Phonograph Monthly Review, Vol. 2, No. 8 (1928-05)

The Phonograph Monthly Review 287 May, 1928 - " Easter is obviously the cause of the sudden popularity of Rimsky-Korsakow’s overture, La Grande Paque Russe, or Russian Easter. Eugene Goossens played it with the St. Louis Symphony on March 16, Sokoloff at Cleveland on March 22, Koussevitzky at Boston, April 6, and Monteux at Philadelphia, April 7. There is only one recording, a four-part acoustical version by Rhene-Baton and the Aeolian Orchestra for the English Vocalion Company (A-0255-6). It is a good performance and a creditable piece of old process recording, but obviously there is need for an elec- trical release. Goossens or Coates would be first choice to conduct it. The mention of Goossens’ name affords a convenient excuse for our mercurial discourse to turn in his direc- tion. Last month, when his photograph appeared on the front cover of the magazine, a list of his recorded works Was given on page 247. Subsequent search of various catalogues reveals a number of additional acoustical works which deserve listing here. Two of his own compositions are among them, the gay scherzo Tam O’Shanter, in which he conducted the Royal Albert Hall Orchestra on H. M. V. D-694 (now withdrawal), and an Impromptu and Divert- issement from his Suite for flute, violin, and harp, Op. 6, recorded for Vocalion (K-05104) by Charles Stainer, Charles Woodhouse, and Marie Goossens. The last-named is pre- sumably one of the composer’s two sisters, both of whom are harpists (truly a musical family!). Mr. Goossens con- ducted the only recording ever made of Scriabin’s Reverie, (an early and very pleasant little work, coupled with Rim- skj'-Korsakow’s arrangement of Dubinushka on H. M. V. D-623, now withdrawal and most deserving of replacement.) The English Columbia Company lists five records of the London Symphony Orchestra conducted by Eugene Goos- sens (also a number, including the complete Pagliacci set, conducted by his father) ; Auber: Overtures to the Bronze Horse (902) and Crown Diamonds (918) ; Offenbach : La Perichol—Selection (959) ; Wolf-Ferrari: Jewels of the Madonna—Intermezzi (914) Boieldieu : Caliph of Bagdad— Overture and Chabrier: Habanera (921). The last two occupy one record side each, the others two. No informa- tion is available about this series, but apparently it was made a good many years ago and is not of particular sig- nificance. Another acoustical series conducted by Goossens was for Edison Bell with an organization known as “Goossens’ Orchestra.” Among the works is the record of his own Four Conceits (1042) mistakenly ascribed to performance by his father in the listing last month. The other disks are: 521, Saint-Saens’ Danse Macabre; 523, Overture to Die Meistersinger; 527, Overture to A Midsummer Night’s Dream; 535, Overture to Tannhauser; (all in two parts); 539, Prelude to Act 1 of Tristan and Liebestod (one part each) ; and 1040, Moussorgsky’s Gopak (one part) and Nos. 6 and 8 of Liadov’s Eight Russian Folk Songs (both on one record side). This last-named work was played by Koussevitzky at Boston on January 27. Four of the pieces are recorded by Whitemore and the Aeolian Orches- tra on Vocalian R-6130. No. 6 (Berceuse) is done by both Goossens and Whitemore; the latter does also Nos. 1. 2 and 7 (Chant religieuse. Chant de Noel, and Ronde), and the former does No. 8 (General Dance). Goossens is not badly represented by recorded versions of his own compositions, although none of his major works has been done. In fact, the leading contemporary English composers have been kindlier treated by the recording com- panies than those of any other country. Passing by Elgar, who rivals Richard Strauss in the number of recorded works available, and who likewise has had the opportunity of personally conducting most of them, one might name Delius, Vaughn Williams, Holst, Bax, Goossens, Bliss, and Holbrooke as among the best known English composers of today. The first is not represented by any of the great choral works which have won him an incomparable posi- tion among the masters of music of all time, but his ’Cello Sonata played by Beatrice Harrison and Harold Craxton for H. M. V., and his Summer Night on the River (N. G. S.) are not unworthy to represent his singular genius. (A complete list of his recorded works was given on page 433 of the Jufy 1927 issue). His “Paris” was played this season by the New York Philharmonic and the Halle Orchestra; On Hearing the First Cuckoo in Spring (re- corded by Vocalion