Phonograph Monthly Review, Vol. 2, No. 9 (1928-06)

clMUSIC LOVERS' PHONOGRAPH E AXEL B. JOHNSON, Managing Editor Published by THE PHONOGRAPH PUBLISHING CO., Inc. General Offices and Studio: 47 Hampstead Road, Jamaica Plain, Boston, Mass. Telephone Jamaica 5054 : Cable Address: “Phono” All communications should be addressed to the Managing Editor at the Studio, 47 Hampstead Road, Jamaica Plain, Boston, Mass. All unsolicited contributions must be accompanied by a self-addressed, stamped envelope. THE PHONOGRAPH MONTHLY REVIEW appears on the twenty-eighth of each month. All material is fully protected by copy- right and may be reproduced only by permission. All checks and money orders should be made out to THE PHONO- GRAPH PUBLISHING CO., Inc. Yearly subscription price $4.00 in the United States and $5.00 in Canada and other foreign countries, postage prepaid. Single copies 35 cents. Advertising rates upon application. All advertisements for the MART COLUMN must be accompanied by remittances in full; for rates see under MART COLUMN. Subscription and advertising agents given liberal commission. Write for particulars. General Review T HE British release lists for May are exceed- ingly rich in noteworthy works. From H.M.V. comes a five-record version of Act III of Tristan and Isolde distributed between English and German artists, the former under Coates (Widdop, Fry, McKenna, and Ljunberg and the latter under Dr. Blech (Andresen, Habich, Noe, and Guszalewicz). The orchestral issues are led by Stokowski’s recording of the Franck Symphony, the Philadelphians’ first major work to be released in England, and include also a re-recording of Coates’ Till Eulenspiegel, Casals conducting the Coriolanus Overture, Collingwood and the Covent Garden Orchestra in Gardiner’s Shepherd 'Fennel’s Dance and the Panoramai Music from Tchaikowsky’s Sleeping Beauty ballet, and Byng and the Covent Garden Orch- estra in the Ballet Music from Faust. The Buda- pest String Quartet continue their series of re- cordings with Schubert’s Death and the Maiden Quartet; Bachaus does the first twelve Chopin Etudes on three records; and Hambourg plays the Eighth Hungarian Rhapsody of Liszt and lighter pieces. Among the vocals are Schubert’s Im Abendroth, Die Vogel, Die Post, and Wohin sung by Elisabeth Schumann, Brahms’ Von Ewiger Liebe and Immer Leiser re-recorded by Elena Gerhardt, Ganne’s Le Pere and La Marche Lorraine re-recorded by Journet, and a special operatic supplement representing Lotte Schoene, Herbert Janssen, Joseph Hislop, Fanny Heldy (in Thais arias), Aureliano Pertile, Chailiapin (Song of the Viking Guest from Sadko and How Goes It Prince? from Prince Igor), Ansseau (in Pagliacci and Carmen arias), Maria Olczewska, Else Knepel, and Genia Guszalewicz (the last three in a two-part version of the Card Scene from Carmen). John Goss sings more sea chan- ties, and various church choirs are heard in sacred songs. The principal Columbia releases, Harty’s Clock Symphony, Dvorak’s American Quartet, and Sir Henry Wood’s Song of the Rhine-Daughters from Gotterdammerung, have already been issued in this country. New works are Delius’ On Hearing the First Cuckoo in Spring played by Beecham and the Royal Philharmonic, the Ride of the Val- kyries by Wood and the Queen’s Hall Orchestra, Till Eulenspiegel by Defauw and the Brussels Royal Conservatory Orchestra, Schubert’s Piano Sonata in G, Op. 78, five records, played by Leff Pouishnoff, the Schubert-Friedman Alt Wien played by Friedman, and two Strauss French Polkas played by Johann Strauss and his Orch- estra. In addition, Josef Szigeti plays Dvorak’s First Slavonic Dance and Veracini’s Largo, Murdoch plays Paderewski’s Minuet and Men- delssohn’s Duetto, Bella Baillie sings two arias See last pa^e for Table of Contents Copyright, 1928 , by the Phonograph Publishing Company, Inc.