Phonograph Monthly Review, Vol. 1, No. 10 (1927-07)

The Phonograph Monthly Review 439 v©ir 3|<SV matic chess players, Austrian Trumpeters, Rope Dancers, ear trumpets, etc., etc.) had perfected an instrument called the panharmonicon, a sort of automatic military band, with trumpets, drums, oboes, triangle, and the rest played me- chanically. This instrument was exhibited in the winter of 1812-13 in Vienna, playing “overtures by Handel and Cheru- bini and Haydn’s Military Symphony with ease and precis- ion.” At Malzel’s request, and indeed largely under his direction, Beethoven (then a great friend of his) composed a piece for the panharmonicon, using for program the notable victory of Wellington at Vittoria in the early summer of 1813. Grand plans were laid for a triumphal tour with this machine and to raise funds it was decided to give several orchestral concerts in Vienna at which the Battle Symphony and other works (notably the Seventh Symphony) were to be performed by an ordinary orchestra. The first of these concerts, at which both the Symphony and the “symphony” were introduced, was given in December of the same year as a charitable affair, probably for the sake of publicity. The concert was staged rather hastily with a number of noted musicians pressed into service as participants, among them Mozart’s rival Salieri (later taken as a central figure by Rimsky-Korsakow for his opera “Mozart and Salieri”), Hum- mel, the piano virtuoso, and Meyerbeer, then of course but a young man. The first two were responsible for the “cannon” in the battle piece and the latter incurred Beethoven’s! ire for thumping the bass drum always a trifle late on the beat! The concert was a great success, which Beethoven unselfishly ascribed to Malzel’s efforts. Later, however, the friends quarreled, and the projected tour was abandoned. Malzel introduced the mechanical version of the Battle Symphony in London in 1815 where it met with an enthusiastic reception much ta Beethoven’s pleasure, for he seemed to think well of the work. (Malzel later exhibited the panharmonicon and his other automata in the United States, where the chess-player in particular aroused great interest.) Th “symphony” itself is more an overture than a symph- ony and is of the simplest sort of construction, with the fugato the most striking section from a musical point of view. “Malbrough” is so closely associated with “For he’s a jolly good fellow” that its introduction is rather incongruous, but the British anthems are thundered out in fine style. The percussion section of the orchestra has the opportunity of a life time and covers itself with glory. A work worth hearing and having; as a most agreeable relaxation from what is oftentimes unduly “serious” music, it ean hardly be beaten. Record buyers may well look forward to the time (may it be soon!) when the Okeh Corporation re-presses it here under the Odeon label. In the efforts to keep the Studio Library as inclusive and representative as possible and to keep our readers informed about foreign recordings of merit, we recently ordered and received a batch of records from England through the well- known house of Alfred Imhof Ltd., 110 New Oxford Street, London, W.C.l, England. The service rendered by Imhofs (of which Mrs. Kathleen Imhof is the Managing Director) has proved so prompt and efficient that in the future we shall have monthly orders sent from London of tho outstand- ing new releases, in order that our readers may have advance information on their worth. The first group of these will be reviewed next month. As many American phonograph enthusiasts are intensely interested in the question of imported records, we shall briefly describe the prices, time, etc., to be allowed for a typical order, for the benefit of those who have not yet had any dealings with English dealers. It will be seen that Imhof’s service is easily the speediest and most efficient that can be obtained. The cost is somewhat higher than through domestic importers, but the difference in time saved may prove the deciding factor with many record buyers, as it has with us. (This is, of course, not intended to reflect in any way upon native importers, whose service is also most reliable, but the latter are inevitably subjected to delays and the possibilities of wanted records not arriving. The direct im- portation from London ensures speed, fresh unplayed copies of the