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

46 The Phonograph Monthly Review November, 1927 tion. For five years he followed the path of a concert violinist, but by that time had tired of what he well termed, “the futility of spending my life with a violin tucked under my chin. Deter- mining to become a conductor, he became a mem- ber of a Welsh orchestra and worked his way up to the concertmaster’s desk. After considerable orchestral experience in England and on the Con- tinent, he became assistant conductor of the Sym- phony Orchestra of Glasgow, Scotland, and later conductor. Verbrugghen soon built up a considerable repu- tation by guest concerts in various European cities, leading to his engagement as conductor of the London Symphony Orchestra in the famous Beethoven festival of 1914, and the next year in the Beethoven-Brahms-Bach festival. From Lon- don he went to the State Conservatory in Sydney, Australia, as director, and also organizer and con- ductor of the State Symphony Orchestra. From Sydney he came to Minneapolis where he has es- tablished a firm reputation and won remarkable tributes both to his musicianship and to his per- sonal qualities. Lists are not at hand of Mr. Verbrugghen’s “first performances”, but a glance through the works performed during the last season reveals many of unusual interest: Atterberg—Ocean Symphony; John Beach—The Asolani; Braunfels —Fantastic Variations on a theme of Berlioz; Charpentier—Impressions of Italy; DeLamater —Symphony after Walt Whitman; Delius— Brigg Fair; Percy Grainger—The Warriors; Ernest Hutcheson—Fantasie for two pianos and orchestra; Ibert—Escales; Malipiero—Impres- sioni dal Vero; Miaskowsky—Second Symphony; Rachmaninoff—Second Symphony; Respighi— Pines of Rome; and the seldom-played Strauss Burleske for piano and orchestra (E. Robert Schmitz, soloist). The regular classical reper- tory was of course maintained, and special Beethoven concerts were given to commemorate the Centennial, one of which included the Ninth Symphony, given with a combined chorus drawn from the Apollo Club and the Minneapolis Sym- phony Chorus. A special concert with the St. Olaf Lutheran Choir was also given. Besides the Friday evening series of concerts in Minneapolis, the orchestra also gave a series of popular concerts on Sunday afternoons, in- cluding in its programs such works as: Oberon Overture, Nut-Cracker Suite, Prelude and Love Death from Tristan, Scherzo and Nocturne from the Midsummer Night’s Dream music, Beetho- ven’s Third Piano Concerto, Brahms Hungarian Dances, and even the Pines of Rome of Respighi. (A word of praise should be given here to the excellent progam for the regular series of con- certs and also the necessarily abreviated notes on pieces played on Sunday afternoons; William H. Marzolf is the editor of the program books and there are very helpful thematic illustrations in notation. Nor should mention be forgotten of the courtesy of Mr. Arthur J. Gaines, the Manager of the Minneapolis Orchestral Association, in sending the concert programs regularly to the Studio.) The Minneapolis Symphony is under exclusive contract to the Brunswick Company for record- ing, but as yet their records have been infrequent and hardly representative. They are three in num- ber; two of which were first issued in acoustic versions, and later replaced by electrical ones. Brunswick 15117 (10 inch) Hill: Waiata Poi, and Giraud: Melodrama from “Piccolino” 50088 Weber: Freischutz Overture 50087 Delibes: Coppelia Ballet— Prelude and Mazurka, and Massenet: Dernier Sommeil de la Vierge The acoustic records of the first two named above are now withdrawn, despite the fact that many phonograph enthusiasts esteemed them above the electric versions which replaced them. The Maori Dance-Song, Waiata Poi, (the new record is reviewed on page 39 of the November 1926 issue) has been of no inconsiderable value in musical appreciation work, for it is a piece which catches the instantaneous attention of even the most unmusical listener. The Coppelia ex- cerpts (reviewed on page 401 of the June issue) promise to be of equal value. This latter record is easily the best of Verbrug^hen’s so far, despite the ineffectiveness of the Massenet salon-piece on the other side. The new versions of the Frei- schutz overture and Waiata Poi do not measure up to the same standards of recording as the Delibes record—or even to those of the early acoustic versions. We are sure that the forth- coming releases by the Minneapolis Symphony will be more adequately representative of both manufacturer and musicians, for both have proved beyond any possible doubt their merits and the standards they can achieve. Every music lover will certainly join us in hop- ing that the new Symphonic Album series that the Brunswick Company has so successfully in- augurated will soon include some sets by both the Minneapolis and Cleveland Symphonies. Both of these have suffered in the past from the ancient custom of “cutting”, now—we sincerely trust—abandoned forever! The Minneapolis Orchestra has been doing notable work for the cause of music appreciation in America and its untiring efforts have made a permanent mark throughout the North West. Mr. Verbrugghen’s repertory includes many fine compositions, of both novel and standard nature, which are badly needed in Recorded Symphonic Literature. It would be a real pity if both con- ductor and orchestra are not given an oppor- tunity to record some of these works; the Bruns- wick Company’s recording has here a splendid chance to give new proofs of its remarkable merits, and the new Brunswick Masterpiece series can be further augmented by major works from an American orchestra whose career and future deserve appreciative study