from "Rustic Scenes” (S. Cope). Harold Williams, the Sydney baritone, who has won distinction in Englandi will be heard on the concert platform in Australia—and possibly, New Zealand —this season. Ilis fine voice comes out well in “The Ginchy Road” , a nd “Limehouse” on a new Columbia j-ecord-

Two “ His Master’s Voice ” records made during the Remembrance Festival Service in the Roy’al Albert Hall on Armistice Day,

and of historic interest to the British Empire, were issued in London on December 10 last, and should be here before very long. One contains the memorable speech of the Prince of Wales oia that occasion, and the other records the

singing of war-time choruses, hallowed

by memories of those grim days, by the gathering of 10,000 ex-service men and women. The proceedings were very simple in character: War-time choruses, the Prince’s speech, a prayer by the Bishop of London, and then a number of hymns. At ten o’clock those present left the building, and were joined outside the hall by 75,000 persons who had assembled in Hyde Park. A procession, headed by the bands of the Grenadier and Irish Guards, and by the Prince of Wales, was formed, and with blazing torches the multitude marched to the Cenotaph, where the “ Last Post ” and “ Reveille ” were sounded by trumpeters of the Life Guards, the Royal Horse Guards, and the 10th Royal Hussars. The profits from the sale of the record of the Prince's speech will be given to the funds of the British Legion.

Mr John Coates, the famous tenor, is about to celebrate his jubilee as a public artist. Son of a well-known Yorkshire musical family, he started his musical career very early in life. “We first heard John singing in a church congregation in Blackpool,” his mother has said. “He was then two years of age. During the singing of a hymn he stood on a seat and joined in heartily. When the hymn ended John didn’t stop, but he continued singing till his father lifted him down.” Not until 1894 did Mr Coates sing in London. For five years he appeared principally in comic opera and musical comedy. In 1901 he made his debut in grand opera at Covent Garden. Then it was that he established his reputation as one of the leading English tenors. Mr John Coates has done much to restore to favour old English songs. He has discovered many beautiful old melodies, and he has been the means of having old English verses set to modern music. Mr Coates rarely sings any but these old English songs of which he is so fond. When Sir Edward Elgar com-

posed his fine opera, “ The Dream of Gerontius,” he was indebted to Mr John Coates for much of its success in performance. II avi n g recently read how St Augustine sent to Rome for the aid of “Archchanter John,”' he expressed h: i s

thanks to Mr Coates by dubbing him

“Archanter John.” Mr Coates still chuckles when he recalls to mind a notice which he received in a newspaper when he first sang in public. “Mr Coates,” ran the paragraph, “ appeared in evening dress and sang a song”! Having roused a hall full of residents in an old-time town during one of his tours, Mr Coates asked an old man who “ kept ” the hall how the people had enjoyed the concert. “ Well,” replied the veteran, “ I aint ’card no complaints as yet ’!

Probably you have noticed in the recent Columbia list some records made by Don Voorhees and his orchestra, says an English writer. This dance band was created purely for broadcasting purposes by the Columbia Company, in America, who, it may be news to many, own a chain of about fifteen broadcasting stations in that country. As these records show, Don Voorhees has certainly gathered together a magnificent band, the solo work showing the excellence of the individual musicians. If you like dance records don’t miss these.

What is a gramophone lifebelt? Several readers have heard of It, and ask for further particulars. The “ lifebelt ” is a special connection which fits between the end of the tone arm and the sound box. In the ordinary way, as you know, the sound box fits direct to the tone arm. This style of adjustment, however, is sometimes considered to be too rigid, and the lifebelt—a small, flexible tube—is placed between. With this adjustment it is claimed that the records have a more natural tone, while harshness and “ blast ” on high notes are eliminated.

When handling a record keep your fingers on the plain edge. The. point is to avoid finger-marks on the playing surface, because finger-marks are moisture, and moisture is one of the worst enemies of your discs.

