Recorded Music

Waikato Times, Volume 106, Issue 17840, 12 October 1929, Page 18 (Supplement)

Recorded Music

Theme Songs from Film Plays. Theme songs from film plays arc having an increasingly popular vogue. Mere are some of the latest hits: — “Shopworn Angel”—J. AlarvinSmalle, in “A Precious Little Thing Called Love”; Gene Austin, in ‘“Wedding Bells” (Are Breaking Up that Old Gang of Aline). Marvin and Smalle are a pair of songsters who are always in demand. Their voices are beautifully matched for this style of singing. “Wedding Bells 1 ,” aren’t they the most popular bells of all and Gene Austin’s newest record will only serve to increase that popularity. “Innocents of Paris”—(Maurice Chevalier, in “Wait Till You See Ma Cherie” and “Louise.” "It's a Habit of Mine” and “On the Top of the World Alone.’’. 'Maurice Chevalier, a new exclusive “His (Master's Woice artist from La Belle France, is described as the Gene Austin of Continental 'Europe, his amusing French accent lends a very piquant flavour to these songs. The picture has created a sensation in Australia on account of the wonderful artistry and vocal achievements of Chevalier. ; ‘'Lady of the Pavements”—Lupe Velez, In “Where is the Song of Songs j for Ale” (Berlin) and, from “The ! Wolf Song,” “Mi Amado” (“My Beloved”). Lupe Velez, star of both “Lady of the Pavements” and “The Wolf Song,” has made this pair of recordings of songs that were written especially for these movies. Both these selections have achieved great popularity. Gifted Baritone In Simple Songs. John Brownlee (baritone), in “Mother o’ Aline" (Tours) and “On the Day I Get to Heaven” (Lehmann). John Brownlee, discovered by Dame Nellie Melba, and a great favourite at the Paris Opera House, where he will shortly sing the part of “Jochanaan” in “Salome,” under the baton of Dr. Richard Strauss himself, as, a concert artist specialises in German and English songs. His mastery in these is shown in this magnificent record of these popular ballads here recorded. Famous Contralto in Lovely Lloder. Alaria Olczewska (contralto), in “Widmung,” "Du mein Seele” (Schumann) ; and with violin and ’cello obligato, “Nur wor die sehnsucht kennt” (Non but the Weary Heart”), (Tschaikowsky). These great lieder have in Maria Olczewska the ideal interpreter. Her voice and art defy even the purple language of laudation; she is beyond the shadow of a doubt the world’s greatest contralto.

LATEST RELEASES.

Four Stirring Choruses. Royal Opera Chorus and Orchestra, Covent Garden, in “Boris Godounov (Aloussorgsky). Here we have four stirring choruses from Moussorgsky’s “Boris Godounov” —“'Opening Chorus,” “Pilgrims' Chorus,” “Coronation Scene,” and “Polonaise”—sung in Italian. They were recorded at the Royal Opera House, Covcnt Garden, London. This adds greatly to the interest of the records. The melodious “Polonaise” is particularly attractive. Remarkable “Traviata” Soprano. A number of music-lovers have discovered that Alcrcedes Capsir’s “Traviata’’ record of “Sempre libera” astounds with the marvellous singing of the aria. It really is a remarkable piece of soprano singing, and we should not be surprised at any time to hear it declared the finest soprano record in existence. Is it? New Columbia Danoo Hits, , “Honey” promises to be one of the season’s outstanding numbers and is coupled with “My Sin” by Ben Selvin and his Orchestra, which combination gives a perfect rendition. Paul Whiteman also offers two excellent numbers, “Louise” and “Nola,” both fox trots of particular merit, the former being 'the charming theme song from “Innocents of Paris.” Cesar Franck Masterpiece.

The String Quartette in D is perhaps one of the most lovely compositions of its kind in the realm of chamber music, it is the composer’s only effort for solo strings. Not only is it crowded with characteristic and beautiful melodic and harmonic effects, but it is also filled with a peculiarly mystical and serene atmosphere "that is at once perceived, and grows with every fresh hearing. This quality is a notable feature of the first movement, and reappears with added depth in the noble Adagio. The last movement is similarly inspired and has some intensely moving moments, especially where reference is made to themes which have previously been heard. The recording is extremely lucid and well-balanced, offering untold joy to the sensitivelyinclined music-lover. There is no need to unduly stress the playing of the London String Quartette; suffice it to say they have given a reading that can only be described as masterly, whether in technique or artistic perception.