RECORDED MUSIC.

Wanganui Chronicle, Volume LXXXII, Issue 19437, 24 October 1925, Page 21 (Supplement)

RECORDED MUSIC.

His Master’s Voice. Have you ever heard these? If you have not, then you ought to:—“O vccchio cor” and “Sei vendicata assai”; “Per me giunto ” and “Vien, Leonora”; ‘‘Visione fuggitiva” and “Ah! non mi ridestar! ”s “O casta fior” and “Ah! non avea piu lagrime”; de Luca, “Dio possente” and “Di provenza il mar”; “A tanto amor” and “Ah! per sempre io ti perdei’’; “Prologue” from “Pagliacci, ” “Pari siamo,” and “L’onore! Ladri!’*; “A tanto amor” and “Non piu andrai,” Buffo; Battistini, “O casta fior” and “Pauvre martyr obscur. ’ ’

Some interesting notes from recent dance issues:—The Savoy Orpheans have surpassed themselves once again, and seldom have played better than in “Oriental Moon” and Too Tired.” The first, which reminds one of a fair, has more individuality than most tunes nowadays, while 1 ( Too Tired ” is a perfect tour de force of playing. Kashmiri” and “My Kid” are played by the same band. The former, which is arranged on melodies from Amy Wood-forde-Finden’s “Indian Love Lyrics,” open with a most seductive air, and is in every way delightful. »«• *

Backhaus is well suited for tho gramophone largely because of his fine rythmic clarity, writes a correspond-' ent. 1 first heard him play in the Schubert “Wanderer Fantasie,” and wished that Schubert himself (who used to swear at the finale) could have heard Backhaus. There is quite a fair list of Backhaus records available to judge from the H.M.V. catalogue. n’ -e

When a child left to his own devices and a library of records ranging from Hawaiian hulas to the Bach “Chaconne,” unhesitatingly plumps for the latter, and at the ago of four years has developed a taste for Beethoven’s symphonies, and knows exactly which movement of which symphony he wants at a particular time, the case, remarks a contributor to “The Gramophone,” is clear.

If a million couples have danced tc the playing of the Orpheans at the Savoy Hotel in London, how many milions have heard them on the wireless and the gramophone? One is told that five millions of their records have already been issued to the public by H.M.V. alone. One is told that “three to five hundred new dance pieces are composed every week,” and that every week “thirty or forty new items are added to the repertory of the band,” and that the Orpheans who at a conservative estimate carry from five hundred to a thousand current tunes in their heads change their programme gradually but completely about every three months. Half a dozen test records are often made before the critical taste of the experts is satisfied with a tune; but as topicality is the essence of dance music the records once passed are issued tvith lightning speed from Haves. The latest records made by the Orpheans, “Two Eyes,” “Poor Little Rich Girl,” “Scminola,” and “Blue Evening Blues,” are on the way.

I fan confidently recommend any of Madame Hempel’s records to even the most confirmed sopranophobe amongst gramophiles (remarks the editor of “The Gramophone,” in a burst of enthusiasm). They are without exception beautiful examples of a delicate style and the*product of an unusual musical intelligence. Madame Hempel’s records must be grouped into two distinct classes: The recordings made in recent

