Phonograph Monthly Review, Vol. 1, No. 7 (1927-04)

296 The Phonograph Monthly Review 3IGV Handel: Water Music Suite Played by: Cleveland—Sokoloff, Jan. 27, 1927; Philadelphia—Stokowski, Feb. 18; Boston — Koussevitzky, March 18. Recorings: Columbia 7099-M, 7100-M, (4) Harty—Halle. (Hornpipe alone, Columbia 2004-M (1) Grainger, piano. Both artists made their own arrangements; Grainger has made his version of the Hornpipe well known in the recital hall. Harty’s version includes the Allegro, Air, Bourree, Hornpipe, and Allegro deciso. The recording is an old, but most effective one. A delightful work and one that deserves to be better known. Smetana: Overture to “The Bartered Bride” Played by: Boston—Koussevitzsky (Burgin), Dec. 8, 1927; Philadelphia—Stokowski, Dec. 17, 1926; St. Louis—Ganz, Jan. 7, 1927; N. Y. Phil- harmonic—Georgesco (Guest), Jan. 23; Roches- ter—Goossens, March 3. Recordings: H.M.V. D643 (1) Goossens—Royal Albert Hall. Polydor 65936 (1) Blech—Charlottenburg 0. H. Orchestra Polydor 65861 (1) Busch—Dresden O. H. Orch. Polydor 62455 (1) Blech—Berlin S. 0. H. Both Blech’s and Goossens’ version are to be recommended. (See also Dr. Vojan’s article on Smetana, February issue, page 237.) TchaiJcowsky: “Nutcracker” Suite (“ Caisse- Noisette”) Played by: Minneapolis—Verbrugghen, Nov. 14, 1926; Los Angeles—Rothwell, Jan. 23, 1927; San Francisco—Hertz, Jan. 30; Rochester— Goossens, Feb. 3; Cleveland—Sokoloff, March 31. Recordings: Victor (6615-7) (6) Stokowski—Philadelphia. Columbia 5045-7-M (6) Herman Finck’s Orchestra H.M.V. D125-7 (6) Ronald—R.A.H. Eng. Vocalion R6124 and D02125 (4) Whitemore —Aeolian. See review of the Victor version in the Febru-j ary issue, page 229. It should be added, however, (as pointed out in a letter from Mr. Horace Middleton) that this set is not quite complete; three short cuts—twenty bars in all—are made in the Marche. But, of course, Stokowski’s re- cording is easily superior to all previous ones and will be hard for anyone else to surpass. Brahms: “Academic Festival” Overture Played by: Boston Philharmonic—Leginska, Nov. 21, 1926; Minneapolis—Verbrugghen, Jan. 2, 1927; N. Y. Symphony—Klemperer, Jan. 16; Rochester—Goossens, Jan. 20; Cleveland—Soko- loff, April 14. Recordings: Columbia 67085-D (2) Harty—Halle. Parlophone P 1940 (2) Weissmann—Berlin S.O.H. The Parlophone version has not been heard at the Studio, but the Columbia one is an excellent reading by Harty and absolutely complete. The actual recording, however, is not as good. The work demands the electrical process and a re- recording is greatly needed. Henri Rabaud: “La Procession Nocturne” Sym- phonic Poem Played by: Boston Peoples—Mason, Dec. 12, 1926; N. Y. Philharmonic—Georgesco (Guest), Jan. 20, 1927. Recording: French H.M.V. L555 (2) Concerts Touche. It has been called to our attention that this delightful little work, mentioned last month as deserving to be recorded, has been recorded al- ready in France, as listed above. It is to be hoped that an American company will make an elec- trical version as the little tone poem; is so simply effective that it could be of great service in ap- preciation work. Weber: “Euryanthe” Overture Played by: N. Y. Philharmonic—Mengelberg, Nov. 14, etc., 1926; Halle-Harty, Jan. 13, 1927; Budapest Philharmonic—Fritz Busch, Jan. 24. Recordings: Victor 55229 (2) Ganz—St. Louis. Polydor 65921 (2) Max von Schillings—Berlin S. O. H. Parlophone P1407 (2) Morike—Berlin S.O.H. Parlophone P583 (2) Parlophone Orchestra. The “Eryanthe” Overture, perhaps Weber's finest work, is curiously neglected in both con- cert hall and record catalogues. Morike’s version is the best of those above, but it is to be hoped that a new electrical recording will soon be made of this lovely overture. Scriabin: “Poeme de L’Extase” Played by: St. Louis—Ganz, Dec. 17, 1926; Los Angeles—Rothwell, Feb. 10, 1927. Recording: *Columbia 7091-3-M (5) Coates—London Sym- phony. An old recording, but a remarkable one and one of the most significant examples of modern music in recorded form. A long cut is made, but the material omitted is largely repetition. What could not Coates do with this work today with the new recording! Next month, when the programs of the Bee- thoven Centennial concerts are all in, the Bee- thoven works will be listed exclusively. Mean- while, reference may be made to the summary of his symphonies printed elsewhere in this issue. Later, an All-Wagner list will also be given. A FEW SPECIMEN PROGRAMS (The works recorded are marked with an “x.” The record- ings will be listed and compared later when printed in the regular lists.) Halle Concerts Society, Sir Hamilton Harty, Conductor November 4, 1926 Weber: Abu Hassan Overture (x) ; Mozart: Di- vertimento No. 11; Lalo: Symphonie Espanol (William Primose) (x) ; Handel (arr. Harty) : Polonaise, Arietta, and Passacaglia; Delius: In a Summer Garden; Rossini: Overture “Siege of Corinth”; Brahms: Sonata in A for violin and piano (Primrose and Harty) (x). February 10, 1927 Russian program. Moussorgsky: Prelude to “Khovantchina; Tchaikowsky: Symphony No. 4 (x) ; Strawinski: Fire Bird (x) ; Glinka: “Kam- arinskaja”; Rachmaninoff: Piano Concerto No. 2 (Moisiowitsch) (x). * * * Budapest Philharmonic, Bernat Tittell, Conductor November 8, 1926