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029I-VOCBX1925X09-0000A0.Pdf LUELLA PAIKIN The famous soprano makes magnificent first Records for " Vocation " PINK LABEL SECTION LUELLA PAIKIN (Soprano) La Capinera (In Italian) Julius Benedict Lo ! here the gentle Lark (In English) A-0236 12" 516 Shakespeare-Bishop With Piano acts. by Ivor Newton and Flute obbligatos , by Charles Stainer MISS LUELLA PAIKIN, who has made these two beautiful records is one of many notable operatic artists of British birth who are even better known abroad than at home. In Miss Paikin's case this came about through the discernment of that experienced judge and famous conductor, Leopoldo Mugnone, who having heard her at Covent Garden was so favourably impressed that he invited her immediately to go to Italy. Here she was engaged at once to sing Gilda in " Rigoletto " and the title part in "Lucia" at the famous San Carlo Opera House, Naples, and in the result her success was so great that she was immediately re-engaged for a series of thirty-two performances and subsequently sang at all the other leading Italian opera houses, being every- where received with the utmost enthusiasm. Among many notable admirers of this young English artist mention may be made particularly of Mussolini, who congratulated her personally again and again. Another was D'Annunzio, who wished her to appear in an opera based on one of his plays, while more striking still was the testimony of Tetrazzini, who invited her to stay and study with her in Italy so that she might give her the benefit of her own unrivalled experience. A Lancashire girl by birth, whose musical talents attracted attention from the first, it was as a pianist that Miss Paikin began her musical studies at the Royal College of Music, Manchester, although she had her voice trained simultaneously by Mme. Marie Brema. Then one day she was heard by Sir Thomas Beecham, who expressed the opinion that she should certainly adopt it vocal career, for preference on the stage, and this settled the matter. Nor has she ever had the smallest occasion to regret that she took Sir Thomas's advice. fine It may be of interest to add that these two records are actually the first which Miss Paikin has ever made, though they will assuredly not be the last, since she will be making many others in due course for the exclusive enjoyment of 'Vocalion' patrons. Her pure sweet tones are wonderfully adapted to recording purposes. Operatic, Ballads. etc. ETHEL HOOK ROY HENDERSON ETHEL HOOK (Contralto) Abide with Me Liddlel The Lost Chord Sullivan f K-0"831"416 With Orchestral Accompaniments . I T may be of interest to state perhaps that these particular titles, together with several others which will follow in subsequent issues, have been specially asked f or and record- ed for Australia where this artist is a great favourite. To which however it scarcely needs adding that they will assuredly fend no less ready appreciation in this country where Miss Ethel Hook in virtue of the lovely quality and peculiarly appealing timbre of her voice. which she uses so artistically, numbers her admirers also by the hundred thousand. ROY HENDERSON (Baritone) Adamastor, Roi des Meyerbeer vagues profondes . "L'Africana" (Adamastor. King of the Ocean) In French K-OS185 12" 4/6 Woo thou thy "Ivanhoe" Sullivan snowflake . In English. With the Aeolian Orchestra T HAT the career, in the familiar French saying, is open to the talents has been strikingly exemplified once more by the case of the brilliant young baritone. Mr. Roy Hender- son Since his appearance a few months ago at a Philharmonic Concert when he made such a pro iigious hit in Delius 's "Mass of Life" he has had an enormous number of engagements all over the country and has taken his place definitely among the most remarkable and promising young singers of the day. In London his most stailsing success since that event has been in the R.A.M. production, at die New Scala Theatre, of Verdi 's "Falstaff" in which he took the part of Ford. His two latest records listed here are operatic and show him again at his best as an interpreter of dramatic music. HORACE STEVENS (Bass-Baritone) A Voice by the Cedar Tree A. Somervell Cycle Songs-Tennyson's "Maud" From of K95186 12'4!6 (a) 0 that 'twere possible (b) 0 let the Solid Ground (c) Go not happy Day. A Somervell From Cycle of Songs-Tennyson s "Maud" Piano Accompaniments by Stanley Chapple I T was in a happy hour that Dr. Arthur Somervell was drawn to Tennyson's "Maud" as material for musical treatment and the song-cycle which resulted has long since taken established place among its class. Four of the most delightful songs from series an by Mr. a each one of which is beautiful have been chosen in the present instance Stevens, and