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029I-VOCBX1925X07-0000A0.Pdf HORACE STEVENS AS "HIAWATHA" BLUE LABEL SECTION HORACE STEVENS (Bass-Baritone) Hiawatha's Vision Coleridge-Taylor From "Hiawatha" K-05176 12" 4/6 The Pipes of Pan Elgar With The Aeolian Orchestra AUSTRALIA has sent us many famous singers, as such world renowned names as those of Melba and Ada Crossley remind us. And now more recently, just to keep the balance even as it were, and not to let the ladies have things all their own way, she has produced in Horace Stevens a glorious bass who can hold his own no less readily with the greatest. Mr. Stevens is indeed a vocalist of whom his native country may well be proud.Born at Windsor, Victoria, he enjoyed prodigious favour with Anti- podean audiences for many years before the Great War brought him to Europe in 1916 with the Australian Expeditionary Force and since then, or rather since 1918, when he was enabled to resume the suspended activities of his vocal career, he has had his residence in the Old Country, where he has found no less ready appreciation. His first appearance in London he made at one of the Promenade Concerts in Sept. 1919 when his superb rendering of Wotan's Abschied roused an amount of enthusiasm rare even at the "Proms." Later he appeared equally successfully at the Albert Hall and elsewhere, while in the Provinces he has also made a very big name. Thus at Birmingham where he made his first appearance with the Festival Choral Society in a performance of "Elijah" he was hailed by the critic of the Birmingham Daily Post as the successor, if not actually the superior, of Santley-the writer observing "We have heard Elijahs by the score but have heard none to equal this since Santley. And we would have Santley is not excepted even till the 'It enough' solo -and even now we have our hesitations." In London Stevens's most recent appearance was in the dramatised Albert -or operaticised-version of Coleridge-Taylor's "Hiawatha" at the Hall, when he scored heavily again,by his magnificent singing of the music of the title part-one of the finest numbers from which, it will be noticed, he has now added to his "Vocalion" records, together with Sir Edward Elgar's "Pipes of Pan," the latter being a particularly fine record. VLADIMIR ROSING "DEATH'S SERENADE" `ý"` Operatic & Ballad PINK LABEL SECTION VLADIMIR ROSING (Tenor) Death's Serenade Moussorgsky From The Death Cycle" A-0235 12" 5/6 Trepak From "The Death Cycle" Moussorgsky In Russian. Piano acts. Frank St. Leger OF Mr. Vladimir Rosing it may be said that he must be seen as well as heard in order to be appreciated absolutely to the full, since it is not only by his actual singing that he moves his audiences so profoundly but also by the extraordinarily vivid way in which he conveys by his outward bearing, facial expression, and so on, the emotions which he is expressing. If anyone doubts this a glance at the accompanying faithful photo- graphic presentment of him as he appears when singing one of Moussorgsky's Death songs should suffice to carry conviction. Certainly it is not a pretty picture which he presents as thus portrayed. But then Death is not a pretty subject as handled in these terribly realistic songs of the great Russian composer which Rosing interprets with such electrifying intensity and dramatic power. It may be added that these particular records were originally issued single-sided at 8/- each, so that they are now uncommonly good value at 5/6 the pair. BLUE LABEL SECTION ROY HENDERSON (Baritone) Don Juan's Serenade Tchaikovsky Air de Ralph Bizet) X-9580 10" 3/- From "La Jolie Fille de Perth." Piano acts Stanley Chapple ROY HENDERSON, another young artist of high promise who has recently MR.joined the distinguished company of "Vocalionists," has chosen two delightful numbers in this case. "Don Juan's Serenade" in particular, is known to everyone as one of the happiest of Tchaikovsky's songs and a sure and certain winner with all hearers when it is presented, as hereby one who can do it justice. And the Air from Bizet's charming but neglected opera The Fair Maid of Perth" (which it may be remembered was revived with great success by Sir Thomas Beecham a few years ago) though less generally familiar is no less attractive with its rollicking "tra-la- la" refrain and other engaging features. And of this again Mr. Henderson has made a most effective record. Ballad ¬ Instrumental BLUE LABEL SECTION PAULA ST. CLAIR (Contralto) Shepherd's Cradle Song A. Somervell 1 . A Far-off Tide Easthope-Martin X-9 81 10" 3/- . Piano secs. Stanley Chapple PAULA ST. CLAIR is a young artist who records exclusively for the benefit of MISS" Vocalion" patrons