Phonograph Monthly Review, Vol. 1, No. 2 (1926-11)

42 THE PHONOGRAPH MONTHLY REVIEW Brunswick 3105—Haida Troika, and Stenka Rasin. Played by the A. & P. Gypsies, a fine small band which records beautifully. Victor 20011—Intermezzo (Cavalleria Rusticana), and Bar- carolle (Tales of Hoffman). Victor Concert Or- chestra led by Rosario Bourdon. Two operatic interludes played in straightforward fashion. CHORAL Brunswick 3247—Men of Harlech, and Rosy Dawn. Tor- onto Mendelssohn Mixed Choir, led by Dr. H. A. Fricker. Good singing, fair recording. Columbia 622-D—I was There, and The Song of Gold. Russian Art Choir, directed by Alexander U. Fine. Columbia is fortunate in having at its service such a remarkable chorus, about which I want to repeat the praise l greeted it with in last issue. You are musically poor if you do not own at least one of the records of this chorus. 55037-F—In einem kuehien Grunde, and Wer hat dich du schoener Wald. Sung in German by the New York Liederkranz, conducted by C. R. Fuchs-Jerin. Although this is issued as a foreign-language re- cording, this record can take its place among the best of the more general issues. Finer choral sing- ing is rarely heard. The recording is magnificent so fine, indeed, that even an unfortunate echo due to over-resonance in the recording-chamber, is faithfully preserved. Despite this fault, the rec- ord is one that should be in every collection. 639-D—The Gypsy's Chorus, and Song of the March- ing Men. Royal Mt. Ash Choir, led by T. Glyndwr Richards. Some good “stunts.’ 7 Victor 20127—Pilgrim’s Chorus (from Tannhauser) and Anvil Chorus (from Trovatore). The Victor Male Chorus sings the first, and the Victor Mixed Chorus the second. Both sides are acceptable versions of two of the best-known of operatic choruses. VOCAL Brunswick 3300—There’s a New Star in Heaven Tonight, sung by Frank Munn; and Farewell, sung by Allen McQuhae. Orchestral accompaniment to both. 3289—Barcelona, and Baby Face. Sung by the Mer- rymakers. Splendid quartet singing, splendid re- cording. Plenty of “pep.” 3154—How dy do, Mis’ Springtime, and Mah Lindy Lou. The Merrymakers. The second side repre- sents perfection in quartet work, the first side is not so good. 3264—Whadda You Say, We Get Together? and, Where’d You Get Those Eyes? Macy and Smalle, the Radio Aces. Spirited singing, very clear dic- tion. 40130—Soli Ich Sein a Rov, and Bist du Mit Mir Broi- gis. Isa Kremer singing in Yiddish. This is a rec- ord which, though in a foreign language, deserves cosmopolitan attention. Mme. Kremer sings with great artistry and records very well. 20049—The Merrymakers in Spain and Hawaii. Sung and played by the Merrymakers, assisted by Brunswick artists. 3229—How Many Times, and Sleepy Head. Sung by Nick Lucas, “The Crooning Troubador,” who is good at this sort of thing. 40132—Fohrt a Chossidl, and Meirke mein Sohn. Isa Kremer sings two more Yiddish folk-songs in con- vincing style. 3251—Tenderly, and That’s Why I Love You. Sung by Franklyn Baur, accompanied by Brunswick Hour Orchestra. 3234—The Old Fiddler’s Song, and Lay My Head Be- neath a Rose. Vernon Dalhart with violin and flute. 200048—Florida, the Moon, and You; and Poor Little Marie. Franklyn Baur with Male Chorus. 3232—When You’re Far Away, and Just a Melody. Vernon Dalhart and Carson Robison with violin, ’cello, and guitar accompaniment. 3250—Let Me Spend the Journey’s End with You, and Let the End of the World Come Tomorrow. Frank Munn with orchestral accompaniment. Columbia 705-D—Carry Thy Burden to Jesus, and I Need Jesus. Homer A. Rodeheaver, assisted in the first by Doris Doe. 15090-D—Where We’ll Never Grow Old, and Pictures from Life’s Other Side. Smith’s Sacred Singers. The recording is very good, as is true of most Columbia issues of the month that I have heard. 