’NEATH THE NEEDLE

Nelson Evening Mail, Volume LXIV, 10 January 1931, Page 4

’NEATH THE NEEDLE

Songs of the Hebrides A ,'record of unusual character that will' And a host of admirers is one that', gives four' Hebrides songs sung by Miss Patuffa Kennedy-Fraser. London knows them well, for every year sees a Hebridean recital by the Ken-jiedy-Fraser family, but this is their first venture on the gramophone. We think that many listeners will fall under the spell of this glamorous and mystical music, so plaintively melodious,' and sung by a mezzo-soprano of so pure a quality. The titles are “The Mull Fisher’s Love Song,” “Islay Reaper’s Song,” . “A Fairy Plaint,” “Pulling the Sea Dulse.”

Mariano Stable Sings “0 Sole Mio” So far Stabile has made only two records, but botli have been of so thrilling a character that we have waited and wondered. Now he adds a third triumph to the others. Di Capua’s “0 Sole Mio,” one of the most universally popular airs ever y Written, is his first choice of material, and he trolls it forth with irresistible gusto and fervour. On the other side is a. “Sciliana” (or cradle song), by Pcrgolesi,, a . song better known perhaps as “Nina.” Its soft strains hold u wealth of fragrant thought.

Peter Dawson Peter Dawson has made a splendid recording of the “Vulcan’s Song,” from Gounod’s opera “Philemon and Baucis.” The robust nature of the music suits his voice admirably, and he gives a striking portrayal of the mythical blacksmith. In this scene Vulcan, after being half-drowned in a tempest, is in very bad temper. The riiusifi makes it clear that lie is a rugged' customer, and its cynical edge is conveyed in typically French phrases, ns he describes how he is laughed at on Olympus for his unsuccessful love affair with Venus. The rhythmic clank of the anvils lends a touch of colour to ■'the effective accompaniment. The companion number is the rollicking “Bachelor Gay” from “The Maid of the' Mountains,” and it is sung with rich tone.

Wonderful Choir The Royal Choral Society, under Dr. Malcolm Sargeant, whoso concerts in the" great Albert Hall, London, are a; feature of 'the* musical season there,has recorded four famous sacred numbers. . “I Sing the Birth” .(Elgar)J “Hosanna to the Son of David” (Gib? bqns), “Now Once Again Our Hearts We: Raise” (Weber), and “Jerusalem” (Parry). Dr. Sargeant’s lofty conception: of these songs has been imparted to the great choir, which sings -with woiiderful expression. The voices arc evenly balanced throughout, and the discipline is something to marvel at. Every' shade of tone is clearly defined and. vivid, and the organ accompaniment heightens the whole effect.’ Further Records by Rotorua Maori Choir (1) . Nui mai ten panga (Hymn—- “ Fierce Raged the Tempest”); (2) Te Aiiki (Hymfi—“Abide with Me”); are sung by'the Rotorua Maori Choir. Both of these well-known English hymns evidently translate well into Maori, and sung by the Rotorua Choir they arc wonderfully; effective. There is a warmth'arid 'sincerity about the singing of these hymns that should make many European choirs stop and think for a momentjf , T. ’ • ‘. Mi ’’ V <’ A Waltz Paraphrase De f ,;Grpdt, David Boy and Reginald Kilbey, in “Paraphrasri of Strauss Waltzes”, k There are signs on every hand that ft, great-waltz revival is on tlie way. The 'success of the Covent Garden presentation of “Die Flcdermaus” was proof of the might of the Viennese

“Waltz King”—Johann Strauss. Although most of them arc on the shady side of 00, his melodies have a freshness and charm that are quite irresistible. In this “Paraphrase of Strauss ’Waltzes,” De Groot employs two of the most famous—“ Blue Danube” and “Die Flcdermaus” Waltzes—and with his able collaborators gives a very brilliant display.

Carillon Record Mr Jef Denyn, playing on the Malines Carillon, has recorded a Prelude of his own composition and a “Madrigal” of Flegier. There is a good idea in the Prelude, the conception is well suited to the medium, and the troubles incidental to tlie recording of carillon music have been solved. The result is much clearer than usual, and there is a touch of something like real poetry in the finish. ,Tho reproduction of the bell tone is rich in quality.

Popular Issues Layton and Johnstone, easily the most popular of all American duettists, continue their successes with a pairing of “Meet Me in My Dreams To-night” and “When I Passed the Old Church Door.”

The film “W 7 lioopee” gives rise to two discs by popular baritones. Jack Lumsdaine. makes a capital disc of “My Baby Just Cares For Me” and “A Girl Friend of a Boy Friend of Mine”; and Colin Crane sings “I’ll Still Belong to You.” On the reverse side is “Little White Lies.”

' “Believe it or Not,” from “Love Among the Millionaires,” is sung by that cute comedienne, Nell Fleming and on the other side of the disc is “That’s How I Like ’em.” “My Mad Moment” and “It Seems to be Spring” —played by Gil Dech arid his Syncopators, are two fox-trot tunes that are on the highroad to enormous popularity.

Dance Music The,latest lists contain several excellent dance records from the latest hits' of screen and stage, and the following are notable for their rhythm arid tunefulness: “If You’re Not Kissing Me” (fox-trot), played by Nat Sliilkret’s Orchestra, and “Gee, ,But I’d Like to Make You Happy” (fox-trot), played by Waring’s Pennsylvanians, both numbers from “Good News.” “A Girl Friend of a Boy Friend of Mine” (fox-trot) and “My Baby Just Cares for Me” (fox-trot), from “Whoopee,” played by Ted Weem’s Orchestra. “There’s Happiness Over the Hill” (foxtrot) arid “Shoo the Hoodoo Away” tfpx-trot), from “Swing High/’ played by. George Olsen’s music. “Here Comes Emily / Brown” (fox-trot) and “Cheer Up and Smile” (fox-trot), from “New Movietone Follies of 1930,” played by Jack Hylton’s Orchestra.