RECORDED MUSIC

Wanganui Chronicle, Volume 71, Issue 219, 15 September 1928, Page 17 (Supplement)

RECORDED MUSIC

TIIE WEEK’S NEW RECORDS COLUMBIA Maria Kureuko (1.) La Bohcnic—“Musctta’s Waltz Song” (Puccini); (2) “Mignon—“Gounais tu le Pays?’’ (Thomas). Sung by Maria Kurenko, Soprano. Col. (»3573. This fine singer, comparatively new to thc gramophone, has already been acclaimed thc find of the American season, one famous critic going so far as to rank her the equal of “the Swedish Nightingale,’’ Jenny Lind. Her voice on this disc certainly shows amazing flexibility, and a flutelike clearness, while her production has the effortless ease that stamps thc naturally gifted singer. In the familiar Waltz Song she is sweetness itself. Her singing is full of a gay personality, which makes them far more attractive than the usual faultless but cold utterances. The recording is magnificent. Madame Elsa Stralla (1) “Goodbye’’ (Tosti); (2) “Waltz Song from Tom Jones’’ (German). Sung by Aladame Elsa Stralia, soprano. It is a pleasure to no-te that Elsa Stralia is recording again after a long lapse and seems likely to continue. This talented artist has been silent for too long. We hear again in Tosti’s “Goodbye’’ the same purity of enunciation, thc same easy flow of bell-like sound that has charmed so many audiences. Her headnotes arc beautifully produced: all she lacks is colour, and even this is more in evidence in the Waltz Song. An Engaging Orchestra

(1) “The Clock is Playing” (Blaauw); (2) “Chanson Bohemienue” (Boldi). Played by Jean Lensen and his Orchestra. Columbia 01102.

The success of Jean Loosen’s recent tour of Europe with his Orchestra must be taken as a great compliment to them, considering how comparatively modest is their organisation. It proves that the world is still fond of a good tunc melodiously played. This orchestra has a flair for picking out happy numbers, and rendering them with a soothing and restful grace. Their style is infinitely refreshing. There is something fragrant about ‘‘The Clock,” with its bell effects and its imitation of an old-world grandfather clock. This disc should enjoy a wide popularity. The Songs of New Zealand.

(1) “Ka Mate”; (2) “Hine E Hine.” Col. 01067. (1) “Whaka Ariki” (Hill); (2) E Pari Ra. Col. 01058. (1) “He Waiata Aroha” (Hill); (2) “Titi Torea” (Hill). Col. 01059. Sung in English and Maori by Ernest McKinley, tenor. Thc more one hears of this scries of New Zealand records, the more one feels that Columbia have done a very fine thing in producing them. There are some really great songs among them. 1 defy anyone not to be stirred by the dramatic, “Ka Mate,” with its famous haka, or the thrilling “Whaka Ariki.” from Alfred llill’s Maori Opera “Tapu.” Again, the lullaby “Hine E Hine” is worth ranking with the worldfamous Welsh song “All Through the Night” in the beautiful simplicity of its melody and i s soothing effect. Alfred Hill, the famous New Zealand composer, is well represented in this series by five or six songs, all of them a good deal more than “worth listening to.” McKinley has a grand voice, and, singing usually with alternative verses in English and Maori, has produced some records that considerably enhance his reputation. He H the principal tenor in thc Wes> minstcr Glee Singers, at present touring Canada, and has been noted for years past as a fine singer. Every Nosy. Zealander should strive to posses at least a few of these records; they are worth a place in any collectaOn in the world and should make u< p ./ud of our Nation d music. Eraser Gauge (1) “The Little Irish Girl”; •?> ‘ Naic/ Loe.” Cj'. 01057. J) “Ann •• Lauric”; (‘) ‘Lassie U' Mine.” Col. 01056. Sung by Eraser Gangi*. baritone. There may be great or artists than Fraser Gauge, but few who can so app'-al to Britons throughout the En.piio. He certainly has a fine voic--.» fu'i of warmth and colour, with a round open tone, gpod range and, good pioduction; but his best quality is ms knack of singing as man to mm. And he has the rare knack, too. of getting his engaging personality across on the gramophone. These four popular .-<>ng;> need no commout.. Perhaps the best of them is the pair int c -he id.icking, almost slia J.yiike “Nancy Leo” with the roguish “l itr.*- Ir’->l Girl.’’ Reproduction is splendid, an.d perfectly life-like. Magnificent Russian Singers (1) “Serenade —Nocturne” (Abt; (2) “Cont redance—Russian Songs.” Sung by thc Kcdroff Male Quartette. Col. 02595. The tas\» for male voice part singing is easily come by, and not easily lost. It is a grand art. The singing of th.- Kcdroff Quartet makes one regret that this art is now almost dead in its original homo, England. Composed of singers with great imd-ividual reputations, the Kcdroff four produce a continuous delight in harmony and counterpoint, controlling their tempo with astonishing verve and ranging from sparkling staccato to opulent sonority. A real artistic joy.

