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

The Phonograph Monthly Review 71 November, 1927 for the accompanying booklet, which also deserves more than a word of mention. Felix Borowski, noted for distin- guished program notes for the Chicago Symphony Orches- tra’s program-books, is the editor, and he has succeeded in being brief, informative, and exceedingly readable, achiev- ing the difficult feat of catching the attention of the un- schooled musically, while still holding that of those to whom the actual material given is already familiar. The tempo directions of each movement are given in English as well as Italian, to the obvious benefit of the neophyte. The music is analyzed record by record—after the manner first introduced by the Victor Company’s annotator; a most help- ful method for those who do not follow the scores. (It might be added that the pockets for the booklets are suffi- ciently roomy to hold a miniature score as well; perhaps in the future Brunswick may be the first to supply a score with the album, the next logical step in the art of issuing symphonic albums). It must be remembered that we had but little chance to hear the records, and that the following impressions are naturally first reactions, which may be amended later. However, if due justice is not given here to the many merits of the works, atonement will surely be made later. Brunswick Symphony Series Set 1 (5 D12s, Alb., $7.50 Strauss: Ein Heldenleben, Op. 40, played by the Orchestra of the Berlin State Opera House, conducted by the Com- poser. This set was reviewed from the Polydor pressing on page 138 of the December 1926 issue of this magazine, where the work is analyzed in considerable detail, and a comparison made with the Morike-Odeon acoustic version. At that time, I preferred Morike’s reading, in spite of the handi- caps of the old process. Yet on re-hearing the composer’s own set, doubts begin to arise. The Brunswick pressings (as was predicted last month) are far superior to the Ger- man ones, and the roughness of the Polydor reproduction seem to be entirely lost here. Of course, there can be no question as far as brilliance is concerned; the electrical process gives Strauss an insurmountable advantage. The general opinion seems to be that this set is the best choice for purchase today, and while I shall cling steadfastly to my old Morike version 'for a long time, I have come to the same conclusion. If Morike’s had been electrical. . . .but such suppositions are idle. It is the old story again, Strauss is Strauss and Morike is Morike, and both are musicians! And except for a few persons the Brunswick-Strauss set is the more practical choice for purchaser today. Brunswick Symphony Series Set 2 (5 D12s, Alb., $7.50) Beethoven No. 5, in C minor, played by the Philharmonic Orchestra of Berlin, conducted by Wilhelm Furtwangler. The Polydor pressing was reviewed on page 319 of the April 1927 issue, and a comparison with the Victor and Columbia electrical sets made on page 317 of the same number. A re-hearing confirms my personal feeling that Furtwangler’s is the best reading while Ronald’s remains, the most effective performance and recording. The Bruns- wick surface is much better than the Polydor, but on the whole the comparison made at the time still holds true: “for those who prefer an orthodox reading, finely played and recorded, Weingartner’s Columbia set. . . .in which one can find nothing to question or to be puzzled over, except perhaps the rapid tempo of the second movement. For those who look for electrifying brilliance and power, with the capabilities of the modern orchestra and recording ex- ploited to the utmost, Ronald’s Victor Set will be preferred. And finally, for those who wish a strangely dark and force- ful reading, with an enigmatic and wry humor in the Scherzo, we advise Furtwangler’s Polydor (Brunswick) Set. Its second movement is the best of all, but the recording is by no means as faultless as that of the other two ver- sions.” (On the odd side, the Hindemith brothers play Bee- thoven’s duet in E flat for viola and violincello). Brunswick Symphony Series Set 3 (4 D12s, Alb., $6.00) Beethoven: Symphony No. 7, in A major, played by the Orchestra of the Berlin State Opera House, conducted by Richard Strauss. The Polydor version was reviewed on 320 of the April 1927 issue of this magazine. Personally, I preferred it to all other versions until Stokowski’s was issued, but that was a subject for endless