RECORDED MUSIC

Wanganui Chronicle, Volume LXXXIII, Issue 20104, 24 March 1928, Page 17 (Supplement)

RECORDED MUSIC

THE WEEK’S NEW RECORDS. HIS AIAiSTER ‘S VOICE A Rival to ‘ ‘ Hear My Prayer. ’ ’ Those of you —and you may be numbered in thousands by this time—who were thrilled by the vocal sweetness and purity of the singing by Alaster Lough of the 'l'empli' Church Choir of the solo part of the opening numbers of Alendelssohn's “Hear Aly Prayer,” as revealed in the record-selling H.AI.V. disc, will be equally thrilled by the new disc representing the famous boy soprano in two further oratoria numbers — this time from Alendelssohn’s St. Paul. Of these, the aria, “I Waited for the Lord’’ is a magnificent effort,

rivalling, if not exceeding, the “Hear Aly Prayer” record. The companion number is equally entrancing. « * # * Polly with a Present—and a Future. If you are anxious to have and possess the latest dance hit, got “Polly.” the most popular of all the newest and most exhilarating of fox-trots. It is calculated to set the feet a-tingling, and is a most demoralising antidote to the blues. The companion number, which tells musically of one “Aleyer,” is a worthy bracket. #‘* * * Vocal Gems from the ‘ ‘ Gondoliers. ’ ’ Another fine Zonophonc record containing vocal gems from one of the most popular and melodious Gilbert and Sullivan operas. A worthy companion to the. already issued vocal gems from “lolanthe” (A. 312 “ Pinafore ” (A. 317), and “Yeomen of the Guard” (A. 321). This record contains all the favourite melodies which have helped to make the “Gondoliers” such a lasting success. The singing and recording arc 'magnificent. A. 325. '#* # #

Gioconda.—Dance to the Hours. The “Dance of the Hours.’’ which is frequently played in most theatres and moving picture shows all over the world, is the ballet music from the third act of “Gioconda,” the impersonating the hours of the day and night. The music is full of charm and grace, ami the admirable playing of the Victor Symphony Orchestra is finely recorded. (Zonophonc, E.F.12).

Popular Dance Hits Amongst the newest H.M.V. dance discs ought to be hoard Tod Weems and his orchestra in “She’s Got It”— fox-trot vocal refrain by Parker Gibbs; Johnny Hamp’s Kentucky Serenaders in “I’m Afraid You Sing that Song to Somebody Else”—fox trot. (E.A.222); The Troubadours in “Just Like a But-terfly”—fox-trot, vocal refrain by Johnny Alarvin, and “Ain't that a Grand and Glorious Feeling”—fox-trot, vocal refrain by Franklyn Baur (E.A. 224); the International Novelty Orchestra in “I Was Blue”—fox-trot (from “Alcrry-Alerry”). and “It Alust Be Love” —fox-trot (E.A.225); Paul Whiteman and his orchestra in “Shanghai Dream Alan’’—fox-trot, with vocal chorus; International Novelty Orchestra in “Parec” —fox-trot (American version of “Ca, C’est Paris) (E.A.230); The Troubadours in “Can’t You Hear Ale Say I Love You” —waltz, vocal refrain by Franklyn Baur; Paul Whiteman and his orchestra in “Just a Alcmorv—fox-t rot (E.A.231).

* * * * Some New Zonophones. The new Zonophonc record of the “William Tell’ (Uerturo represents a triumph for the new system of electrical recording. The recent issue of the “Poet and Peasant” Overture set the Zonophonc Co. a high standard to maintain, but the record just issued is actually an advance on that, excellent though it. was. * * * * A Gerald Griffin Disc. Gerald Griffin, the popular tenor, delights us once again with two Zonophonc releases. “When You Played the Organ and I sang the Rosary” receives admirable treatment on Zono 2972, where it is paired with “Old Names of Old ‘Flames.’ ” Of course, the kincma organ is pressed into service, adding appreciably to the enjoyment of Gerald Griffin’s singing. On Zono 2973 he gives us two late-hour successes in “Honolulu Moors” and “What Does It Matter?” * * * * Musical Monologues,

The musical monologue comes into its own, Arthur Chesney acquitting himself nobly of some of his own delightful artistic compositions. “Subtleties” and “Hoops and Sawdust” will leave a lasting impression.

