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The Phonograph Monthly Review <j/31l — - — pleased. The wood wind playing, the phrasing, the sweep of the massed strings, the dainty perfection of the piano and pianissimo passages are all most unusually fine. It is a record which no collector or even amateur enthusiast can afford to be without, as it certainly is the best version of the Egmont Overture in the market today. In particular, those seeking a greater knowledge of Beethoven and a finer appreciation of his works should by all means have this recording. Mengelberg’s interpretation will give a new revelation of the work to many. va n , — 185 =!<SV In the Antique section of the Studio Library there is an old, old recording of this overture by Hildebrandt for Odeon. Of course it is unprocurable today. Curiously enough, this record, made no one knows how long ago, still remains the finest all around version of Egmont. Even in the recording it compares favorably with the Columbia version of today. Undoubtedly if I had never hear this old masterpiece I should have less reserved praise for the new issue. As it is, however, I can praise the new one warmly for its many points of beauty,—but I must still prefer the other. Willem Mengelberg S OME noted singer, we forget who, once said on her return from an European trip, “Americans think they know Willem Mengel- berg, but they don't know him and never can until they have heard him with his own orchestra, the Concertgebouw of Amsterdam." This remark makes the recent issue of a record here of Mengel- berg with his own orchestra doubly interesting. The Tannhauser Overture also is issued, only in England at the present, but we hope it will not be long before it is available here, too. However, even the interest of his latest record- ing cannot make American record buyers forget the many excellent recordings with the New York Philharmonic Orchestra alrady issued in this country. The Victor Company deserves full credit for the issuance of so many great works by Mengelberg, culminating in the Victory Ball Fantasy of Ernest Schelling. The two ten-inch records making up this composition, the first large size work by an American composer to be recorded, created a veritable sensation when they came out last winter. These records can hardly be overlooked by any record buyer both on ac- count of the interest of the composition itself and its spirited interpretation and the remarkable recording. Les Preludes is another work that marked an epoch in recording when it appeared. It is Men- gelberg’s favorite war-horse and certainly no one can do it like him. The Overture to the Flying Dutchman, one of his last records for Victor is also a piece of work that can be praised almost unreservedly. Oberon, Coriolanus, in fact every