Phonograph Monthly Review, Vol. 2, No. 1 (1927-10)

October, 1927 The Phonograph Monthly Review ./sir might well be considered by recording pianists. And yet Mendelssohn is undeniably waning: the Midsummer Night’s Dream, the violin concerto, and Elijah almost alone serve as anchors to keep his fame from slipping entirely into a rapidly engulfing oblivion. VIOLIN Victor 6692—Dvorak: Humoresque, and Kreisler: Caprice Viennois. (D12, $2.00.) Kreisler was wise in waiting until violin recording had reached its present efficacy before re- recording his most popular war-horses. And it cannot be denied that the electrical process reproduces his playing to perfection here. His own composition is by far the more preferable on this disk, as even Kreisler can hardly be ex- cused for the Hawaiian guitar glissando effects in the Humor- esque, whose original virtues of delicate tunefulness—now pretty well time-beaten—he still further effaces by an over- sentimentalization which one hardly expected from him. In fact, the redeeming feature of his “popular” records has always been their sincerity of performance, no matter what the musical value of the piece itself might be. The Humor- esque, battered by familiarity though it may be, is still a good many grades above some of Kreisler’s “popular” offer- ings, and least of all deserves ill treatment from his hands. Brunswick 50099—Chopin-Spalding: Nocturne in G major, and Sarasate: Introduction and Tarantelle (D12, $2.00). Albert Spalding is beginning to appear a little more frequentfy on records and I know of no one who is not delighted to find a gradually increasing number of this splendid violinist’s releases available. The recording here is a notable tribute to the skill of the Brunswick recording director and the playing is in Spalding’s best vein. The Nocturne proves to be a shortened version of the familiar one containing the lovely melody Chopin is supposed to have heard sung by a sailor on a Mediterranean vessel. Spalding’s arrangement is a happy one and he performs the double-stopped passages of the be- ginning in a manner that gives his hearers musical as well as technical pleasure. His choice of tempos, particularly of that of the sailor’s melody, is decidedly generous on the slow side. The Sarasate piece may justly be claimed one of the finest examples of violin playing and recording available today. Columbia 7131-M—Hubay: Zephyr, and Francoeur-Kreisler: Siciliano and Rigaudon (D12, $1.50). Joseph Szigeti’s records are still rarer than Spalding’s and no less to be desired. This is only his second to be made available in this country, although he has several in the English Columbia catalogue. The recording, done abroad, is not quite up to that of recent violin works here; most noticeable is its tendency to thin still further Szigeti’s naturally thin—but with the delicacy of spun glass—tone. Despite this trifling drawback, the record is one no true violin enthusiast should miss, for Szigeti is a musician of the highest artistic integrity and talents. In concert, the personality of the man can be discovered in a moment: sensitive, high-tensioned, idealistic,—he is an artist far above the usual level; one who makes not the slightest attempt to play down to the crowd, but who instantly commands every- one’s respect and esteem. No real music lover can afford to overlook Szigeti and his records, both the two already issued here and the others to which we look forward for early release. PIANO Columbia 5072-M—Liszt: Hungarian Rhapsody, No. 8 (D12, $1.25). Ethel Leginska carries on the apparent intention of the Columbia Company to record the less familiar Rhapsodies of Liszt. No. 8 deserves less than any of them its compara- tive obscurity; it is less brilliant and showy than some of the others, but it has an appeal of its own, particularly during the earlier passages; the ouaisi-breakdown later in the work is not one of Liszt’s happiest inspirations. The recording is unusually powerful, almost too intense at times, throwing a rather unkind light upon Miss Leg' occasional tendency to allow her pedalling to become a-/re {blurred. Otherwise her reading is restrained and pleasingj,^^! the record one to be heard. Brunswick 3-117—La Paloma, and Torna a Surriento (D12, $1.50). Giuseppe Danise hardly has the material here to give full play to his talents and his magnificent voice never gets 33 =3!GV the chance it deserves. While the performances, particularly