Recorded Music

Waikato Times, Volume 106, Issue 17804, 31 August 1929, Page 18 (Supplement)

Recorded Music

Pleaslng Light Vocal Music.

Herbert Browne Is a tenor with a charming manner, who shades 'his agreeable voice with nice discretion. In “I’ll Always Be In Love With You” and “The Lonesome Road"—‘two appealing ballads with a sentimental touch—he is accompanied by the everpopular Gil Dech.

Ernest McKinlay forsakes his wellloved Maori airs to give us two Scots favourites, but he does it so well that we are not disappointed. “Bonnie Wee Thing” and “The Auld Scots Songs” will appeal to more than Scotsmen, for they are good songs, sung with spirit .and feeling.

Latest Dance Music. Ben Selvin and his Orchestra are very effective and full of pep in “My Sin” and “Honey”—a pair of foxtrots, the last of which- has a tip-top vocal chorus. One of the cleverest hits of the month is a jolly fox-trot, “Guess Who?” attractively sung and played by Jan Garber and this orchestra. It Is paired with “He, She and Me.” The Talkie “Redskin” provides another snappy fox-trot of the same name, in which Ben Selvin and his orchestra give a good .account of themselves. On the reverse side is a very' cleverly orchestrated version of “Yo Te Amo Means I Love You,” by the 'Columbians. More From (Alfred O’Shea.

(1) “Love’s Garden of Roses”; (2) “When My Ship Comes Sailing Home.” Sung by Alfred O’Shea, tenor. Tills gifted Irish singer was in particularly fine voice on the day he made tiiis record. Notice the growing subtlety in his use of mezzo-voice, the delicacy of liis shading, the power always kept in reserve, and the royal ease with which lie strikes the upper register. The two ballads he contributes this month arc pleasant and melodious. Particularly pleasing is "When My Ship Comes Sailing Home.”

The Genius of J. S. Bach. “Grand Toccata and Fugue in D Minor” (J. S. Bach). Organ solo by G. T. Pattman.

This is Bach at his best, in the lovely organ music to which he, almost alone, could give warmth and deep interest. And Pattman, on the Liberal Jewish Synagogue organ, St. John’s Wood, London,, presents this Bach prelude to us in rich, sonorous harmonies that Bach himself would have given his eyes to be able to produce with the limited instrument at his disposal. A wonderful piece of playing magnificently recorded.

LATEST RELEASES.

Two Schubert Masterpieces

(1) “Der Erl Konig” (Schubert); (2) “Tod und das Madchen” (Schubert). Sung in German by Sophie Braslau, contralto.

Sophie Braslau’s voice is one of the most remarkable contraltos now before the public, in its deep richness, its range, its extraordinary power, its expressive potency and colour. You will readily agree when you bear this rendition of “The Erl King” and “Death and the Maiden,” both of which are indeed worthy additions to Columbia's -centennial edition of Schubert’s songs. The Art of Albert Samons. (1) “Elegie” (Massenet); (2) “Thais” —Meditation (Massenet). Played by Albert Sammons. It has always been said of Sammons that he records better than any other violinist, and now that we are losing our prejudice In favour of foreign names some London critics are even venturing to declare that he plays as well as any foreign maestro. His phrasing is certainly as subtle as one could wish for, and his tone as gloriously mellow. Listening to these familiar numbers one realises how important it is to have them played by a violinist of first rank. The First Hungarian Rhapsody.

“(Hungarian Rhapsody No. 1" (Liszt). Played by the J. H. Squire Celeste Octet.

Liszt 'had such a lilting lor this moving tune that, after he had written the Hungarian Fantasia, he recast it in the form of this Rhapsody. Perhaps the most striking section is the opening one, based on a stately old Hungarian tune and given out with -grand chords, hut the brilliant finale is most exhilarating. The Squire Celeste Octet plays the Rhapsody with virile strength. Recently they toured Italy with gTcatc-st success, which one -can readily attribute to the exceptional skill with which they arrange their music to suit the personnel of the Octet. A splendid record.

Two New Paul Whiteman’s.

■Nobody who likes good jazz music —-with the accent on the “good”— can fail to thrill to the superlative orchestration produced by Paul Whiteman. With every fresh record he amazes u-s afresh at the richness of his tone and the vitality of his rhythm. Ills latest batch includes two winners from “Whoopee”— “Makin Whoopee,” and “I’m Bringing a Red, Red Rose,” and “How About Me?" and “Cradle of Love."