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

August, 1929 The Phonograph Monthly Review 363 Exsurge Domine and Child’s 0 Bone Jesu Sung by the Westminster Abbey Special Choir, Brahms’ E flat Rhapsody and Ravel’s Jeux d’eau played by Moiseivitch, and a disk of miscellaneous piano pieces played by de Greef (Moszkowski’s Sere- nade, Chopin’s Etude Op. 18, No. 3, and Waltzes in G flat and D flat.) Excluding re-pressings the leading British Col- umbia releases include the Fledermaus Overture played by Bruno Walter and the Berlin State Or- chestra, the Prelude to Act III of Tosca played by Molajoli and the Milan Symphony Orchestra, Beethoven’s Quartet in A (Op. 18, No. 5) played by the Capet String Quartet, Rimsky-Korsakow’s Capriccio Espagnole played by Sir Hamilton Harty and the Halle Orchestra, the Mask Trio from Turandot sung by Nessi, Baracchi and Ven- turini, guitar solos (Massenet’s Elegie and Gomez’s Gavota) played by Guillermo Gomez, four choruses from Judas Maccabaeus sung by the Sheffield Choir under Sir Henry Coward, and two choruses from Turandot (Invocazione alia luna and Gira la cote) sung by La Scala Chorus. For novelty there is a record of South Sea Islands’ “Pidgin English” by C. W. Collinson. The nbw In- ternational Educational Society releases are lec- tures on Chopin by E. Markham Lee, The Supply of Oxygen by Prof. A. V. Hill, Jane Austen by Shelia E. Dimsey, An Introduction to Virgil by Prof. R. S. Conway, and a Survey of the League of Nations by Sir Eric Drummond (by arrange- ment with the Secretariat of the League of Na- tions) . Parlophone lists the Dance of the Hours played by Dr. Weissmann and the Berlin State Orches- tra, the Waltz Scene from Strauss’ Intermezzo played by Hans Knappertsbusch and the Berlin State Orchestra, Dvorak’s ’Cello Concerto (three records) played by Emmanuel Feurmann with the Berlin State Orchestra under Michael Taube, Chopin’s Etude in E (Op. 10, No. 3) and an original Spieluhr played by Emil von Sauer, and two all-star records from Der Rosenkavalier, in- cluding the great Trio, sung by Seinemeyer, Mer- rem-Nikisch, Stunzer, and Liszt, and conducted by Dr. Weissmann. A celebrity quintet (Lehmann, Tauber, Merrem-Nikish, Branzell, and Staege- mann) sing a two-part version of the finale of Act II of Der Fledermaus, Emmy Bettendorf sings Solvejg’s Song and Kennst du das Land? from Mignon, and Nino Piccaluga sigs arias from Faust (Salve dimora) and Carmen (Flower Song). A number of new works are announced by the National Gramophonic Society: Debussy’s Son- ata for violin and piano (three parts) played by Andre Mangeot and Lyell Barbour, Debussy’s Prelude—Les sons et les parfums tournent dans l’air du soir played by Lyell Barbour, and two record of piano solos by Kathleen Long—Mo- zart’s Sonata in D (K. 76), two pieces from Gottlieb Muffat’s Suite in B flat, and Couperin’s Tic-Toc-Choc ou Les Maillotins. Miscellaneous Continental releases: Berlioz’ Benuvento Cellini Overture played by Priiwer and the Berlin Philharmonic (Polydor), Greig’s Son- ata in G, Op. 13, played by Paul Goodwin and Alex Larkin (Polydor), Mehul’s La Chasse du Jeune Henri Overture played by Alix and the French Symphony Orchestra (Parlophone), Shu- mann’s Dichterliebe sung by Thomas Denjs (Dutch H. M. V.), two Bach Chorales (0 Tod, wo ist dein Stachel nun and Wenn ich einmal soil scheiden) sung by the Choir of St. George’s Church, Berlin, three Slavonic Dances of Dvorak Nos. 1, 2, and 16) and the Eighth Polovetskian Dance from Prince Igor played by Issai Dobrow- en and the Grand Symphony Orchestra (Parlo- phone), Tales from the Vienna Woods by the Seiber Chorus and Orchestra (Parlophone), Honegger’s Chanson and Berceuse des Sirenes and Roussel Amoureux Separes sung by Mile. Croiza accompanied by the respective com- posers (French Columbia), Strawinski’s Feu d’Artifice and Ravel’s Enchanted Garden (from the Mother Goose Suite) played by Pierne and the Concerts Colonne, two choruses from Haydn’s Creation sung by the Berliner Singakademie under Georg Schumann, Berlioz’s Benuvento Cellini Overture again by Pierne and the Concerts Colonne, Smetana’s Libussa Overture by the Ber- lin State Orchestra (Parlophone), Ravel’s Mother Goose Suite by Inghelbrecht and the Concerts Pasdeloup (Pathe-Art), Honegger’s Rugby by Coppola and the Grand Symphony Orchestra (French H. M. V.), the Prelude to Act I of Tris- tan by Strauss and the Berlin Philharmonic (Polydor), Beethoven’s Gassenhauer-Trio by the Chamber Music Society of Munich (Polydor), Schubert’s E flat Trio (Op. 100) and Mozart’s Trio No. 2 in B by Raucheisen-Szanto-Disclez (Polydor), and a long series of Chopin recordings by Raoul de Koczalski (Polydor). In my last month’s General Review I stated that there was no Masterworks album from Col- umbia that month. This was a rather serious mistake, made under a misapprehension. Master- works Set 114 (the Schumann Concerto) was re- leased during July, but owing to a delay did not reach the Studio until after my General Review had been written. However, it and the two rec- ords by Arbos and the Madrid Symphony Or- chestra were given stop-press mention under the heading of “Too Late for Review.” At last I can definitely announce the long awaited indexes, which will now include the first three volumes of the magazine. There have been no less than four eager gramophiles who tried their hands at these indexes without success, but now I am glad to say that this complicated and difficult task is in the capable hands of Rev. Her- bert B. Satcher of Cheltenham, Penna., a fre- quent contributor to these pages. Detailed des- cription of the indexes will be given next month. Meanwhile the work is rapidly being rushed to completion and we hope to have them available by November.