Phonograph Monthly Review, Vol. 1, No. 5 (1927-02)

The Phonograph Monthly Review 233 14167-D—He Belongs to Me, and Mama Stayed Out the Whole Night Long. Sung by Maggie Jones with piano accompaniment. 15107-D—We Will Meet at the End of the Trail, and The Crepe on the Little Cabin Door. Sung by Vernon Dalhart with violin and guitar accompani- ment, supplemented on the second side by mouth- harp. 771-D—Crying Again and Just Waiting for You. Rend- ered by Art Gilham, the Whispering Pianist. 14154-D—Southbound Train, and Birmingham Boys. Sung by the Birmingham Quartet. For those who want primarily volume, this record should be a boon. 14170-D—He Brought Joy to My Soul, and I’m Coming, Virginia. Sung by Ethel Waters with the assistance on the first side, of her Ebony Four, and on the second side by her singing orchestra. This and the following record disclose a songstress who knows how to “put across” a number. Chief among her excel- lences is exceptional diction. 14125-D—Make Me a Pallet on the Floor, and Bring Your Greenbacks. Ethel Waters with piano accom- paniment. 14169-D—Befo’ This Time Another Year, and When the Train Comes Along. Sung by Odette and Ethel with piano accompaniment. 789-D—When You Waltz with the One You Love, and That Haunting Waltz. Sung by Gypsy and Marta, with piano accompaniment. I am beginning to think that jazz is not so bad as it is pictured. 14151-D—Lonesome Jimmy Blues, and Awfully Blue. “Sung” by Jack Erby with piano accompaniment. But—to continue the remark under the previous re- view—Blues are worse. 788-D—New Moon, and Song of the Wanderer. Sung by Douglas Richardson with piano accompaniment. A pleasant voice, not forced. 700-D—My Cutey’s Due at Two-to-Two Today, and How Many Times? The Happiness Boys, Billy Jones and Ernest Hare, do well with two popular songs above the average in snap and melodiousness. Victor 6610—-Serenade, and Love’s Nocturne. Beniamino Gigli with orchestral accompaniment. In the second number Gigli sings not heroically, as is his wont, but lyrically. In such moments his voice is rarely beauti- ful. In the first number there is the old tendency to force tone. Yet the record as a whole is a good display of the lighter Gigli voice. Recording and or- chestral accompaniment are fair. 6593—Lo, Here the Gentle Lark, and Swiss Echo Song. Sung, with orchestral accompaniment, by Marion Talley. This record tends to confirm previous im- pressions of Talley’s voice. There is little “soul” in her tones, and occasionally they are hard. The electrical recording does not help to soften them. Her intonation is, as a rule, good, but in the Swiss Echo Song there was occasional flatting. As for the technique of coloratura song, Miss Talley seems to possess it in abundance. Her trilling is especially smooth. But until she can put more real expression in her song, she will not be a great singer. 1197—When Twilight Comes, I’m Thinking of You, and Calling Me Back to You. Sung by John Mc- Cormack with orchestra. This record seems to be justified mainly by the fact that McCormack must have at least one issue a month. The songs them- selves, I suppose, are a question of taste, but as to singing, McCormack has done much better than in this case. 1195—Cielito Lindo (Beautiful Sky), and Carmela. A Mexican and Spanish-Californian folk song sung in Spanish by Dusolina Giannini, with orchestral ac- companiment. The singing is beautiful, even if Miss Giannini can do even better. The first is the prettier of the two songs. The accompaniment is very sym- pathetic, and the recording fair. The diction is not too clear. 1172—Thy Beaming Eyes, and Oh, That We Two Were Maying. Two sentimental songs well rendered by Lawrence Tibbett. 1198—By the Waters of Minnetonka, and Trees. Sung with orchestral accompaniment by Ernestine Schu- mann-Heink, who has been a stranger to the records for some time. It is customary to begin a criticism of Schuman-Heink’s singing by an expression of wonder at the manner in which she retains her great voice, and I shall do the customary thing. The diction is remarkably fine, too, and accompanying and recording combine to make a good job. Columbia 838-D—Take in the Sun, Hang Out the Moon, and Clap Yo’ Hands. The Singing Sophomores turn out a very neat product, so to speak. The second song (one of Gershwin’s snappy tunes) is particularly well sung, with skilful phrasing and good diction. 818-D—Ezekiel Saw the Wheel, and Little David. Two Negro Spirituals rendered by the Fisk University Jubilee Singers, who ought to (and do) know how to interpret such songs. Recording is good. 744-D—Nearer, My God to Thee; and Lead, Kindly Light. Sung better than usual by the Shannon Quartet. Victor 6605 — Thou Whom I Implore (from Spontini’s “La Vestale”), and Oh God Protect Her (from the same). Sung by Rosa Ponselle with orchestra. This record is typical of the more recent releases of the leading dramatic soprano of the Metropolitan in that she just misses attaining greatness. Ponselle’s voice five years ago was a wondrous thing to hear— a voice of almost unbelievable opulence. Now it is a little hard, the singer seems to strain just enough to give the listener a feeling of discomfort. The quality has deteriorated, let us hope not perman- ently. 6614 — Carnival of Venice (both sides). Toti Dal Monte singing in Italian, with orchestra. This record pre- sents coloratura singing of average merit, the voice tight, as such voices usually are, and the quality of an ordinary sweetness. The music itself will have a wide popular appeal, though I do not like it. The orchestra does its work well. 6619 — The Two Grenadiers (Schumann), and Midnight Review (Glinka). Sung by Feodor Chaliapin, the Russian bass, with orchestra. I could not understand any of the words, and so I assume that Chaliapin uses Russian for both, though Schumann’s text was, of course, German. Chaliapin is “slipping.” His voice is a shadow of its pristine greatness. His inter- pretative mannerisms are even more exaggerated on this recording of the Grenadier song than previously. Yet allowing for all possible detractions, no one can afford to be without at least one example (and the Grenadier song is, perhaps, most typical) of Chalia- pin’s genius for dramatizing, a genius that cannot be caged even within the limits of an art song. In Glinka’s song, of course, he is very much at home. 1194 — Abide with Me, and Lead, Kindly Light Amelita Galli-Curci singing in English, with orchestra. There are many surprises in this month’s vocal releases, and not the least is the change that Galli-Curci’s voice seems to have undergone. I first put this re- cord on without looking at the label, and I was very much puzzled to place the voice, though I ought to be able, by this time, to recognize Galli- Curci’s; and though I actually thought of her I dismissed the possibility. I hope this record does not tell the true story, for if it does then gone is the marvellously beautiful quality of Galli-Curci’s voice, a quality unique among singers of the florid type. 1208—La Donna e Mobile (Woman is Fickle) (from Verdi’s “Rigoletto”), and Lucevan le Stelle (The Stars Were Shining) (from Puccini’s “Tosca”). Martinelli sings both arias very well, accompanied by a good orchestra. Both sides are well rendered. 1203—My Little Teresa, and A Lady of Seville. Sung in Spanish by Emilio de Gogorza, with orchestral accompaniment. Two unpretentious songs. rendered with the very perfection of grace by an artist of the highest rank. One of the best vocal records of the month.