years and those made in the pre-war days from 1910 to 1914. The majority of the records in the latter class have been included in the Gramophone Company’s No. 2 catalogue of “Records of Historical Interest.” I consider that most of the records in the No. 2 catalogue have every right but that of recertness to be in the general catalogue; .they are certainly a far more interesting selections than that which has found its way into the 1925 catalogue. There are no lieder included in the excerpts j in the historical records, bub instead we ; have the “Queen of the Night” arias: from “The Magic Flute” and the only ■ soprano record from the “Seraglio” ini a British catalogue. Hempel’s sieging i of the “Rache Arie” of the “Queen of the Night” is stupendous. Columbia Recordings There is a vast field of tuneful classical music awaiting exploration by ; people who do not profess to be musiI cal, and yet ‘know what they like’ | when they hear it. To such the lovely second movement from Haydn”s String I Quartet in F Major is recommended. It |is the “andante cantabile’’ and is i played by the Lener String Quartet. It ■is from one of the earlier works of ! | Haydn and certainly one of the most | simple and tuneful. In the movement I referred to the violin is heard to a I lovely pizzicato accompaniment by the [ other instruments. A striking contrast i is offered on the other side of the disc | in Dvorak’s “Nigger Quartet” in F: i Major. Most people have heard his | “Humoresque” and soma of them may | think it is the only thing ho ever wrote. I They should hear this charming quartet I —there is nothing of jazz or rag about I it; but it will be acceptable to all who ! really like tuneful musi’e. | ' =:•- * * * I Mr Arthur Jordan, the London tenor, ! with a great reputation, is to be heard in March in New Zealand. He comes as no stranger, for his records are to be found in most selections. He will sing here in oratorio. The Columbia catalogue contains his arias “If with all your hearts” and “Be thou faithful” from “St. Paul”; “But thou didst not leave,” “Thy Rebuke,” and “Ho that dwelleth in the Heavens” from “The Messiah”; and “Sound an Alarm” and “How vain is Man” from “Judas Maccabeus.’ ’ Mr. Jopdan’s operatic selections include “Take a pair of Sparkling Eyes” from “Tho Gondoliers” and “Is Life a Boon” and “Free from his fetters” from “The Yeomen of the Guard.” Among his platform numbers catalogued are tho. appealing “Songs of the Hebrides,’’ i the Chanties “Shenandoah” and i “Away for Rio,” “Crossing the Bar” and “Drink to me only with Thine Eyes.’’ ❖ *

Some idea of the beauty of Cathedral choir singing as it is in England can be gathered from the records of the hymns “For all Thy Saints” and “The Old Hundredth.” These have been reproduced from the Columbia Cathedral Octet, directed by Hubert Foss, and have organ accompaniment. The result is most gratifying, and it is quite possible that these records will be very acceptable in home away back where there is no church near at hand, and most likely a gramophone.

The possibility of a return visit of the Gonzalez Grand Opera Company stimulates interest in operatic records. •Of these “Madame Butterfly” is a great favourite. There are several selections of this fine work in the Columbia catalogue. Special mention may be permitted of that of the Royal Guards Band, a brilliant combination. In orchestral arrangements of “Butterfly” there are tho records of performances by New Queen’s Hall Light Orchestra—which records only for Columbia. This record is on both sides of a 12-inch disc and contains “Un bcl di vedremo” (One Fine Day), “Let’s drink to the newly wedded couple,” and the introduction to Act 1 and tho two Finales to Scenes 1 and 2 of Act 11. The Court Symphony Orchestra likewise has a fine two-part, record of principal airs including “Shake the Cherry Tree till every Flower” and “Farewell, O happy home.”

“Katja the Dancer” is coming to Now Zealand (after Australia) where iu should be a great draw at Christmas time. Columbia has the good fortune to have made record of the lyrics ; n “Katja” from the singing of the principals in the original representations at the London Gaiety. These are Lilian Davies, Gene Gerrard, Ivy Tccsmand, Reno Mallory, Bobbie Comber, and Gregory Stroud. “Through life we go dancing together,” “When we are married,” “If you Cared,” “Just for a night,” and “I’ve planned a rendezvous” will be found in the latest list by these artists. “Leander” and “Those Eyes so Tender” also can be hoard through these records just as they were sung at the Gaiety. Foxtrots of “Leander” and “Just for a night” by the Hannan Dance Band are also available, and fresh supplies have

arrived. There, too, is a fine selection of “Katja” . by the Gaiety Theatre Orchestra. The “Katja” dance records are in great request.

One of the latest Regal records to reach New Zealand is the “Musical Switch” of Kenneth J. Alford, which it is practically certain -will be in Ihe repertoire of the splendid band of the Argyle and Sutherland Highlanders. It .is a record that is sure to give pleasure, not only to those who will hear this band play in Dunedin, but to those who include it in their collections of band pieces. The “Switch” is a clever piece of musical dovetailing.