Phonograph Monthly Review, Vol. 2, No. 4 (1928-01)

The Phonograph Monthly Review January, 1928 6 We allow the roll to proceed and we find a portrait of Beethoven. Then the signature of Mr. Harry Crane Perrin authorizing the use of his annotations for this roll; the name of the new AEOLIAN LIBRARY, that of “THE WORLD’S MUSIC.” Now 'comes the first “STOP’ bar line, with in- structions to stop the roll in the correct position for reading the text. Here is found a portrait of Prince Karl Lichnowsky, one of Beethoven’s greatest supporters in Vienna, a keen lover of music. All the rolls of Beethoven’s Sonatas in “THE WORLD’S MUSIC” bear portraits and other pictorial illus- trations bringing us in touch with the composer, his life and his friends, the series constituting in its completeness, a unique “Beethoven Picture Gallery.” After this will be found short but interesting notes on Beethoven, his life, his work. The comments and thematizing in this particular roll have been prepared by the American Editorial Staff. Now the Introduction in C Minor, and as one reads the printed word the full chord of C Minor is being played by Harold Bauer, just as tho Harold Bauer has said “THIS IS THE INTRODUCTION”!! and followed by playing the chord of C Minor. The one measure that was played was printed with an ex- planatory note showing the rhythmical pattern of this open- ing phrase after which follows the chord. Then follows an- other notation in actual printed notes showing that the figure or pattern, tho it remains the same, the actual notes of the musical phrase change, that is, the Rhythmic Motif of the Introduction, and Harold Bauer proceeds to play these two measures for us. The red numeral 1 marks the theme. After this follows four or five measures of the opening of the First Movement proper, Molto allegro e con brio, notes again in actual print. This is the principal theme of this movement and is marked A in red capital lettering. Again Harold Bauer proceeds to play these measures pictured for us. We now find the subordinate theme (marked B in red cap- ital letters) printed for us in actual notes; where the right hand crosses over the left to play the Baritone solo of four notes. Bauer once more acquiesces to our wishes and per- forms about sixteen measures. This was the subordinate theme FIRST PART. Having played these Bauer gives way to the American Editorial Staff who now explain the Subor- dinate theme, SECOND PART, marked with the small letter b in red ink, printing same in notes before Bauer takes it up and plays this second part of the Subordinate theme. Now follows the development, which opens with the theme of the introduction (the first quotation) now transposed to its dominant key, that of G Minor and again played GRAVE. This is marked with a red circle and 1 in the center of same. Bauer again plays showing the modulation to E Minor. The preceding figures that appear now in the development are marked with their original letterings or numerals but always in the center of a red circle, thus showing that the theme is in the process of development. Once the modulation is made into E Minor the chief theme of the first movement is developed and Harold Bauer plays three or four measures, marked on the roll with a Red Capital A in a circle. Again the theme of the Introduction is shown in actual notes, with more explanations and Bauer proceeds to show us how this is developed. The theme being marked first with the Red numeral 1 and later the 1 in a circle, showing it is being de- veloped, thus bringing to a close a most interesting “lecture” or “lesson” on the principal themes and their development of the “Pathetic” Sonata of Beethoven, first movement. From now on the roll takes up the very beginning of the first movement with the Introduction in C Minor and con- tinues without a stop thruout the entire movement explaining as the roll proceeds with the aid of the numerals and letters as were the main lines of construction explained at first. When the principal theme is played you are told so thru the print- ing on the roll at the time the theme is actually being played and so it follows one theme after another, each in turn being brought to the attention of the listener. The A Roll takes up the 1st movement; the B Roll the 2nd movement and the C Roll the 3rd and last movement. These three rolls constitute in themselves a masterly work of art in more ways than one. The annotations and explana- tions along with the playing of the themes themselves are worth a great deal to anyone, be they student or music-lover and then