Phonograph Monthly Review, Vol. 2, No. 3 (1927-12)
Reading and Downloading:
Record Details:
Something wrong or inaccurate about this page? Let us Know!
Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.
Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.
View OCR Text
We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
The Phonograph Monthly Review 89 December, 1927 ,« W l. ~- 1 I i i ■■■ in and Harty-Halle, December 1) ; Brahms' Alto Rhapsody (Harty-Halle, December 1) ; Saint- Saens' Rhapsodie Mauresque (Harty-Halle, De- cember 8) ; Berlioz' Le Corsair Overture (Busch —N. Y. Symphony, October 30) ; and Berlioz' Romeo and Juliet Choral Symphony (Harty- Halle, December 1). The “Queen Mab" scherzo from the last-named work has been recorded on English Columbia L-1989 by the Halle Orchestra. The Borodin tone-picture would be especially suited for recording; eventually, no doubt, some one will do the Brahms Rhapsody and Variations and the Chopin Piano concerto. Coming to the works which are available in acoustic, but not electrical, versions, we find the list headed by Strauss' Till Eulenspiegel , (Busch —N. Y. Symphony, November 11) which was omitted by mistake from the list on page 54 of last month's issue. (That list, by the way, should now be amended to include the new Franck Sym- phony (Victor M-22), and the new Mother Goose Suite (Columbia Masterworks 74), both of which supplant the older versions of their respective compositions.) Strauss: Till Eulenspiegel’s Merry Pranks. Recordings: Odeon 5113-4 (4) MorFe and the Berlin S. O. H.; Polydor 65858-9 (4) Strauss and the Berlin S. O. H.; H. M. V. D-608-9 (4) Coates and the Symphony Orchestra; Columbia 7096-M (2) Wood and the N. Q. H. (The Wood version is badly cut. That of Coates is now withdrawn, no doubt to be replaced soon by an electrical version. Both Strauss and Mori ce will probably also have an early opportunity to re-record their readings, which will be made available here by the Brunswick and Odeon com- panies respectively. Their versions are the best of the existing ones, with Morike’s perhaps slightly in the lead— reviwed on page 139 of the December, 1926, issue.) Others, as yet unrecorded electrically, are: Schumann’s Fourth Symphony (Busch—N. Y. Symphony, October 30) ; Mozart’s Symphony in G minor (Harty-Halle, November 17) ; Brahms’ Second Symphony (Goossens—Rochester, Novem- ber 17) ; and Scriabin’s Poem of Ecstacy (Goos- sens—Rochester, December 8). Schumann: Symphony No. 4 in D minor. Recordings: Polydor 66282-4 (6) Pfitzner and the Berlin Philharmonic. (The third movement is omitted; the set is mentioned on page 33 of the November, 1925 issue, on its addition to the Studio Library.) Mozart: Symphony in G minor. Recordings: Vocation K-05105-6, and K-05112-3 (7) H. Greenbaum and the Aeolian Orchestra; Parlophone E 10366- 8 (8) Weissmann and the Berlin S. O. H.; Victor 35482 and 35489 (4) Victor Orchestra (withdrawn) ; Columbia 7016-M (2) Damrosch and the N. Y. Symphony (1st and 3rd move- ments only). (The last two sets are badly cut, although in the Victor version the Minuet and Finale are complete. Weissmann’s version is disappointing, and there is a great need for an adequate electrical performance of this deservedly popular work.) Scriabin: Poem of Ecstacy. Recording: Columbia 7091-3-M (5) Coates and the Lon- don Symphony. (See page 296 of the April issue, also Mr. Gerstle’s letter on page 393 of the June issue. While the writer still holds to the opinion that this is one of the most remarkable of old-time recordings, one of the pioneers of the great re- corded modern compositions of today—he agrees most em- phatically with Mr. Gerstle that a new electrical version by the same conductor is to be eagerly anticipated. The only other orchestral work of Scriabin to be recorded, the Reverie, H. M. V. D-623 (1) Ronald—R. A. H., has been withdrawn from the catalogue and as yet has not be re- issued.) Some of the works which have recently ap- peared in outstanding recorded versions, and which are given current concert performances, are: Dvorak's New World Symphony (Boston People's—Mollenhauer, November 13; and Min- neapolis—Verbrugghen, October 28) ; Schubert's Unfinished Symphony (Cleveland—Sokoloff, No- vember 3) ; Debussy's L’Apres Midi d f un faune (Halle-Harty, November 24) ; Dukas' UApprenti sorcier (Cincinnati—de Sabata, October 28) ; and .Strauss' Ein Heldenleben (Halle — Harty, Octo- ber 27). Dvorak: Symphony in E minor (From the New World). Recordings: *Columbia Masterworks 77 (10) Harty— Halle Symphony; *Victor 6565-9 (10) Stokowski—Phila- delphia Symphony; *H. M. V. D-1250-4 (10) Ronald—R. A. H. (The new Columbia set is reviewed elsewhere in this issue. That of Sir Landon Ronald was mentioned on page 4 of the October issue—General Review. The Stokowski version was mentioned on page 18 of the October, 1926 issue; it is electrically recorded although it does not have the new “orthophonic” label. The list of recordings above supplants that given on page 295 of the April, 1927 issue— Recorded Symphony Programs—containing the acoustic ver- sions by Harty and Ronald, now displaced by the ^electrical ones given above.) Schubert: Symphony in B minor (“Unfinished”). Recordings: ’•'Columbia Masterworks 41 (6) Wood and the N. Q. H.; Victor Arts Library M-16 (6) Stokowski and the Philadelphia Symphony; *H. M. V. C-1295-6 (6) Goos- sens and the Royal Opera. (The electrical versions alone are given; for the others see complete list on page 249 of the March, 1927 issue. The new Stokowski version is mentioned on page 516 of the September issue—General Review. The Columbia and old versions are compared on page 35 of the November, 1926 issue.) Debussy: Prelude—L’Apres Midi d’un faune. Recordings: *Victor 6696 (2) Stokowski and the Phila- delphia Symphony; *Columbia 67219-D (2) Klenau and Royal Philharmonic; *H. M. V. D-1128 (2) Ronald and the R. A. H. (The electric versions alone are given. The new Sto- kowski one is reviewed on page 70 of the November, 1927 issue. The Columbia one is reviewed and the others com- pared on page 186 of the January, 1927 issue. There is also an excellent acoustic version by Whitemore and the Aeolian Orchestra, Vocalion D-02124.) Dukas: Scherzo—L’Apprenti sorcier. Recordings: ^Columbia 67335-6-D (3) Gaubert and the Paris Conservatory Orchestra; Victor 55169 (2) Ronald and the R. A. H. (The Victor acoustic version is now withdrawn. Gaubert’s electrical one is reviewed on page 28 of the October, 1927 issue, and page 520 of the September, 1927 issue.) Strauss: Ein Heldenleben. * Recordings: ^Brunswick Symphony Series 1 (10) Strauss and the Berlin S. O. H.; Odeon 5108-12 (10) Morike and the Berlin S. O. H. (The Brunswick version was reviewed on page 71 of the November, 1927 issue, and in the Polydor pressing on page 139 of the December, 1926 issue. Morike’s set is reviewed on page 138 of the last-named issue.) Asterisks indicate electrical recordings throughout. The number in parentheses following the order number indicates the number of record sides containing the entire work.