Phonograph Monthly Review, Vol. 1, No. 5 (1927-02)

218 The Phonograph Monthly Review Is Your Favorite Work Recorded ? Contest Conducted by VORIES FISHER T HERE are many orchestral works that never have been recorded under the old process with fully adequate results. Often these recordings have much that is praiseworthy, but they can never give even approximately the same effect that one gets in the concert hall, since works which depend largely upon the brilliance and color of their orchestration predominate in this class. This month I should like to give space to G. E. D. who suggests a few of these which de- mand re-recording. “First on the list of works to be re-recorded by the electrical process comes the well-known Fin- landia of Sibelius. This great work has been recorded innumerable times, but so far as I am aware, never in complete form and never as ade- quately as the quality of the piece demands. The most satisfactory version that I possess at pres- ent is the old Columbia one by Prince’s Orches- tra. I understand this was withdrawn for a time, but that it is now restored to the catalogue with a different number. Those familiar with the composer’s own interpretation of Finlandia de- clare that this record is the most authentically sympathetic in interpretation of all those existing. Of course, it is very badly cut. It seems to me that the companies are overlooking an excellent opportunity by neglecting to put out a complete, electrical Finlandia, played by a large first-class orchestra under a conductor who couid draw out all that is in the piece. Such a record would be widely welcomed. “Espana has been mentioned in these columns before. Done complete under the electrical pro- cess, it, too should be very popular, duplicating the success of Tchaikowsky’s March Slav and similar pieces. The Sorcerer’s Apprentice, Brahms’ Academic Overture, and Debussy’s Fetes (from the Three Nocturnes) may be added to the list. Short orchestral works of this sort,, rich in orchestral color and immediately appealing and effective, are always popular in the concert hall. The old recording, great as its virtues were in many cases, could never achieve the brilliance and tremendous power which fairly swept one off his feet in the concert hall. Now it is possible to achieve that effect to a large extent. A work like the Roman Carnival Overture of Berlioz, for example, could be recorded now with all its ef- fectiveness intact, whereas before, one had to make continual allowances and excuses. The old recordings were fine for those who already knew the works and were looking for the music rather than the dramatic effect, but they were unable to win new converts to the phonograph and to music the way recent recordings of the March Slav and The Blue Danube Waltz have done. ' . — ■■■ n s* “Rimsky-Korsakoff's famous oriental suite, Scheherazade is another excellent choice of re- recording, especially for an American company. Personally, I deem this the most practical choice any company could make. If played well, it is always successful. It appeals to everybody, the untutored musically as well as the expert; one never tires of it. And not the least of its virtues is that there is not a dry spot in it; there is al- ways something interesting going on. This is worth consideration, especially where such a work must be split up into several records. In attrac- ting the attention of the unmusical, one must be careful to avoid even a single passage that smacks of dryness. We may know that the passage is merely a development to something more interest- ing, but the unmusical person's attention will be lost and he will be unable to appreciate the in- teresting section when it comes. A good electrical set of Scheherazade should do wonderful work for music appreciation in America. Certainly it would teach more people about orchestral color and piquant rhythmical effects than any other composition could ever do. “The above pieces should be the first to be con- sidered. Others are: Franck's Symphony, exist- ing only in Henry Wood's version for Columbia; Brahms' First Symphony (although Oskar Fried's version for Polydor, mechanically re- corded though it is, will be hard to surpass) ; Mendelssohn's Fingal's Cave Overture; Debussy's Petite Suite; Franck's Symphonic Variations for Piano and Orchestra; Rachmaninoff's Concerto in C minor (No. 2) complete with the composer as soloist; Gustav Holst’s suite The Planets, even al- though the present Columbia recording was vir- tually a miracle when it appeared. Delius has not the popular appeal of some of the other com- posers mentioned, but those that do know and admire his work look anxiously forward for an uncut version of the Dance Rhapsody and for an electrical re-recording of Brigg Fair by Eugene Goossens, who did so well with the present H. M. V. version. “I see that I am beginning to wander away from the very necessary point of practicability. But the Finlandia, Scheherazade, Roman Carni- val, etc., first mentioned, should be the first to be considered. From every point of view they are excellent choices." G. E. D.'s list of unrecorded orchestral works will have to be deferred until later. This present one of works to be re-recorded deserves careful consideration. Additions to it are invited. Readers interested are requested to send in lists of chamber music works to be recorded or re- recorded electrically. So far, chamber music en- thusiasts have been rather slow about sending in suggestions. Surely they must have some ideas on the subject! I shall be glad to receive sug- gestions of any sort relating to the contest. Fraternally yours, Vories Fisher, Chairman Contest Committee. 4928 Blackstone Avenue, Chicago, 111.