`ý'.ý] · 2009. 5. 15. · the cesar franck violin sonata february, 1925. jacques thibaud...

THE VIRTUOSO STRING QUARTET (See page 2).

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46 His Master's Voice "

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THE CESAR FRANCK VIOLIN SONATA FEBRUARY, 1925.

JACQUES THIBAUD AND ALFRED CORTOT

12-inch double-sided Red Label

Sonata in A Major Cesar FrancA D.B. 785 Allegretto ben moderato-Parts 1 and 2 D.B. 788 Allegro-Parts 1 and 2 D.B. 786 Recitative-Fantasia-Parts 1 and 2 D.B. 787 Allegretto poco mosso-Parts 1 and 2

T HERE is probably no Sonata for Violin and Piano so much played or so widely loved as that of Cesar Franck. ¢I. Vincent d'Indy speaks of it as " one of the most striking

examples of the application of a system of lofty variation to traditional forms," and that no doubt is the appreciation of a cultivated musician. But for us who have less knowledge but no less enthusiasm it is the beauty of the melodies, the strange loveliness of the harmonies, and above all the solidity, the splendid sanity of the work that secures for it such a prominent place in our affections.

The first movement is very easy to follow. A beautiful dreamy tune is heard on the Violin and subsequently contrasted with another one played by the Piano alone. The first side of the record takes us to the end of the development and the second includes recapitulation and Coda. The listener's path is smoothed for him by the fact that the first tune is always on the Violin and the second invariably left to the Piano.

The stormy second movement is the Pianist's opportunity and Cortot's rendering of the very difficult first subject is a thing to remember. The second subject is quieter, a Violin melody with a gentle accompaniment. The fourth side contains the development, the recapitulation and the electrifying Coda. The slow, solemn phrases that from time to time interrupt the impetuous rush of the music, and the allusions to the principal subject of the first movement in the middle of the third side and near the end of the fourth are both worth noticing.

The l?ecitalire-Fantasia is perhaps the most beautiful part of the whole work. Here it is Thibaud's turn, and his playing of the broad unaccompanied phrases of the first part is a lesson to us all. After the climax at the end of side five we reach a more contemplative mood. Some new and important themes are introduced and eventually the movement closes quietly with a lovely and original cadence.

For prices, see page 2 of cover.


INSTRUMENTAL MUSICTHE CESAR FRANCK VIOLIN SONATA-Continued.

A new and cheerful atmosphere is introduced with the broad tune that opens the Finale. This is written in canon, the Violin following the Piano at the distance of one bar. The movement is a Rondo, the main theme appearing in various keys and the episodes being founded for the most part on melodies already heard earlier in the Sonata. A breathless Coda, in which the canon is at the distance of only half a bar, completes the work.

Thibaud has been called a musician's musician, partly perhaps on account of his devotion to chamber music. The same phrase could be applied with equal aptness to Cortot and their ensemble playing here is a model of what such playing may be. The effect is enhanced by the excellent balance preserved in the recording which enables us to hear both instruments quite clearly and puts them on the equality that Franck's work demands. Need we add that there are no " cuts ? "

D. 953

D. 954

D. 955

D. 956

VIRTUOSO STRING QUARTET

12-inch double-sided Black Label.

Quartet in E Minor, Op. 59, No. 2 ... Beethoven Allegro-Parts 1 and 2 Molto Adagio-Parts I and 2 Molto Adagio-Part 3 AllegrettoFinale,

Parts 1 and 2

T HIS set of records will enhance the already great reputation of the Virtuoso Quartet. We may add that we think they have been particularly well served this time in the matter

of recording. Not only is the balance good and the part-playing clear-things for which the artists and the reproducing department must share the credit-but special difficulties, such as the low notes of the 'Cello for instance, have been overcome with astonishing success.The

three Rassoumoffsky Quartets were composed when the fire of Beethoven's genius was at its brightest, and show a freshness of melodic and rhythmic inspiration, a fertility as regards modulation, and an originality of construction that are almost unique. An adequate analysis of the present work (which is recorded complete) would require a long article to itself ; but a few notes may prove helpful.