who will experience no difficulty, we are confident, in appreciating the quality of her work. A pupil of Mme. Marchesi, she has had the advantage of being trained by one of the first of teachers which accounts, no doubt, for the finished quality of her singing in the purely technical sense, while as regards her public work she has had the coveted experience of accompanying Tetrazzini on one of her big tours and has also appeared at many other important concerts, including the London Ballads. Of the two records here catalogued Somervell's "Shepherd's Cradle Song" is particularly charm- ing, with something of the simplicity as well as the inevitability and fascination of a folk-song. HOWARD BLISS ('Cello) Siciliano Locatelli, De Swert I arr. X-9582 10" 3/- Allegro Spiritoso Sennallie, Salmon . arr. Piano aces. M. 0. Marshall THESE are two very attractive records which may be confidently commended to the atten- tion of 'cello lovers. Locatelli's Siciliano. originally composed for the violin-for Locatelli was a famous violinist and wrote chiefly for his own instrument-is especially delightful with its lovely lilting melody in the old Italian style, while Senallie.'s Allep,ro Spiritoso, thoroughly justifying its name, since it is in the nature almost of a Moto Perpetuo, is equally effective in a different way. Both pieces have been most tastefully interpreted by Mr. Bliss, about whom the critics have recently been saying so many nice things in connection with his series of recitals at the Aeolian Hall and who, it may be noted, is an exclusive "Vocalion" artist. BLUE LABEL SECTION ADILA FACHIRI W JELLY d'ARANYI (Violins) The Golden Sonata Purcell, arr. Moffat Op. 16, No. 31 K-05177 12" 4/6 Part I., Largo and Canzona Do. Part II., Grave e molto maestoso and Allegro Scherzando Violin Duets. Piano aces. Ethel Hobday .LhisinstrumentalHE famous Golden Sonata of Purcell, one of the best-known and most beautiful of all in works, forms one of a set of Ten Sonatas in Four Parts published 1697, after the composer's death. In its original form it was written for "two violins and basse" with accompaniment for organ or harpsichord, so that very slight modification was required to adapt it for two violins and piano. Presented here in two parts, both of these follow much the same lines-a slow and lively etoressive slow movement bsini succeeded in each instance by a more and vigorous second section. Especially beautiful is the deeply-felt Largo with which the second part Allegro Scherzando it be it is opens while of the following may said that a movement which either Bach or Handel might have been proud to sign. It is truly an example of the art which conceals art to produce such an effect of ease and spontaneity in spite of the elaboration of the means employed. been Whether Parcell himse f ever heard this work which, as has noted, was published posthumously, is doubtful, bat what may be said with confidence is that he certainly never heard it played as it has been played in this instance for the advantage of "Vocalion" lovers by Miss d'Aranyi and Mme Fachiri. For it is a simple historical fact that violinists been of their capacity did not exist in those days -so immeasurably has the standard imaginative advanced since then. And what is still more certain is that never in his most moments could Purcell have conceived it possible that his work could be enjoyed by all and sundry two and a half centuries after his lifetime in the magical manner rendered possible by modern invention. Instrumental & Band BLUE LABEL SECTION ALFRED CAMMEYER (Banjo) ASSISTED BY BERNARD SHEAFF The Gypsy Queen A. Cammeyer 1 . 4/6 Caprice Accidental A. Cammeyer) K-0 170 12" Vibrante Zither Banjo .Solos . ROM the 'cello to the banjo is a far cry in the musical sense, but in one at least the less distinguished instrument may be said to have the instrument F advantage, since even the finest 'cellist cannot make his sound like respecta young orchestra, which is what the skilful and resourceful banjoist can do. But not many, it may be agreed, display the astonishing powers in this respect of Mr. Cammeyer, who has been styled on this account the Banjo Paganini-a title of which he is no doubt properly proud. For evidence of his capabilities in this and all other respects one need want nothing better than the two records particularised above. THE BAND OF H.M. LIFE GUARDS Under the direction of Lieut. H. Eldridge Carmen-Selection. Part 1. Bizet K-05178 12" 416 Do. Part II. 1 T HIS is a fine selection from one of the loveliest of all operas put out of Life Guards hand in extremely effective style by the superb Band of the Bizet's under Lieut.
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