MUSIC OF THE DISC.

Waipawa Mail, Volume LI, Issue 38, 13 December 1929, Page 1

MUSIC OF THE DISC.

LATEST GRAMOPHONE RECORDS.

Theme Songs. The goldcn-voieeil Ohulys Mont-mIT u I ways amazes us every mntilli uil li Die liin,ri<! purity and sweetness of her voice. She is at her very lies! in her latest olTcriim, a coupling of “Heart, o'Mine” Hmn ‘‘ Nuali’s Ark’’ and “When My Dreams Come True. 0 from “The Coronnuts.” Gladys goes si might; to the heart, with her simple and direct sentiment. Hew singers have her power of sincerity. (Columbia 01083). Famous Continental Orchestra. The Zurich Tonhalle Orchestra, conducted by Dr. Andrea, make their debut on the gramophone with a “Concerto Grosso in D Minor” by Vivaldi. This early eighteenth eon Jury developer of the concerto. p> iesl and tiddler, conducted the first wo men’s orchestra. This concerto _is line, vigorous work, spare, loud, slronuly built and bracing. \ ivaldi was the father of const rind ion in music and this great work is technic ally as sound as a bell. Dr. Volkman Andrea makes a first rale job ol if. He has- been chief musician in Zurich for over twenty yea's now, and lias rim the Conservatoire there- the foremost in Switzerland for at least capital sense of balance and progress, Mid bis string lone has less ol the Metallic quality than many recent records imparl. (Columbia 02932). “Mother Goose” Suite. Willi all its subtlety and origin alii ,\\ Havel V “Mother Goose” Suite vet makes an instant appeal by its melodic beauty and illustrative cun ning. It ripples \ itli dainty fancy and pi(|iianl inventiveness, and suggests the bright playfulness of a s-rper-fairv-godinolber amusing a party of elliereali; -d children. Wit ai< 1 misehivoiis fin* sparkle in every lie ■ The New Yo'k Symphony Or-eh'-stra under Walter Damvoseli. gives a performance that could hardly be b< Itered in reline.nenl and tonal charm. This woodwind lias a Duality that threads a perpetual delight though I lie* interprctnl ion, while the delicate smoothness of the strings holds our wonder fiom first to last. The reproduction is splendid. A really worth-while recording of a masterly work. (Columbia 02905-07). Grenadier Guards’ Latest. Taking advantage of the War Olliee permission to adopt the lower pitch, the Grenadiers- have been the firs! regiment to equip themselves with new instruments. It has cost them Clooo. Money well spent, will say all who have their latest record, a bold martial pairing of two popular marches, “Stars and Stripes for Ever,” by Sousa, and Alford’s- evergreen “Colonel Bogey.” Their tone is much improved and, as ever, they contrive to add just tli at dash of excitement that makes all the difference in music of this genre. (Columbia 01C42). A Ruth Etting Record. That dainty and sparkling comedienne, Ruth Etting, who lias follow

cd her success on the records with a still bigger one on Die Talkies, makes a most attractive record of the jolly “You’re the Cream in My Coffee,” from “Hold Everything.” The same entertainment supplies material for Die reverse, “To Know You is to Ijovl* You.” Ruth lias a great voice and a most engaging personality, which comes over as large as life on the gramophone. (Columbia 01664). More Theme Songs. Len Maurice, the Columbia baritone whose records have been so popular of late, adds to his list of successes with an excellent version of two theme songs from “The Rainbow Man.” These are Die tender “Little Dal”- those who liked “Sonny Boy” will enjoy Diis too—and “The Rainbow Man.” (Columbia 0166(1). •lames Melton is another Columbia singer with a big following. His manly tenor is beard at itw best in “Sleepy Valley” from “The Rain bow Man” and “Pagan Love Song” from “The Pagan.” (Columbia 1)1620). Harold Williams Solos. That fine Australian singer, Harold Williams, who though young in years contrives to rank as a veteran at Covent Garden, is in great voice on bis latest record. Most reader* will cordially welcome bis version of “Onaway, Awake Beloved” (Cowan’s setting) for its- vigor and fire, and for just that right touch of suppressed passion which he deals out with true artistic reticence. His manly, ringing and unaffected tones have rarely been beard to belter advantage. On Die reverse is Goatly’s fine setting of “Can’t Remember.” The piano accompaniments come through splendidly. (Columbia 01695). Two Black Crows Again. Some little lime ago we were promised a fresh “Two Black Crows” record, ll lias come. And readers will be glad lo be assured that Mo an and Mack arc in as riotously nonsensical a mood as before. They say that the sales of “Two Black Crows” far exceed those of any other artists. Well, no one will grudge them their triumph as long as they provide such excellent foolery as this. The titles are “Esau Buck—the Bucksaw” and “Eoolishmenls.” (Columbia 01(571).