VIRTUOSO STRING QUARTET FEBRUARY. 1925.

QUARTET IN E MINOR, OP. 59, No. 2-Continued

The first movement starts with two abrupt chords followed, after a pause, by a subject notable for its distinctive rhythm. A little later a change to the major key brings some further interesting ideas. The development makes ingenious use of most of this material and after the usual recapitulation there is a Coda of considerable extent founded largely on the first subject. The movement is remarkable for the constant occurrence of unex- pected modulations. The break between the sides (oi the record) conies just before the end of the development.

The first tune of the slow movement is one of those melodic inspirations with which lovers of Beethoven are familiar. In contrast with this the second subject is characterised by quite a short phrase (heard first on the 'Cello and then on the Violin). Beyond this we need not go. Let the hearer abandon himself to the beauty of the melodies, the lovely changes with which the movement abounds, and the delicate arabesques which are woven from time to time round the principal threads of the music.

The Allegretto (or Scherzo) is particularly characteristic. The ingenious' rhythm on which it is founded reminds us once more that syncopation is not really a modern importation from America, and the amusing fugal treatment of the Trio provides an excellent foil to the rest of the movement without interfering with the continuity. The use of a Russian folk tune as the main subject of this Trio was a delicate compliment to Count Rassoumoffsky to whom the work is dedicated. Some of our readers may remember that Moussorgsky has also employed this air-in one of the early scenes of " Boris Godounov."

In_the Finale the mood of gaiety still prevails. To start the last movement of a Quartet in E minor with a theme that opens emphatically in C major, and only manages to end in E minor by a feat of musical acrobatics, was the sort of thing that Beethoven loved to do, and the joke is maintained throughout, as the theme recurs over and over again. The rest of the movement consists

.of the development of this and some other ideas. A good deal of contrapuntal resource is employed but the general geniality never for a moment flags.


" His Master's Voice' Records

OPERATIC MUSIC FEBRUARY, 1925.

MATTIA BATTISTINI (Baritone) (with orchestral accompaniment)

12-inch double-sided Red Label. A tanto amor ! (" La Favorita ")

... Donizetti J

736 (Sung in Italian)

DB..Non pib andrai (" Le Nozze di Figaro ") Mozart

(Sung in Italian) ERNANDO, covered with glory, has returned to the court

of King Alfonso after a successful campaign against the FMoors. The King is in a difficulty : he is threatened with a Papal Interdict on account of the open scandal caused by his relations with his mistress Leonora. Fernando has met Leonora ; he loves her and is loved in return, but he knows nothing of her connexion with the King and on being asked to name a reward for his services he begs for the hand of his Lady. The King is taken aback, but he sees here a way out of his own troubles and in an ironical solo A Canto amor ! he grants Fernando's wish. Non Mite andrai is the song in which Figaro exhorts the elegant Cherubino to deeds of military valour. Mozart manages to in- sinuate into the martial strains a delightful suggestion of mockery. Poor, delicate Cherubino is so obviously unsuited for the soldier's life that he must perforce embrace! The irony of the first song and the humour of the second are admirably conveyed by Battistini. The freshness of the voice may lead some readers to imagine that the records were made some years ago. We can assure them that they actually date only from February, 1924.

BENIAMINO GIGLI (Tenor) (with orchestral accompaniment)

1V-inch double-sided Red Label. Cielo e mar! l'etereo veto splende come

un santo altar (" La Gioconda ") ...

Ponchielli D.A. 220 (Sung in Italian)

Vesti la giubba (" Pagliacci ") ... ...Leoncavallo (Sung in Italian) GIGLI's two short songs are made extremely impressive by

the depth of passion and the dramatic force that he manages to put into them. The beautiful air from La

Gioconda is sung by Enzo as he stands on the deck of his ship lit by the rays of the newly risen moon and pours out his love for Laura whose arrival in a boat he is even now expecting. Vesti la giubba (" On with the motley ") has been described as " one of the most famous numbers in modern Italian opera." Canio, heart- broken at his betrayal by his wife Nedda, prepares for the play in which he takes the part of the clown. The agonized refrain Ridi, Pagliaccio 1 (" Laugh, clown ") that runs through the piece, gives the clue to the feelings of the player who must still laugh though lies his life's dream shattered at his feet.