Two Popular Tenors. Two tenors, Franklyn Bauer and Lewis James (better known in the United States, perhaps, than here) regale us with two favourites of the moment, to wit, “Russian Lullaby” and “Charmaine, ” the big waltz success. A happy pairing, this record, and one which is sure to be in great demand. * * * ♦ Zono Dance Music. A long list of new dances is likewise available on Zono, the Devonshire Restaurant Band and Bert Firman’s Dance Orchestra, between them being responsible .for no fewer than twelve fox-trots. The pick of the basket are “In a Japanese Garden,” “Red Lips, Kiss Aly Blues Away,” “Himazas,” and “You Went Away Too Far.” They sparkle with instrumental surprises. » * ♦ « Comic Dialogues—“Sam’is Big Night,” —* ‘ The Morning After. ’ ’ How shocking it must be to have one of your best friends come home at 3 a.m. with one of his cronies from a secret society, both in a hilarious mood! Samuel Smith brings home the Brightest Diamond in the Order of the Jewels of the Crown. Henry, who has been sleeping objects to being disturbed. Amusing complications follow. (Zono- , phone E E 72).

COLUMBIA Mozart’s “Jupiter” Symphony. “Symphony in C Alajor (Jupiter)” —Mozart. Sir Dan Godfrey conducting the Symphony Orchestra. Columbia U 4043-4(». (Emir records in album). The “Jupiter” was the last, of that wonderful trio of symphonies that completed Mozart’s long list of works in this form. The three were written between June 26 and August .10, 1788, an astonishing short time for works of such perfection, and emphatic proof of the inspiration that dominated the composer. As one famous critic has remarked: “Considered as pure music, it is hardly worth while to ask whether the world possesses anything more perfect,” ami another still more famous, Jahn, terms the “Jupiter” the greatest and noblest of all Alozart’s symphonies.

Sir Dan Godfrey and the Symphony Orchestra provide a reading full of vitality ami charm, the typically Alozartian melodies rippling with life and tin* climax astonishingly vivid. 'Th-' best points in the playing are the clearness, the bright water colours of the wood-wind, and the firmness of attack. The orchestration is wisely kept light, and Sir Dan Godfrey admirably catch<*> the spirit of the great composer. Recording is cxceqitionaily clear. A Thrilling Pianoforte Recording. “Sonata in F Alinor for Pianoforte” (Brahms). Pianoforte Solos by Percy Grainger. Col. L 1736-9. (Four records in album). This sonata has not been previously recorded, ami the appearance of Columbia’s Album is very welcome. The work is given to us complete, save for the omission of two repeats that do not amount to “cuts.” Moreover the breaks are well arranged, and it is obvious all through that a lot of trouble has been taken. The F Alinor Sonata represents the highest point reached by Brahms. When lie wrote it the composer was a whole-hearted romanticist, and Grainger’s temperament makes him quite the right pyinist to choose here. No one, I think, could better his hand-' ling of the Trio of the Scherzo, and the exquisite litle Intermezzo he plays splendidly. It must have been a difficult work to record, for Brahm’s writing is often thick, ami he often calls for heroic treatment that makes heavy demands on a soundbox. Nevertheless, the Columbia experts have come out very well of a trying ordeal, and the recording will make one of the most popular additions to the gramophilc’s pianoforte collection. * * * ♦

Alfred. O’Shea. (1) “Berceuse de ‘Jocelyn’ ” (God ard). Sung in French; (2) “Agnm Dei” (Bizet). Sung in Latin. Colum bia 04013. and (1) “Vale.” (d’Arcy);

(2) “A Song Remembered” (Coates). Columbia 03511. Sung by Alfred O'Shea, tenor.