Pleasing Duets (1) “Springtime” (Newton); (2) “At Love’s Beginning” (Lehmann). Duets by Dora Labrette and Norman Allin. Col. 01101. These two celebrated British artists, Dora Labrette and? Norman Allin. make an agreeable combination, Miss Labrette’s singular sweetness with Allin’s impressive bass. The voices blend, exceedingly well, considering their contrast. Their choice of numbers is a happy one, though Arne’s setting of “Springtime” (which turns out to be Shakespeare’s “It was a lover and his lass”) would have been more acceptable. Newton’s version is apt to be a bit jerky. “At Love’s Beginning” is one of Liza Lehmann’s happiest settings, and the two artists tackle it with just the right amount of sentiment. HLS MASTER’S VOICE A Symphony of “Heavenly Length” “Symphony No. 7 in C Major” (Schubert), by the London Symphony Orchestra, conducted, by D. Leo Blech. H.M.V. D 1390-1395. Schubert’s great “C Major Symphony” is a monumental worlf. It. was written in 1828 during the last few months of Schubert’s life. After Schubert had completed thc “Symphony” he submitted it to thc Vienna Music Society (Musik-Ver-ein), but when it came to be rehearsed it was found to be “too long and difficult.’’ Ten years after Schubert died the manusciipt of the symphony was discovered by Robert Schumann (the composer). He immediately had it copied out and sent the copy to Mendelssohn, who was at that time conducting the Gewaudhaus Concerts. Mendelssohn introduced it at one Of the last concerts of the season, with great success. In the next season (1839-40) he had it performed with great success no less than three times. The symphony is admittedly a long one, but as Schumann said it is of “Heavenly length” and it would be a strange listener indeed who found it hang heavily on him. Its length is entirely discounted by the intense feeling of spontaneity, and the neverfailing beauty and novelty. Schubert’s melodies are strewn through the work as lavishly as they are in any of his works. The Schumann Concerto

Alfred Cortot (pianoforte) and the London Symphony Orchestra, (conducted by Sir Landon Ronald), Concerto in A Minor. Op. 54 (Schumann). The work here re-recurded is ‘ the only complete piano concerto that Schumann wrote. Dr Spitta writes of it (in Grove’s “Dictionary of Music and Musicians”) as follows:—“It is one of his most beautiful and mature works. In addition to all his peculiar originality it has also the qualities, which no concerto should lack of external brilliancy and striking, powerful, well-rounded subjects.” The concerto is too 'well established a favourite in the concert hall to need further introduction, so we proceed at once to a brief consideration of the music itself.” (11.M.V. D 8.1062.) Favourite Piano Pieces Mark Hambourg (pianoforte), in “Trauinerei” (Schumann), and “Humoreske” (Dvorark). Thc two pieces which Mark Hambourg has played for this record are both so well known that they need no description; they have the. sort of melodies which you cannot always pin down with a name. H.M.V. 8.2685.) On the Wurlitzer Organ Wurlitzer organ music is represented on the H.M.V. list this month by Reginald Foort in “A Brown Bind Singing” (Haydn Wood) and “Schon Rosemann’’ (Kreisler). Reginald 1* oort appears to be as nearly infallible as is humanly possible. His records seem always to be the most pleasing, novel, and charming imaginable. His new recond is an example of this. He has given run exceptionally piquant performance of Kreisler’s famous waltz tune, “Schon Rosemarin ” (82664). Then we have Jesse Crawford, with Schubert’s “Serenade” and Tosti’s “Somewhere a Voice is Calling” (E.A.325), two favourite melodies capably played. Latest Musical Comedy Selection?. Amongst the latest musical comedy successes and the operetta. “The Gypsy Baron” (M. J. Strauss\ and “Hit the Deck” (Youmans). The HM.V. September list his an excellent. selection of the high \qhls r.f the former by Kaufman’s orchestra (C 1393 while the Savoy Orphoans are in excellent form with liv \iy selections from thc latter, introducing “Join thc Navy,” “The Harbour of My Heart,” “Nothing Could be Sweeter,” “Shore Leave,” “Lucky Bird,” “Hallelujah” (C 1408 Four Fine Concert Waltzes International Concert Orchestra in Zonophone E.F. 15, “My Treasure’’ (Bccucci), and “La Spagnola” (Di Chiara). E.F. 18. “Sari” (Kalaman);“Waltz Dream” (Strauss). “My Treasure” or “Tesorio Nlio” is one of the old familiar waltz favourites played with vivacious style, whilst in “La Spagnola” Hawaiian guitar and jazz effects are introduced. The other two are equally attractive waltzes, and which will prove quite delightful. New Zonophone Dance Numbers The following new Zonophone dance numbers will be found acceptable: —Bert Firman's Dance Orchestra (E.E. 103), in “Janette.” waltz, and “The Trail of the Tamarind Tree. ’ ’ The Rhythmic Eight E.E. 104), in “Momsy” (waltz), and “So Tired” (.fox-trot). Harry Lauder’s Laugh Zonophone has issued a good disc by Sir Harry Lauder, with orchestra (G.O. 78), in “The Waggle o’ the Kilt” and “Nanny (I Never Loved Another Lass But You”). Interest never wanes in the records of this great Scotch comedian. The following is a sample full of the broad humour, broad accent and infectious laughter we all associate -with the great Sir Harry. You should never be without a few Lauder record'. They are a tonic at all times and are appreciated by every class of audience.