so finely and sympathetically has he interpreted them that one may be permitted to hope that he will give us some more from the some work on a future occasion. Ballads E Instrumental BLUE LABEL SECTION ALBERT SAMMONS MALCOLM McEACHERN (Bass) The Fishermen of England Montague 'Phillips (From "The Rebel Maid'") j X-9610 10" 31- Liza Lehmann Myself when young (From "In a Persian Garden"1 With Piano Accompaniments by Stanley Chapple f( jýM /jYSELF when young," from Liza Lehmann's "In a Persian Garden"-another British song-cycle which has enjoyed unlimited popularity-is one of those things which Mr. Malcolm McEachern of course had to Aive us sooner or later. For where is the basso worthy of the name who does not include this immensely Popular number in his repertoire ? But though many feel themselves "called" to display their powers in this engaging ditty it is few only who can be ranked in this case among the "chosen"-and fewer still even of these who can call on such glorious vocal resources-in the matter alike of volume and of quality-as Mr. McEachern is lucky enough to command. And in "The Fishermen of England," one of the happiest numbers from Montagna Phillip's charming light opera " The Rebel Maid," those same resources are no less eH'ec- tively exploited in mu-ic equally grateful. Incidentally it may be noted that Mr. McEachern is making no fewer than three separate appearances at the "Proms" this season -a sufficien"ly convincing indication this of the popularity enjoyed by this rarely-endowed artist with the concert-going public. ALBERT SAMMONS (Violin) From the Canebrake, Op. 5, No. 1 Samuel Gardnerl . X-9611 10" 31- Slavische Tanzweisen, No. 1 Door . aik-KreislerJ Piano Accompaniments by Ethel Hobday TWO delightfully-contrasted numbers make up here a very attractive double-sided record. Every one knows and loves Dvorak s Slavonic Dance (No. 1) with its lovely lilting melody and rich warm colouring and many thousands must have heard it played in his own irresistible style by our premier native violinist. For those who have not yet had this pleasure here is the opportunity to repair the omission since it is as near as needs be to hearing Mr. Sammons himself to listen to this perfect record; while the others may find no less delight in renewing a pleasure already enjoyed in the past and in noting incidentally as they do this how marvellously near in this ease is the reproduction to the real thing. From the Canebrake," by Samuel Gardner, if of a humbler order from the standpoint less, of the higher criticism than Dvorak's work, has charm and fascination none the to which Mr. Sammons does full ju'site as a matter ofcourse-" with him" (as the lawyers say) in both examples Miss Ethel Hobday is a most sympathetic helpmate at the piano. YORK BOWEN has The master pianist who, with the Aeolian Orchestra, given us wonderful records of Beethoven's glorious Concerto No. 4, Op. 58, recorded in its entirety. PINK LABEL SECTION YORK BOWEN (Pianoforte) With the Aeolian Orchestra conducted by Stanley Chapple Concerto No. 4. G Op. 58 (Complete) Beethoven) in major, A-0237 12" 5/6 1st Movement. Allegro Moderato, Parts I & III Ditto, Parts III & IV (Cadenza by York Bowen) } A-0238 12" 516 . Ditto, 2nd Movement. Andante con moto A-0239 12" 5/6 3rd Movement. Rondo-Vivace, Part I II & III Ditto. 3rd Movement. Rondo-Vivace, Parts A-0240 12' 516 (Cadenza by York Bowen) THIS is a magnificent record-or set of records-of one of the grandest and most famous creations in the whole range of classical music. last Beethoven wrote in all five pianoforte concertos, of which the two are between by common consent incomparably the greatest. To make choice as these two is however much more difficult. Both are so fine that it is hard to say which is the greater. The concerto in G appears to have been composed in 1805 and was first played in public by Beethoven himself on December 22nd, 1808 at a Pastoral truly remarkable concert which included also the C minor and heard for symphonies and the Choral Fantasia-all being likewise the first time I As regards the concerto it was not very warmly appreciated and indeed for many years afterwards it remained comparatively unknown. Then Mendelssohn, who helped to win recognition for so many neglected masterpieces, and who had a particular admiration for this work, took to playing it frequently and nowadays the only wonder is that there should ever have been any sort of difficulty in appreciating a work so packed with beauties. Especially noteworthy is the lovely and highly original slow movement, with its strange alternations of roughness and tenderness, of which Schumann poetically said that it seemed to suggest Orpheus taming the brute creation.
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