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

June, 1928 The Phonograph Monthly Review 345 Overtures (of which one can likewise never tire of prais- ing). There is a good deal of echo, but it doesn’t detract in the slightest from the disk’s effectiveness. A hearty (the pun is unintentional) relief from the often overly serious business of music making. Columbia 7155-M (D12, $1.50) Wagner: Homage March, played by Sir Dan Godfrey and Symphony Orchestra. Sigfried Wagner’s disc of this march was reviewed in the April issue. It was mild enough in appeal, but God- frey’s is a shade milder. The recording here is less vigorous, but perhaps a little smoother and richer. The playing is very colorless. Possibly there are merits here to which I am deaf, but in truth, the work strikes me as thin stuff, especially in contrast with the full-blooded, roistering humors of the Carnival Overture. Columbia 50064-D (D12, $1.25) J. Strauss: The Gypsy Baron — Selection, played by John Strauss (fils) and Sym- phony Orchestra. The recording is good; the playing fair, although not free from coarseness. Like the younger Strauss’ other records this is an easy-going competent enough perform- ance, but not one to get particularly excited about. Columbia 67422-D (D12, $1.50) Berlioz: Queen Mah Scherzo, played by Sir Hamilton Harty and the Halle Or- chestra. I am inclined to rank Harty’s recent series of releases as one of most valuable features of this season’s con- tributions to recording and orchestral technique. The genius evidenced in this disk is less obvious than that in the Carnival and Abu Hassan Overtures and requires closer attention for its proper appreciation, but what a joy such study gives! Nearly all records profit by being followed with the score, but this one especially so, as the ingenuity of its construction and the adroitness of its orchestration rather than its purely musical appeal are the basis of its significance. The Scherzo begins on page 177 of the Eulenburg minia- ture score of Berlioz’ Cho»ral Symphony, Romeo and Juliet, prestissimo, later allegretto (trio). Part 2 begins on page 201, bar 7. A short repeat in part 1 is observed. Note particularly the harp chromatics on page 201, the exciting horn solos beginning on page 208, and the solo which illustrates splendidly the clarinet’s lower register (page 218). Are antique cymbals actually used on page 226? The notes come out beautifully, but I strongly suspect the substitution of a glockenspiel. The recording is magnificent in its naturalism. The balance deserves no less praise, especially for the emphasis it gives to the wood wind, so often blurred or lost in passage work of the sort called for here. The fortissimo on page 217 might have been more sonorous (I miss a lusty cvmbal crash), but otherwise the performance is a model of orchestral virtuosity and interpretative insight. Harty recognizes that a choice must be made between etherealness and sharply outlined delicacy and wisely choses the latter, with the result that lightness and deftness are obtained without the loss of perfect clarity. This work is an admirable complement to the Carnival Overture and like it, is overpowering testimony to his remarkable talents. Victor 6823 (D12, $2.00) Berlioz: Damnation of Faust — Hungarian March, and Saint-Saens: Samson and Delila— Bacchanale, played by Leopold Stokowski and the Philadel- phia Symphony. The Bacchanale is a re-issue appearing formerly on 6241 where it was coupled with one of the very few unsuccessful Stokowski recordings, Chabrier’s Espana. The re-played version of Saint-Saens naive idea of bacchantic frolics is of course far superior to the old one in every respect. When music of this sort is to be played at all, this is surely the only and the perfect way to play it. The famous Berlioz Hungarian March presents a dif- ferent problem. Much was expected of Stokowski’s perfor- mance, for who would be better suited for its declamatory and inflamatory ardors? But the disk is disappointing, despite the merits of its recording and the orchestral play- ing —particularly that of the wood wind and brass. (The keen whistling of the piccolo and the razor-edged attacks Polydor Records (Electrically Recorded) have arrived from Qermany Alborada del Gracioso Ravel State Opera Orchestra. Dir., Otto Klem- perer. 1-12 in. Record. Price $1.50. Trio for Violin, Viola and ’Cello Hindemith Amar String Trio. 1-12 in. Record. Price $1.50. Christmas Fairies (Overture) Pfitzner State Opera Orchestra. Dir., Hans Pfitz- ner. 2-12 in. Records. $1.50 each. Trio A Minor, Op. 77 Max Reger Amar String Trio. 3-12 in. Records, com- plete in Album $5.00. Quintet for Flute, Hautboy, Clarinet, Bassoon and Horn Lendvai ‘Gewandhaus” Quintet. 3-12 in. Records complete with Album $5.00. Nocturnes (Nuages and Fetes) Debussy State Opera Orchestra. Dir., Otto Klem- perer. 2-12 in. Records, $1.50 each. Birthday of the Infanta Schreker State Opera Orchestra. Dir., Franz Schreker. 3-12 in. Records, complete with Album, $5.00. Fantasia, Op. 17, for Piano Schumann Walter Rehberg. 4-12 in. Records with Album, $6.50. iString Quartet, Op. 22 Hindemith Amar Quartet. 3-12 in. Records, com- plete with Album, $5.00. String Quartet, Op. 17 Bela-Bartok Amar Quartet. 4-12 in. Records, com- plete with Album, $6.50. All Records shipped via insured parcel post —safe delivery is always guaranteed. H. ROYER SMITH CO. Dealers and Importers of All Ma\es of PHONOGRAPH RECORDS 10th and Walnut Streets, Philadelphia “THE WORLD’S RECORD SHOP”