Phonograph Monthly Review, Vol. 1, No. 4 (1927-01)

The Phonograph Monthly Review 183 the beginning of Part 11, just before the return to the Scherzo theme, is another remarkable bit of orchestral per- formance and recording. The Fourth Movement is the true slow movement of the work. The darkly beautiful alto voice sings of the need of the suffering world and the necessity of light and life from G °d. With Part 14 begins the tremendous Finale; death and judgment are at hand. There is a terrible procession as though the dead arise and march to the summons of the trumpets of the apocalypse. Surely the surging drum rolls at the end of Part 16 mark the highest points of the phono- graph’s approach to realism. It is almost unbelievable both that such epochal music should be written and that should ever be reproduced on rubber discs and the phonograph. It is no wonder that one musician who had taken part in one of the American performances of this symphony refused to believe that a recording of it had been made. Even when he actually heard it played at the Studio, he could scarcely realize that the thing had actually been accomplished. One’s amazement grows as this last movement swells up to its jubilant close. The cathedral chorus and the soloists sing of the resurrection from the dead, organ and chimes join the triumphant voice of the orchestra, and the symphony ends on this sublime note of divine rejoicing. It is hard .to avoid superlatives when writing of this symphony and of this recording. Both are so far removed from the ordinary composition and the usual run of records. And under the direction of Oskar Fried, the impossible is always accomplished, it seems! The balance that he manages to secure, in spite of the heavy orchestration and the always difficult problem of the chorus, is something to marvel at. Truly, these people who dare to attempt the impossible tasks seem to succeed in direct proportion to the difficulties. Naturally, this recording has aroused a great deal of attention in Europe, both on account of its musical and its technical merits. Here in this country where Mahler’s music is not widely known, interest has hardly been stirred except among a few enthusiasts. It would be unjust not to mention the courage of Mr. B. M. Mai, the American Polydor Representative, for bringing many sets of this symphony over from Germany. It is of interest to know that the first set to be imported was presented to Mahler’s brother, a clergyman in a Middle-West city. A few of Mr. Mai’s closest friends have been privileged to see the beautiful letter of thanks that the composer’s brother wrote. Every Christmas and Easter the “Resurrection” Symphony is played in memory of Mahler, whose dynamic personality still leaves its influence on all those who knew him or who hear and sincerely feel his music. The scope and character of this symphony, the price and difficulty of availability of this recording, set it far beyond the reach of the average person. But those who are able to purchase it and (still more important) willing to study and absorb its musical and spiritual content should not let this work go by unheard. We at the Studio can only^ marvel at our own stupidity for not knowing it sooner. The importance of the Symphony itself probably may easily be exaggerated, but the unusualness of the recording can hardly be. And however the conflict over Mahler’s genius or lack of it may wage, there is no question but that this Symphony bears the imprint of a great mind and a great talent. One may dis- agree or be repelled, but one is fascinated even when most displeased. This is not a work to be merely listened to; it is one to be studied and discussed and even fought about. Such is the compelling force of the composer’s gift and in no less degree that of Oskar Fried’s great interpretation and record- ing. It is understood that Mr. Mai is still importing sets from Germany in the hope that there are more people who are eager to own this work. It will be interesting to see the reception of this recording by the American enthusiasts who are able to purchase it. There must be many who want the most ambitious of all recordings and one of the most remark- able of all compositions. COLUMBIA Masterworks Set Number 42 Mozart: Sym- phony in D major. No. 35. 3 D12s Al. Price $4.50. Played by Halle Orchestra conducted by Hamilton Harty. This symphony, while perhaps not of an equal largeness of conception with the three last symphonies of Mozart, is surely one of the most delightful of all his compositions. It has an interesting history. In July, 1782, Mozart was busy putting the finishing touches on his opera, Die Entfiihrung aus dem Serail, and also making preparations for his wedding which took place on August fourth. But at the request of his father, he composed this symphony for some festivities at the Haffners, a well-known Salzberg family who took a great interest in the young Mozart. The work as first written was in the form of a serenade; there was an introductory march and two minuets. A year later the symphony was rearranged, the march and one minuet were discarded, and flutes and clarinets were added to the orchestra. The work is now known as No. 35, the “Haffner” Symphony, or Kochel No. 285. First Movement: Allegro con spirito (Parts 1 and 2) Andante (Parts 3 and 4) Menuetto and Trio (Part 5) Finale: Presto (Part 6) The first movement is an almost continuous treatment of the bold, vigorous theme announced in the opening measures. The energetic octave leaps give this theme a real distinction and power. The slow movement is in very simple form and the minuet and trio make no departure from their conventional form. The Finale, a whirling rondo, which Mozart wished to go “as fast as possible,” is very spirited and lively. In works like this, of simple construction and orchestration, yet which demand the utmost delicacy of expression and tone, the old process of recording was always at its best. In fact, many experts believed that the electrical process could never do as well in such works. But the Columbia electrical recording of this Mozart “Haffner” Symphony is a setting exquisitely matched to the musical gem it holds. The pierc- ing “sharpness” so common to string passages recorded by the new process is entirely absent. The most infinitesimal pianissimo and shade of expression is caught in every detail. A feat of recording whose worth is in inverse proportion to its obviousness. It is becoming more and more easy to pro- duce stupendous and imposing effects on the phonograph, but the art of achieving perfection and artistry in miniature is only begun. Until now, the finest achievement of this sort was Oscar Fried’s Eine Kleine Nachtmusik of Mozart recorded by Polydor. But Columbia has gone even a step beyond and given us what is undoubtedly the finest piece of orches- tral recording in all the splendid Masterworks list. Aside from the recording, perhaps the most noteworthy feature of this set is the performance by Hamilton Harty and the Halle Orchestra. This well known combination of conductor and orchestra has done many fine things in the past, but here they go far beyond themselves. The reports from England that Sir Hamilton Harty has succeeded in building up his orchestra to an astonishing degree are well confirmed by this recording. Undoubtedly, the Halle Orches- tra must be ranked as the leader in Great Britain today. The interpretation is never forced or exaggerated and never jars with the character of the music. One might wish for even greater fleetness in the Finale (Mozart himself is the authority), but the clarity and finesse are so perfectly all that one could desire, that it would be greedy to demand anything more. The beauty of tone and melodic phrasing in the Andante also is astonishingly “just right.” All through the work one constantly realizes that he is listening to a per- formance which is both musically and psychologically as near perfection as it is possible to attain. As a conception, it bears the evidence of having been planned out with remark- able care and intelligence; as a performance, it is executed with an equal musicianship. A real jewel to the credit of Conductor, Orchestra, and Columbia recording. This little symphony, so characteristic of its composer, and so fresh and dainty and refreshing to the wearied ears and minds of us moderns, is one of the most gratifying gifts to recorded music that one can imagine. The work has been played by many of the American Symphony Orchestras recently and has become a favorite where ever it is known. The recording should do much to win countless new friends