Phonograph Monthly Review, Vol. 2, No. 2 (1927-11)

November, 1927 The Phonograph Monthly Review 43 i— 1 " ——— — .1 ■— i —— — i i ..mii ' 11 '. '. ,—n sv excerpts are among the most interesting things that I have listened to for a long time. But as far as the Rosenkavalier Waltzes are concerned it is impossible to decide between Strauss’ version and that of Morike for Odeon, also issued this month. I have played both several times and like R.D.D. find it impossible to state a definite preference. It is a wonderful experience for us in the Studio to have the privilege of comparing various versions —a pleasure which more than repays the tedious and less pleasant features necessarily connected with a publication. The organ concertos failed to impress me to any great extent, possibly because I have classed them with piano records, never caring for either. An antipathy that—as with many other music lovers—can be traced back to early experiences of forced practice hours at the keyboard where parental force was employed in vain to make a virtuoso out of me! With the Mozart Jupiter Symphony a choice becomes necessary among the four versions now available: Heidenreich—Polydor and Coates— Victor, acoustic; and Godfrey—Columbia ,and Strauss—Brunswick, electrical. I was most pleasantly surprised by Strauss’ proving that he is able to capture the real Mozartean atmosphere, a feat which I had hardly expected after his un- successful version of the Mozart E flat symphony, one of the early Polydor electrical recordings. I have received several letters asking me for ad- vice on the purchase of a Jupiter symphony set, whether the Columbia or the Brunswick version should be chosen. I can give only the same reply as the reviewer, “It all depends on what one wants!” The Victor-Stokowski re-issue of Debussy’s Afternoon of a Faun (6696) is another most worthwhile record. The Victor Symphony Or- chestra is ably represented by a Madam Butter- fly Fantasia (35786) which comes close to mak- ing one like Puccini’s music. The Columbia Sym- phony is also well represented by a coupling of the two most popular wedding marches (50051-D). Two things I can hardly recommend this month; one the Victor-Heifetz version of the Schubert-Wilhelmj Ave Maria, rather a disap- pointment after Heifetz’ splendid earlier re- leases; and the other Wotan’s Farewell and the Magic Fire Music conducted by Siegfried Wagner for Odeon. The Magic Fire Music can stand no comparison with the excellent Coates version. In- deed it may be well for Siegfried that his father is unable to hear this performance, or otherwise he would hardly escape without a parental rep- rimand of considerable severity, to say the least! As far as the vocal records are concerned, we must look to the foreign releases for something out of the ordinary, the black label issue in the Victor foreign records of Wotan’s Farewell as sung by Kipnis and accompanied by Dr. Blech and the Berlin State Opera House Orchestra (68863). “Vories” and others repeatedly called our attention to this work when it was first re- leased abroad and no one can fail to agree upon its merits, and particularly that it is a wonderful value at the price of $1.25 at which it is issued here. Among the other foreign releases worth men- tion is Creatore’s two-record Carmen Selection (35841 and 35842) in the Italian list, further proof of what band performance and recording at their best may mean. With the excellent and varied repertoire now available through this re- markable Creatore series it is possible to give a band concert at home easily superior to anything that would be possible to hear in concert, for Creatore is far more attractive on his records than in person. I had the misfortune to attend one of his concerts a week or so ago and was both disappointed and annoyed by his jack-in-the-box methods of conducting. He has obviously deterio- rated from the Creatore whose dignified concert manner I admired when I heard him in concert over twenty-two years ago in Bridgeport, Con- necticut. The admiration one gains from his rec- ords fades away when one is painfully made aware that in concert he is less a musician than a showman playing unashamedly to the gallery. I fooled R. D. D. into hearing him later in the week and he felt as when Koussevitzky misplays Delius, or as Mrs. Johnson and I felt on one historic afternoon when we heard Stuart Mason give the 'world’s worst” performance of Tchaikowsky’s Fourth! After all, records sometimes save one a great deal of disillusionment. Also among the Victor foreign releases are to be mentioned two Marek Weber records (68824 —Tosca Potpourri, and 68825—Rachmaninoff Prelude) ; his Tales from the Vienna Woods Waltz is among the domestic issues (20915). Of these only the waltz is at all worthwhile, and even there Shilkret has given us a far better version of that deservedly beloved work on Victor 35775, released last winter. The Phonograph Societies are unexpectedly slow in getting under way; so far we have heard only from those in Philadelphia, Providence, New York, and Minneapolis. However, the season is barely begun yet, and next month will undoubt- edly see full activities resumed. From through- out the country we continue to receive letters that indicate the steadily rising interest in the Society Movement. Here in Boston, where a number of exceptional difficulties have confronted the Society, a number of new enthusiasts have become interested in the movement and plans are being laid for an early series of meetings. Arrangements are under the direction of a committee comprising Mr. George S. Maynard, the able President of the Boston Society, as Chairman, and Messrs. J. W. Goldthwaite, W. Scott Goldthwaite, and Harold A. Sewall,—all sincere and energetic enthusiasts, whose efforts seem sure to accomplish noteworthy results here during the coming season. The increasing complexity and extent of the needs and duties of the publication prevent us of the magazine from taking the active part in the society that otherwise we should be glad to take, but of course we shall continue as co-operating