RECORDED MUSIC

Manawatu Standard, Volume XLIX, Issue 257, 28 September 1929, Page 7

RECORDED MUSIC

Wagner’s Wonderful “Parsifal”—A notable issue this month is the third act of Wtu,u.-*’s famous “Pusifa 1 ..” C i Hectors will remember di, prev.ois issue of “Parsifal” records, which embraced the leading features of Act. 1, and the “Good Friday Music.” Ono of the most beautiful of that series was “Klingsor’s Magic Garden,” and “The Flower Maiden’s Scene,” while the Good Friday Music is well worth a place in the Wagner section of one's library. Act. 11l is virtually complete. The soloists urc Gotthelf Pistor (Parsifal — tenor), Ludwig Hofmann (Gurneinanz — bass), Cornelis Bronsgust (Amfortis —baritone) and tho work is recorded by the Berlin State Opera House Chorus and Orchestra under Dr. Karl Muck. A unique Trio.—Victoria Trio (instrumental) in “The Prince Waltz” and “La Sorella —polka (Gallini). Here wo have a really sparkling record of the accordcon, banjo, and string bass, with a marvellous body resonance about it. Irish Dances. —Emerald Quartet (instrumental quartet) in Lonford Lassies—Swallow’ Tails—lrish Reels, and Sweeney’s Favourite—Limerick Boys—lrLkll Jigs, Four fascinating Irish danco tunes that arc excellent. entertainment. This record is full of life. The quartet is a splendid one, and gives us 6omo typically Irish music. Two Famous Band Whimsicalities.— Black Diamonds Band in “In a Clockmaker’s Shop” (Orth) and “The Whistler and His Dog” (Pryor). Everyone knows or ought to know these pieces. Very good recordings, by an excellent band, of two famous band whimsicalities. Thcso Songs from “Noah’s Ark” —Paul Oliver i (tenor), in “Old Tinier” and “Heart o’ Mine” (from tho motion picture, “Noah’s Ark.” Paul Oliver’s fine tenor puts these two sentimental beauties over with great success. Comedian Stunts. —Eddie Cantor (comedian), in “I’m Wild About Horns on Automobiles” and “I Faw Down an’ Go Boom.” Everyone will bo humming, whistling or singing these numbers, but never as cleverly or funny as Eddie does them. Clarkson Rose Again.—Clarkson Rose (comedian), in “My Austen Seven” (Rose) and “What Did the Village Blacksmith Say?” (Henry). Always welcome is a new Clarkson Rose record. Charming Violin Pieces.—Charles Williams (violin with kinema organ) in “Inteimezzo” (Cavalloria. Rusticana”) (Mascagni) and “Annie Laurie” (Scott). These are ideal pieces for the violin. Charles Williams has one of those soft-singing instruments that weave a spell upon the listener. Dance Music. —The Arcadians Dance Orchestra is one of the most popular of its kind now recording, and its steady output maintains a splendid standard. This orchestra shows always a fine balance between melody and rhythm. Their latest discs include “I Must be Dreaming”—foxtnbt, and “Somewhere in Hawaii” —foxtrot, with vocal refrain- “Counting the Hours” —waltz; and “Aloma” —waltz. Wagner Music. —Tho National Military Band makes a splendid job of two Wagner number?, Prelude to Act 111. of “Lohengrin” and tho “Grand March” from “Tannhauser.” There is some beautiful legato playing in the Prelude, and tho woodwind tone is particularly fine and •very steady. The poetical meaning of this brilliant entr’acte has been made clear by Wagner himself. It was intended, ,so he has told us in his writings, to convey a general impression of the festivities following the wedding of Elsa ami Lohengrin with which the previous act closes. Tho exhilarating close by tho full bass is a memorable performance. Tho Grand March is grand in every way —it is magnificent. This record is an admirable one for anyone wishing for introduction to Wagner. The harmonics are easily under-

stood and the playing i 6 up to orchestral standard.

Bruno Walter and Berlin State Orchestra in Strauss’s “Wiorncr Blut.” — Bruno Walter comes in tor special praise by his masterly conducting of the Berliner Staatskapelle (Berlin State Orchestra) in Johann Strauss’s famous tvaltz “Wiener Blut.” Johann Strauss wrote nearly four hundred waltzes, equally as renowned as those of his father, of which the abovo is one of the finest. It has that irresistibly gay rhythm, lilting and melodious, characteristic of the close of the nineteenth century in Vienna, and which the Strauss family did so much to spread throughout the world. Johann died in Vienna in 1899, and was in every way as nntsicianly as his illustrious father, who raised the standard of danco music in Austria so high that even austere critics like Mcndelssohr and Cherubini acknowledged the fact and gave high praise accordingly. The conductor has been ideally chosen, Bruno Walter being an acknowledged authority on the Viennese tradition. His broad handling of the wonderful German orchestra has resulted in a record of divine sparkle and infectious vitality. Favourite Itc-reaording by Rex Palmer. “Abide With Mo.” Issued this month comes an electric I'c-recording of two staunch favourites with the public—Biddle's “Abide With Me” and Carey’s “Nearer My God, to Thee,” sung by Rex. Palmer and the 8.8. C. and recorded in Christ Church, Westminster Bridge Road, London, with W. G. Webber at tho organ. Rex Palmer possesses a virile and refined baritone of unusual timbre, and his interpretation of these numbers will bo highly admired. The interest of the new record is heightened by the splendid acoustic properties of “South London’s Spired Cathedral”—Christ Church—in which tho beautiful organ is played by tho well-known W. G. Webber, whose previous organ records in the same building were hailed as masterpieces. The recording catches the true religious spirit. Charming Tenor Songs By Hubert Eisdcll, in “Homeward to You” (R. Barrie and Eric Coates), “Had I the Voice of Morvcn” (F. E. Weatherly and Campbell). —England’s most popular tenor is at his very best in these two exquisite songs, and never have the lucid, lyrical qualities of his voice been more realistically reproduced. The Eric Coates melody is a delightful example of this famous composer’s very best style, and both in this and “Had I tho Voice of Morvcn” is tho true and tender sentiment that Eisdell knows so well how to interpret, shown off in charming style. Tho piano accompaniment, beautifully restrained, is especially fine, and the recording brilliant. Famous 8.8. C. Bnnd Record, “Golliwogs’ Cake Walk” (Debussy), “Dance of the Tumblers” (Rimsky-Ivorsakov).—The “Children’s Corner” was specially written as an entertainment for children, and the “Golliwog’s Cake Walk” has survived longest in popularity. Tho “Danco of the Tumblers,” from the opera “Snow Maiden,” is typical of the Spring, with its gay pictures of leaping frolicsome lambs. Admirable in every sen :e of the word is the treatment afforded these two pieces by the well-known Military Band of the 8.8. C.