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

The Phonograph Monthly Review 231 va n ^ COLUMBIA Masterworks Set. No. 10, Cesar Franck: Sym- phony in D minor. In eight parts. Price including album, $6.00. Played by the New Queen’s Hall Orches- tra conducted by Sir Henry Wood. Franck’s great symphony, received with such coolness at its first performance, has gradually become one of the most popular in the orchestral repertory. Strangely enough, its appeal seems to be as strong to the trained musician and concert-goer of “advanced” tastes as to the layman. A work of truly sublime beauty wedded to the finest technical con- struction and orchestration, Franck’s Symphony can hardly be surpassed for nobility and loftiness of character. This recording was made a few years ago when conditions were hardly as favorable as they are today. It was the first recording of the work to be made and even today is still (with the exception of a six-part, little known French version) the only one. One is disposed to overlook much in considera- tion of the value of the music itself and the courage of the manufacturers in issuing it. It would be a mistake to claim too much for the recording or the performance, neither of which is all that it might be. The set can hardly be used to demonstrate the abilities of the phonograph or to compare (as some recent recordings can compare) with the actual concert hall performances. But those who know the phonograph and the old recordings and are willing to make the necessary allowances may find in this set, partially concealed as they may be, much of the grandeur and the intimate sincerity with which Franck en- dowed his great work. The first movement falls short of its true magnificence and the beginning of the second is in a vein of melancholy rather than romance, but Sir Henry Wood does his best, and in many places does very well indeed. Somehow this set, in spite of its imperfections, wins a deeper place in the hearts and minds of those who own and play it, than many others, supposedly far superior recordings. The magic of the music itself overcomes everything that would obstruct it. So it is that one can recommend this Symphony to those who will understand and love it and overlook the shortcomings of the version itself. Few sets, no matter how impressive or technically perfect, will ever have the same effect on music lovers that this has had. This recording should be a lesson to all manufacturers that the race for technical supremacy is not the primary thing in making records. After all, the first element is music: if that is neglected the rest, no matter how good, avails nothing; if that is present, one hardly thinks about the rest, no matter how poor it may be. So while we may look forward to a fully adequate electrical recording of the Franck Symphony for the future, played as it often is in the concert hall, for the present we must thank the Columbia Company for the version they have given us. It is the Franck Symphony with all its inherent beauty intact, for those who have the ears and minds to find it. And the present reviewer for one can testify that this set would still be kept in his library long after works far more effectively performed and recorded had been allowed to go. CONCERTO VICTOR (Music Arts Library) Nos. 6516-9—Schumann: Concerto in A minor for Piano and Orchestra, Op. 54. 4 D12s. Price including album, $8.50. Played by Alfred Cortot and the Royal Albert Hall Orchestra, conducted by Sir Landon Ronald. This is the first and as yet the only recording of Schumann’s great piano concerto, undoubtedly the most often played and most widely known of all the works for piano and orchestra. As such it was eagerly welcomed upon its issue in England a short time ago and will no doubt receive as cordial a reception here. The first movement of this concerto, originally intended as a Phantasy for Piano and Orchestra, is one of the finest of all the Romantic Tone-Poet’s creations. The piano cadenza even succeeds in transfiguring the customary display of digital dexterity into a passage compelling in its emotional and intellectual strength. After the first movement, the dainty Intermezzo and the more conventionally vivacious Finale hardly reach the same plane of inspiration, pleasant and appealing as they are. The recording, mechanical of course, is rather uneven in parts, but at its best is very good indeed. The piano is well recorded and Sir Landon Ronald provides (as always) a discreetly balanced accompaniment. Cortot’s interpretation " i isy is one that will please his admirers immensely and confirm those who dislike his readings in their estimation of him. That is to say, it is distinctly individual, producing an immediate positive or negative reaction on the hearer. The performance, like the composition itself, is best in the first movement. The Finale is rather disappointing, at least to the present reviewer, who finds the treatment of the principal theme rather too heavy-handed for his personal taste. Again one must speak of the sumptuous albums and the excellent notes accompanying the sets in the Music Arts Library. One can imagine nothing more pleasing to eye and mind nor more convenient in use. BAND VICTOR 20319-20 Rossini: William Tell Overture. 2 DIOs. Price, 75c each. Played by Pryor’s Band. The best bands are constantly attempting the popular over- tures, occasionally with considerable success. Pryor’s Band does remarkably well here and thanks to the capabilities of the new recording the “Storm” comes out with adequate volume and power. One might quarrel with the interpretation in places, but for its purposes this recording is excellent indeed. \ IC1 OR 35799—Strauss: Blue Danube and Southern Roses Waltzes. 1 DI2. Price, $1.25. Played by Pryor’s Band. Why will a band that can play as well as Pryor’s in the Officer of the Day^ March and the Overture to William Tell attempt Strauss Waltzes and allow a record like this to be released? The rest of this month’s releases are of such high calibre that it is a pity that this most decidedly mediocre performance is included among them. POLV DOR 12049L—Strawinsky: Concertino for String Quartet. D12 (1 part. Price, $1.50 (Mr. B. M. Mai). Also Krenek: Waltz from String Quartet, Op. 20. Played by the Amar-Hindemith String Quartet. Polydor seems to be more cordial towards modern works than any other recording company. In this Concertino it adds a notable little chamber music work to the lists of re- cordings of modern composers. The Concertino is true to its name, a veritable “little concerto” in simple, easily followed form. It is superbly played and recorded. This little work, while characteristic, is not unpleasantly “ultramodern” for conservative ears and this record may well serve to represent the contemporary movement in every large collector’s library. It can hardly be called a masterpiece, but it sure is (to the present reviewer, at least) a most enjoyable little composition. COLUMBIA Masterworks Set No. 43—Mendelssohn: Trio in C minor Op 66 for Violin, Viola, and Piano. 4 D12s. Price including album, $6.00. Played by Albert Sammons, Lionel Tertis, and William Murdoch. Not a great deal is known about the genesis of this trio nor are its actual musical contents of any unusual meaning or interest. But admirers of Mendelssohn will find much to enjoy in it, written as it is in his characteristic facile vein. Chamber music enthusiasts can hardly fail to be without it as it sets a standard for trio performance that will be hard to excel. The Sammons-Tertis-Murdoch combination is a splendid one and they give a performance of great dexterity and finish. The recording also is very fine, unless one might think the piano and viola rather too prominent in certain passages. Formerly, in chamber music recording, the bass was often inadequate; now it seems as if the pendulum had swung almost too far in the other direction. R. D. D. Victor 6606—Romance in F. Violin solo played by Jacques Thibaud, with piano accompaniment by Harold Craxton. As the silken tones come out of the machine one can very readily visualize the aristo- cratic Frenchman. Thibaud represents the very finest traditions in French music, and nowhere are they better displayed than in his gorgeous tone, a tone not big in size, but of a quality of great beauty.