The Washington times., 1923-02-02
VICTOR RECORDS
LISTED FOR
FEBRUARY
Vocal Gems and instrumental
Offerings Are Among the
Selections.

9elSCTIOnSs
The Victor solo records for Febru-
airy are preponderantly male, en-
bracing the range Of the mascu-
line voice from Chapliapin's rug
ged bass, including Ruffo's and
| Werrenratl1's baritones, to Schipa' 8
splendid tenor. String numbers,
/ both in solo and organization In
terpretation, also are noteworthy
features of the February program,
while the offerings Of popular and
entertainment numbers, including
dance records. are particularly
varied.
| Few characters in opera are so
perfectly suited to Chaliapin's voice
and art ais the title role Of Boito's
/ .'Mefistofele." The sardonic pas
sages OF the prologue-"Aye Sig
4 nor!" (dail, Sovereign LordD with
mock reverence and defiance of
Heaven, form one Of this great bas-
| SOS immortal scenes. Through the
sounding of the seven Celestial
i trumpets is heard the deep voice Of
Satan, first in solemn invocation,
| then in a singular, rolling waltz
like theme against a tuba. "A num-
1 Der of wild contrasts, massive chord
! harmonies set the pace in the ac-
compartment for this artists rever-
/ berating bass.
A humble subject treated by a
| master becomes great-and IL 1t
4 tends toward hghtness, its humor
is real. The song in praise OF Eng
| lish porter-"Canzone del Porter"
from Martha" is a jolly one, cele-
brating the virtues of this sound
J black beverage. Titta Ruffo enters
thoroughly into the fun of the thing,
chanting it's lusty measures in an
almost thunderouS baritone. There's
a moral, too-advancing as it does
the principle that it's porter explains
! the real strength Of the British ma
| ton.
Solo by Braslau.
| Miss Braslau's selection for a rec
! ord this month is a popular song
from an English source-"Some Day
You Will Miss Me" 1t is simple
in style, with smooth and flow
ing melody, and admirably reveals
the firm and bronze-like deep tones
Of the artists voice. The accom-
paniment is interesting.
Parent songs are more commonly
mother melodies, but Werrenrath's
latest record is of q father address
ing his little son. The melody of
Little Man" is slow and tender,
calling into play the deeper tones
of the artists voice. One gathers
that the little man" is awake and
gazing into the future with wide
eyes. Every father-and mother
of little boy will appreciate this
record.
Schipa's solo is one Of those popu-
lar songs in which Naples quite
properly abounds, considering the
number of composers there resident.
cchiuw (Oh, How Can I ForgetD-is
characteristic, with a swift and trip
ing melody, a fine medium to dis
play Schipa's splendid tenor.
Instrumental Numbers.
1t is a distinct opportunity to
hear so great an organization as
La Scala Orchestra of Milan, di-
rected by Arturo Toscanini, play so
sublime work as the closing move
ment of Beethoven's Fifth Sym
phony. Based no its immortal
theme, just four notes long, it por-
trays the soul OF Man in contact
with Fate, and glorying in the con-
flict. Not the least wonderful thing
about it is that you can hear such
a mastery Interpretation of it right
at home.
Brahms for a time accompanied
the Violinist Remenyi on tour, and
| the melodies for the formers IA
| nous Hungarian dances are said
| to have been acquired from Rem
enyi. Jascha HeifetZ plays the first
and perhaps best known of these
dances on a new February record, a
madly capricious headlong number,
played with miraculous skill and
| beauty.
Dance Records Good.
The waltz will not be denied No
less than four of them appear on the
latest Victor programs. Two Of them
are instrumental duets, Hawaiian in
style, played by Sam Moore and
| Horace Davis on the octa-chord and
the harp guitar, with characteristic
South Sea Wailing cadences. MY
Old Hawaiian Home" and Isle of
Sweethearts" are gentle in tone, not
unlike the effect of subdued or
chestra of ukeleles and Hawaiian
guitars.
The Serenaders play two other
rhythmic waltz numbers on a New
Victor record-"Through the Night"
and "Red Moon Waltz" They are
perfect in form and structure, and
are played in distinguished style,
strings taking most Of the melody,
with the sax and jazz whistle con-
spicuous by their absence.
The number of effects that Paul
Whiteman manages to create is
amazing, and-"Where Hearts Are
Young'-a new fox trot record by
his orchestra develops several. 1t
is straight fox trot with~smocth