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

184 The Phonograph Monthly Review and should be of invaluable service in educational and appreciation work. It is a set that can be recommended without the slightest reservation. A true delight to ear and mind and spirit! VICTOR (Music Arts Library) Nos. 55277-80. Mozart: Symphony in C, No. 41 (Jupiter) and Mozart: Overture to The Impressano. 4 D12s Al. Price, $6.50. Played by the Symphony Orchestra conducted by Albert Coates POLYDOR Nos. 69655-8. Mozart: Symphony in C, No. 41, (Jupiter) and Strauss: Burger als Edelmann (Menuett and Der Fechtmeister), 4 D12s. Price, $6.00. (Mr. B. M. Mai). Played by the Berlin State Opera House Orches- tra conducted by Heidenreich. (The Strauss extracts on the 8th side are conducted by the composer.) These two recordings of Mozart’s last symphony, the Jupiter, present a difficult problem for the reviewer. Either coming alone would justly be ranked as very fine, but readers will demand a comparison between the two and advice on which version is preferable. Both are mechanically recorded and are complete. The Coates’ version was recorded in England but is now issued in America as part of the Victor Music Arts Library. The Polydor recording is imported by Mr. B. M. Mai of Chicago. Owners of libraries specializing in standard symphonic music of course cannot afford to be without a recording of Mozart’s Jupiter, certainly one of the truly great works of symphonic literature. His last symphony, it is his largest in conception and scope; the fugal finale ranking among the finest works of genius in all music. It is the crowning peak of Mozart’s work; a composition whose grandeur and strength bear the test of time and study. The two versions are radically different: in interpretation, performance, and recording. Each conductor finely realizes his own intention, but each leaves an entirely different, almost opposing, impression on the listener. A comparison of the two sets throws a most interesting light on the way in which it is possible for two men to make varying readings of the same work. The first two movements are unquestionably best in the Polydor version, but to the present reviewer at least, Coates’ Minuet and Finale are preferable. Heidenreich’s orchestra shows up to better advantage than the other and the Polydor recording keeps a little bit ahead of the Victor, especially in the matter of clarity. Coates’ reading is very nervously energetic and in the first two movements he hurries the pace rather uncomfortably. On the other hand, one feels he has just the right conception of the delightful minuet and the great finale. Heidenreich seems in these two movements to be rather heavy and unwieldly in the old-fashioned German manner and never seems to get quite enough “life” into the performance. But in the songful slow movement, his reading is just as satisfyingly right as Coates’ is disturbingly hurried. Each man is at his best when the music is most closely suited to his personal temperament. On account of its great availability the Victor set will of course be far more widely sold in this country than the other. No one who purchases it should regret doing so as it stands solidly on its own merits. The fine album and the complete and interesting program book included in the set are not to be overlooked. Like all the sets in the Music Arts Library, these are beautifully made up and make the recordings of additional value. Those who desire a poetical, reserved interpretation rather than a brilliant, exciting one will prefer the Polydor set, and they, too, need not question their own wisdom of choice. The slow movement in particular certainly is rich in poetry and sentiment. For many perhaps the whole set will be more completely satisfying than the Victor, although I, personally, find the greatest enjoyment in the combination of two move- ments by Heidenreich and two by Coates. VICTOR No. 6585. Wagner: Prelude to Tristan and Isolde. Red seal, D12, price $2.00. Played by the San Francisco Symphony Orchestra conducted by Alfred Herz. The San Francisco Symphony Orchestra, conducted by Alfred Herz, add to their Wagnerian recordings the famous Prelude to the great love drama, Tristan and Isolde. Tristan is not by any means the first of Wagner’s Operas for a begin- ner to listen to or study, but it certainly contains some of his finest, if not his most easily comprehended, music. This is the first electrical recording of the Prelude to be issued in this country and is both played and recorded in brilliant fashion. The unduly heavy entrance of the wood winds in the opening measures prevents the proper atmospheric effect from being obtained and in several places the accents seem too strongly marked, but otherwise the performance is very satisfactory and stirring. The recording throughout is excellent; every detail coming through to perfection. Mr. Herz wisely re- fused to give the concert ending sometimes played, but as he also omitted the last few bars for the ’cellos and basses, one is left rather at a loss at the conclusion. An excellent record for the study of orchestration and Wagnerian harmony. Conservatories and colleges might well use this record to accompany the usual study of the Tristan score in analysis and appreciation courses. VICTOR Nos. 35793 and 20245. Grieg: First Peer Gynt Suite (Morning Mood, Death of Ase, Anitra’s Dance, and In the Hall of the Mountain Kings). One D12 and one D10 black label records. Price, $1.25 and $.75 respect- ively. Played by the Victor Concert Orchestra con- ducted by Josef Pasternack. The two black label records of the ever popular Peer Gynt Suite offer a remarkable bargain for record buyers who must give first consideration to their pocket-books. Anyone, of whatever means, who is anxious to procure the best version of this suite obtainable should not miss these records. The re- cording is very brilliant and impressive without being forced or shrill. One might question Mr. Pasternack’s interpretation of Ase’s Death, but undoubtedly his somewhat exaggerated reading will “get the piece over” for people whom a more restrained version would leave untouched. The other pieces, however, are read and performed with real gusto and spirit. Nor is restraint and feeling wanting in the Morning Mood. The Hall of the Mountain Kings is worked up furiously, and Anitra’s Dance comes off first in a comparison with several other versions, including even the one by Stokowski and the Philadelphia Orchestra, although the latter of course has the disadvantage of being electrically recorded. The Victor Concert Orchestra in its moderately priced issues of the better known symphonic music has done much for the popularizing of good music in this country. It would be hard to estimate the great value that the versions of Mozart’s G minor, Beethoven’s Fifth, and Haydn’s Surprise symphonies, and various overtures, including Mozart’s Magic Flute in particular, have had in educational work. They are cut somewhat, it is true, but as Mrs. Fryberger pointed out in the Correspondence Column last month, such versions are greatly needed. It is to be hoped that all the works with- drawn will soon be replaced by electrical versions of the excellence of this Peer Gynt Suite. COLUMBIA No. 67220-D. Beethoven: Overture to Egmont D12. Price, $1.50. Played by the Concertgebouw Orches- tra of Amsterdam conducted by Willem Mengelberg. Mengelberg’s recording of the familiar Egmont Overture which was announced in the General Review last month has been issued by the Columbia Company with its December Masterworks releases. It is a record which has been eagerly anticipated in the belief that at last we should have available an adequate recording of one of the finest of Beethoven’s shorter orchestral works. As this season sees the celebration of Beethoven’s centenary, the work naturally has special significance. But this release, praiseworthy as it is for many points of excellence, is not all that we had expected. The orchestral performance is very good, indeed, the interpretation for the most part is wisely planned and carried out, the recording is—well, a little better than fair. At almost any given move- ment during the playing one has the feeling, “This is good, but there’s something better coming.” And unfortunately that something better never quite comes. A sense of emo- tional and psychological unsatisfaction remains at the end. (I use “unsatisfaction” advisedly; one is not dissatisfied with anything in the record, he is left with this feeling of incom- pletion, of unsatisfaction.) Perhaps I am giving the impression that this work is not all that it should be. Such is far from my intention. If one did not demand so much from it, he would be perfectly