RECORDED MUSIC

Wanganui Chronicle, Volume 74, Issue 144, 20 June 1931, Page 7 (Supplement)

RECORDED MUSIC

THIS WEEK'S NEW RECORDS. Liszt Rhapsody. An orchestral arrangement of Liszt's ‘ ‘Hungarian Rhapsody, No. I,” is brilliantly played by the Berlin State Opera Orchestra under Dr Leo Blech. I’ll ’ characteristic folk themes and peculiar rhythms seem to come out in greater detail when orchestrated, and • there is another striking example of . this in the performance of the “Hun- - garian Rhapsody, No. 2,” by the Phila-

delphia Symphony Orchestra, which was recorded some time ago. It was not until the time of the great Hun garian composer, Franz Liszt, that the name Rhapsody-, originally a poem or ballad sung by a wandering poet, was applied definitely to form of musical expression. Liszt, who was a master of the romantic school, like other composers of this period, strove to express in music nationality, virtuosity, and dramatic expression. Therefore in bringing to the attention of the niusi cal world the beauty ot the folk music of his native land, Liszt chose the old rhapsodic dramatic ballad type of expression. He called his works Hungarian rhapsodies, and used for his thematic material the foil: songs and darces of his native land. The playing by the Berlin Orchestra is remarkable for its definition of tone, and the conductor's interpretation is marked by a keen appreciation of Liszt’s vital accents. (H.M.V. B 3135 and 83136.) A Charming Little Tone Poem. “•Springtime in the Forest” (Zimmer); played by the Little Salon Orchestra on Columbia DO 339. An intriguing orchestral combination has made its first Columbia record for the June supplement. It is tho Little Salon Orchestra, which has exploited the art of producing beautiful tone colour and effects to -the uttermost, as their subject-matter, “Springtime in the Forest,” will show. The work is full of tho loveliest melody, and the illusion that we are in a secluded patch of forest, where nature reigns supreme, is striking. A delightful light record. On With the Dance. There is a number of bright and tuneful dance records in the H.M.A . June list. These incluC the “hits” of the day, and they are performed by famous orchestra. The following should be wide in their appeal:—“You will Remember Vienna” (waltz), and “I Bring a Love Song” (fox trot), played by Leo Roisman and his or-

che-.tra (B 5944); “She’s Not Worth Your Tears” and “Lonesome Lover’’ (fox trot), played by Bert Lown and his Hotel Biltmore Orchestra (EA868); “When Love Comes in the Moonlight" (fox trot) and “We’re on the Highway to Heaven" (fox trot), played by Jack Taylor and his orchestra (B 5921 “Tears” (waltz), and “Don’t Forget Me in Your Dreams” (waltz), played by Rudy Vallee and his Connecticut Yankees (EA861); “Washington and Lee Swing” (march fox trot) aud “You’re the Ono I Care For” (slow fox trot), played by Bert Lown and his Hotel Biltmore Orchestra (EA 863). A Brilliant New Tenor. (I) Ay, Ay, Ay (Spanish Serenade— Freire); (2) Serenade (Toselli); sung by I’epe Romeu, tenor, on Columbia DO 341. A new record of the immensely popular song. ‘‘Ay, Ay, Ay,” appears in the June Columbia list—this time by an artist who himself is Spanish and therefore knows just how to infuse that longing and indescribable sadness that the caneion demands. He is Pepe Romen. a tenor singer with a most fascinating voice. With it is coupled Toselli’s most popular “Serenade,” and both are rendered in the warm, soft Spanish accents that are so much admired. It is a record that cannot fail to lure the listener on to the end. Music Hall Songs. A medley of Leslie Stuart’s songs, sung by the Light Opera Company, makes an attractive record and will no doubt awaken many pleasant memories of the pre-war vaudeville and music hall days. If any of the lighter musical fare deserves to Jive, these songs certainly do. No man can gainsay their charm. They create an atmosphere all their own. Then is always a lilt in the rhythm and an infectious melody. The songs on this record include “I May Be Crazy,” “The Shade of the Palm,” “Sweetheart May,” “Lily of Laguna,” “Silver Star of Love,” “Little Dolly Daydream,’’ “Tell Ale, Pretty Maiden,” and

