Recorded Music

Waikato Times, Volume 103, Issue 17326, 11 February 1928, Page 18 (Supplement)

Recorded Music

John MoCormaok In his Best Vein. John MoCormaok (tenor), in “Lillies of Lorraine" (Grey-Connor), and “A Rose for Every Heart” (Cadman); John McCormack is so great an artist that he can traverse the whole gamut of musical styles from the simplest ballad to the most dramatic operatio aria and yet be equally at home in whatever it may be that he sings. The secret is, presumably, that be is sincere in everything he does. For tills record he sings two simple little ballads as affectlngly and as charmingly as one could wish: the ne.w eleotrical recording reveals his beautiful voice excellently. Another Searchlight Tattoo.

Memories of the last brilliantly-re-corded music of the Aldershot ’Command 'Military Tattoo, will revive at the news of another series from last year’s military spectacle, recorded at Aldershot, of the music of the massed bands. There are three discs here. The first is a selection from “Carmen”; the second a selection from Meyerbeer’s “Les Huguenots”; the third, the “Ballet Music" from “Faust." These are there very fine discs. Now Dance Records.

There are some exceptionally good dance records in the new list. Amongst the best of these may be mentioned ,r sa-lu-ta” (fox-trot with vocal refrain by Waring Pennsylvanians), and “Who-oo? You-ool” (fox-trot with vocal refrain by Johnny Martin, by Nat Shilkiet’s Orchestra; fox-trot, “There’s a Trick in Pickin’ a Chick-Chick-Chicken” (Shilkiet’s Orchestra, with vocal refrain by Johnny Martin. “You Don’t Like It —Not Much” (foxtrot by Jan Gauter’s Orchestra, with vocal refrain. “Shalmar” (waltz, by Jack Hylton’s Orchestra), and “Dear Little Irish Mother” (waltz, with vocal refrain, by the Savoy Havanna Band) ; “'Hello! Blue Bird,” “Hugs and Kisses” (fox-trots with vocal refrains, by Art Landry’s Orchestra) ; “Lantern of Love,” and “Baby” (fox-trots from “Castles in the Air,” by Wolfe Kalin’s Orchestra).

Organ Gems From Dr, Goss-Custard.

Dr. Reginald Goss-Custard, F.R.C.O. (on the organ of the Kingsway Hall, London), in “Madrigal” (Lemare) and “Romanza” (Wolstenholme). In the organ records by Reginald Goss-Custard there is always a delicacy and sensitiveness for registration. No finer example :f his peculiarly individual performance could be had than in this record. Lemare’s “Madrigal” is a delicious fragment, worthy of the best traditions of organ playing; a little piece of attractive melody of just the sort we should hope for from the composer of that ever-popular “Andantino in D. Flat.” Strains from Cambria. Welsh music is rare on the disc, which should make two fine efforts recorded here very acceptable. It is from the choir of H.M. Welsh Guards (conductor, J. Davies), and includes “'Hen wlad fy Nhadau” (Land My Fathers), sung in Welsh, and “The Soldier’s Farewell” (Kinkel).

LATEST RELEASES.

A New Gigli.

'Beniamino Gigli (tenor) —“Tosca,” Recondita armonia (Strange Harmony) —"iManon Lescaut,” Donna non vidi mai (Never did I Behold so Fair a Maiden). “Manon Lescaut” is the composer’s earliest opera to remain in our modern repertoire; it ante-dates “La Boheme” by a year or so. The passage recorded here, the outburst of the youthful hero of the Abbe Prevost’s story, at catching his first glimpse of Manon, shows us that Puccini’s melodic style was formed even then, every essential and even several beloved mannerisms being there. Whatever Puccini’s detractors may say, it cannot be denied that he had the rare quality of sincerity; he could mark a passage as “rapturous” in the knowledge that it was rapturous. Gigli’s singing of both arias is superb. A Paderewski Germ I. J. Paderewski (piano), in “Nocturne a Raguze” (Ernest Schelling). This beautiful and melodious work was composed by Ernest Schelling, a gifted American composer-pianist, and the only pupil Paderewski ever had. During his recent tour of Australia and New Zealand, Paderewski stated that of all records he had ever made, he thought the “Nocturne a Raguze” was the most pefect as regards reproduction. However, not only the piano tone has been most successfully reproduced, but the wonderful playing of the world’s greatest pianist at at its very best. A Sweet Soprano. Garda Hall (soprano), in “Cornin’ Thro’ the Rye” (Traditional) and “'High Upon the Hill” (Sanderson). Garda Hall has the spirit of youth in her voice. It is so fresh and clear. Her simple and unaffected style of singing suits the delightful “Cornin’ Thro’ the Rye” ideally, and she has made a record the charm of which is not likely quickly to fade. The dainty little ballad on the reverse side affords a pleasant contrast. Important Orchestral Debut.

San Francisco Symphony Orchestra, conducted by Alfred Hertz, in “Caprice Viennois” (Kreisler), and “'Copelia” ballet (dance of the automatons and Waltz) (Delibes). This is the first record to be issued by this famous American symphony orchestra and its conductor. It is rapidly becoming common knowledge that there are several symphony orchestras in America which _ are, by virtue of economic conditions, no longer obtaining in the Old World, settling an extraordinarily high standard in orchestra playing. The San Francisco Symphony Orchestra is one of these bodies. The conductor, Dr. Alfred Hertz, used (it may be remerhbered) to make records for “His Master's Voice” some years before the war, when he conducted the Berlin Philharmonic Orchestra. He is well known as one of the finest of living conductors. For this record the orchestra has performed two elegant little trifles: a very effective arrangement of Krcisler’s melodious “Caprice Viennois,” and, on the reverse, two movements from Delibes's ballet “Copclia.”