Phonograph Monthly Review, Vol. 2, No. 5 (1928-02)

February, 1928 The Phonograph Monthly Review 191 honored place among the best achievements of orchestral recording. The labelling of the disks is rather misleading. The first movement occupies the entire first record side, as indicated, but from that point the movements and record sides do not coincide exactly. Part 2 contains the second movement and most of the third, ending with the fff on page 45 of the Ricordi miniature score. Part 3 completes the third move- ment and contains the major part of the fourth, which is concluded on the last record side. (The break occurs at the Andante come prima, page 60.) Throughout the work the scoring contains many ingeni- ous and effective passages, especially for the two harps, ce- lesta, and piano employed, and these are recorded with ex- treme felicity. The very beginning, with its long-held har- monic in the first violins, the murmuring figure in the seconds, and the quaint oboe theme, gives good omen for the standard of performance and recording throughout. There are but two principal themes in the first section: that an- nounced by th6 oboe in the second measure, and the poco piu mosso theme for oboe and solo ’cello later in the movement (page 7, bar 1, of the Ricordi miniature score). The second section (vivo) opens with the repeated sono- rous call of the horns, whose fortissimo is attained with unusual purity of tone. Notice particularly the scherzando passage for wood wind and harps against the soft trilling of the first violins and the muted echo of the opening horn call. The “solemn” theme of the third movement appears first in the clarinets and horns, later in the brass. The climactic (and Straussian) pages that come later give proof that certain complexities of modern scoring are still a little beyond the phonograph’s power to capture with all their concert hall magnificence. But the attempt is a brave one and—considering the difficulties involved—re- markably successful. The first measure of the final move- ment brings the “sad” theme (flute and English horn) rising “above the subdued warbling” of harps, glock- enspiel, and celesta, against a quiet background of divided strings. The passage for solo violin at the meno mosso (page 56) is exquisitely played and reproduced, but the opening of the last record side, with the theme in the strings, is far too broad and heavy for the indicated ppp. The work closes very quietly with a last appearance of the “sad” theme (flute solo in its lower register) and the regular tolling of bells. Two records which are a notable addition to recorded modern music and to Coates’ ever-growing list of triumphs! No collector of orchestral records can afford to let them pass unheard. Victor (New Year’s List) 9128 (D12, $1.50) Prokofieff. Scherzo, March, and Waltz-Scherzo from “The Love of the Three Oranges”, played by Albert Coates and the London Symphony Orchestra. The H.M.V. pressing was reviewed last month on page 153. The immediate release of the work by Victor is a source of pleasurable surprise. It is not only the first recording of Prokofieff’s music, but it is an example of modern music recording which sets a new standard. In- cidentally, the delightful little Scherzo and March will serve to convert a good many conservatives over to the music of the present—if not the future. May it find the favor its merits will win for it, given only a hearing! Victor (New Year’s List) 9130-1 (2D12s $1.50 each) Ravel: La Valse (and on part 4, Holst: Dance of the Spirits of Earth from “The Perfect Fool”, played by Al- bert Coates and the London Symphony. The French H. M. V. pressings of La Valse were re- viewed on page 519 of the September issue. The fourth side of that set contained the Beethoven Allegretto in E flat (“Congratulations Minuet”) issued in this country on the last side of Coates’ version of the Ninth Symphony. For the fourth side of the American pressings a hitherto un- recorded piece of Gustav Holst was chosen — and very felicitously, too. His opera, “The Perfect Fool” has been attracting widespread praise in England; the Dance of the Spirits of Earth played here speaks well for the merits of the entire work. The recording is splendid — of the same quality as that of La Valse and the Prokofieff pieces— and the Dance itself has a fine “go”. It is not serious, 2000 ALBUMS FOR SALE Just Received From Victor Factory GENUINE VICTOR RECORD ALBUMS BRAND NEW AND PERFECT The same albums that are part of the equip- ment of the most expensive Orthophonic Vic- trolas. Each Album Holds 12 Records Reg. Price $1.50 $1.75 Sale Price 10 Inch Victor Album 55c Each 12 Inch Victor Album 65c Each 3n orders for 6 or more albums (assorted sizes if desired) we will pay all delivery charges in U.S.A. On orders for less than 6 add 50c to your remittance. SPECIAL SAMPLE OFFER Send only 75c for sample 10 inch album or only 85c for sample 12 inch album. POSTAGE FREE IN U.S.A. Preserve your records by filing them in these perfect albums at these unheard of prices. An opportunity that will probably not occur again. H. ROYER SMITH CO. 10th and Walnut Streets Philadelphia “THE WORLD'S RECORD SHOP"