debate in the Studio where by opinion was by no means unanimously shared. Of course, the new Victor set is so far above comparison that none can be made here. However, for those who wish a less expensive set, this Brunswick album has a place of its own; a saying of five dollars is, of course, not to be ignored. It is in four records, and several cuts are made. The performance is of high calibre throughout, and if the greater intensity and volume (and price) of the Stokowski version rules it out of consideration, Strauss’ is the next logical choice. Brunswick Symphony Series Set 4 (3 D12s, Alb., $4.50) Strauss: Intermezzo—Interlude from Act I and Waltz, and Der Rosenkavalier—Waltz, played by the Orchestra of the Berlin Opera House, conducted by the Composer. Intermezzo, a “Domestic Comedy with Symphonic Inter- ludes” was first produced in 1924 and has aroused a great deal of quaisi-notoriety on account of its story, lifted boldly from Strauss’ own life. The tale of the tragi-comedy is given succinctly in the annotation and hardly needs re- petition here. The interlude is scored for compara- tively small orchestra and is characteristically Straussian, far more so than the odd, rather perverse Waltz. It is mel- low, tranquil, and rich with the golden color that Strauss even in his later days can still evoke from the orchestra. One could not ask for a more exquisite performance and re- cording; even on first hearing of the composition, one feels that the reading is matched perfectly to the music and that every detail of the composer’s conception is expressed with surety by the orchestra. A beautiful excerpt, not unworthy of comparison with the latter sections of Ein Heldenleben. The Waltz is in another and differing mood, by turns fan- tastic and coy. The waltz rhythms are varied to the point of distortion, yet the piece has a certain fascination of its own. Undoubtedly it will grow on one. There is a rather unusual use of the piano (as an orchestral part) at the be- ginning. The Waltz from Der Rosenkavalier (or rather waltzes, as Borowski points out) are played with an abundance of at- tention to detail, in contrast to the larger sweep of Morike’s Odeon version of this month. As to which is better—ah, there’s the rub ! Hearing the composer’s version, it is first choice, but play Morike’s again, and the decision is re- versed! It is to be hoped that our readers will have less difficulty in choosing than we at the Studio have, for we all are confessedly at loss. The Odeon is more sonorous and full voiced, particularly in the fortissimos; the Bruns- wick disk leads in the delicacy of the pianissimo passages and those with prominent wood wind solos. The only solu- tion of the problem appears to be the purchase of both! Brunswick Symphony Series 5 (4 D12s, Alb., $6.00) Mozart: Symphony No. 41 in C major (“Jupiter”), played by the Orchestra of the Berlin State Opera House, con- ducted by Richard Strauss. Again odious comparisons must be made, for in addition to the Polydor (Heidenreich) and Victor (Coates) acoustic versions of this work (reviewed of page 184, January 1927 issue) there is the electrical set by Sir Dan Godfrey for Columbia, reviewed last month. Strauss’ performance of the E flat Mozart Symphony for Polydor gave little inkling of the merits of the later work; the former was exceed- ingly poor, this one decidedly good. As far as the actual representation of the orchestra goes, the remarkably fine recording in Godfrey’s version carries off the honors, and consequently if one wants to impress a non-enthusiast, the Columbia set is the one to play. But if Mozart is the object in view,—then, Strauss’ version by all means! God- frey is so conscientiously meticulous in his desire not to read anything into the music, that he succeeds merely in not reading any Mozart (or even Godfrey) into it! Strauss’ orchestra hardly shows to such good advantage, but his reading is the Jupiter Symphony, and the logical choice for the real lover of Mozart. The orchestra is apparently well trimmed down to the proportions of Mozart’s day, and while the tutti’s lack in sonority and depth, the piano and pianissimo passages are of a most exquisite and frail beauty. Whether this set can be finally acclaimed as the best version of the Jupiter must remain to be proved by further hearings. At the present, it would seem that it was the most likely contender for the honor.. (On the odd side, Vasa Prihoda, violinist, plays Mozart’s Turkish March).