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

The Phonograph Monthly Review 354 The song of the sailor is very effective and well-done, though scarcely giving the required off-stage impression. The first cut occurs between parts 4 and 5, pp. 13-22 (c. 135 bars). In ISOLDE’S narrative and curse, both Anny Helm and Nanny Larsen-Todsen are successful in being dramatic without forcing the tone unpleasantly. Between parts 7 and 8 there is a slight cut, pp. 41-42 (c. 22 bars), but the longest cut of the act comes between parts 8 and 9, pp. 47-61 (c. 283 bars), involving the appearances of KUR- WENAL and the summoning of TRISTAN. Part 9 begins with the entrance of TRISTAN, and there is a fine or- chestral portion before his first words. The ecstatic and thrilling music from the drinking of the potion up to the end of the act is given an excellent performance. The chorus sings lustily, but is slightly muddled, due, probably, to its being far back on the stage. The First Lecture Series by Ernest Newman occupies part 15 forming a sort of interlude. After one has recov- ered from the eminent musical critic’s pronunciation of TRISTAN and ISOLDE, one will find remjarks and ex- positions of the greatest interest. Particularly helpful is his playing of some of the more important motives in the different changes (psychological, as well as musical) that they undergo during the course of the opera. His order, going from motives at the beginning of the prelude to some at the end of the second act, and then going back to the beginning of that act, is rather confusing, however. Act II. (Parts 16-32 inch) With the beginning of Act II, one enters a wonderful romantic world. “The music floods our imaginations with a sudden and vivid sense of the glamour and magic of a summer night.” Rather than attempt any description myself, I had better let Lawrence Gilman continue. “The musical means that Wagner uses here are of the utmost simplicity and transparency: violins, violas and ’cellos play, pianissimo, a tremolo sul ponticello; and then through this vague and glamorous haze of tone, a solo clarinet traces an ascending melody of subdued chro- matic tenderness. Yet, for all its simplicity, the passage is marvellous in its communicative potency; we stand beside Isolde in the garden, we hear with her the stirring of the wind in the tall trees. The music becomes the moment’s poet, the scene’s consummate painter, evoking for us its own exquisite image of that immortal trysting-place.” These lovely motives mentioned above form the web of the music up to the extinguishing of the torch. The first cut of the act, which, as may be seen, is the most completely recorded of the three, occurs between parts 17 and 18, pp. 106-110 (c. 86 bars), during which BRANGAENA confesses to the substitution of the options. Leading to the entrance of TRISTAN the music works up to a superb climax, but Elmendorff does not seem to make it as thrilling as did Coates in his old acoustic version. From this point on to the finish of the duet (end of part 27), there is only one short cut, between parts 26 and 27, pp. 165-167 (c. 29 bars). During the first section, Herr Graarud’s voice seems some- what rather hard and unpleasant, but when he comes to the climax of the duet, “O sink’ hernieder Nacht der Liebe”, it is all that could be desired. Indeed this record, contain- ing, on part 23 the aforementioned duet (Kobbe says, “there is nothing in the realms of music or poetry to compare in suggestiveness with these caressing, pulsating phrases), and on part 24 Brangaene’s entrancing warning, may be said to be, in some ways, almost the highest point in the whole opera. The duet is perfectly sung, and almost any adequate performance of the warning would be so car- ried along by the music as to give more than the desired effect. On parts 26 and 27, the motive of the Liebestod is developed to a passionate climax, which the entrance of KURWENAL concludes. BRANGAENA’S shriek seems to be omitted from this point. There is a cut, pp. 178-179 (c. 28 bars) immediately afterward. Andresen’s already powerful voice is also loudly recorded, forming a noticeable increase in volume from what has gone before. I have noted his superlative performance above. On part 30 occurs the only cut within a record (pp. 188-189, c. 14 bars) ; this was prob- ably done, instead of having it come between the parts, in order to include the celebrated words on “Den unerforsch- lich tief geheimnisvollen Grund . . .” Thenceforth, the act continues uninterruptedly, through the combat with MELOT, to its end. Part 33 contains Ernest Newman’s Second Lecture Series. July, 1929 ~~ —tksv He returns to the prelude and analyzes the remaining mo- tives therein contained, as well as several from the first and second acts. We should have more really scholarly and illuminating explanatory-records, such as these. Act. III. Were it not for the fortunate circumstances that Victor has given us an almost complete Third Act, which may be combined with this one, the treatment of it by Columbia would be almost unpardonable. There can be no other excuse for giving us the first act, fine as the music of it is, so completely, in preference to the poignant third, of which mere snatches are here recorded. How- ever, what is done is done well. In the first place imme- diately following the wonderfully suggestive prelude, such a contrast in its sad and melancholy sobriety to the sensu- ous second act, we are given the complete English horn solo of the SHEPHERD, excellently played by an unnamed soloist. For this, one cannot be too thankful. Between parts 35 and 36 there is a gap extending pp. 200-238. This part 36 contains what is surely some of the most beautiful and serenely rapturous music to be found in the score: where the delirious TRISTAN envisions the arrival of ISOLDE, for which he is so longing. Gunnar Graarud’s voice is recorded here with startling volume, but his per- formance is exquisite. Between this and part 37, ISOLDE’S lamentations over the body of TRISTAN, pp. 241-255 are omitted. The last cut occurs before part 38, pp. 259-265 (c. 121 bars). King Mark has arrived, and expresses his grief, and his willingness to unite the lovers; meanwhile BRANGAENE has revived ISOLDE. The Liebestod (which, as in the old acoustic version, the label insists on translating “Isolde’s Love-song” occupies two full sides of a twelve-inch record, and is, as can be seen from the fact that it has several times been issued on a single face, ex- tremely long-drawn out. This is particularly noticeable towards the end. Here, also, Mme. Larsen-Todsens ennun- ciation is at its worst—she pronounces scarcely a single con- sonant. But in spite of these defects, this is, due to the excellence of the performers, the finest recorded version that I have heard. In conclusion, I think that I may, in the name of every- one interested in the advancement of the gramophone, offer to the Columbia Company the highest praise and gratitude for this monumental undertaking, and for the splendid way in which they have carried out the task. A host of people will now have an opportunity to become intimately acquaint- ed with this wonderful score as it is actually performed at Bayreuth, whereas, otherwise, they might never have had the chance even of hearing it, in any performance bad or good. R. H. S. P. CARMEN Columbia Operatic Series No. 1 (15 D12s, Alb., $22.50) Bizet: Carmen in complete form. The Cast Carmen Raymonde Visconti Don Jose Georges Thill Michaela Marthe Nespoulos Frasquita Adree Vavon Mercedes Andree Bernadet Escamillo M. Guenot Le Dancaire M. Roussel Le Remendado M. Mathyl Orchestre Symphonique de Paris, under the direction of Elie Cohen, conductor of l’Opera-Comique. This work is the first of a series of complete operas to be released by Columbia and as first choice was indeed a happy one. The arrival of the disks at these hospitable shores was awaited with the greatest interest for much in praise of them had been previously written. Such encomiastic ad- vance notices if a bit depressing have at least, a salutary effect of arousing us to greater vigilance and critical effort; for we realize the harm that may result from exaggerating the merits of a recording, and from imputing to it virtues that don’t exist. Before we had proceeded very far with this set, however, our doubts were entirely dispelled and at the end of two solid hours of listening, for there are no less than fifteen disks, we were ready to join in an enthusi- astic, ‘‘Hail! Columbia.”