Phonograph Monthly Review, Vol. 2, No. 3 (1927-12)

114 The Phonograph Monthly Review December, 1927 Of the Preludes themselves one can hardly add anything to the celebrated words of Robert Schumann, who, in re- viewing them in 1839, spoke of Chopin as the “boldest and proudest poetic spirit of the times.” Huneker’s words on the Preludes—as on all Chopin’s works—can be read to ad- vantage, and with enjoyment, by everyone who wishes to learn more about the greatest composer for the piano. On these records by Cortot, three or four of the pieces are played on a side, with the exception of No. 15, in D flat (burdened in the popular mind with the school-girlish title of “The Raindrop”), which occupies an entire record side by itself. The first Prelude (I wonder how many remem- ber the old, but splendid record by Bachaus for Victor— withdrawn these many years) might have been played a trifle piu agitato, and the third more smoothly, but all the others give little or no opportunity for adverse criticism, No. 20, in C minor, (almost as popular as the Fifteenth) is particularly well recorded. M. Cortot gives a quotation for each Prelude embodying his own idea of the significance of the music. It is highly questionable, however, whether such cliches as “Waiting feverishly for the beloved one,” “Sad meditations,” and the like, applied to the pieces make them more easily appreci- ated by any excerpt those to whom “programs” are more essential than the music. The music here stands by itself; a perfect setting of tiny gems in one delicately wrought work. All praise to the manufacturers who make it avail- able for us on records! Columbia 142-M (DIO, 75c) Echanitz: Cuban Rhapsody, played by Jose Echaniz. The pianist who plays his own Cuban Rhapsody here has recently been touring the country. This is his second record- ing to be made available. The playing is somewhat metal- lic, but the piece itself is mildly interesting, although not without its Lisztian echoes. VIOLIN Columbia 17002-3-D (2 DIOs, $1.00 each) Tartini: The Devil’s Trill Sonata, played by Albert Sammons. This work was issued in England nearly a year ago, but anticipates much of the powers of recent violin recording. Both performance and recording are very good indeed, and the two ten-inch disks make a delightful issue for all lovers of violin records. Following the work with the Vieux- temps arrangement (which is not the one used) it seemed that several short cuts were made; possibly the arrangement used varied considerably from that of Vieuxtemps. The work is so well known in the concert hall that it is hardly necessary to repeat again the celebrated account of the origin of the piece, in which Tartini graphically de- scribes the Devil’s inspired fiddling and his own feeble a‘- temps to emulate it. There is little enough of Satanism in the sonata for modern ears, but if it fails to horrify, it surely does not fail to charm. Would that more of the music of the period were available on records! Brunswick 50110 (D12, $2.00) Dvorak: Humoresque, and Massenet: Thais—Meditation, played by Max Rosen. An electrical re-recording of Rosen’s acoustic record No. 50005. It is good to hear from him again even though his selections are carefully shielded from any possible accusa- tion of undue novelty. Brunswick 3262 (D10, 75c) Schumann: Traumerei, and Drdla: Souvenir, played by Frederick Fradkin. The suave and polished Fradkin was never more suave and polished than here. But playing with movie organs leaves its mark! Odeon 3205 (D12, $1.25) Dvorak: Humoresque, and Kreisler: Caprice Viennois, played by Dajos Bela. In response to “popular demand”, Dajos Bela abandons his baton for a moment and “obliges” with a couple of solos, played in much the same manner which characterizes his orchestral performances. Victor 6712 (D12, $2.00) Gypsy Caprice, and Shepherd’s Madrigal, played by Fritz Kreisler.. Not the least of Mr. Kreisler’s virtues are those of inde- fatigability and adaptability. Everything from a concerto to a Chinese laundry check is grist for his mill: no matter what he plays, it is with invariable bland and balanced care. Is he one man or a dozen? Victor 1270 (D10, $1.50) Do You Know My Garden, and No One Knows but the Red, Red Rose, played by Renee Cbemet. In this rather flowery musical question and answer Mme. Chemet endeavors to show that she, too, can play for the “great average music lover” for which, the annotator tells us, such records are intended. The recording is remark- ably fine, but the sweetness of the tone a little too sac- cherine. A disk not unworthy of a place, however, in the march of violin recording progress. Victor 6706 (D12, $2.00) Brahms-Kreisler: Hungarian Dance No. 17, and Cyril Scott: Lotus Land, played by Fritz Kreisler. Easily the most interesting violin record in the present list. The almost matchless recording evidenced in the Chemet disk is here utilized for the exposition of pieces of distinct interest. On a small scale, of course, but miniatures of color, quaintness, and appeal. The Scott bit of hypnotic exoticism, familiar as a piano piece, should no doubt find wide favor. The Brahms dance has been recorded by Elman in the Joachim arrangement. (Note : The above two records by Chemet and Kreisler are from the special November 10th list.) VIOLONCELLO Columbia 2045-M (D10, $1.00) Pierne: Serenade, and Bizet: L’Arlesienne—Adagietto, played by Felix Salmcnd. A pleasant “popular” record that does not sacrifice either an air of distinction or a certainty of merit in entering that classification. Light Orchestral Columbia 1179-D (D10, 75c) Lack: Idilio, and Mendel- sohn: Spring Song, played by the Columbia Symphony Orchestra under Robert Hood Bowers. Exceedingly saccharine trifles for the great general pub- lic. They are well done, but of course, it would be diffi- cult not to do them well. These are hardly the pieces to test the real skill and merits of the Columbia Symphony, to which we look for stronger musical fare. Odeon 3207 (D12, $1.25) Strauss: Die Fledermaus— Overture, played by Dajos Bela and his Orchestra. Dajos Bela does well by The Bat overture. Making al- lowances for the natural limitations of his orchestra, one finds this a quite pleasurable reading. Odeon 3209 (D12, $1.25) Puccini: La Boheme—Selection, played by Edith Lorand and her Orchestra. Miss Lorand hardly does as well as Dajos Bela, although the music played is well adapted to this type of salon or- chestra. Victor 80158 (D10, 75c) Stille Nacht, and O du Frohlichr: O du Selige, played by Marek Weber and his Orchestra. There are chimes and an organ and very emotional violin playing for those who wish to celebrate Christmas by put- ting on salon versions of seasonal favorites. Victor 25852 (D12, $1.25) Siren of the Ball, and Moon- T ight cn the Alster, waltzes, played by Marek Weber and his Orchestra. Orthodox German salon waltzes and performances; ex- cellently recorded, as always. Victor 35851 (D12, $1.25) Strauss: Gypsy Baron, played by Ferdy Kauffman and his Orchestra. Marek Weber, Edith Lorand, and Dajos Bela have a seri- ous rival in this new arrival on the recorded scene. This debut disk is good, ranking easily with Dajos Bela’s Fleder- maus overture. R. B. Instrumental A1 Bernard accompanied by Carl Fenton’s Orchestra gives new versions of the Beale Street and St. Louis Blues on Brunswick 3547; the accompaniments are perhaps more interesting than the singing, with all respect to Mr. Ber- nard ! Esther Walker sings I Left my Sugar and Good News on Brunswick 3666; Allen McQuae is sentimental over a Long Absence and Adelai on 3208; Banjo Buddy as 1 ' Doris, Where Do You Live? and describes Miss An- nabelle Lee (3637); and Chester Gaylord whisperingly