RECORDED MUSIC.

Wanganui Chronicle, Volume LXXXIII, Issue 19532, 13 March 1926, Page 5 (Supplement)

RECORDED MUSIC.

THE WEEK’S NEW RECORDS. His Master’s Voice. Leulla Melius has made her gramophone debut in the H.M.V. recording room, and (remarks a critic) to judge by it she will rapidly become one of the most popular coloratura artists on the gramophone. Her choice was indeed a bold one, comprising two of the most difficult of Mozart’s arias, those of Pamina and Queen of the Night from “11 Flauto Magico, ” and well she acquits herself.

Everyone who cares for ’cello playing (and I think there are few who do not admire that noble instrument) will find Casals’ first His Master’s Voice record, when it arrives, a source of great pleasure. Casals plays as no one else can, with an ease and beauty of tone and phrasing which take one’s breath away. The true “Casals tone” that has made the great ’cellist so famous is caught with the most complete fidelity. * * #

Amongst recorded music of the “light” instrumental variety on the way. De Groot and the Piccadilly Orchestra record “Until” and the “Indian Love Call” from “Rose, Marie,” and the Salon Orchestra provide on another disc “The Glow Worm Idyll” and “Noia” —music for the end of the day in the twilight and with pipe alight. * # * *

Tn recent issues of recorded Chamber music, a pianoforte record by Pauchmann shows this player at his best in the “Nocturne in D flat major” of Chopin—Bachmann without the disturbing remarks, with full tone and poetic interpretation. On the other side is an “Etude in F Minor” and “Valse m C sharp Minor.’ Following Chopin there are a couple of discs giving Schumann’s piano quintet with Gabrilowitsch at the piano and the Flonzaley string quartet. The pianist is brilliant, and the strings give the real quality. The slow movement is a gem, ami although one or two cuts have been made, little is Jost. * * * * The Archbishop of Canterbury, addressing a conference of clergy, organists and choirmasters in the Canterbury Diocese at Canterbury on November 7, said the place of music in church worship whs as important a subject as any in the dsicussions on Prayer Book revision. It was one which concerned everybody in church life and who took part in public worship. “It docs not concern musical people only,” added his Grace, “I am a most unmusical person myself.” The Archbishop remarked that formerly it was thought that the only qualification for choirmaster and organist was that ho should understand music. His work was supposed to be of a most mechanical nature. To-day all that whs altered. We realised that the choirmaster and organist must be a musician and something more. He must understand church services and their meaning, and must be a servant of the congregation, and not merely of the choir and those attending. >

Aloro than those who have heard the English singers in actual performances will want to try a new record of theirs (due here soon). Morley's “Now is tlie Month of Maying ’’ and VaughanWilliams’ arrangement of a folk songare sung with the balance and ensemble no expect of this little party that sits at ease round a table and sings old ballats, ” folk songs, and madrigals. And St. Switliin’s Choir sings Christmas carols and hymns—-“ Good king Wenceslas,” “While Shepherds Watcher,” and so on—in a straightforward manner, good tone and ensemble.

The wonder discs of the latest 11.h1.A . parcel (to be hero soon), is the i eeiiriling of the great military pageant that marked the close of the Wembley Exhibition. It is a triumph of what one would call realism on the gramophone (says a reviewer). All the thrill and impressiveness of the great display seems to have been caught and impressed on the wax. The first record opens with “The Retreat,” sounded by the Grenadier Guards’ buglers. Then the massed troops come in singing with great life and vigour such well-known tunes as “Jolly Good Luck to the Girl who Loves a Soldier,” “Tommy Atkins,” and “The Soldiers of the King.'* Presently words of command ring out, and the march past of the Brigade of Guards begins to the most exhilarating martial music. The second record is even better, and recalls memories of It'll. (lore the massed troops pass Irom such jolly, catchy things as “Pack I p lour Troubles iu Your Old Kit Bag” and “It’s a Long, Long Way to Tipperary,” to the more solemn strains of “Onward Christian Soldiers,”

“Abide With Me,” ami “God Save the K On the last side a. splendid elle.-t is obtained by the music of the bands marching off in the distance. The sounding of ‘'Lights Out” and the striking of 10 o’clock closes two records of exceptional merit. The bands taking part include the Coldstream Guatds, Grenadier Guards’ Drummers, and Scots Guards’ Pipers.

After patiently playing through some eighteen different dance titles (and that takes some doing), I am convinced (says a. London reviewer of the H.M.V. Christmas dance budget, due here soon), the best dance discs I are the Savoy Orpheans playing of j“Araby” fox-trot, with “Kehoes of i Ireland” as a fox trot on the reverse. (Loth have real attractive melodies, absence of jarring effect, and delightful orchestration. Next, as a “best seller I should place “Moonlight and Hoses” fox trot, a relined, tine rhythmed piece (played by the Orpheans), with an excellent waltz, “Always” (played by the Savoy-Havana Build), on the second disc, either discs by the Savoy Orpheans are the pair of fox trots, “Normandy” and 1 ‘Charleston Baby of Mino,” and “Stomp off, let’s go,” with “I’ve got a Kcal Daddy Now” by the Savoy-Havana Band on the reverse. From the dance music of Jack Hylton’s orchestra the pick of the bunch is a splendid syncopated version of jhe beautiful old Scottish lune “When the Bloom is on the Heather,” with other delightful Scotch a : irs interwoven and played as a fox trot. It’s the sort of disc you decide to buy before you have heard it half way through. The second side has “Paddlin’ Madclin Home” fox trot, a good number to dance to. Two other pairs of fox trots played by Jack Hylton’s band received are “As the Days Go By” with “Evcry Sunday Afternoon” and “A Cup of Coffee, a Sandwich, and You,” with “Molly.” Some clever tuneful effects are to be heard in “Manhattan” and “Rhythm Rag” fox trots as played by Paul Whiteman’s orchestra. “Summer Nights” fox trot (Dan Boston’s orchestra), paired with “Dreaming of To-morrow” fox trot (Goon Sanders’ orchestra) is also amongst recent issues.

Which is to be the most popular song of 1926? asks the “Westminster Gazette.” At the moment, judging by various opinions expressed, “Babette” holds sway. It is closely rivalled by “Ukulele Lady’ ’‘and “If You Knew Susie.” “It is difficult to pick out one song as supreme in public favour,” said Mr Jack Hylton, who gave his vote for “Ukulele.’ “As a waltz, I think ‘Babette’ takes first place. 1 had to play it for 14 years at the Alhambra—and got heartily sick of it.” “Cute,” from the “Blue Kitten,” at the Gaiety, is going to Tie one of the songs of the Spring, said Mr Hylton. When the season arrives thrushes and nightingales may have serious rivals also in “On the Bam Bam, Bammy Shore,” or “Pal of My Citidle Days.” These, according to Messrs Francis, Day, and Hunter, are selling in a way that denotes popularity. “One of the most popular novelty songs, ‘Tale of a Guinea-Pig,’ is by an Englishman.” A song of which a quarter of a million copies have been sold is “Sominola. ” The rise of a sing into popularity and its Wane can be measured by the sale of gramophone records, according to an official of the Gramophone Company. Their sales at the moment show the favourites to be “When You and I were Seventeen,” “I. Miss My Swiss,” and “The Toy Drum-Major.” “Ida, I do,” by Isham Jones, is, by this method of computation, one that will be heard a great deal in the near ful lire.