OPERATIC MUSIC FEBRUARY, 1925.

FERNAND ANSSEAU AND HELEN SADOVEN (with orchestral accompaniment)

12-inch double-sided R.d Label.

C'est toi ! c'est moi ! Fon m'avait avertie Bizet D B 7841 (Finale, Part 1) (" Carmen ") (Sung in French)

1l Mais mol, Carmen je t'aime encore Bizet (Finale, Fart 2) (" Carmen ") (Sung in French)

CARMEN is (unless our memory betrays us) the opera which led Nietzche to make his famcus remark, " We (Germans) must Mediterraneanise ! " It is a fact that Nietzche was

at the rime very angry with Wagner and that he may have seized on Blzet'a work on the principle that " any stick is good enough to beat a dog with," but his words ccata.n more than a grain of truth for all that. Bizet's vital rhythms, the clarity of his musical expression, his intensely ''ramaLic instinct, and the hot blood that courses through the veins of his characters as portrayed in his score-all these are things that could only have ripened ender a Mediterranean sun. This thrilling scene, for instance-what German could have written it-and, we might add. what Italian ? Ansseau and Sadoven both belong to the Paris Op.'ra and understand the French tradition. They possess more than fine voices and a finished technique ; they have the power of putting into their rendering the same fine frenzy that must have inspired Bizet when he penned this section of his score.

TUDOR DAVIES (Tenor) (with orchestral accompaniment) 12-inch double-sided Black Label.

D 957 1 On her contentment (" Don Giovanni ") ... Mozart 1 To her I love(" Don Giovanni ") ... ... Mozart

WL cannot have too much Mozart, and these two airs from Don Giovanni which Tudor Davies sings with true artistic understanding will prove a welcome addition to our

catalogue. Both are taken from the part of Don Octavio who is in love with Donna Anna and constitutes himself her defender after the murder of her father by the Don early in the play. " On her contentment" is simply a song addressed to the beloved. One might perhaps draw attention to the sudden change to the minor and the short broken phrases in the orchestra when reference is made to the lady's sighs : a small point, but so like Mozart ! " To her I love " is quicker and more elaborate, containing ample opportunities for the singer to exhibit the flexibility of his voice. Here Don Octavio is sending his friends to comfort Donna Anna while he himself goes for the police I


"His Master's Voice" Records...

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VOCAL MUSIC FEBRUARY, 1925.

SELMA KURZ (Soprano) (with pianoforte accompaniment)

10-inch double-sided Red Label.

632 { Marien Wiegenlied (Sung in German) Max Reger DA..Ständchen, Op. 17, No. 2... Strauss (Sung in German)

S ELMA KURZ in her wonderful vocal rendering of Chopin's E flat Nocturne and elsewhere has already shown that her virtuosity makes her a serious rival to the nightingale.

Here she exhibits another side of her art. Conservative readers need not be afraid on seeing the names of Reger and Strauss on the labels of her record. Whatever these composers may have done elsewhere they prove themselves hcre the legitimate musical descendants of Schubert, Schumann, and the rest, and we doubt if there is a single harmonic progression in either of these songs to which Brahms could have taken exception. But if their orthodoxy gives them a claim to a place in the great family of Lieder they deserve it no less on account of their beauty. The Ständchen with its lovely melody and exquisite Piano part is an old favourite, but the Reger song with its more reflective quality is no wit inferior, reminding one, perhaps, of some of the quieter songs of Schumann. One has only to listen to the record to know that Selma Kurz does ample justice to both.

CARMEN HILL (Mezzo-Soprano) (with pianoforte accompaniment)

10-inch double-sided Black Label.'

O that it were so ... .. ... ... F. Bridge

Published by Chappell & Co. E. 370 (a) Four by the Clock ... ... ... ...Mallinson (b) To an Isle in the Water

Published by F. Harris & Co.