to have the entire movement played by an artist like Harold Bauer with explanations practically following his every movement is worthy of the highest praise. Bauer fol- lows every mood of Beethoven. Here he is sombre, there he is forceful; now fleeting lightness and then ponderous and heavy, but no matter what the mood, Bauer covers it and covers it well. In the 2nd movement or the B Roll, Adagio cantabile, Beethoven gives us the Calm after the Storm—a lovely song like melody which Bauer plays with full appreciation of its poetic quality. This Sonata was rightly named “Pathetic”, for in the three movements there is that under current of pathos not found in Beethoven’s earlier sonatas. In the 3rd movement, or C Roll, Rondo, Allegro, the vigor and fiery aspect of the 1st movement is recalled. Bauer plays it with vigor and fire too. He catches the rhythmic piquancy Bee- thoven wanted at the very start of this Rondo when he (Beethoven) brings in the second phrase on an accented note a trifle before it is due, emphasizing each group of four eighth notes with a grace note. The first few notes of this Rondo are similar to the first subordinate theme in the first move- ment. There is that touch of “pathos” in this movement too, appearing twice in two different keys. A wonderful set of rolls, magnificently recorded. This is Beethoven as Beethoven should be played—played by that master, Harold Bauer. DUO-ART WORLD’S MUSIC LIBRARY, A-15 Liszt: Dance of the Gnomes (Gnomenreigen). Played by Guiomar Novaes, with Listener’s Notes by M. D. Calvocoressi, au- thor of “Musical Criticism,” “Musical Taste and How to Form It, etc. This Liszt number is taken from the “Etudes De Concert.” A Running Comment Roll. It starts off with the introduction—“A crooked-legged gnome hops out into the moonlight”—In this very introduc- tion Novaes shows her wonderful touch, bright, delicate, full of vision, but at Part One in F sharp Minor where the gnome is “followed by a host of grotesque comrades who prance after him”—she also shows there is in her makeup the stamina so necessary for the successful pianist. Thruout the composition Novaes dominates with her skil- ful manipulation, her grace, her sparkle. She knows the work at hand and she plays with her whole mind on every little detail, thus making the recording a most attractive one, worthy of a place in every Music Roll Library. DUO-ART WORLD’S MUSIC LIBRARY, A-34, Debussy: The Submerged Cathedral, (La Cathedrale Engloutie). Play- ed by Myra Hess, with Listener’s Notes by Percy A. Scholes, author of “The Listeners’ Guide to Music”, “The Listeners’ History of Music”, etc. A Running Comment Roll. Here is music full of mystery and haunting strangeness—cathedral bells chiming as if in a world of mysticism. It is a story suitably fitted to Debussy’s style and in turn, gave us a veritable tonal vision—a vision, tho with phrases short, 'clear, full of grace. It is one of twelve pieces forming Debussy’s “First Book of Preludes for Piano.” The running comment thruout the roll will surely be found a wonderful help in understanding just what was behind every change of form, change of key and the like. Myra Hess has given us a reading or interpretation that will be hard to surpass. Her sympathetic understanding, her insight of the real meaning of such music as penned by De- bussy are but few reasons why such a masterpiece is entrusted to her for a DUO-ART recording. DUO-ART WORLD’S MUSIC LIBRARY, A-32, Mendels- sohn: Fingals Cave Overture. Played by Hutcheson and Ganz, with Listener’s Notes by Percy A. Scholes, author of “The Listener’s Guide to Music”, etc. A Running Comment Roll. Ernest Hutcheson and Rudolph Gaiiz have combined forces, the result being a superbly played recording of this ever popular overture with its vigorous, strong and appealing themes Mr. Scholes in his Running Comment gives us a story that is bound to hold the attention from beginning to end. For example, covering the first eight measures, Mr. Scholes writes “The awe and hush of immensity, with, as an undercurrent, the little swirls and eddies that seem to be the quiet reflec- tion within the solemn cavern”—a better choice of words to describe this opening theme would seem hard to find and so thruout the entire Overture Mr. Scholes’ comment is a well-studied one bound to be approved by all. As for the interpretation—a trifle hurried is their playing of the open- ing theme, but they soon settle down to the normal tempo and give us a real treat. Their spirit and vigor throut deserve mentioning. Surely a roll to add to one’s library.