607-D—What Can I Say After I Say I’m Sorry, and Everything’s Gonna be All Right. Frank Harris and Orchestral Accompaniment. 14140-D—He Took My Sins Away, and Crying to the Lord. Birmingham Jubilee Singers. Negro Spir- ituals well rendered. 663-D—She’s the Daughter of Mother Machree, and Dear Old-Fashioned Irish Songs My Mother Sang to Me. William A. Kennedy, tenor. 606-D—Under the Ukulele Tree, and Thanks for the Buggy Ride. Johnny Marvin and the ukulele. 15082-D—Goin’ to Have a Big Time Tonight, and Put- ting on the Style. Vernon Dalhart with Novelty Accompaniment. G61-D—The Pump Song, and Katinka. Ed. Smalle with piano accompaniment. 648-D—There’s a Blue Ridge in My Heart, and Some- body’s Lonely. Johnny Marvin and the ukulele. 641-D—Tonight’s My Night with Baby, and Hi-Ho the Merrio. Frank Harris with orchestra. 666-D—My Dream of the Big Parade, and Lay My Head Beneath a Rose. Frank Harris with orchestra. 645-D—That’s Where I Meet My Girl, and Spring is Here. Billy Jones and Ernest Hare, with piano accompaniment. 603-D—Yodelin' Bill, and Sally’s not the Same Old Sally. A1 Bernard (assisted in the first by Frank Kamplain) with piano accompaniment. Victor 6587—Prologue to “Pagliacci”, in two parts. Sung by Lawrence Tibbett with orchestra. Victor takes the palm this month for vocal, or so far as I am aware any other kind of recordings. I cannot think of any other record in any of the catalogues to match this one for marvellous finish in the re- cording art. Any statement that the Victor press- agent may make about it in his advance copy would be justified. The orchestra conies out with magnificent brilliance and clarity, a rare combina- tion. The leader of the orchestra is not mentioned on the disk, but whoever he is, he deserves a world of credit. To complete a beautiful job, Tibbett sings in gorgeous voice, and so fine is the recording that not one nuance, no matter how subtle, is missed. If you can afford only one record a month, I can safely advise this one. 6590—Mon Coeur s’ouvre a ta voix, and Printemps qui commence (from Samson et Dalila). Sung by Marguerite d’Alvarez. Not a very satisfactory record. Mme. d’Alvarez sings with the skill of a trained singing-actress, but she is guilty of much faulty intonation. The orchestral accompaniment often lacks bottom. 3041—O terra addio (from Aida). In two parts. Rosa Ponselle, Giovanni Martinelli, chorus and orchestra. This record has good points and bad. The close of the first section is beautifully sung. Elsewhere the record is spotty. But on the whole it is worth while. Ponselle sings with much more artistic re- straint than she used at the concerts at which I heard her (I have never heard her in opera.) The chorus does fairly well, as does Martinelli. 4000—Absent, and A Dream. Sung by Richard Crooks with Orchestra. The second song is sung much the better of the two. In “Absent”, as if the song is not already sufficiently sentimental, Crooks and the orchestra resort to needless distortion of the rhythm. The voice itself, however, is good to hear on Ibis record. There are few singers better equipped. Victor 1173—Silver Threads Among the Gold, and When You and I Were Young, Maggie. Sung by John McCormack, with orchestral accompaniment. 1171—No Night There, and In the Garden. Marion Talley with Orchestra. Miss Talley’s voice lacks what some call the “human element” and others call “quality”. It is a “white” voice, one without color. Whether this defect is one of temperament or training remains to be seen for Miss Talley has a long future.