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

The Phonograph Monthly Review 187 ■ ■ ■ ■ 1 In this respect Kreisler is unmatchable. When he finishes off a phrase it is as when a skilled jeweller has finished polishing off a gem. But not only in small things does his genius display itself. In such matters as style, conception of the whole, Kreisler has here done marvellous playing. You can always hear Fritz Kreisler in this performance; but you are always hearing Mozart as well. And that is the test of a great interpretation. Technically the job is per- fectly finished, of course, while as to tone, who can compare with him? Only one other that I know, and he has not yet done anything big for the phonograph, so I leave him anonymous. Very likely the producing companies are apologetic in issuing some of their album-sets in mechanical recordings. But at least in the present instance, Victor has no need for apology. I can not see that an electrical recording would have been in any way more flattering to Kreisler’s playing, and I think, on the contrary, it would have done it less than justice. There is something in the electrical recording that puts an edge on the upper violin tones, making them hard and thin, less personal. Perhaps improvements in the process will eliminate this defect, and we shall have the ideal synthesis of virtues. I have said little about the orchestral accompaniment for the reason that I can hardly praise it as I did Kreisler’s play- ing. The band seems too small, even for a Mozart score. But the accompaniment is, after all, subsidiary, and as long as nothing absolutely wrong happens, it is the solo playing in which the listener is interested. The conductor, Sir Lan- don, carries his share of the burdens very well. The Concerto needs no analysis, since Mozart’s music is perfectly straightforward. The first movement is an Allegro, consuming the first three sides. The next two sides contain the slow movement, Andante Cantabile, with beautiful playing by Kreisler of the melodies. The last three sides are taken up with a Rondo. Congratulations again to Victor for its courage and fore- sight in making this recording available to American music- lovers. To review such a set of records is not a task but a pleasure. M. S. Chamber eMusic STRING QUARTET POLYDOR Nos. 66198 to 66200. Hindemith: String Quartet, Opus 22, 3 D12s. Played by the Amar-Hindemith Quartet (Licco Amar, Walter Caspar, Paul Hindemith, and Rudolph Hindemith.) This quartet, in five movements, is very highly considered as one of the outstanding works of Paul Hindemith who has been hailed as the leader of modern German composers. The work has been played to a considerable extent in this country, where its admirers will be pleased to hear a recording made by the Quartet in which the composer plays viola. Both the recording and the performance are very good. Everyone must judge the music itself by his own tastes, but the present reviewer is impressed with its vigor and flexible strength of construction. The themes are distinctive and compel attention and the development, if somewhat coldly cerebral, is logical and satisfying. While the composition is not unduly “ultramodern,” it will hardly appeal to those who are not familiar with the modern idiom. These who are, however, should find the work well worth owning. As an example of present day writing for the string quartet, it is representative. The music itself grows in stature on continued hearing and the playing and recordings are well up to the Polydor high standard. R. D. D. — - 1 ■ =IS» PIANO Brunswick 3239—Along Miami Shore, and Maple Leaf Rag. Played by Harry Snodgrass, “King of the Ivories.” J. M. Witen, Announcing. 3320—What’s the Use of Crying, and Pal of My Lone- some Hours. Played by Lee Sims. Victor 20203—Humoresque (Dvorak) and Polish Dance (Xarwenka). Two well known drawing-room diver- sions played by Hans Barth. 1184—Etude Tableau (Rachmaninoff), and Dance of the Gnomes (Liszt). Played by Serge Rachmaninoff. The Russian’s piano-playing, as here recorded, is nothing short of marvellous. A gi orgeous technical display, especially in the second number, where both playing and recording are exceptionally clear. A record for everyone. VIOLIN Victor 6608—Liebesfreud (Love’s Joy) and Liebesleid (Love’s Sorrow). Two of the compositions by which Kreisler is best known to record-lovers, played for electrical recording. The usual Kreisler virtues, as displayed in short records, are here again in evidence. Once more I question the advantage of the new recording. The work gains, it is true, in brilliance and clarity, but sacrifices tone quality. CELLO Victor 1178—Traumerei, and Melody in F (Schumann), played by the master-musician Pablo Casals. The Melody is taken at a rather rapid gait, and the Traumerei, on the other hand, very slowly. But playing and recording are both excellent. Here the new style of recording is of great value since it is adaptable to a low-voiced instrument like the ’Cello. CHORAL Columbia 55066-F—Korsaren Gesang, and Wahrheit, Freiheit, Recht. The first is sung by a male, the second by a female, chorus of the Nordostlichen Arbeiter Sanger- bund, in German. The male chorus sounds the better of the two. The second side is partially unsatisfac- tory because the chorus has to sing consistently in fairly high register. But both sides are very well recorded, and the record as a whole is up to the high average set by Columbia in its choral issues. 55065-F—Herber Abschied, and Wenn die Nactigalen Singen. Sung by male chorus of the Deutscher Lie- derkranz of Brooklyn, Gust. T. Heil, Conductor. In German. A smooth, well-rounded production, both in performance and in recording. It does not hit some of the brilliant high spots of the preceding record, but neither has it any of the faults of the other, I prefer the first side of the record to the second. 55064-F—Gesang der Volker, and Zieh Mit. Sung by a Male Chorus of 2000 voices from the Nordostlicher Arbeiter Sangerbund, conducted by Friedrich C. Rauser. In German. This record, of exceptional quality, is the best of this organization that I have heard. It reaches the heights attained by Col. 55037- F, recorded by the New York Liederkranz. The second selection, particularly, is one that should in- terest a miscellaneous audience because of its drama- tic character. Singing and the mechanism of record- ing are exceptional. Victor 35788—Christmas Hymns and Carols on both sides. Sung by Trinity Choir. A timely suggestion for the Holidays. 35787—While Shepherds Watched, and It Came Upon the M’dnight Clear. Sung by the Trinity Choir. The recording of both this and the preceding record is fair, though the second song of this record is better done. But in general. Columbia sems to have the edge on choral recording to date. 20246—Joy to the World, and Adeste Fideles. Trinity Choir with orchestra.