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

232 The Phonograph Monthly Review This record was very much worth doing well, and I recommend it heartily. Only the high tones are • harsh and obscure. 1191 — Gavotte Tendre (Hillemacher), and Menuet (De- bussy). Two charming dances played with the most delightful grace by the cellist, Pablo Casals. Those who hear this record realize why Casals is so often compared with Fritz Kreisler. Each is master of his instrument, and, in addition, master of a far more important thing — the art of phrasing. The recording here is excellent. 1196 — Turkish March (from Beethoven’s “Ruins of Athens”), and Brooklet (a Schubert song arranged by Rachmaninoff). Piano solo by Sergei Rachman- inoff. Relevant to what I had to say under Victor 35806, who would be so rash as to claim that piano- forte recording represents the real sound of the in- strument? In this record we have evidence of excellent playing by the Russian master, but the tones jangle. One who has sufficient imagination to for- get the recording and concentrate on the playing and interpretation should, however, get a great deal of enjoyment from this release. Columbia 125-M—Just a Cottage Small, and Only a Rose. Violin solo played by Sascha Jacobson. Although this record represents the unpardonable sin of de- voting an artist to balladry, it deserves praise for two reasons. It shows how the artist will out in spite of the piece he is playing, and, secondly, it is, so far as I can recall, the best recent violin recording under the electrical process. 781-D—Adeste Fideles, and Silent Night, Holy Night. Chimes and organ, with the addition of a brass quartet in the second number. Christmas music re- ceived too late for inclusion in our last issue. Howard Kopp plays the chimes. 783-D—Dance of the Toy Regiment, and Dancing Stars. Exercises in virtuosity on the xylophone by George Hamilton Green. The instrument records unusually faithfully. Victor 1201—Invitation to the Waltz (both sides). Piano solo, played by Alfred Cortot. The typical brilliance and dash of Cortot’s playing are here, as well as an occasional, uncharacteristic heavy-footedness. The recording is good, for the first side, excellent for the second. Brunswick 10269—Hymn to the Sea, and Heart of Harlequin (Drigo-Auer). Violin solos by Mishel Piastro. This record is far below the other violin record of the month. The recording is here very harsh, and what- ever Piastro may do is of little avail. Victor 35806—Adeste Fideles, and The Lost Chord. Sung, with organ accompaniment, by a chorus of 2500 male voices, representing the Associated. Glee Clubs of America. This recording is notable in many respects. To start with it was made during the actual performance at the Sesqui-centennial Auditorium. Further, it illustrates the absurdity of thinking that the phono- graph has reached the peak of perfection, or has reached its own peak, whatever that may be. For on the side of achievement, the recording gives me a feeling stronger than in the case of any previous record that the singing is taking place in the room in which I am listening. On the side of failure of achievement, there are many rough spots on the re- cord and much to indicate that there is a good deal still to be done before choral recording, or any other kind of recording may be called perfect. Of course, I should mention that some of the blasts were due to the sound box—a Columbia old style—which was not over-suited to reproducing choral music. But the record came in very late, almost as we were going to press, and there was not time for further checkup. I shaH try to revise any false impressions, if there be any, next month. But I am safe in recommending the record to the public, for any revision of opinion will be for the better. One more detail deserves atten- tion. Undoubtedly there was a conductor for the ■ ■ . nsv chorus. It seems to me that he ought to be men- tioned on the label, but there is no indication as to his identity. 20358—Song of the Cherubim (Glinka), and Church Scene (from Rimsky-Korsakov’s “Christmas Eve”). Russian Symphonic Choir led by Basile Kibalchich. Readers of the last issue of the Phonograph Monthly Review will expect this choir to live up to a very high standard. They do so on this record. The second side has a regular virtuoso display of a remarkable contra-bass singer. The recording, how- ever, is uneven. Brunswick 3294—Lead, Kindly Light, and God Be With You ’Till We Meet Again. Sung by the Collegiate Choir with orchestral accompaniment. Mediocre singing and recording. Columbia 691-D—Fight for Kansas, and Lamp in the West. The first spiritedly sung by the Alma Mater Univer- sity of Kansas Glee Club; the second musically rendered by the well-trained University of Kansas Glee Club. Professor Thos. A. Larremore directed the first, Justus H. Fugate, a student, the second. Columbia 9011-M — Vile Race of Courtiers (from “Rigoletto”), and Make Way for the Factotum (from “The Barber of Seville”). Riccardo Stracciari sings both sides splendidly, with a gorgeous baritone voice. The “Rigoletto” music seems better recorded, and cer- tainly the orchestral accompaniment is better than in the case of the Rossini aria. Stracciari has a naturally beautiful voice, and the Italian tempera- ment for dramatizing. 5064-M—The Nightingale and the Rose (from Saint-Saens “Parysatis”) and Bell Song (from Delibes’ “Lakme”). Sung by Eva Leoni, soprano, with orchestral accom- paniment. This singer has a voice of remarkable purity, so remarkable, indeed, that the tones often suggest unhuman quality. They sound more like some strange flute than a human voice, so perfectly placed are they. Such coloratura singing matches the best of Galli-Curci, which is high praise, certainly. The high tones are singularly free from the harshness induced by the new style recording, though there are occasional exceptions, as at the end of the first aria. And in the second aria, the end is disappointing, too, for here Miss Leoni is guilty of her only occasion of flatting. The orchestral accompaniments, I may say for once are a credit to Columbia. They are sub- dued, yet mellow. All in all, this record is one of the finest I have listened to in months. 4035-M—Tu Ca Nun Chiagne, and Nina. Sung by Riccardo Stracciari. A less pretentious (and less expensive) record than Stracciari’s other. Both numbers are well rendered. 126-M—O du Frohliche, and Stille Nacht, Heilige Nacht. Sung by Elsa Alsen, soprano, with violin, chimes and organ accompaniment. Mme. Alsen has a nice voice, though this record does not seem to display it at its best. Yet the record itself is comparatively inex- pensive, well worth the money. 801-D—My Baby Knows How, and Baby Face. Piano accompaniment. The singer, Charles Kaley, has a voice that lends itself well to recording. 775-D—I Don’t Mind Being All Alone, and I Never Knew What the Moonlight Could Do. Kitty O’Con- nor, the Girl Baritone. 780-D—Don’t Forget the Pal You Left at Home, and Mother Dear. Sung by Allan Jordan. 14173-D—Go Wash in Jordan Seven Times and Drive and Go Forward. Sermons by Rev. J. C. Burnett, as- sisted, in singing, by Sisters Grainger and Jackson. I suppose it would be presumptuous to criticise a sermon. 15105-D — Goodbye Booze, and Travelling Man. The first by Gid Tanner and Faith Norris with fiddle and guitar accompaniment. The second by “Dock” Walsh with banjo accompaniment. The record certainly has volume.