Phonograph Monthly Review, Vol. 3, No. 10 (1929-07)

July, 1929 The Phonograph Monthly Review 327 chestra, conducted by Romberg, plays a two-part New Moon Selection. Perhaps the most signifi- cant releases on the Columbia list are non-musical, however. A special Election issue devotes three disks each to the Labour, Liberal, and Conserva- tive parties. The speakers include Stanley Bald- win, Ramsay MacDonald, Lloyd George, Philip Snowden, Sir William Joynson-Hicks, and other political leaders; the subjects are Unemployment, World Peace, Free Trade, the Women's Oppor- tunity, etc. A twelfth list of International Edu- cational Society records includes The Art of Singing by H. Plunkett Greene, The Growth of Rome by T. Ashby, The Romans in Britain by Sir George Macdonald, and the fourth section of The Englishman Through the Ages by Professor F. G. Parsons. For the first time in many months there is no album set from H. M. V. The most significant re- lease is a four disk recording of excerpts from Mendelssohn's Elijah taken at the actual per- formance at the Royal Albert Hall (October 20, 1928) by the Royal Choral Society conducted by Dr. Malcolm Sargent. Albert Coates conducts the London Symphony in Liszt's Preludes; Brit- ish release is given Dr. Blech's Capriccio Italien disk; the Vienna Philharmonic under Robert Heger plays von Suppe's Morning, Noon and Night in Vienna; and the La Scala Orchestra un- der Gabriele Santini plays The Daughter of the Regiment Overture. Passing over the many Am- erican repressings, other works to be mentioned are arias from Madame Butterfly and Manon by Dusalina Giannini, accompanied by the Berlin State Opera House Orchestra under Schmalstich; Valente and La Scala Orchestra under Nastrucci in arias from La Fancilulla del West; Marie Olc- zewska sings Schumann's Widmting and Tchai- kowsky's Nur Wer die Sehnsucht kennt; Mark Hambourg plays Liszt's Fourteenth Hungarian Rhapsody; and Wanda Landowska plays harpsi- chord solos (with orchestral accompaniment) of the Don Juan Minuet, Rameau's Tambourin, and Daquin's Coucou. The two chamber music re- leases are a three-part recording of Ravel's In- troduction and Allegro for Harp, Strings, and Woodwind (The Harp Septet), played by the Vir- tuoso String Quartet and J. Cockerill, R. Mur- chie, and C. Draper; Bridge's Novelette No. 3, played by the Virtuoso Quartet (on the fourth side of the Ravel records) ; and the Andante Can- tabile from Tchaikowsky's Quartet in D, played by the Budapest String Quartet. Parlophone offers the first electrical recording of Haydn's Surprise Symphony, played by Hans Knappertsbusch and the Berlin State Opera House Orchestra. Weissmann conducts the same orchestra in Mozart's II Seraglio Overture (re- viewed here recently from the German pressing) ; the Dajos Bela Orchestra plays Strauss' Thermen Waltz and Wauldteufel's Autumn Airs; Alfred Hohn plays a two-part version of Chopin's Bar- carolle; Meta Seinemeyer sings the Cantate and Vissi d'arte from Tosca, accompanied by the Ber- lin State Orchestra and Chorus under Weissmann; Costa Milona sings familiar airs from The Pearl Fishers and Cavalleria Rusticana; Emmy Betten- dorf and Karin Branzell are heard with the Ber- lin State Orchestra under Weissmann in the duet, Otrud, wo bist du?, from Act 2 of Lohengrin; Richard Tauber sings 0 Sole Mio and Ay-Ay-Ay; and Gitta Alpar is heard with a Symphony Or- chestra under Fritz Zweig in arias from the Mar- riage of Figaro, Pagliacci, Pearl of Brazil, and Ballo in Maschera. Miscellaneous British releases include Eu- gene Goossens' Two Sketches played by the Brosa String Quartet for Electron; the Minuet from Mozart's D minor Quartet (K. 421) and a Cheru- buni Scherzo played by the Poltronieri String Quartet for Edison Bell; Grieg's Piano Concerto by Maurice Cole and a Symphony Orchestra on three Broadcast records; Chopin's Fantasie Im- promptu and A flat Impromptu by Louis Kentner for Edison Bell; Eugene Goossens' Ballad and Tournier's Jazz Band (Brunswick) played by Si- donie Goossens, the harpist of the talented family. In France announcement is made of the release of a two-part Danse Macabre by Oskar Fried and the Berlin Philharmonic (Polydor), Schubert's German Dances by the Vienna Symphony Orches- tra (Homocord), Beethoven's Egmont Overture by von Schillings and the Berlin State Opera House Orchestra (Parlophone), Mozart's Flute Overture by Richard Strauss and the Berlin State Opera House Orchestra (Polydor), Brahms' Tragic Overture recorded for the first time by Priiwer and the Berlin Philharmonic (Polydor), the Prince Igor Dances by the Orchestra and Chorus of the Concerts Pasdeloup under Ingel- brecht (Pathe-art), a new recording of Beeth- oven's Fifth by Eugene Szenkar and his Grand Symphony Orchestra (Odeon), Dvorak's Slavonic Dances Nos. 6 and 7 by a trio for Homocord, Schumann's Trio in D minor by Casals Cortot and Thibaud (French H. M. V.), Schubert's G major Sonata by F. J. Hirt (Polydor), Liszt's Sonatto del Petrarca by Brailowsky (Polydor), an excerpt from Debussy's Petite Suite and Gershwin's Short Story by Dushkin (violinist) ; French H. M. V.). I am very happy to inform the many friends and admirers of Mr. Charles L. Hibbard, the brilliant Recording Engineer of the Okeh Phono- graph Corporation, that he is now well on the road to recovery after a somewhat serious illness. Mr. Hibbard has been confined to the hospital for several weeks, but in a letter I have just received from him he tells me he is so mjuch better that he hopes to be back to work sometime during the first weeks of July. Both Mr. Hibbard and the industry are to be congratulated on his recovery for his genial personality and extraordinary talents make him a significant and irreplaceable figure in the phonograph world.