“•Soldiers of the King.” This is certainly a representative collection, and both soloists and chorus enter info rhe spirit of their numbers. (H.M.V. C 2090.) Novel Post Horn Solo. (1) Post Horn Galop (Koenig—arr. Balfour); (2) The Bulllighter’s March (Kottaun); played by tho Regimental Band of H.AI. Grenadier Guards, conducted by Captain George Miller. Columbia -O 338. For years past there have been recurrent demands for a worthy recording of a post horn solo, and now this month we have on Columbia a marvellous solo for post horn furnished by Corporal West of the Grenadier Guards, in a thrilling rendering of the famous “Post Horn Gallop.” His trills and gorgeous high note, and the terrific speed at which the “galop” is taken, are qualities that single the soloist out as the crack of all players. The band, under the vigorous baton of Captain George Miller, provides a racy background. The Afarch on the. reverse is a stirring piece of band music, excellently played and recorded. Hilarious Singing. There is some hilarious singing by Stuart Robertson ami a chorus of male voices in “Widdicombe Fair,” an old Somerset song which concerns the death of an aged horse. Robertson, insides being a line singer, is a born comedian, and he imitates the Somerset dialect very cleverly. The chorus also enters into the fun, and the whole song goe, with a swing. Another rollicking Somerset song in which soloist md chorus are first class is “Richard of Taunton Deane.” It tells of Richard’s successful wooing of the parson’s daughter Jean. “Richard’s compli ments were so polite, he won the lady before the night.” Robertson and hi> merry men have made at least two other records of this character, and me cannot but hope that they will continue the good work. Here is the real humour of Old England. (H.M.V. 83668.) Gillie Potter Again! Mr. Potter Waxes Historical (Gillie Potter); humorous monoligue by Gillie Potter, on Columbia DO 336. Gillie Potter’s brand of humour has created a new vogue. His serious assertions, after the manner of a know itall professor, arc priceless in their pure nonsense, lli.s new Columbia record entitled ‘‘Mr. Potter Waxes Historical" m.'iv bn »ai<l to be the last word in the

biographies of important people. The speaker provides some pithy sidelights on Catherine Howard, among others. This was the lady about whom the least said the longer she lived. Wolsey also comes under the Potter microscope. We all know, of course, that he was the man who invented underwear, but what is interesting is that the very word ‘‘underwear” was derived from the fact that Wolsey, on being told that Henry was on the scene, dived under the table. Someone said “There’s Wolsey, under there,” and Henry queried: “Under where?” It is n priceless record. Master of the Accordion. A virtuoso of the accordion, AL Vola, scores another success in two dance numbers of his own composition. The first; is a paso doble, “Flor ID’Espagne” (Flower of Spain) and the second a tango, “Rosa” (Rose). The accompaniments are played on the banjo by Al. Appennini. Both numbers are full of colour and definite rhythms, and the combination of the two inst-u ments is particularly fascinating. (H.M.V. B 3568.) Vocal Gems from “Pinafore.” Of all the Gilbert and Sullivan operas, one of the greatest favourites is “ H.AI.S, Pinafore.” The choice, therefore, of this richly-mclodied comedy by lhe Columbia Light Opera Company as the subject of their latest ‘vocal gems’ will make for them many additional friends. Both solo and ensemble work are of the “C.L.O.C. ’s” customary high standard. (Columbia DOX 119). Gladys Moncrieff on Regal Records. When Gladys Aloncrieff first started recording for the Columbia Company, it was felt that she was worthy of a celebrity label. The company, however, put her recordings on the popular 4/-C-olumbia record. To-day they have gone a stop further, and certainly shown wonderful enterprise by putting her latest recording on a lOin. Regal record selling at 2/6. The titles she sings are “One Heavenly Night” and “Along the Road of Dreams,” No. 21008. Both these titles are from the film, “One Heavenly Night,” and there is no doubt that the recording and sing ing is exceptional. 'l’his record is one of the best that Gladys Aloncrieff has ever made. Iler singing is thrilling, particularly in “One Heavenly Night,’’ and the orchestra makes a wonderful job of the accompaniment. Millions of this record will be sold, and we feel certain that the manufacturers’ enterprise will be well repaid by the public’s response. Operatic Duet. Mlle. Fanelli and Piero Pauli sing the love duet from the last- act ef Boito’s opera, ‘ • Melistofelo. ’ Mlle. I’anclli, a newcomer on the records. a. beautiful soprano voice. Piero Pauli, the tenor, who sang in the H.AI.X . “'rosea" set, has a good voice, and sings with rare dramatic feeling. I’he | duet. “Forma ideal” is enhanced by a 1 soft choral support. (H.M.V., D8L114., : A Clever Regal Novelty Disc Billy Cotton’s Band is probably the most popular dance band in England to-day. They have made quite a reputation for themselves by their record iugs. Their latest novelty fox-trot number is entitled “Seven Veils.” Regai 20969. Tho lyrics of this distinctly novel number are really amusing, and the band‘s execution is extremely . *