CARMEN HILL is very happy in her treatment of three modern songs. Frank Bridge's " 0 that it were so" is a model of what a ballad should be and a fine example of

this pleasant and musicianly writer. Albert Mallinson is a composer of whom we hear a good deal. " Four by the clock illustrates his light but sensitive style, the way in which he depicts " the heavy breathing of the sea " (towards the end of the song; by an easily recognised but unobtrusive harmonic clAnge being intensely typical. In " To an isle in the water " lie has been equally successful in catching the mood of that elusive poet, Mr. W. B. Yeats. Carmen Hill's clear enunciation adds greatly to one's enjoyment of all her songs.



ORCHESTRAL MUSIC FEBRUARY 1925,

SYMPHONY ORCHESTRA

(conducted by ALBERT COATES) 12-inch double-sided Black Label.

D. 951 Francesca da Rimini-Parts 1 and 2 Tchaikovsky D. 952 Francesca da Rimini-Parts 3 and 4 Tchaikovsky

TCHAIKOVSKY describes his Francesca da Rimini as a " Fantasia after Dante " and the score is prefaced by an extract from the Inferno dealing with the story of Paolo

and Francesca. Our readers will remember how the lovers were discovered in a moment of passionate ecstasy and murdered before they had time to realise the Nemesis that had overtaken them. Dante relates how he met Francesca in the second circle of the Inferno where she was condemned to be whirled hither and thither through the gloom by a dreadful and resistless wind-symbol of the passion that had wrought her downfall. He learns something of her story . Out of this incident has sprung Tchaikovsky's tone-poem. There is no need to compose a more or less fanciful programme to fit every detail of the music, but the main outlines are clear enough. The darkness and the horror of the wind whistling and roaring through it are graphically described in the part of the work that occupies the first two sides of the record. With the end of the second side we reach a more lyrical mood presided over by one of Tchaikovsky's most lovely tunes ; the music harks back to the lost happiness of Francesca and her lover. Finally the memory of vanished joy is overwhelmed once more by the reality of present punishment.The

composer's genius for orchestration has enabled him to paint musical pictures of almost unrivalled vividness. In this particular example he has excelled himself. The work, soundly constructed though it is, may lack some of the more formal beauties of the Symphonies, and it contains nothing that can compare in lyric rapture with, say, the slow movement of the B minor. But to have written anything of that sort here would have meant being false to his programme and Tchaikovsky was far too great an artist to make such a mistake. But for picturesque- ness and sheer emotional force is there anything in the whole range of the composer's orchestral output from " 1812" to the Symphonie Pathetique that can rival Francesca da Rimini ?

Mr. Coates has infused an immense vitality into these records, and we can only add, has scored a further triumph to his already long list of recording successes.

For price., see page 2 of cover


VOCAL MUSIC FEBRUARY, 1925.

WALTER GLYNNE (Tenor)

(with pianoforte accompaniment) 10-inch double-sided Plum Label.

(The slighted swain... arr. H. Lane Nilson (" Old English Melodies ")

B. 1927 Published by Boosey & Co. Easter Flowers

... ... ... ... Sanderson

Publishcd by Boosey & Co.

PETER DAWSON (Bass-Baritone)

(with pianoforte accompaniment) 10-inch double-sided Plum Label

Cargoes Published ... by . J. . B. ... Cramer & . Co.

. :Martin Shaw

B. 1930 iI Wander Thirst ... ... ... Landon Ronald

(No. 4 " Song Fancies ") Published by Enoch & Sons

A N excellent selection of songs of the lighter kind is provided by "alter Glynne and Peter Dawson. Perhaps the most charming of all is " The Slighted Swain " most expressively

sung by Glynne, who also makes good use of his opportunities in the wistful " Easter Flowers." Alasefield is a poet who is sure to appeal to Peter Dawson and the rendering of "Cargoes " (setting by Martin Shaw), carries the conviction of true sympathy. " Wander Thirst," as its name implies, is another song of the kind that suits this sturdy singer so admirably.

GRESHAM SINGERS (Male Quartet)

(unaccompanied) 10-inch double-sided Black label.

Evening ... .. ... .

