SAPELLNIKOFF With the Aeolian Orchestra conducted by Stanley Chapple Concerto in B flat minor, for Piano & Orch., Op. 23 `i~chaikooslty 1st movement: Allegro non troppo, Part 1A-0259 12" 5/6 Ist movement: Part 2 Ist movement: Part 3 .A-0260 12" 5/6 Ist movement: Part 4 Ist movement: Part 5 A-0261 12" 516 2nd movement: Andantino simplice, Part 1 2nd movement: Part 2 and 3rd movement: Allegro I fuoco, Part 1 A-0262 12" 516 con . S PECIAL interest attaches to these records for three reasons. In the first place the work itself is one of the grandest examples of its class ever written, secondly it is now issued for the first time by any come pany in this country and thirdly the solo part has been played by one of the greatest of living pianists, who had the further distinction of perform- ing the work for the first time in England under the direction of the composer himself. Sapellnikoff's commanding powers have long since been known to the 'Vocalion' public, as to the world at large but even he has never done anything finer than the truly magnificent interpretation which he has provided of one of the most exacting and at the same time supremely effective of all existing compositions of its type. The discerning hear will not fail to notice, also, the splendid quality of the accompanying orchestral playing by the Aeolian Orchestra under the direction of Mr. Stanley Chapple, and the strikingly successful way in which the whole work has been r'produced.CLARA SERENA (Contralto) In Italian. With The Aeolian Orchestra O don fatale. "Don Carlos" (0 fatal gift) Verdi I Voce di donna o d'Angelo. "La Gioconda" (Thanks K-05227 416 .12" unto thee, angelic voice) `Ponchielli LARA SERENA, who has been responsible for these two fine vocal numbers, is one of the most notable of the many great singers who have come from Australia. She made her debut in London in 1923 Cwhen her singing immediately attracted the attention of the critics, one of whom observed that she supplied a living answer to the oft-repeated question "Where are the great singers of to-day?" Serena created the title role in Rutland Boughton's opera " RIkestis" at Covent Garden in 1924 while she has sung also for the Royal Choral Society, at the Albert Hall, as well as at the Queen's Hall, the Crystal Palace and all the leading provincial concerts throughout the United Kingdom. To a splendid contralto voice, employed with all the skill of a great artist, she unites exceptional temperamental gifts, which are well iplified in the two very attractive operatic numbers which make up bar present contribution. Operatic & Orchestral LUELLA PAIKIN (Soprano) In Italian. With The Aeolian Orchestra Ah! lo so. "I1 Flauto Magico" Mozart (Hours of joy forever vanished) A-0263 IT 5/6 Voi the sapete. "Le Nozze di Figaro" Mozart (What is this feeling?) SO firmly has -Miss Luella Paikin established herself in the affections, not only of the public at large but also of 'Vocalion' lovers, that few will need reminding of the outstanding position which she has won so rapidly among the leading operatic sopranos of the day. As the chosen understudy of Mme Tetrazzini, for whom she has appeared so often, she occupies a place indeed all her own and no-one who has heard her, whether in person or through the medium of her 'Vocalion' records, will need to be told the reason why. A voice of such exquisite quality as hers is rare indeed and the enormous reputation which she enjoys in England to-day has only ratified the earlier judgment passed on her by the still more critical public of Italy. For her present offerings Miss Paikin has chosen two famous numbers from Mozart-the deeply expressive "Ah lo so," from "The Magic Flute" and the delicious and ever-popular "Voi the Sapete" from "The Marriage of Figaro," her renderings of which may be safely left to speak for themselves THE AEOLIAN ORCHESTRA Conducted by Stanley Chapple Le Tombeau de Couperin. No. Prelude Ravel 1- K-05225 17' 4/6 No. 2-Forlane ct E Tombeau de Couperin," in which the greatest of living French composers pays tribute to one of the most famous of his predeces- sors of long ago, is a later composition of Ravel's which has long since taken its place among the most charming and characteristic of his works.Of the four numbers making up the complete suite, Nos. 3 and 4, issued some time since (D-02139) have found such general favour that a demand for the remaining numbers was almost a matter of course. Those to whom Ravel is still an unknown quantity could not wish fora better introduction to his music than that afforded by these delightful