The Bridgeport evening farmer., 1917-04-27
NEW RECORDSFOR
 TALKING MACHINE

An aQaptatlOn or the national songs that every American knows "by heart"-"R Rally to the Call Boys''-is the most recent addition to the Co., lumbia Graphophone Co.'s list of pa- triotic songs A bugle call, fife and drum introduction is followed by a lively instrumental medley of Ameri- can airs, Rally Round the Flag, Boys" "Columbi the Gem of the Ocean, America Yankee Doodle and other American airs, with the Rally to the Call Boys" theme pre- dominating, sung by chorus of male voices. A stirring call to the boys of the nation-"Your Country Is Calling You''-is the climax of one of the most enthusiastic patriotic renditions ever given by orchestra and oh orus.
 Even Americas music seems to have caught the gallant patriotism that is being manifested by Ameri- cans the country oyer, One of the latest evidences of the patriotic mood of music is a recording by the Saxo Sextette, a new Columbia instrument al ensemble, entitled "The Call of Nation" The nearer will recognize many familiar patriotic airs inter- woven with this animating call to arms. And those who appreciate genuine instrumental novelty will find happy diversion in the music of these six saxophone adopts.
 x Quite as perennial as spring itself is the versatility of winsome Lucy Gates, the young prima donna whom America proudly claims as her own. Her exquisite soprano and charming vivacity have never been more beau tifully employed than in Wilson's ec- static Spanish love-waltz song, the "Carmena Waltz" just released by the Columbia Graphophone Co. Clicking castanets introduce the gaily tripping waltz measures that so melodiously frame the poetic verses, athrill to loves expectancy.
 Descriptive melody was never un- folded with more vivid effect than in Josef Hofmann's Columbia recording of Moszkowski's Caprice Espag- nol." The delightfully."- capricious melody might be called a pianoforte study of the dance of Spanish gypsy maid. Whirling, tinkling roulades suggest the merry challenge of the tarnbourine. Then follows the dance; scintillating arpeggios gracefully trip the keyboard. alternately teasing, wistful or wildly exultant. Suddenly, the dance ends in a crashing chord that seems to hang poised in the air, just as the piquant senorita ends her dance in a momentary pose. Those who have marveled at Hofmann's n1atchless technique and the ease with which he solves intricate mu- sical problems for piano students, will marvel anew after they have heard this charming descriptive by the young master.
 The opening aria of DOnzetti's sub lime opera of romance and tragedy, "La Favorita," has been recorded for Columbia by the tenor who can best interpret the fiery ardor of Spanish love-Lazaro, Spain's vocal marvel. Not since the days of Rubini has the chastened passion of this great love aria been sung in such tones of golden purity. As sung by Lazaro, there is warm depth of tender love pulsing beneath the confessions of the novice to his Prior that seems to foreshad- ow broken VOWS and broken hearts. The orchestral accompaniment is played in manner that confirms the many stories that are told of the in spring influence Of Lazaro's voice over his musical director and accom- paniments