Phonograph Monthly Review, Vol. 3, No. 11 (1929-08)

862 The Phonograph Monthly Review August, 1929 Symphony played by Koussevitzky and the Boston Symphony. This is without doubt one of the finest recorded symphonies in the long and ever-growing list. One can hardly realize the true extent of Koussevitzky’s genius until he hears this perform- ance, as polished and yet as spirited as any I have ever heard on records or in concert. I can recom- mend it without any reservations. The other album set from Victor this month is Schumann’s Trio in D minor, played by the “all star” ensem- ble, Cortot, Casals, and Thibaud. In every way it is quite up to the standard set by their im- mensely popular recording of the Schubert Trio in B flat. Willem Mengelberg and the New York Philharmonic-Symphony Orchestra are heard in Saint-Saens’ symphonic poem Omphale’s Spin- ning Wheel, one of the favorite acoustical Mengel- berg works. The re-recording further amplifies the effectiveness of Mengelberg’s reading. Ros- ario Bourdon and the Victor Symphony provide the only other orchestral on the regular supple- ment—a spirited performance of the Fra Diavolo Overture. The Victor vocal list is unusually fine this month. It is topped by two superb works, Ye That Now Are Sorrowful from the Brahms Requiem, sung by Florence Austral with the Roy- al Opera Chorus and Orchestra under Barbirolli, and a new Onegin release, Schubert’s Du bist die Ruh’ and Liszt’s Die Lorelei. The Metropolitan Chorus sings two brilliant choruses from La Gioconda, Titta Ruffo and Beniamino Gigli each has a disk of Italian songs, Galli-Curci sings My Old Kentucky Home and Love’s Old Sweet Song. Renee Chemet plays two popular Victor Herbert songs in violin transcriptions, Marian Anderson re-records two Negro Spirituals, and the Asso- ciated Glee Clubs of America, some 4000 male voices, are to be heard in a sensational record made at an actual performance in Madison Square Garden. After nearly a year of recording inactiv- ity Sousa and his Band again appear on the Vic- tor List, this time with one of his best recordings to date, Golden Jubilee and Riders of the Flag marches. On the Educational List, besides the Surprise Symphony, are the Coates version of Death and Transfiguration, two beautiful Mozart arias sung by Elizabeth Schumann, Weber’s Eu- ryanthe in a vigorous performance by Dr. Blech, two movements from the Vienna Philharmonic’s recording of Beethoven’s Eighth, and a variety of smaller works, all of which are mentioned in the special review elsewhere in this issue. Odeon offers several highly significant disks. Max Von Schillings conducts an effective version of Beethoven’s Egm/ont Overture; Dr. Weiss- mann conducts brilliant performances of the Pre- ludes to Acts I and IV of Carmen; Fritz Busch conducts two excerpts from Strauss’ Egyptian Helen; and a celebrity quintet—Lotte Lehmann, Richard Tauber, Grete Merrem-Nikisch, Karin Branzell, W. Staegemann—gives a tremendously brilliant performance of the finale to Act II of Johann Strauss’ Gypsy Baron. The dance and popular lists contain many outstanding records. From Brunswick we have sturdy song perform- ances of Duna and Herbert’s Gypsy Love Song by John Charles Thomas—one of his best records to date; very pleasing violin transcriptions of the Song of Love from Blossom Time and Erwin’s I Kiss Your Hand, Madame, played by Max Rosen; and an interesting coupling of Alice Blue Gown and With a Song in My Heart, played by the Brunswick Salon Orchestra under Louis Katz- mann. As always, the dance list is a treasure mine for purchasers of the best dance records. There are fewer “finds” than usual this month in the foreign supplements. Those from Victor are two coloratura arias by Toti dal Monte, a charm- ing Dollar Princess Medley by Shilkret and the International Orchestra; two tango disks by Marek Weber’s orchestra; and march records by the National Military Band and the U. S. Army Band. Columbia features waltzes by Don Avlon’s Orchestra; salon pieces by Andy Sanella and his Trio; and the customary Irish releases. Odeon boasts the leading foreign releases: a Jonny Spielt Auf Selection by Dajos Bela’s Orchestra; the Blue Danube Waltz by the Seiber Chorus and Orchestra; two organ chorales by Paul Mania; Die Lorelei and Abschied sung by the Berliner Lehrer-Gesangverein under Prof. Riidel; and a Swedish dance coupling by Dajos Bela’s Orches- tra. Brunswick confines its attention to Italian and Spanish-Mexican records only. Gilda Mig- nonette is featured among the former, and an ex- tensive miscellany of Spanish-American artists and ensembles among the latter. The only importations received at the Studio so far this month are the Bach Concerto for Two Violins played by Mr. and Mrs. Witek, Henriette Renie’s Harp Concerto played by the Composer and the Paris Philharmonic, and Bizet’s Patrie Overture played by Cloez and the Grand Sym- phony Orchestra of Paris. Few new works of outstanding significance are issued in England this month. The H. M. V. feature is Stokowski’s recording of Beethoven’s Seventh, out in this country for nearly two years. Apart from other American re-pressings the prin- cipal H. M. V. releases are a re-recording of Saint-Saens’ Piano Concerto in G minor played by de Greef and the New Symphony Orchestra under Landon Ronald (three records), re-record- ings of Schumann’s Carnival and Debussy’s Children’s Corner played by Cortot, arias from the St. Matthew Passion (Have Mercy, 0 Lord) and Israel In Egypt (Thanks to be God) sung by Rosette Anday accompanied by the Vienna State Opera Orchestra under Karl Alwin, four songs on one record by Paul Robeson (Oh Rock Me Julie, Oh Didn’t It Rain, Get On Board, and Dere’s No Hidin’ Place), a two-part recording of Isolde’s Narrative and Curse (Tristan and Isolde, Act I) sung by Frida Leider and Elfriede Marherr- Wagner with the Berlin State Opera Orchestra under Dr. Blech, Bizet’s Toreador Song and the Mirror Song from Tales of Hoffman sung in Ger- man by Rudolph Bockelmann with the Berlin State Opera Orchestra and Chorus under Clemens Schmalstich, four 16th and 17th century songs sung by John Goss to lute accompaniment, Byrd’s