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

390 The Phonograph Monthly Review vati tifully varied to meet the requirements of both pieces. In the song transcription it is broadly lyrical, and in the Min- uet alert and bright. The playing is intelligent and sensitive. More records from Miss Bratza will be welcome. Victor 1402 (DIO, $1.50) Herbert: Gypsy Love Song (from The Fortune Teller) and Kiss Me Again (from Mile. Mo- diste), played by Renee Chemet, with piano (Anca Seidlova) and cymbalum accompaniments. Miss Chemet seems to have no capacity for differentiating between light music and that which is ultra-sentimental. Both of these Victor Herbert pieces are delightful when deftly played. Here they are sentimentalized to an un- bearable degree. It is a pity that Miss Chemet does not use her talents to better advantage, or that she does not profit by the example of some of her fellow-artists (Kreisler comes first to mind) who devote as much intelligence and artistry to familiar lyrics like this as they do to large works. Until she does so, her performances will never sound convincing. VIOLONCELLO Columbia 50156-D (D12, $1.25) Bridge: Melodie, and Popper: Gavotte, played by Felix Salmond, with piano ac- companiments. Mr. Salmond’s playing is always invigorating. Here he does equally well with the broad songfulness of Bridge’s Melodie and the sturdy vigor of Popper’s Gavotte and Musette. The recording is good and Mr. Salmond’s tone full and assured. There may be ’cellists whose playing is richer or more delicate than Mr. Salmond’s, but robustness is one of the most refreshing musical qualities, and on this score few if any approach him. R.O.B. Operatic DIE GOETTERDAEMMERUNG (H.M.V. Available through the American importers.) With this set, H.M.V. completes its series of recordings from the Ring. There are now available 38 records in five albums (of which the two comprising Die Walkuere, and several other discs, have been issued in this country), from thisi cycle—a truly notable and praiseworthy achievement. Of Die Goetterdaemmerung, it must be admitted that, from a literary and dramatic standpoint, it is one of the poorest and most “operatic”, in the older sense of the word, of Wagner’s later works. It is far from the elemental simplicity and unity of Tristan, for instance, or of Die Walkuere. On the other hand, musically it more than makes up for this, containing, as it does, two pieces that are regarded as the very highest peaks of Wagner’s genius: the Funeral Music and the orchestral finale of the work. As regards the present version let it be stated at the out- set that it is superlative—new heights, both in conducting and in recording, are reached. As before, two orchestras are used, and this time, four conductors. It may be remarked that the London orchestral recording seems a little more rich and sonorous, but the Berlin contingent contributes many of the finest moments of the set. It is reasonably complete,—only about 130 pages of vocal score having been omitted—but some of the cuts, or rather the inclusions, seem to have been rather injudiciously made. None of the important singers are new to the gramophone. A very excellent explanatory and descriptive booklet, containing musical motives, vocal score references, and most of the words in English, is furnished with the albums. The large and distinct part numbering is also to be commended. CAST BRUENNHILDE Florence Austral (L) SIEGFRIED ..Walter Widdop (L) ; Rudolf Laubenthal (B) HAGEN Emmanuel List (B); Ivar Andresen (B) ; Arthur Fear (L) August, 1929 ■■ . i |gv GUNTHER Desider Zador (B) ; Frederick Collier (L) GUTRUNE Goeta Ljungberg (L) WALTRAUTE Maartje Offers (L) THREE NORNS Noel Eadie, Evelyn Arden & Gladys Palmer (L) RHINE- MAIDENS Mmes. de Garmo, Kindeamann & Marker (B) VASSALS Chorus of Berlin State Opera; Chorus (L) (L—London; B—Berlin) London Symphony Orchestra, under Albert Coates and Lawrance Collingswood. Berlin State Opera Orchestra, under Leo Blech and Karl M'uck. Prelude. ( Parts 1-7) The first scene of the prologue— that of the Norns—is completely recorded in four parts. It is not particularly distinguished, either by the music or by the singing of the Norns. It is unfortunate that it could not have been shortened a little in order that the prelude to the scene immediately following between Bruennhilde and Siegfried might have been included. In this, both soloists sing excellently; Widdop’s voice is rather light, but nevertheless, quite good. Thus far, we have been under the baton of Albert Coates, but for the Rhine-Journey, which follows this without a break for one part, we go to Berlin and Dr. Muck. For the reading of this interlude, I can only refer the reader to R.D.D.’s review of it in the October 1928 issue. The youthful, scherzo-like quality of the greater part of the music seems to have evaporated in this perform- ance. Act I. (Part 8-13) With part 8, we return to London. The scene is the Hall of the Gibichungs. About 20 pages are omitted from the beginning of the act. As in most of the opera, the English soloists show themselves rather in- ferior to the Germans. After aI cut of 23 pages, part 9 (“Hagen Meditates Revenge”) is again in Berlin. Ivar Andresen gives one of his usual fine performances. During an omission of 13 pages, there is a change of scene back to' the Walkuere Rock. Waltraute’s narrative and Bruenn- hilde’s refusal to give up the ring occupy 4 parts uncut, ending with the arrival of the disgusted Siegfried. Maartje Offer’s voice is rather unpleasant in the lowest register, and her German often bad, but both her and Mme. Austral’s interpretation is most moving. The scene of the combat is omitted. Act II. (Part 14-19) Thirty-three pages are missing from the beginning of Act II, containing the dialogue between Hagen and Alberich, and the arrival of Siegfried. With parts 14 and 15 in which Hagen summons the vassals, comes what is one of the highest points in the whole set. Ivar Andresen is superb, and the chorus equals him. All praise must be given to Leo Blech who conducts these thrilling records. Between parts 15 and 16, Bruennhilde and Gunther arrive and the former accuses Siegfried of treachery. Part 16 (again in London) contains Siegfried’s oath. After a cut of 1H pages, the remainder of the act is completely recorded. It includes the plotting of Bruennhilde, Hagen and Gunther, the melodramatic scene reaching its climax in a concerted trio of revenge. Act III. (Parts 20-32) This act is undoubtedly the finest of the three from every point of view—musical, and, in connection with this version, interpretative and recording. It is quite fitting, therefore, that it should be the most com- plete. About 2^2 pages of orchestral prelude are omitted, but, with the exception of a cut of ^ page on part 22, the scene with the Rhinemaidens is followed in the score up to the entrance of Hagen. One of the loveliest in the whole Ring, and exquisitely sung by the three maidens, with the aid of Rudolf Laubenthal, it constitutes another high spot in the set. (This, with the rest of the act up to part 29, is recorded in Berlin.) After a cut of 10 pages, comes the beautiful music of Siegfried’s narrative and death. The orchestra and direction are fine. Laubenthal’s voice retains its usual hardness and inflexibility, but he does better than one might have expected. With the Funeral Music (still absurdly labeled “March”), conducted by Karl Muck, there arises a difficult question. For me, at least, Coates must still remain the greater interpreter of this passage. How- ever one cannot deny the clarity of recording, playing and direction here. There is a gap of nine pages, which takes us