Phonograph Monthly Review, Vol. 2, No. 11 (1928-08)

Record Details:

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390 The Phonograph Monthly Review August, 1928 Parlophone issues two Weissmann releases, the Introduction to Act 3 of Tannhauser, and the 1812 Overture. Cloez and the Opera-Comique Orchestra play the Barber of Seville Overture and the Faust Ballet Music. Pembauer is heard in a piano record of Liszt’s Waldesrauschen and Chopin’s D flat Prelude; Margherita Salvi sings “0 d’amor messagera” from Mirella and “Ardon gl’incensi” from Lucia; Gotthelf Pistor sings the sword scene from Die Walkure, and Robert Burg two popular arias from Tannhauser; Kiepura, two Turandot arias; Lotte Lehmann, Schubert’s Geheimnes and Der Tod und das Madchen; Ninon Vallin, “Depuis le jour” and Faust—“The King of Thule;” Pertile and Pampanini a duet from La Boheme, and Pertile and Fregosi a duet from Madame Butterfly; besides, of course, the usual releases from Edith Lor and, the Irmler Choir, and many dance organizations. For the rest, there is a Merry Wives of Wind- sor Overture by Kopsch and the Berlin Charlot- tenburg Opera Orchestra from Brunswick; the Unfinished Symphony and the Danse Macabre by Ruhlmann for Pathe-Actuelle; the Light Cavalry Overture and Ponchielli’s Dance of the Hours from Homochord, for orchestrals; and for vocals, the Basilica Choir in German hymns, and Hein- rich Schlusnus in Wolf’s Heimweh, Strauss’ Heimliche Aufforderung, Schubert’s Der Musen- sohn, and Schumann’s Ich grolle nicht (Bruns- wick.) Reports from Germany tell of several new Karl Muck recordings, including the Meister- singer Overture and Siegfried’s Journey to the Rhine under the H. M. V. label. I had promised to give an opinion on the com- parative merits of the Harty and Blech versions of the Schubert C major Symphony, but I must beg permission to postpone this discussion an- other month. On the afternoon when we of the Staff had planned to play and compare the two sets at the Studio, where we had invited a few musical friends for the benefit of their views also, the subject matter of our study was soon lost sight of in the arguments and free-for-all discussions that arose. Comparative interpreta- tions is a subject as provocative of debate as politics! As indicated earlier, the domestic companies’ releases are at the lowest numerical ebb of the year. From the Victor Company there are three interesting orchestral records, however: the March of the Caucasian Chief of Ippolitow- Iwanow and Glazounow’s Dance Orientale on a ten-inch disk by Stokowski and the Philadelphia Orchestra; Herbert’s Suite of Serenades in a re-recording by Paul Whiteman’s Concert Or- chestra, both of which should enjoy considerable popularity; and, best of all, the Raymond Over- ture, re-recorded by Shilkret and the Victor Symphony. Those who have the privilege of knowing Mr. Shilkret personally, or of having read his “Musical Life” in the early issues of this magazine, are aware of the significance this com- position with its many personal associations has for him. His acoustical version has long been deservedly admired and it is with the greatest of pleasure that I welcome the new one, which from every standpoint of interpretation, performance, and recording is everything that we had hoped for. I hope that no record buyer will miss it! Among the other noteworthy Victor releases are two splendid instrumental records by Bauer and Heifetz, the former playing Liszt’s Etude in D flat and Schumann’s In the Night, and the latter, Estrellita and Valse Bluette. Lucrezia Bori is heard in another coupling of the waltz songs in which she is so effective; Renee Chemet plays violin arrangements of two familiar songs; and Hulda Lashanska sings two others. There is also fine novelty disk of the Bugle Calls of the U. S. Army, played by Bernard Baker, and very realis- tically recorded. Surely next month release of the Masterpiece Series will be resumed; enthusi- asts all over the country are clamoring for them. Two new Masterwork albums are announced by the Columbia for early release, and the samples of one have just reached the Studio as this is being written. Mr. George C. Jell, Super- visor of the Masterworks Series wrote us that he hoped to have Schubert’s Winterreise Song Cycle sung by Richard Tauber for us in time for review in this issue, but going to press a little early we have been forced to postpone the review until next issue. The second set, which reached us today, was also of Schubert songs, sung by Alexander Kipnis, Sophie Braslau, Elsa Alsen, and Charles Hackett,—a worthy addition to Schubert literature. The only orchestral work in the list is Mascagni’s records of the William Tell Overture, already highly praised in this column on the occasion of their release under the Odeon label. I congratulate Columbia most heartily on taking them over, for Mascagni’s interpretation and performance are sure to give great pleasure. The conductor was once a pupil at the Rossini Conservatory and his reading is fully authentic. Comparison of his reading with that of Mr. Bourdon for Victor is an interesting study. Each set will have its own admirers. There are a number of instrumental records. Piano: Schubert’s Marche Militaire played by Leginska, and Chopin’s Polonaise in E flat played by Jose Echaniz; violin: Kreisler’s Liebesfreud Schon Rosmarin played by Toscha Seidel; viola: a Schubert Allegro and Arensky’s Berceuse play- ed by Lionel Tertis in his own arrangements; and string quartet: Glazounow’s Interludium in Modo Antico and Alla Spagnouola played by the Musical Art Quartet; all of which can be heartily recommended. The vocal disks are also note- worthy, especially the first two releases by mem- bers of the Paris Opera, Georges Thill in arias from La Traviata and Herodiade, and Mme. Marilliet in the Love Song from Lohengrin, and II est doux il est bon from Herodiade. The others represent Frazer Gange, Barbara Maurel, and Wilfred Glenn. Of special importance to record buyers is the decision of the Columbia Company to shift a number of twelve-inch popqlar and celebrity disks in the “D” series into the $1.00 class. For example in the July 30th release, an-