IL Leslie E. 371 Published bi, Novello & Go.

Come, let us join the Roundelay ... ...

IV. Beale Published by Novello & Co.

THE Gresham Singers have added two charuiiug and well- contrasted songs to their repertoire. The quiet, dreamy mood of " Evening," and the rhythmic crispness of

Come, let us join the Roundelay " have both been caught with admirable fidelity and combined with the excellence of the balance and the clearness of the diction, make the record a most desirable one.


.......... .............._......................................................................_.............................................................__INSTRUMENTAL MUSIC

FEBRUARY. 1925.

DE GROOT AND THE PICCADILLY ORCHESTRA 12-inch double-sided Plum Label

C. 1185 "Frasquita "-Selection, Parts 1 and 2 Fran,- Lehar

IN a selection from Frasquita (Robert Evett's new production now touring the country) De Groot gives us some attractive music that is probably unfamiliar to most Londoners.

Lehar is, as everyone knows, the composer of the music to " The Merry Widow," the most popularmusical comedy of modern times and in the theatrical and musical world great things are expected of this new work from his pen.

THE BAND OF H.M. ROYAL AIR FORCE (conducted by Flight-Lieut. J. AMERS)

12-inch double-sided Pluni Label

1183 ! Sanctuary of the Heart ... Ic'etelbev, arr. C. Godfrey C.Serenade ... ... ... ... ...Cha'ninade

SANCTUARY OF THE HEART " is conceived in a quiet, almost a solemn vein and leaves at the end an impression of solid strength. Chaminade's " Serenade " is more

romantic, more richly coloured, and full of interesting instrumental effects. Neither piece is easy for a Military Band to play but Lieut. Amers and his bandsmen have scored a remarkable success, the cornet in particular, performing prodigies of valour in an important and arduous part.

MARJORIE HAYWARD (Violin) (with pianoforte accompaniment)

10-inch double-sided Plum Label

1926 ( Romance (Love Song), Op. 17 ... ... R. Friml B.IValse, Op. 37, No. 3 ... ... ... d'Ambrosio

HE leader of the Virtuoso Quartet gives us a further chance of

appreciating her quality in two delicious little tit-bits for TViolin Solo. The waywardness of the " Romance " and the dainty vivacity of the " Valse " are interpreted by one who not only feels these things but is able to impart her delight in them to us as well.For

prices, see page 2 of cover

"His Master's Voice' Records

MISCELLANEOUS MUSICBEN LAWES (Humorous)

(with pianoforte accompaniment) 12-inch double-sided Plum Label

C. 1184 { Our Musical Drama, Parts 1 and 2... ... C. Grey Published by Reynolds & Co.

BROOKE JOHNS (Humorous)

(Accompanied by Paul Fay) 10-inch double-sided Plum Label

It takes a good man to do that ...

Brooke Johns B. 1929 Publi.hed by Francis, Day & Hunter

Cuddle up .. Brooke Johns & Ferkins

W WE have often heard that queer things occasionally happen in theatrical touring companies, but even so Ben Lawes' experiences are a revelation to us. The manner in which

the members of the company to which he belonged introduced songs into their melodrama is perhaps somewhat different from Shake- speare's method, but there is no denying that the songs come in appropriately enough-in a way !

Brooke Johns is evidently a man of considerable vitality. " It takes a good man to do that " is full of Americanisms, but the extra dose of " pep " that Brooke Johns puts into it belongs not to America in general but to him alone. " Cuddle up " is another enjoyable song though we fear that few ladies could stand such an impetuous lover for long without a nervous breakdown. An additional charm is given to the record by the really excellent playing of Paul Fay.

HILO HAWAIIAN ORCHESTRA

(Hawaiian Guitars played by Ferera and Franchini) 10-inch double-sided Plum Label.

J B. 1928

Moana Chimes-Waltz ... ... ..