and H. M. V.) was played by the New York Philharmonic; Miss Harrison played the ’Cello Con- certo with the Philharmonic, Philadelphia Symphony, and other orchestras; and Sir Thomas Beecham conducted The Walk to the Paradise, an intermezzo from the opera “A Village Romeo and Juliet, at all his American concerts. Vaughn Williams is most frequently represented on Amer- ican symphony programs by his grave Fantasia on a Theme by Thomas Tallis for Double String Orchestra, played currently by Monteux at Philadelphia, March 30, but the London Symphony is also well known and liked here. It is curious that his Pastoral Symphony, a work of extraordinary complex texture and impressiveness is seldom given in this country. It demands recording, so necessary is frequent hearing and applied study for its proper appreciation. The Fantasia mentioned above is also unrecorded, but there are fine acoustical versions of the London Symphony (conducted by Sir Dan Godfrey), the opera, Hugh the Drover (a five-record set by the British National Opera Company for H. M. V.), Old King Cole Suite and Overture to The Wasps (Vocalion-conducted by the composer), a Folk Song Suite for military band (Voca- lion), and the Phantasy Quintet (N. G. S.-approved by the composer.) There are also a number of songs, both elec- trically and acoustically recorded, most of which are in the H. M. V. catalogue; particular mention goes to the folk song arrangements sung by the English Singers. The re-recording of Holst’s The Planets, conducted by the composer, is reviewed elsewhere in this issue. Also available electrically afe the Marching Song (in The Planets set), Dance of the Spirits of the Earth from “The Perfect Fool” (on the odd side of Coates’ Victor’s version of Ravel’s La Valse), Jupiter, Uranus, and Mercury from The Planets (Coates-H. M. V.), and Psalm 148 for chorus and organ (Philharmonic Choir-H. M. V.). Acoustical works: Beni Mora Suite (Columbia) St. Paul’s Suite (English Col- umbia), Suites in E flat (English Columbia) and F for mili- tary band (English Columbia and H. M. V.), Country Song (Vocalion-Chapple and the Modern Chamber Orchestra) Mars and Jupiter (Edison Bell-Dan Godfrey, Jr. and L. O. Military Band) and four songs for voice and violin (Eng- lish Columbia-Labbette and Reed). Holst is best known in this country by a few choral works (the Ode to Death was given by the St. Cecelia Chorus and the Boston Sym- phony February 10), The Planets (given current perform- ances by the New York and Minneapolis Symphonies), and the jolly St. Paul’s Suite for string orchestra (Verbrughen- Minneapolis. March 23). Portions of his Choral Sym- phony, after Keats, have been given private performance here; as yet there has been no official production. Bax’s oboe Quintet and Moy Mell were mentioned last month, when I was a little too hasty in assuming that the former was unknown here in concert form; the Cleve- land String Quartet and Philip Kirchner, first oboist of the Cleveland Symphony, played it on March 26th. A major choral work of Bax, Mater Ora Filium, has been recorded for H. M. V. (D-1044-5) by the Leeds Festival Choir, unac- companied, under the direction of Albert Coates. The records have not been heard in the Studio, but critical opinion abroad is unanimously enthusiastic. Surely some of Bax’s piano pieces, including the colorful In a Vodka Shop, have been done on records. I discovered one in the Polydor catalogue, Mediterranean, played by Eugene D’Albert (66032), and there are probably more. Goossens’ works have been disucssed earlier. Arthur Bliss is represented by his Conversations (English Colum- bia J-1475). Madam Noy (Anna Thursfield, solist,—Eng- lish Columbia L-1476), and Rout (H. M. V., now with- drawn). All are acoustically recorded; the first two are conducted by the composer. Josef Holbrooke’s principal recorded works—all acoustical—have been withdrawn ; Sym- phonic Variations on Three Blind Mice (Wood and the New Queen’s Hall Orchestra—English Columbia), Serenade, Belgium 1915, and Folk Song Quartet (London String Quar- tet-English Columbia). A song, Come Not When I Am Dead, remains in the current English Columbia catalogue (Arthur Jordan, tenor). Among the other contemporary English composers Frank Bridge has a number of recorded works, among them The Sea, Christmas Dance, and Poem No. 2 for orchestra, con- ducted by the composer (English Columbia). John Ireland is represented by his Second Sonata, A minor, for violin and piano (English Columbia L-1322-3, Catterall and Murdoch),