Phonograph Monthly Review, Vol. 1, No. 4 (1927-01)

188 The Phonograph Monthly Review -*3l l - - . . - - Brunswick 3248—Adoramus Te, and Exultate Deo. Sung by the Toronto Mendelssohn Choir, conducted by Dr. H. A. Fricker. The singing is of exceptional beauty and musicianship, and Brunswick is to be congratu- lated on making such beautiful choral work avail- able. The recording is not entirely satisfactory on the first side, but it is much better on the second. 3159—Medley of College Songs, and Bells of St. Mary’s. Male Chorus of the University of Wisconsin Glee Club, conducted by E. Earl Swinney and W. S. Leonardson, respectively. The first number is spirit- edly sung. 3165—Lamp in the West, and on the second side, Night Song and Alma Mater. Sung by the Syracuse Uni- versity Glee Club, led by Birger M. Beausang. 3195—The Orange and the Black, and Old Nassau. Princeton LTniversity Glee Club, Luther M. Strayer, conductor. VOCAL Brunswick 10226—Trees, and Mem’ries of Love and You. Marie Morrisey sings the first with orchestra and flute obbligato, the second with piano and cello. In this record Miss Morrisey discloses a rather unex- pectedly interesting voice. The power is not great, but sufficiently adequate, particularly in the low and middle tones and the quality is at all times very good. I am sorry that I cannot say as much for the orchestral accompaniment on the first side, which is very much overdone. 15114—Serenade of Mephistopheles, and Invocation of Mephistopheles (from Gounod’s “Faust”). Sung by Michael Bohncn with Orchestra. The first side is well recorded, and Bohnen sings with excellent voice and telling dramatic power. The “Ha, Ha, Ha, Ha” comes out very clearly and forcefully. Everything suffers a let-down on the second side, but this record is not to be missed. 50084—My Native Land, and Return, Conqueror! (from Verdi’s “Aida”). Both numbers are beautifully ren- dered by Elizabeth Rethberg with a splendid orches- tral accompaniment. This is one of the outstanding records of the month. Rethberg’s voice is an organ of beauty, power, and drama. The range meets all the demands that are made on the voice by this big role. I am glad I can praise the orchestral accom- paniment without qualification. Brunswick’s records seem to be improving in this respect. The recording as a whole is one of the indispensable ones of the month. 10230—My Dreams, and Parted. Sung by Mario Cham- lee with orchestra. The tenor voice sounds forced, and there is much roughness in the singing. Brunswick 3336—Who Wouldn’t? and Half a Moon (From “Honeymoon Lane”). Sung by Ray Perkins with Piano. 3348—Don’t Be Angry With Me, and It Made You Happy When You Made Me Cry. Sung by Esther Walker and Orchestra, assisted in the first by Male Quartet. 3209—So I Can Write My Name, and Stand Steady. Sung by Dixie Jubilee Quintet. Fair singing, well recorded. 3292—Wayside Cross, and Church in the Wildwood. Sung by Criterion Male Quartet with organ. 3289—Baby Face, and Barcelona. Sung by the Merry- makers with their usual felicity. Piano accompani- ment. 3318—Your Heart Looked into Mine, and Moonlight on the Ganges. Sung by Franklin Baur with orchestra. 3312—Down on the Banks of the Old Yazoo, and Sunny Disposish. Remarkably clear diction, good singing in its kind. The second tune is a good one. 3249—Come Into My Heart, and In the Heart of the Hills. Sung by Allen MacQuhae, the first with or- chestral accompaniment, the second with the assis- tance of piano, violin, and cello. ■■ ■ - 1 « 6V Victor 6559—Saving Victim (O Salutaris), and Holy Night (Noel). The first sung in Latin, the second in French by Marcel Journet, the great French bass. The sing- ing comes out with remarkable clearness and with exceptional resonance. Journet sings with artistry and with great power. The orchestral accompani- ment is also well recorded. The first side has the better song, but the second is perhaps the better rendered of the two. A very valuable record as a whole. Victor 6599—Ave Maria and Elegie. Gounod’s prayer is sung by Rosa Ponselle in Latin, while Massenet’s most famous work is rendered in French. Both songs are preceded by long orchestral introductions which take up a good part of the record, particularly in the first, where Ponselle sings in less than half the time the record is on. Of the two the first is the less well done. The voice is too harsh for the mood of the song. Elegie, on the other hand, is very well performed. On both sides the orchestra accompani- ment is well up to the regular high Victor standard. 6607—Oh Come, All Ye Faithful (Adeste Fideles), and The Palms. Sung by John McCormack. The sec- ond in English, the first, with the assistance of the Trinity Choir, in Latin. The diction is exception- ally good, even the Latin being clear. The Adeste Fideles is apparently in for a good sale, judging from the number of recordings for the month. McCormack is at his best in this religious music. His voice has rare fervor, and the recording in his case, at any rate, is very good, though in the case of the choir there are the usual difficulties. The second side is also well rendered. 6022—The Infant Jesus, and Hosanna. Sung by Giovan- nin Martinelli in English with Ladies’ Chorus and orchestra. On the first side there are sections of Latin as well. The first is the better done of the two. In the second the voice is the usual gorgeous instru- ment of Martinelli, but alas, it is not suited to the spirit of the song. The tones are strident and very often lack smooth legato. 9011—Yohrzeit (In Memoriam) and Aheim, Aheim (Home- ward) . Sung in Yiddish by Josef Rosenblatt with orches- tra. In spite of the foreign language this is a record for the general record-buying public. The beauty and power of Rosenblatt’s voice are now too widely known for comment, but in the first number they are heard to greater advantage, and the dramatic as well as religious rendering deserves hearing by anyone un- familiar with Jewish liturgy. The meaning of Yohr- zeit (literally “Time of year”) is briefly this: On the anniversary of the death of a parent, i.e., on “Yohrzeit,” a prayer (called “Kaddisch”), such as the one on this record, is sung in memory of the de- parted soul. The most irreligious Jew scarcely fails to observe this ritual, which is deep-rooted in the Jewish spirit. A record not to be missed. 20258—’Cause I Love You, and The Two of Us. The first sung by Henry Burr, the second by Franklyn Baur. 20236—Consolation, and Take This Rose. Sung by Maurice J. Cunsky. 1179—Juanita, and In Old Madrid. Two old favorites sung for the newer recording by Emilio de Gogorza with orchestral accompaniment. This is another of the fine issues of the month. For sheer vocal artistry it is difficult to think of a baritone equal to Gogorza. He knows how to sing, and, what is more, he has an instrument to sing with. For his voice is by no means a thing of the past. Add to these qualifica- tions a perfect diction, and you can see why not only amateurs but connoisseurs as well enthuse over Gogorza’s work. In 'this record the usual high standard of Gogorza’s excellence is maintained. The orchestra, too, does its allotted share very well. Considering all these things and the popular appeal of the songs, this record should have a very wide sale.