Otto Motzan Waikiki is calling me-Waltz... Eugene Platzman

Published by The Lawrence Wright Music Co. N NO one who is interested in the development of modern dance

music should be without these records of the Hilo Hawaiian Orchestra. Not only are the players men who thoroughly

understand their business and know what effects they are aiming at, but the Hawaiian Guitars themselves are extraordinarily well suited to meet the special demands of this kind of music. The result is something very original and alluring with a romantic charm in the treatment of the Waltz that distinguishes it sharply from the work of the usual dance band.


NOW RECORD EXCLUSIVELY FOR

His Master's Voice ISSUED MID-JANUARY

12-inch doable-sided Plum Label. SAVOY ORPHEANS

(AUGMENTED SYMPHONIC ORCHESTRA), at the Savoy Hotel, London. C.1186 A Fragment-Dvordk's "From the New World," Parts 1 & 2

SAVOY ORPHEANS At the Savoy Hotel, London.

10-inch Double-sided Plum Label B.1933 f By the Lake-Fox-Trot

LOgo Pogo-Fox-Trot 6.1934 All alone with you in a little Rendezvous-Fox-Trot

1_Dream Maker of Japan-Fox-Trot B.1932 Dreary Weather-Fox-Trot and Bagdad-Fox-Trot

(Out of a million-Fox-Trot 8.1935 j SAVOY HAVANA BAND

l At the Savoy Hotel, London In Shadowland -Waltz B.1936JI love the Moon-Waltz Serenade-Waltz ("Millions of Harlequin")

--ISSUED MID-DECEMBER, 1924

SAVOY ORPHEANS, at the Savoy Hotel, London 12 inch Double-sided Plum Label

Savoy English Medley-One-Step C.1179 SAVOY HAVANA BAND, The SELMA FOUR, SAVOY ORPHEANS

Fantasie-One-Step (Syncopated Favourites) SAVOY ORPHEANS, at the Savoy Hotel, London.

10 inch Double-sided Plum Label B.1919 f Why did you call me wonderful one?-Fox-Trot

1_Go 'long Mule-Fox-Trot B.1915 All Alone-Waltz and Hum a little tune-Fox-Trot B.1916 Chaliapinata-Fox-Trot {Just

like a beautiful story-Fox-Trot ( Dream Daddy-Fax-Trot

B.1917{ SAVOY HAVANA BAND, at the Savoy Hotel, London. Drift wood-Fox. Trot

8.1918 Childhood's Memories-One-Step-Parts 1 and 2........_.._...._.. __....._.: ......__....... .....:........_........_. ...._. _ _. __.._.._....................................


"His Master's Voice" Records___ýýý

RECENT SUCCESSES ISSUED MID-JANUARY. JACK HYLTON AND HIS ORCHESTRA.

10-inch double-sided Plum Label. 8.1939 Golden West-Waltz and In between the showers-Fox-Trot 8.1940 She loves me-Fox-Trot and Follow the Swallow-Fox-Trot

PAUL WHITEMAN AND HIS ORCHESTRA B.1937 Doo Wacka Doo-Fox-Trot and Eliza-Fox-Trot 8.1938 Adoring You-Fox-Trot and The Hoodoo Man-Fox-Trot

SALON ORCHESTRA 8.1931 Memory Lane and All alone

(\'ot suitable for dancing).

ISSUED MID-DECEMBER, 1924 JACK HYLTON AND HIS ORCHESTRA

10-inch double-sided Plum Label. 8.1925 I wonder what's become of Sally-Waltz and Sahara-Fox-Trot

PAUL WHITEMAN AND HIS ORCHESTRA B.1921 J Where the dreamy Wabash Flows-Fox-Trot

By the Waters of Minnetonka-Fox-TrotTHE TROUBADOURS

8,1924 Dreamy Delaware-Waltz and June brought the Roses-Waltz JACK SHILKRET'S ORCHESTRA

Charley, my Boy-Fox-Trot 8.1920 CHARLES DORNBERGER AND HIS ORCHESTRA

Nobody's Sweetheart-Fox-Trot DE GROOT AND THE PICCADILLY ORCHESTRA

What'll I do 2 8.1922 DE GROOT (Violin) A. Gibilaro, (Piano) and J. Samehtini ('Celle)