That splendid Australian tenor, Alfred O’Shea continues to delight us, not only with the richness of his voice, but also with excellence of the fare he serves uji for us. The soothing melody of the lovely lullaby from Godard’s now almost forgotten opera, “Jocelyn,” which was first produced in Paris many years ago, is especially pleasing. O’Shea sings it with great warmth and tenderness. On the reverse side is one of the loveliest melodies composed by Bizet, “Agnus Dei,” sung with convincing expression rising to an impassioned climax. On the. smaller record arc two songs much .in request which show the delightfully sympathetic quality of his voice of great advantage. His high notes ring out with great richness and resonance, and we notice again how remarkably well he records. X; * * Hubert Eisdell, Tenor. (1) “All Suddenly The Wind Comes Soft.” (Burr); (2) “Do You Know Aly Garden?” (Haydn Wood). Sung by Hubert Eisdell, tenor. The silky softness of Hubert Eisdell’s voice has seldom been better displayed than in these two modern songs. There is a charmingly poetic atmosphere about Burr’s “All Suddenly The Wind Comes Soft” that Eisdell suggests in delightful manner, and it is well balanced by the effective simplicity of Haydn Wood’s happy number. The vocal quality is typically Eisdell at his best. A little more “robustiousness” and he might have been one of the really great, but as it is he has an unusually artistic outlook and shows a real feeling in all his songs.

His Alaster’s Voice agents, Alessrs. Ellery Gilbert, Ltd., report having received supplies of the record “I Waited for the. Lord,” and “O Come Everyone that Thirsteth” and it will beyond all doubt prove as popular as

“Hear my Prayer” which wrs the first number recorded by the. famous Temple Church Choir. Alaster Lough’s beautiful voice is delightful in this new record and the sweet tone, of the choir ami organ accompaniment makes it a remarkable and noteworthy number. **♦ ‘ * Carillon Solos. (1) “Annie Laurie”; (2) “Believe. Ale, If AH Those Endearing Young Charms” (Old Irish Song). Carillon solos by Kamiel Lefevere of Alalines. I’laved on the Ottawa Carillon. Columbia 0884. There are few c/irilloneurs, the leader being undoubtedly Kamiel Lefevere, of Afalines, and, in bringing him to England to make this record, Columbia have shown an enterprise that will probably lead to a new vogue in carillon records. A carillon is n set of great bells in a tower played from a keyboard, the player striking the keys with his fist encased in a thick velvet glove. These are the. first carillon records ever made. Lefevere uses the great Ottawa Alemorial Carillon, which was on view at the Wembley Exhibition, and is one of the largest in the world. He plays two favourite airs with considerable charm, especially the old Irish song, and it looks as if there is a new thrill in store for gramophiles. * * ♦ ♦ The Chemiavsky Trio. (1) “Alomcnt Musiealo” (Schubert); (2) “Trio in D Alinor”—Scherzo (Alendelssohn). Played by the Chcrniavsky Trio. Columbia 084 A

These three great brothers—Jan at the piano, Leo at the violin, and Alise.hel with the ’cello—are by now too familiar with the music-loving public in New Zealand to call for much comment on my part. Sufficient is it to say that all their recordings for Columbia reflect the same graceful charm and the same sense of unity as their actual performances. The “Musical Moment” is, of course, the one; Schubert wrote half a dozen, and this is by far the most popular. The Scherzo from the Trio in D Alinor is one of Alendelssohn’s most sprightlicst excerpts—a happy-go-lucky thing with a laugh in every note. Recording is splendid.

The Grenadier Guards. (1) “The Two Little Finches—Concert Polka (Kling); (2) “The Lark’s ' Festival” (Brewer). Played by the ■ Band cf 11. M. Grenadier Guards. Columbia 02539. Seemingly the hand of the Grenadiers ; can produce clever soloists a.s praiseworthy as its Splendid ensemble. These distinctive instrumental records provide opportunity for the display of. their art. The. first in a concert duet by Corporal ' West and G. Regan, and is a fine exhibition of technique, even in the most elaborate passages the lone being mellaw and pure. And it is a great, treat to hear a piccolo solo given with the clearness that distinguishes this rendering of “The Lark's Festival” and the soloist, C. E. Bowen, must be complimented. This should be a very popular record.