When I hear about these gramophones which play a score of records, electric motors which do away with the need for winding, needles which will play a dozen records without being changed, and so on, I can’t help wondering whether these devices to make the gramophone entirely automatic appeal to gramophone users generally, writes a London gramophile. Gramophones that need no attention may be excellent for dance halls or cinemas, but I believe it is the fact that you do have to w r ind up the instrument and. so on which is one of the factors in its success. You feel that you are indeed playing it, that you are an essential part of the performance. Make gramophones entirely’ - selfoperating and you will either become bored with inaction or, like so many wireless users, you will spend more time in “fiddling” with the instrument than in playing it. Michele Fleta’s new 11.M.V. recording of “Mi par d’ udir ancora” (I still seem to hear) from “Pescatori di Pcrle” (Bizet) and “O Paradiso” from Meyerbeer’s “L’Africana” is an impressive disc. Both numbers are sung

with an. expressiveness and opuencc of tone which are intensely moving.

Striking e\idence of the wonderful possibilities of the gramophone was given on Monday night, in the Concert Hall, when Begg and Co. gave a recital in which the new H.M.V, Re-En-trant Gamophone figured largely. There was not one in the building who at any’ - time failed to hear distinctly every note of the records played, surely a proof of the wonderful advance made in gramophone reproduction. It was a most enjoyable and instructive night.

Marguerite D’Alvarez .(mezzo-so-prano) will find many to admire her latest H.M.V. record “Caro Mio Ben" (Giordani) and “Down Here” (Brahe). Both are sung feelingly and with nice interpretation. Ivor Newton plays a pianoforte accompaniment. A bass of the quality of Ezio Pinza is a rarity'. He sings “Ninna Nftnna” from “Mignon” (Thomas) and “Le Tambour —Major Tout Galonne D’or” from “Le Caid’ '(Thomas) on his latest H.M.V. disc. The voice is large and vibrant and the record is one which should not be ‘missed. Ilina Spani of the exquisite soprano voice and brilliant artistry has made a new 11.M.V. record which will be welcomed by her admirers. Her numbers are “Mimi’s Farewell” from “La Boheme” (Puccini) and “In Those Soft Silken Curtains” from “Manon Lescaut” (Puccini). La Scala orchestra, conducted by Maestro Sabajno, accompanies the singer. Though it was written by Bach nearly 200 years ago, the great Motet, “Jesu, Joy, and Treasure,” remains one of the most beautiful devotional works in the range of church music. It is difficult of performance, and its reproduction for the gramophone adds to the difficulty, so that it is a matter of surprise that it should have been attempted. His Master’s Voice Company must have taken courage in both hands when they essayed to tackle the work. Well versed in the polyphony of Bach, the Bach Cantata Club, under the direction of Mr C. Kennedy Scott, gives a rendering of the motet in a spirit of the utmost reverence and devotion. There is faulty intonation in more than one place, but that is infinitesimal and pardonable in view of the greater issue, namely, the full realisation by the singers of the emotional beauty and the sublime character of the music.

ments is the development of electrical recording. The old method by which the performer sang or played into a great “horn” is now completely superseded. The microphone method enables clearer and louder reproduction and is much more sensitive. Now a microphone is placed in the room, and wires carry the sound to the recording chamber, where it is traced out on a wax disc.

Another great marvel is the automatic gramophone. This instrument is the invention of Mr H. L. Buckle, works manager of “His Master’s Voice” factory at Hayes. With twelve others ho has been working on his Robot musician for the past three years. I recently witnessed a demonstration. The gramophone, which is no larger than the ordinary horizontal model, has the familiar turn-table with a felt-lined cavity. At the beginning of the “concert,” twenty records were placed in a pile on the left; some were 12-inch and others 10-inch, the size does not matter. The demonstrator pressed a button at the side of the instrument, whereupon an electric motor started, the turn-table began to revolve, and a black arm descended on the pile of records and picked up the topmost record, placing it unerringly on the revolving table. Directly it had moved clear, the tone arm came down, inserted its needle, on outer groove, and the music was heard. When the record was finished, it lifted itself from the turn-table and passed into a recess on the right. It was then replaced by another record from the pile automatically. Thus, the entire twenty records were played. Occasionally one failed to please, whereupon another button was pressed, and the record was promptly replaced by another. All the manipulative Tmttons are on the instrument. But the gramophone caii also be controlled from the end of a cable, so that by sitting in your armchair you can enjoy a concert lasting over an hour and a half without getting up. The gramophone, via the buttons, obeys your every’ - wish. It is electrically driven at a cost of less than a penny' an hour, and will be sold for about £125.