" Sadko "-Chanson Hindoue MAYFAIR ORCHESTRA

12-inch Double-sided Plum Label F Poppy "-Selection, Part I

Containing : " What do you do Sunday, Mary? " " Two make a home," " Steppin around," " Hang your sorrows in the sun "

C.1178I " Poppy "-Selection, Part 2 Il Containing : " When you are in my arms," " A picnic party with you,"

" Alibi Baby," " What do you do Sunday, Mary?" " Primrose "-Selection, Part I

Containing: "Till I meet someone like you," "I'll have a house in Berkele7 Square," "That new fangled Mother of mine," "Some far away someone,

C.11S0 " Boy Wanted" " Primrose "-Selection, Part 2

Containing : "This is the life for a man," "Naughty Baby," " Isn't It wonderful," " Wait a bit, Susie"

BROOKE JOHNS (Humorous) (Accompanied by Paul Fay)

I0-inch Double-sided Plum Label E.1323 Mindin' my business and I'm gonna knock

For prices, see page 2 of cover

ALPHABETICAL LIST OF RECORDS issued since January 1st, 1925.

Not Including Mid-January List, for which see pages 11 and 12.

All Records in this list are r7onble-sided. For prices see page 2 of cover.

NumberI

iÄNumber 11

51

BOURNE, Una (Piano)"ELIZABETHAN LOVE Finnish RhythmsSONGS" (arr. Keel!

(Palmgren)Go to bed, sweet Muse No. 1-Karelian DanceB 191110PImBen DaviesE 364 10 Blk No. 2-MinuetB 191110PImWhen Laura smiles No. 4-Minuet-WaltzB 191110PImBen DaviesE 364 10 ßlk

November (En Troika)FINNISH RHYTHMS from " The Months," Op.(Palmgren) 37a, No. 11 (Tchaikovsky)B 191110PImNo. 1-Karelian Dance

"Caliph of Bagdad, The"No. 2-Minuet (Overt are)No. 4-Minuet-Waltz

Coldstream Guards BaudC 117612PImUna BourneB 1911 10 Plm Fowls Alfred LesterC 1177 12 Phu

CATTERALL QUARTET Quartet in F major, 01). 18,GALLI-CURCI (Soprano)

No. I (Beethoven)D947/5012B I kPretty Mocking Bird (Recorded in complete form(Bishop)DB 798 12 Red

on 4 12-inch records)Si carina (Slumber Song) Quartet in F major, Op. 22,(iier,erbecr)DB 798 12 Red

No. 1-ScherzoGILLY 1Baritone) (Tchaikovsky)D 95012B IkScorri flume,"Il Tabarro")DA 559 10 Red

Cider Peter Dawson13191410PlmVecchia zimarra

," La Bohente")DA 559 10 Red COLDSTREAM GUARDS

BAND (Cond. Lt. Evans)GLYNNE, Walter (Tenor) "Caliph of Bagdad, The"Oh, let no star compare

OvertureC 117612PImwith theeB 1913 10 I'Im Marche MilitaireC 117612PlmRosebudB 1913 10 l'Im

COLTHAM, Sydney(Tenor)Go to bed, sweet Muse Devotion13191210PImBen DaviesE 364 10 B1k What a wonderful world itI saw from the beach

would beB 191210,PImMcCormackDA 636 10' Red Come when the world is"Impresario" Overture

sleeping De Groot's Orch.'B 191010PIm(.Vosari)ý Concerto in A minor, Op.Symphony 0rch.BIkD 945 12 54 (Schumann)Insuring his life

(Recorded in complete Porn.A. Lester and Fred RomeC 1177 121 Plan on 4 12 inch RecontslLESTER, Alfred

Cortot and R.A.H. Orch.DB 722,'512Redt Humorous) Pow isC 1177 12 I'tm

CORTOT and R.A.H. OR.LF,STER, Alfred and Fred Concerto in A minor, Op.ROME

54 (Schumann)DB 722/512RedInsuring his lifeC 1177,12 PIm (Recorded in complete form;Marche Militaire

on 4 12-inch Records)Coldstream Guards BandC 1176 12 P1m DAVIES, Ben (Tenor)

