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

The Phonograph Monthly Review 49 November, 1927 >/3|l 11 — young Weissmann’s thoughts towards conducting as a career. His first post was at the Frankfort Opera House; later he was at Cologne, Diisseldorf, Dresden, and Munich,—working his way up- ward until finally he was rewarded with a post in the Berlin State Opera House, where Max von Schillings was Director. Under the later’s gen- erous fostering, Weissmann was given every op- portunity to progress, and the fame he has won already is good proof of his ability to take full advantage of the remarkable opportunities that were given him. It was at this time he was engaged by the Parlophone Company, for whom he has been re- cording ever since, in connection of course, with his regular work at the Berlin State Opera house. He has also been conducting at the Opera House at Miinster, and it is rumored that he is to lead the German Opera Company on its concert tour of South America this year. Among the recorded works by which we know and admire him in this country, the Beethoven Symphonies take first place of course,—and parti- cularly the first four, the sixth and the eighth. The flood of Centennial electrical recordings an- tiquated some of these, but there is many a rec- ord library will still retain a favored place for these sets even today. Personally, I have always believed his First Symphony the superior not only of the Polydor acoustic, but also the Columbia electrical versions. And brilliant as Beecham’s great Columbia version of the Second is, Weiss- mann’s can still be heard with pleasure, particu- larly in the third movement where his reading has a slight edge over the other. And the Eroica! Of course, it sounds dim and pale enough after Coates’ incomparable performance has once been played, yet in its day, it reigned alone. Most of the others are completely out of the running now, except possibly the Eighth—at least for those for whom the orthodox virtues of Weingartner have no charms. If Weissmann is ever given the oppor- tunity to re-record these symphonies under the electrical process as it is evidenced in the current Parlophone-Odeon orchestral and choral releases, then may the others well look to their laurels. Of his recent recordings only the "Battle Sym- phony” has been issued in this country as yet, but it bears ample testimony to his talent for infusing grace and warmth into a work of what is after all comparatively small musical worth. His read- ing, added to the novelty of the composition itself, makes it of uncommon interest in spite of its aesthetic shortcomings. From abroad come re- ports that the new "Jener Symphony” is played no less delightfully. Among the other recordings, those that have attracted the most attention and praise include the Beethoven and Mozart Overtures, Smetana’s Moldau (which has always been preferred at the Studio to the Polydor version), Weber’s Invita- tion to the Dance (in spite of a severe blast and none too competent recording), the Merry Wives of Windsor Overture (still the best interpreta- tion), the Carmen excerpts, Tchaikowsky’s Path- etique (supreme until the Coates’ version swept all before it), Grieg’s Sigurd Josalfar Suite, and the Berlioz Symphonie Fantastique (whose re- lease here was prevented by the Columbia Com- pany’s issue of Weingartner’s version, the first electrically recorded symphony. His Roman Carnival and Brahms’ Academic overtures never reflected great credit upon him, and his Meistersinger prelude was sadly inade- quate, even in its best days. Yet his Oberon over- ture can still be heard with enjoyment. Weiss- mann, like the rest, has had his ups and downs, yet nearly all of his comparative failures are due to the unwise choice of selections. The field of his talents is somewhat circumscribed, yet within it he is an acknowledged master. One never feels towards him as one does to- wards other recording conductors: one does not bow down and worship either submissively or un- willingly, nor admire or dislike in an abstract, dis- passionate way. Weissmann always seems a friend of his hearers; one should like to drop round into the green room after the concert and talk the program over! One’s admiration for him is like that for a genial, talented friend: "Sure, I know him, he’s a fine fellow!” And we gather all this from disks of clay and wax alone! For Weissmann’s personality is ex- pressed on his records as surely and perhaps even more deeply than it must be in concert. His old records—acoustic or not—will still be cher- ished by virtue of this personality, and the new ones eagerly awaited for a more complete exposi- tion of himself and his powers. Perhaps the.op- portunities of the new process will entice him into a little greater excitement and fire in his perform- ances, in which there is sometimes too much geni- ality for his own good. At any rate, they will be something to look forward to, and to add to the many record libraries in which he has long held a place that is individual and honored, that of a true phonographic musician and friend. Meamderimgs By THEODORE FELAND GANNON T O the phonograph shark who noses his way across the Atlantic for a summer vaca- tion I feel there will come many items of more than passing fancy, whether he be in search of them or not. In my own case, had I wished to forget the music box for a bit, it would have been an extremely hard feat to accomplish. Almost everywhere you turn there is some attraction to remind you of your favorite hobby. After six weeks of rambling around England and the Con- tinent, I am convinced that the fan had better go to the South Sea Isles if his winter activities with the needle and turntable have worn him weary. To begin with, the Leviathan had aboard her an excellent Auditorium Model Victrola, over which