records desired, and avoidance of customs troubles, since precautions are taken by means of special labels, etc., to prevent any infringement on copyright restrictions and the like. Importation through the manufacturing companies (of records of their affiliated companies abroad) is very trust- worthy, but also very slow and it is doubtful whether the American companies undertake this service except for the convenience of their customers. On May 2nd we wrote to Mrs. Imhof ordering nine Vocalion acoustic records, and on the following day, wrote again for three Vocalions and one His Master’s Voice (the latter was the only current release). June 3rd, on receiving notifica- tion from the Boston Custom House, the records were ob- tained (the date of the London invoice was May 17). The cost was! as follows: 13 records (1 @ 6/6, 3 @ 4/6, 9 @ 5/6) 3 pounds, 9 shillings, 6 pence; postage and insurance on two packages, 10 shillings, 10 pence; total bill from Imhofs, 4 pounds, 4 pence; American customs charges (30%) $5.70; total cost. $25.28. The records reached us in perfect condition and were fresh, unplayed copies. Consequently, we can only add our heartiest recommendation to that of the many American record collectors who like us have found the house of Imhof so satisfactory in securing English recordings. In addition, we must acknowledge Mrs. Imhof’s courtesy in sending us complete English catalogues and keeping us supplied with the latest supplements. The following works were those received. The “Solway” Symphony is of particular interest in that it makes the Studio Library absolutely complete in Recorded Symphonies (Mendelssohn’s Italian Symphony, mentioned with McEwen’s as missing from our collection—see the note to Dr. Mead’s letter in the December 1926 issue—having since been ob- tained) . H.M.V. D1089—Sibelius: Finlandia (2 parts) Sir Landon Ronald and the Royal Albert Hall Orchestra. Vocalion D-02131-3—J. B. McEwen: Solway Symphony (6 parts). Cuthbert Whitemore and the Aeolian Orchestra. A-0242-4—Mozart: Violin Concerto No. 3 in G (5 parts) Jelly d’Aranyi accompanied by Stanley Chappie and the Apnliqn Orpnp^trn A-0247-8—Vaughn Williams: Old King Cole Ballet Suite (4 parts) Aeolian Orchestra conducted by the composer. A-0249—Vaughn Williams: The Wasps Overture (2 parts) Aeolian Orchestra conducted by the composer. A-0258—Chabrier: Espana Rhapsodie (2 parts) Rhene-Baton and the Aeolian Orchestra. A-0255-6—Rimsky-Korsakow: La Grande Paque Russe (4 parts) Rhene-Baton and the Aeolian Orchestra. (Finlandia is electrically, the Vocalions acoustically recorded.) Sir Landon Ronald’s Finlandia is, frankly, extremely dis- appointing. His reading is lackadaisical and careless, far removed from the life and brilliance of his recent version of Beethoven’s Fifth. Still more marked is the contrast between the recording here (made apparently about the time of Tchaikowsky’s Fourth among the first English electrical recordings) and that of recent H. M. V. works like the Coates’ Eroica and Ninth Symphonies. This Finlandia record gives a convincing demonstration of the extent of the developments made since its issue. As it is very unlikely ever to be issued in this country, we must continue to look to Stokowski for an adequate and complete version. On the whole, the Vocalion records were excellent indeed, although some of them are quite old and all antedate the adoption of the new process by the Vocalion Company. In every case the recording can be considered of very high acoustical standard; in particular they are unusually clear and it is possible to follow the various orchestral parts with no difficulty. Rhene-Baton, a French composer and conductor of con- siderable talents (known for a very fine work for piano and orchestra and for his recorded version of Berlioz’ Fantastic Symphony for H.M.V.), demonstrates his powers to excellent advantage in both the Espana Rhapsodie and Rimsky’s Rus- sian Easter Overture. The recording of the former is probably the only complete one and by all means the best heard at the Studio to date. It is not to the conductor’s discredit that it must be said an electric version is still needed—no acoustic recording could hardly hope to surpass this one—but Chab- rier’s dazzling Rhapsodie. still one of the consummate master- pieces of orchestration, demands the new process for the full reproduction of its color and brilliance. Rimsky’s Overture