of the second side, are by no means unsatisfactory in them- selves, Danise can give a far better account of himself in more suitable works. Here he is forced into unavoidable and none too happy comparison with Schipa. Columbia 9032-M—Carmen: Flower Song, and Mignon— Ah! Little Thought the Maid (D12, $2.00). Charles Hackett has never enjoyed more effective recording, but in spite of his courageous efforts to disguise the encroachments of the strain that marks vocal decline and age, the recording here is less merciful than just. Yet this is a disk that commands respect, as well as pity, and the one to be preferred among his recent releases. Columbia 7130-M—Ernani: O Noble Carlos, and Un Ballo in Maschera: Is It Thou? (D12, $1.50). Carlo Galeffi, with the chorus of La Scala Theatre, continues the authentic Italian operatic series begun last month so well by Stabile. The chorus is far less effective here, but Galeffi has a rich, strong voice which he uses well, barring a tendency to over- exaggeration in the Italian manner. The Ernani aria is perhaps more interestingly sung than Eri tu, but both will have a deservedly strong appeal to every lover of the early Verdi operas. Columbia 140-M—From Out the Long Ago, and For Thee (D10, 75c). Barbara Maurel on a popular priced disk in two sentimental ballads; the refinement and restraint of the in- terpretations rather than Miss Maurel’s voice give the record some distinction in its class. Brunswick 15128-Bizet: Carmen—Habanera and Seguidil- la. (D10, $1.50.) Sigrid Onegin in a recording and does full justice to the dark loveliness of her voice. She would be a most un-Carmen-like Carmen on the stage, for sure, and she wisely sings the familiar arias in concert rather than operatic manner, but if the gypsy abandon and verve are missing, the pellucid beauty of sheer tone most certainly is full recompense. Perhaps it will not be long before the recording and accompaniment merits of this release are used to still better advantage in records that give Onegin more suitable opportunity to make use of her talents. Brunswick 30119—Handel: Largo, and Rendi L’Sereno A1 Ciglio. (D12, $1.50.) Elizabeth Rethberg has given us so many fine things, that this unfortunate recording may well be forgiven and forgotten! Brunswick 10243—Mendelssohn: Oh for the Wings of a Dove, and Tosti: Serenade. (D10, $1.00.) Edith Mason bears up bravely under the disadvantages of a violin-harp- flute trio in the Serenade; luckily she has an orchestra in the companion number (another addition to this month’s surprising list of recorded works of Mendelssohn—are the companies making a tw r enty year start on preparations for his Centennial?). Miss Mason can hardly be classed with those musicians who can sing works for popular consump- tion without giving considerable emphasis to her desire of being popular at all costs. I wonder very much whether even the lowest musical intelligence cannot recognize at once the sincerity or insincerity of an artist. And I think he will prefer the following record to this one every time. Brunswick 3079—Indian Lullaby and Chinese Flower. (D10, 75c.) Elizabeth Lennox in two unassuming, but most pleas- ing pieces of a truly “popular” nature, sung both effectively and sincerely. The accompaniments are restrained as well as ingenious, and for once the usual novelty “chinky” and “tom-tom” effects are handled in a musical way. A record that doesn’t pretend to be anything more than it is, that isn’t trying to look down from highbrow to lowbrow or up the other way, and that is simple, natural, and most unusual in a world where such characteristics are so uncommon. Per- haps I exaggerate its virtues, for of course it is no contribu- tion of great musical significance, but a little thing well done is something to be praised any day. Victor 3043—Barcarolle from the Tales of Hoffman and Calm as the Night. (D10, $2.00.) Lucrezia Bori and Law- rence Tibbett in two familiar duets. The singing is serious and quite free from insincerity and the recording is of course excellent. W T hen such pieces as these are recorded, as of course they must be, they should always be done at least as well. Victor 6693—Massenet/ Don Quichotte—Finale. (D12, $2.00.) Chaliapin in the prize vocal record of the month, one which no one should miss. Some of the great Russian basso’s latest records disguised the inevitable “slipping” of his voice none too effectively, but here he has gathered