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

230 The Phonograph Monthly Review play the overture as though it were really music, and not merely a stunt or oddity. His ’cellos are hardly up to those of the New Queen’s Hall Orchestra and perhaps the Victor recording is not so much the tour de jorce the Columbia is, but the ending is infinitely superior from a musical stand- point. The Onegin Waltz is well done and helps to sway the bal- ance in a choice between the two sets to Victor. If one must have an 1812 and wishes to have an interpretation rather than an exhibition, Goossens’ version is the one to recommend. The question of economy also favors this set and in this case the fact that it is somewhat cut is an ad- vantage rather than a disadvantage. VICTOR 6603 and 1185 Rimsky-Korsakow: Spanish Caprice 1 D12 and 1 DIO Red Seal. Price, $2.00 and $1.50 respectively. Played by the San Francisco Symphony Orchestra, conducted by Alfred Herz. These two records of Rimsky-Korsakow’s virtuoso “Cap- riccio espagnole” have not been listed in the regular sup- plements of the Victor Company, but appeared in the special list added every j^ear to the catalogue. Upon their arrival at the Studio they were played five times in the first day, so great was the impression they made on the Staff. Here is exactly the sort of work that is needed today: masterly in musical construction, but based on comparatively simple material; rich with all the resources of the orchestra; arrest- ingly rhythmic; brilliantly performed and even more bril- liantly recorded. An ideal choice for issue! Not only will every experienced phonograph enthusiast want the work, but the general public, musical or unmusical, if but given a chance to hear it, must inevitably be convinced of the abilities of the phonograph and the recording laboratories today. Dr. Herz and the San Francisco Symphony do surprisingly well with the considerable technical difficulties of the piece. The cadenzas of solo clarinet, flute, violin, brass, etc., are played with masterly finish. Perhaps the brass choir of the San Francisco Orchestra should be ranked as only fair, but every other section deserves an emphatic “very good.” The recording passes every test and avoids “sharpness” with no expense of brilliance. This Spanish Caprice, apart from its dazzling orchestral virtuosity, is usually considered of rather slight musical value and often sounds somewhat thin in concert. But these records do it better justice than a concert hall performance and convince the listener that Rimsky was very much him- self when he wrote it. The Spanish element is as much Russian as Spanish and echoes of Scheherazade are very clear at times, but there never is a dry moment in the work, not a single section or “bridge” passage that is uninteresting. Rimsky goes easily on from one piquancy to another and at the very time one thinks he has exhausted every resource of development, of rhythm, or of color, he comes with effects more ingenious and arresting than before. A splendid recording and one which does credit to Con- ductor, Orchestra, and Recorder. A work which can be endorsed whole-heartedly and the choice of which for issuance entitles the Victor Company to our heartiest congratulations. POLYDOR 65924-5—Schreker: Der Schatzgraber, Zwischen- spiel. 2 D12s. Played by the Berlin Philharmonic, con- ducted by Franz Schreker. POLYDOR 65912—Schreker: Der Schtzgraber, Nachtgesang. D12 (1 part). Played by the Berlin Philharmonic, con- ducted by Franz Schreker. The operas of Franz Schreker are practically unknown out- side of Germany and only a few of his orchestral works have been played in America. As he has been acclaimed by many to represent the leader of the new school of German com- posers, it is naturally of great interest to be able to hear some of his works in recorded form, performed under his own direction. This Intermezzo and Nightsong from his opera, Der Schatzgraber, are characteristic of his work but hardly re- present it as its best. Schreker writes in the Post-Wagnerian vein, in one continuous ecstacy, a shifting, surging ocean of emotion. There is undoubted beauty, and pages such as at the ending of the Intermezzo are genuinely rich in it, but one wishes before long for the bitter bite or harshness or the clash of rhythms that would lend more authentic life to this over-ripe lushness. " - ■ " . - 3 )<5V And yet, for all their richness, these works move one. They are something to be heard and well learned; time will sift the sincerity from the merely sensuous. Americans interested in a decadent art such as Schreker’s may well be thankful to the Polydor Company that this art too is authentically re- presented on records and to Mr. Mai of Chicago for making them available in this country which has such little oppor- tunity for hearing Schreker’s works in the concert hall. Also in the Polydor catalogue is Schreker’s suite, Der Geburtstag der Infantin, after Oscar Wilde, in 6 parts, Poly- dor Nos. 69768-70, played by the Berlin State Opera House Orchestra and conducted by the composer. The only other recorded work of Schreker (with the possible exception of songs) is Ein Tanzspiel (Rokoko), Four Pieces in Old Style, in 4 parts, Parlopohone P 2195-6, played by the Orchestra of the Berlin State Opera House and conducted by the composer. It is to be hoped that his Prelude to a Drama will be recorded under his direction also within a short time. COLUMBIA 50025-6-D—Grieg: First Peer Gynt Suite. 2 D12s. Price, $1.25 each. Played by the Columbia Con- cert Orchestra. On the heels of the Victor Peer Gynt Suite mentioned last month comes this Columbia version, also electrically recorded, of course. The unnamed conductor of this version easily carries off first honors for interpretation in Parts 1 and 2, Morning Mood and Ase’s Death. His reading is more authentic, closer to the Scandanavian folk mood of the two pieces, than the more brilliant, concert performance of Paster- nack for Victor. However, neither the orchestra nor the recording approaches the Victor set, particularly in the last two parts, Anitra’s Dance and In the Hall of the Mountain King, where as stated before Pasternack gives an astonishing reading. Those desiring the more authentic interpretation of the first two numbers may prefer the Columbia record, but the latter two are decidedly preferable on the Victor. VICTOR 9013 — Mendelssohn: Fingal’s Cave (Hebrides) Overture. 1 D12. Price, $1.50. Played by the St. Louis Symphony Orchestra, conducted by Rudolph Ganz. At last, a long awaited Fingal’s Cave Overture is made available in this country. (For owners of Edison’s instru- ments there has been issued an Edison version, No. 80587, by the American Symphony Orchestra.) With the Mid- summer Night’s Dream music, this overture undoubtedly represents Mendelssohn at his best. Here, his orchestration and his themes are never over-ripely luscious, dripping with sentiment. There is a sparseness, a hard vigor and strength here that he never achieved elsewhere. One might quarrel a little with Dr. Ganz’s tempi in several places, especially at the beginning where he seems much too hurried, but the reading is well balanced and executed otherwise. The St. Louis Orchestra plays better than in any of its previous records and the recording throughout is very good. This is probably the best version of the Overture available today as the Polydor record by Bruno Walter (Polydor No. 65930) which was recently added to the Studio Library was rather disappointing from a recording standpoint although it has many points of excellence otherwise. VICTOR 35797—von Suppe: Poet and Peasant Overturre. 1 D12. Price, $1.25. Played by the Victor Symphony Orchestra. Apparently the Victor Symphony and Concert Orchestras are to re-record electrically the long list of light and concert overtures previously in the Victor catalogue. It is to be hoped that this will be done, for many enthusiasts regretted sadly the discontinuance of the former list. If all re-record- ings can approach the excellence of this one of the ubiquitous Poet and Peasant, record buyers may expect a real treat. The conductor is not named, but he deserves full credit for a remarkable performance, a performance equalled in every respect by the orchestra and the recording. The familiar light overtures are of great importance in apprecia- tion and educational work and played as they are here, with truly superb effectiveness, they are of double value. One may attend a great many concerts and hear all the previous recordings of this overture but he wfill have little chance of hearing a performance to compare with this one.