Phonograph Monthly Review, Vol. 2, No. 6 (1928-03)

206 The Phonograph Monthly Review March, 1928 thusiasm as the H.M.V.’s. The Glasgow Cathe- dral record by Herbert Walton of Bach’s “Fugue alia Gigue” (9229) is pleasing; but I do not think the obverse is a very happy choice, nor am I particularly inspired by the majority of titles in a somewhat uninteresting list. The disc con- taining Purcell’s “Trumpet Voluntary” and Wal- ford Davies’ “Solemn Melody” (L.1986), by the Halle Orchestra, with Harold Dawber at the in- strument of the Manchester Free Trade Hall, is —in my view—very much better than any of this firm’s organ records. The tone of this or- gan seems powerful, rich, and sonorous; and I hope Columbia will soon let us have records of it in solo work. I am not well acquainted with the Brunswick organ records, which I believe are Polydor re- recordings. The Aeolian Hall organ was rather well recorded before the Vocalion Company sold its birthright for a mess of “Broadcast” pottage. I have not yet heard anything on any other make which I consider rivals the H.M.V. or Columbia standards. This new branch of gramophonic achievement has given me an enhanced interest in recorded music. Amongst other things it has provided me with additional examples of the art of Cesar Franck; helped me to a greater appreciation of and affection for the immortal work of Bach; and introduced me to Widor, a composer whose works are almost unrecorded, save for extracts from his organ compositions, which display a profound knowledge of the capabilities of the instrument and a charming vein of melody which render them delightfully easy to appreciate and pleasant to listen to. To say definitely which are the best organ records is a problem fraught with so much dif- ficulty that people endowed with far greater wis- dom than I can lay claim to may well refuse to elucidate it. But I may give a short list of my favourites with propriety; and I venture to af- firm that anyone who buys these fine records will not regret doing so. This is the order of my preference:— 1. “Pastorale” (Franck), by Marcel Dupre (D. 1145). 2. “Piece Heroique” (Franck), by Marcel Dupre (D. 1115). 3. “Christ came to Jordan” and Sleeps awake”, Bach Chorales, by Marcel Dupre (E. 471). 4. “Chorale No. 3 in A Minor” (Franck), by Guy Weitz (C. 1378-9). 5. “Allegro Vivace”, from Widor’s Fifth Symphony, by G. D. Cunningham (C. 1336). 6. “Allegro Contabile”, from Widor’s Fifth Symphony, by Dr. Harold Darke (C. 1350). 7. “Andante Cantabile”, from Widor’s Fourth Symphony, by Guy Weitz (C. 1379). 8. “Fantasia in E” (Saint-Saens), by Dr. Harold Darke (C. 1350). The first three were recorded on the Queen’s Hall organ; 4 and 7 on that of Westminster Cathedral; 6 and 8 on that of St. Michael’s, Corn- hill; and 5 at St. Margaret’s, Westminster. They are all H.M.V.’s. To these I would add Colum- bia L. 1986 (Harold Dawber and the Halle Or- chestra) and the Liszt “Fantasia and Fugue on B.A.C.H.” by Guy Weitz (H.M.V.C. 1351). I do not like the last-named very much as music, but it is a stupendous feat of recording and un- doubtedly one of the great triumphs of the New Colossus. Having given my own favourites of the Bach group (E. 471), I leave further selec- tion of these masterpieces to the wisdom and good taste of others. Dr. Palmer’s Handel “Scipio March” and Guil- mant “Melody”, recorded in Canterbury Cathe- dral (B. 2542) and Dr. Alcock’s “Canzona” (Guilman) and “Toccatina” (B. 2466), which reveal the admirable qualities of the Salisbury Cathedral organ, are good examples of less im- portant music remarkably well recorded; in this class there are many excellent discs to choose from played on several famous instruments. Fin- ally, I leave the cinema organs to the tender mercies of those good people—their number is legion—who find them a source of undiluted joy. May a more gifted scribe than this humble ad- mirer of the grand organ arise, call them blessed, and proceed to deal with the enormous number of records made on them! Recorded Symphony Programs By Robert Donaldson Darrell T HE high lights of the past month of sym- phony concerts were provided by the irre- pressible Sir Thomas Beecham in his guest appearances with the New York Philharmonic, Boston, and Philadelphia orchestras. Although a traffic accident dastardly attempted to inca- pacitate him for the last concert, he merely called for a wheel-chair, was trundled onto the stage, and conducted the announced program with un- dampened aplomb! The pieces played were the same in all three cities, except that in New York a concerto and the Prelude to Die Meistersinger were substituted for Ein Helderileben. Handel: Overture to “Teseo”; Musette from “II Pastor Fido”; Bourree from “Rodrigo.” Delius: Intermezzo, “The Walk to the Paradise” (from “A Village Romeo and Juliet”) Mozart: Symphony No. 34, in C major. Strauss: Ein Heldenleben. As every record collector is aware, the Strauss work is the only one to be recorded (electrically by the composer for Brunswick, and acoustic- ally by Morike for Odeon). Each of the others is admirably suited for the phonograph; the Delius Intermezzo particularly so: in Beecham’s fluid and tender reading it casts its spell over every hearer. Seldom does a work of this lonely, tragic composer strike home so surely to more than a few; what could better represent him on records than this “Walk to the Paradise,” a piece whose every measure is as beautiful as its name?