RECORDED MUSIC

Manawatu Standard, Volume XLIX, Issue 245, 14 September 1929, Page 7

RECORDED MUSIC

Paul Robeson Again.—Paul Riobcson (bass), in “Sonny Boy” (theme eong of tho motion picturo “Tho Singing Fool”; De Lil Piccaninny’s “Gone to Sleep.” Paul Robeson’s rich bass vioico is admirably suited in both these songs, which arc in a sense of the same genie as his “Showboat” successes. Each number .has its own particular appeal that should not fail to please tho listener. Another Orchestral Debut.—St. Louis Symphony Orchestra (oonduotor, Rudolph Ganz), in “Fingal’s Cave” Overture (Mendclsshon). Mendelssohn’s Concert Overture. “Fingal’s Cave” (or, as it is sometimes known, “Tho Hebrides”) is a fitting work with which to introduce tho name of this orchestra and its famous conductor to listeners. Rudolph Ganz is well-known in London both as a conductor and as a pianist. His performance has a spclendid life and vigour, and the recording is brilliant. Spanish Music.—New Light Symphony Orchestra, in “Spanish Dance No. 1” (Moszkowski), and “Spanish Serenade (Bizet). Two unusually attractive and melodious Spanish melodies, one by a Polish composer, tho other by a Frenchman, but both preserving the real Spanish characteristics of the music. From La Scala. —Benvenuto Franci (baritone), with members of La Scala orchestra, in Verdi’s “La Forza del Destino” —“Una fatale” (Act III); and with Guglielmo Masini (bass), with La Scala chorus and orchestra in “II Trovatore” —“Per me ora fatale.” Benvenuto Franci, the great Italian baritone, sings with fire and dramatic expression tho cavatina “Unna Fatale,” from tho second act of Verdi’s “Forza del Destino.” On the reverse side, Franci, supported by Guglielmo Masini, basso and chorus, sings the effective “Per me ora fatale,” from “Trovatore,” with great richness of voice. Good Male Part Singing.—The Revellers (male voices), in “Coinin’ Home” and “Evening.” This unique combination is finer than over in its latest numbers. They have been widely imitated, but it is. not easy to imitate genius, which The Revellers’ performance undoubtedly represents. A Vaudeville Star. —Grace Hayes, contralto, in “The Man I Love” and “Did You Mean It ?” Miss Grace Hayes’s first redord introduces something entirely new; for Miss Hayes has struck out a lino for herself. Her stylo is straightforward enough but very difficult to describe, and the simplest way is really to say that her singing rather resembles that of Melville Gideon at times and that of Aileen Stanley at others. Whatever her style is like, however, you have only to hear her record once to realise that her performance is first-rate." Dance Records. —The following three dance records, distinguished by their excellent rhythm and original melodies, have been .chosen .from this month’s issue: “The Egg Song,” fox-trot, vocal refrain by Leonard Henry, played by tho New Mayfair Orchestra, and “The Tile Trot,” by tho Rio Grande Tango Band; “Can You Blame Mo” (’Cause I Fell in Love With You), waltz, played by Jean Goldkette and his orchestra, and “I Kiss Your Hand, Madam,”-fox-trot (from “Tho Five O’Clock Girl”), played by Jack Hylton and Ills orchestra; “Thinking of You,” fox-trot (from “The Five O’Clock Girl”), with vocal refrain, and “Up in the Clouds,” fox-trot (from “The Five O’Clock Girl”), played by Jack Hylton and his orchestra. Haydn Symphony.—lt is good news that wo aro to have some of Haydn’s symphonies played by John Barbirolli’s Chamber Orchestra. A start has been made with one of the best of them, the symphony in D, known as the “London.” Always brimful of melody and graceful harmony, there are fow orchestral works that exert a greater appeal. Barbirolli, who is ono of the Covent Garden conductors, gives us some real pianissimo playing and excellent clarity. The finale is given with vigour, as befitting its origin, a Croatian folk-tune. Chopin Studies.—This month William Backhaus gives the third and final record of Chopin studies, embracing No. 7 in C Sharp Minor, No. 9 in Flat Major (“Butterfly”) and No. 10 in B Minor. Backhaus is a great enough artist to submerge his remarkable technique in view of the purelymusical import of these’ lovely pieces. A complete set of. these studies played by him .along ..with _ the Cortot preludes would provide any pianist with hours of sheer enjoyment. A New Zealand Favourite. —Ernest McKinlay goes from strength to strength. His recording of Maori songs is easily the finest musical recording that has emanated from this country. A later record now gives us, on two sides of a 10-inch disc, four attractitve South Sea songs of wide variety. Three of these little fragments are packed on one side —three appetising and exciting trifles entitled “Matapgi,” “Mahara Ki a au” and “Huri Huri,” while oil the reverso is a charming love song called “Marui Girl.” Bagpipe Solos. —The drone of the Highland pipes is not for everyone, but Scotsmen and Sassenachs who have fallen under their spell will find a new record by Pipe-Major John MacDonald of Inverness a thrilling experience. His stirring effort grips the imagination. He infuses a true native wildness into three famous tunes, “Balmoral Highlander’s March,” “March Edinborough Volunteers,” . and “Angus Campbell’s Farewell to Stirling.” Light Vocal Successes.—There is always room for a new “Layton and Johnstone,” and in their latest recording they live up to their great reputation. In both numbers, “Old Man Sunshine” and “I’m Crazy Over You,” tho two fine voices blend to perfection and the piano playing has all their old brilliance. Anyone who hasn’t heard the new baritone, George Dewey Washington, should certainly hear ono of his records. His latest recording pairs, “I’ll Never Ask For More,” with “I’m Marching Home to You,” aro sung with a real swing and tons of vim. Washington has an unusual voice of exceptional quality. Those, who see “Follies” on the talkies will hear the two big song hits, “That’s You, Baby,” and “Big City Blues.” Annette Hanshaw, a cheeky American comedienne with any amount of “it,” puts thorn over big, np tho Yanks say. The Latest Danco Hits.—Have you heard Ted Wallaco and his Campus fioys yet? They have a way all. of their own with dance music, and a bright and cheery way it is, too. There is tip-top playing with sparkle and go, and some fine vocal work, in “Jericho” and “I’ve Got a Feeling I’m Falling.” “I Got a ‘Codo’ in My ‘Doze’ ” is something out of the usual, and Harry Reser’s syncopators make a bright novelty hit of it, with some, weird and wonderful instrumental effects. On tho other side is another attractive effort called “It Ain’t No Fault of Mine.” Two good bands on one record. Tho Ipana Troubadours hold the stago on ono side with “Old Fashioned Lady,” with a better melody than most dance tunes. On the other, Paul Specht’s orchostra gives us another fino tune in “The Things That Were Made for Love.” A Now Capet Recording.—The method of tho Capet Quartet of Paris seems to be to bring out tho logic of the music even at the expense of subduing tho excitement. This is all to the good. Mozart has charm of his own which needs no forcing. It is easy enough to get excited over sweetly flowing melodics. What we want is something deeper, and from a shecrly economical point of view, more lasting. Conscientious and meritorious artists, tho Capet peoplo give a finely reasoned tone which 6uits the work, and control their dynamic with an exquisite sense of fitness. Their recordings of tho Mozart Quartet in C brings out the happy nature of the work, and keeps us interested in Mozart’s amazingly fertile invention and ingenious and ever-fresh contrapuntal devices.