pieces in which his exquisitely delicate and sensitive art is so felicitously Witty, subtle, refined, restrained-the genius of Ravel, it has been said is like some beautiful French garden, conventional, precise and disciplined but glowing with life and colour beneath its formal ordering. nstrumental & Vocal ADILA FACHIRI (Violin) Scenes de la Cz&rda, Op. 33, No. 5 Hubay Concerto in A Vivaldi- NJachBz } K-05226 12" 4/6 minor . ist movement: Allegro Vivace Piano Accs. Ethel Hobday ADILA FACHIRI, herself Hungarian born, has found a happy example for the display of her brilliant technique and abounding temperament in one of the immensely effective Scenes deMADAME Czarda of Hubay. That her interpretation is as authoritative as it is brilliant may be safely assumed from the fact that she and her famous sister, jelly d'Aranyi, were both pupils of the composer-who, in his turn, studied with Joachim of whom they are grand-nieces. From an older period comes the fine Vivaldi movement with its long drawn melodic line and classic style, and of this also Mme. Fachiri has furnished a perfect rendering. MOSCHETTO X82 HIS ORCHESTRA At the Savoy Hotel, London Kazbek (Russian Folk Song) `traditional X-9768 10" 3f- Verbena de la Paloma. Selection Oreton . THIS month Signor Moschetto has found once again two highly-attrac- tive numbers, the performance of which by himself and his orchestra approach as near to perfection as is possible to attain. In the case of the first one, based on a delightful Russian folk song, those who know their Tchaikovsky will recognise the air as one of those employed by him in his popular Marche Slave though the treatment is of course quite different. The second selection, Verbena de la Paloma, is as mellifluous as its name. WATCYN WATCYNS (Bass-Baritone) With the Band of H.M. Welsh Guards (Under the direction of Lieut. Andrew Harris) Captain Morgan's War March 'Craditional (Forth to the Battle) X-9766 10' 31- Land of my Fathers `Craditional In Welsh T HIS might be described as a record with a little bit of history attached to it. Mr. Watcyn Watcyns, who has sung these splendid traditional Welsh airs so finely, is himself late of the Welsh Guards whose regimental band accompanies him and further was the soloist at the cere- mony held not long ago in Cardiff when the Prince of Wales, as Colonel- in-Chief, laid the old colour of the regiment to rest in Llandaff Cathedral. Though both songs have been sung in Welsh, this does not mean that a knowledge of that language is necessary for their enjoyment! KATHLEEN DESTOURNEL (Soprano) I know where I'm goin' arr. Hughes 1r X-9767 I(Y' 3ý- (a) A Ballynure Ballad. (b) B for Barney arr. Hughes J Piano Accs. Ivor Newton TBarney"HREE delightful Irish ditties-or say rather two and a bit, for "B for is all too short-make up this record in which Miss Kathleen i Destournel is heard as usual to great advantage. Most appealing in I its wistful tender grace is that lovely air "I know where I'm goin' " in Mr. Herbert Hughes' admirable setting, and no less taking, in a totally different way, is the jovial "Ballynure Ballad" with its rollicking fol-de- rol ritornello at the end of each verse. One might say that the whole Irish character is summed up in these two ballads. VICTOR CARNE (Tenor) Serenade Raff X-9765 10 3J- Parted. Violin obbligato S. Kutcher `(;osti Piano Accs. Berkeley Mason H ERE are two delightful love-songs given with all the sentiment and fervour of the traditional love-lorn tenor, who happens also in this particular case-Mr. Victor Carne being the vocalist-to possess a lovely voice which he knows how to use supremely well. Tosti's "Parted" is less often heard nowadays than formerly, when it enjoyed such enormous popularity, but it can still hold its own with the best of its class and Raff's erenata" makes a no less sure appeal. BAND OF H.M. LIFE GUARDS Under the direction of Lieut. H. Eldridge The Merry Widow. Selection Lehdr } K-05229 12 4/6 Parts 1 and 2 jj /f USICAL comedy composers have changed their methods consider- I%JI ably since the days of Lehar in his "Merry Widow" vein, but I V i listening to these familiar strains once again through the medium of this sparkling record one is tempted to wonder at moments if the changes have always been for the better; the results may be more startling but whether they are more pleasing is another matter. It is certain, however, that this twenty-years-old "Merry Widow" music wears extraordinarily well and as to the performance one need only say that it represents the finest existing military band once again at its best.