Go to bed, Sweet MuseE 36410RikMcCORMACK (Tenor) When Laura smilesE36410BlkI saw from the beachDA 636 10 Red

DAWSON, PeterPadraic the FiddilerDA 636 10 Red (Bass-Baritone)November (En Troika) CiderB 191410PImfrom "The Months," Op. Tramp, TheB 191410P1m37a, No. 11 (TchaikcvskyI

DE GROOT and the PIC-L*ua BourneB 1911 10 Flm CADILLY ORCHESTRA Come when the world isOh,

let no star compare with thee W. GlvnneB 1913 10 Plm

sleepingB 191010PImOver the mountains Precious wee one-LullabyB 191010PlmE. ThorntonE 365, 10 B lk

DE RESZKE SINGERS Studies in ImitationPadraic

the FiddilerMcCormackDA 636110 Red

(H. N, ughes)PIANO SOLOS-see Little Jack HomerD 94112,B1kBOURNE, CORTOT Little Tommy TuckerD 94112B IkPrecious wee one-Lullaby There was a crooked manD 94112B IkDe Groot's Orch.B 1910' 10 Plm

Devotion (Haydn Wood)Pretty Mocking Bird' Svdnev ColthamB 191210Pin,I Il,shohl Galli-CurciDB 7981 Red

Number mI Number I m

PRIMROSE, WilliamSUDDABY, Elsie (Soprano) I Violin)Shepherd, thy demeanour Sonata in A, No. 2 (Bach)D 939/4012B lkvaryE 36610B ]k (Recorded in complete formVirgin's Lullaby

on 2 12-inch Records)("Bethlehem")E 36610B1k Quartet in F major, Op.Symphonyin C, No. 41

18, No. 1 (Beethoven)(Jupiter) (Mozart) Catterall QuartetD 947/5012B lkSymphony Orch.D 942/4512B 1k

(Recorded in complete form(Recorded in complete form on 4 12-inch Records)on 4 12-inch Records)

SYMPHONY ORCH. Quartet in F major, Op.(Cond. A. Coates)

22, No. 1-Scherzo"Impresario" Overture (Tchaikovsky)(Mozart)D 94512Blk

Catterall QuartetD 95012BlkSymphony in C, No. 41 Rosebud Walter GlynneB 191310Plm(Jupiter) (Mozart)D942/4512Blk Scorri flume(Complete on 4 12-inch

("Il Tabarro") Gill,DA 559l0RedRecords) Shepherd, thy demeanourTHORNTON, Edna

vary E. SuddabvD 36610Blk(Contralto) Si carina (Slumber Song)Over the MountainsE 36510Blk

("Dinorah") Galli-CurciDB 79812RedWhen singing birds were Sonata in A, No. 2 (Bach)muteE 36510Blk

William PrimroseD 939/4012B lkTramp, The P. DawsonB 191410Plm (Recorded in complete foraVecchia zimarra

on 2 12-inch Records)("La Boheme") GillyDA 55910Red VIOLIN SOLOS-see

STUDIES IN IMITATIONPRIMROSE (H. Hughes)Virgin's Lullaby Little Jack Horner("Bethlehe))i") E. SuddabvE36610BIk

De Reszke SingersD 94113BIkWhat a wonderful world it Little Tommy Tuckerwould be S. ColthamB 191210Plm

De Reszke SingersD 94112ilkWhen Laura smiles DaviesE 36410Blk There was a crooked manWhen singing birds were1

De Reszke SingersD 94112;ß:kmute E. ThorntonE 36510P1m

WARNING. - As under the Copyright Act 1911 copyright subsists in Gramophone Records proceedings under such

Act may be taken against anyone infringing the Company's copyright therein. 1THE GRAMOPHONE COMPANY. LIMITED.

TIE GRAMOPHONE CO., LTD.,

363-367, Oxford Street,

LONDON, W. 1. Telephoi e : Mayfair 1240 (4 lines).

Printed January. 1925.

`ý'.ý] · 2009. 5. 15. · the cesar franck violin sonata february, 1925. jacques thibaud...

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