Phonograph Monthly Review, Vol. 3, No. 12 (1929-09)

September, 1929 The Phonograph Monthly Review 399 former conductor of the Russian Ballet and the Boston Symphony, and the one to give Straw- inski’s most celebrated work its premiere. Sea Drift is a feature of the new Decca Record Com- pany in England and it is performed by the New English Symphony Orchestra and Choir under an unnamed conductor; the baritone soloist is Roy Henderson (three records). The English Columbia Company’s orchestrals are Mengelberg’s Oberon Overture (already re- leased in this country) with the fourth side oc- cupied by Sir Henry Wood’s performance of Dvorak’s Slavonic Dance in G Minor, Op. 46, Set 2; the first record of the Zurich (Switzer- land) Tonhalle Orchestra, conducted by Dr. Volk- mar Andreae in Vivaldi’s Concerto Grosso in D minor; and—in the lighter class—Eric Coates Four Ways Suite played by the Royal Cinema Orchestra, and flute-piccolo “novelties” by the Gennin Brothers with the Bournemouth Munici- pal Orchestra under Sir Dan Godfrey. The Choir of St. George’s Chapel under Sir Welford Davies is heard in a special “King’s Thanksgiv- ing” record; the Poltronieri String Quartet make their first appearance under the Columbia label with the Canzonetta from Mendelssohn’s Quartet in E, Op. 12, No. 1, and the Serenade from Haydn’s Quartet in C, Op. 55, No. 4: Harold Williams and Francis Russell sing duets in Eng- glish from Act II of Otello; the B.B.C. Choir and Orchestra under Percy Pitt give the Pilgrim’s Chorus and Grand March from Tannhauser. Two novelty releases are a two-part humorous mono- logue “The Hole in the Road” by George Graves and Myles Clifton, and an album of twelve re- cords by Walter Ripman, illustrating his “First English Book,” a famous British textbook de- signed to aid foreigners in learning the English language. As with Columbia there is no album set on the H. M. V. list. Excluding American re-pressings, the leading works are the Mozart-Steinbach Ger- man Dances by Dr. Blech and the Berlin State Opera Orchestra; duets from Manon Lescaut sung by Margaret Sheridan and the Aureliano Fertile from La Scala Orchestra under Sabajno; Liszt’s Sonetta del Petrarca in E and Valse Im- promptu played by Frederic Lamond (piano) ; Friml’s Twilight and the Pergolesi-Sharpe Air played by Cedric Sharpe (’cello) ; Gems from Maritana by the Light Opera Company; Wilson’s When Dull Care and Ireland’s When Lights Go Rolling, sung by Stuart Robertson. The outstanding work in the Parlophone list is a three-part Euryanthe Overture played by Max von Schillings and the Berlin State Opera Orchestra. Schillings conducts the Abu Hassan Overture on the odd record-side. Anna Linde, accompanied by a string orchestra, plays Bach’s Harpsichord Concerto in G minor—the compos- er’s transcription of his own A minor Violin Concerto; Claudio Arrau, pianist, plays a two- part version of Liszt’s Fountains at the Villa D’Este; the Sieber Choir sings a vocal version of Tales from the Vienna Woods; Dr. Weissmann conducts the Prelude to Traviata and Overture to Norma; Edith Lorand’s Orchestra plays Wald- teufel’s Skaters and Tres Jolie waltzes; Cloez and the Opera-Comique Orchestra plays the In- troduction to Moussorgsky’s Fair at Sorotchintsi, the Gopak from the same work, and Debussy’s Golliwogg’s Cakewalk; Seinmeyer and Jung sing familiar duets from Hansel und Gretel; Elisabeth Feuge-Friederich sings Elisabeth’s Prayer and Dich teure Halle from Tannhauser; M. Micheletti with the Opera-Comique Orchestra sings the Cavatina from Romeo and Juliet and Elle ne croyait pas from Mignon; and Richard Tauber sings Friml’s Rose Marie and Indian Love Call. Miscellaneous British releases include a two- part version of Grainger’s Jutish Medley played by a Symphony Orchestra under Basil Cameron (D cca) ; a two-part ten-inch version of Finlan- dia played by the Athenaeum Symphony Orches- tra under F. Adlington (Metropole); Valentini’s Gavotte and Kindler’s Roumanian Sketch played by Hans Kindler—’cellist (Decca) ; two Esperan- to records of scenes, stories, and songs made under the direction of Dr. Findlay (Gregg Pub- lish Company); a two-part version of the Lakme Bell Song by Olga Olgina (Decca) ; Vissi d’arte and Musetta’s Waltz Song by Stiles Allen, So- prano (Electron) ; Camen Flower Song and Orawa awake from Coleridge-Taylor’s Hiawatha (Electron) ; the first book — three songs — of Vaup'hn-Williams’ Songs of Travel, sung by Dale Smith (Decca) ; and a special issue of Sound Test Records—from Parlophone—consisting of three double-sided records of “howling and glid- ing tones” for testing instruments and accesso- ries and for experimental work. Miscellaneous Continental releases include Honegger’s recent work Rugby conducted by Cop- pola (French H. M. V.), Schumann’s Symphonic Variations played by Robert Casadesus (French Columbia), Dukas’ La Peri conducted by Ruhl- mann (Pathe-Art), Schumann’s A minor Quar- tet and Mozart’s Quartet No. 6 in C major played by the Capet String Quartet (French Columbia), Bach’s Toccata and Fugue in D minor and the Toccata from Widor’s Fifth Symphony played by Commette on the St. Jean Cathedral organ (French Columbia), La Boheme in complete form by artists of La Scala conducted by Sabajno (Italian H. M. V.), the Tannhauser Overture and Bacchanale conducted by von Schillings (Parlo- phone), Morning Noon and Night in Vienna con- ducted by Bodanzky (Parlophone), Beethoven’s Third Leonora Overture conducted by Josef Rosenstock (Parlophone), a re-recording of Dr. Weissmann’s version of the Invitation to the Dance (Parlophone), Bizet’s Patrie Overture con- ducted by Coppola (French H. M. V.), and Smet- ana’s Libussa Overture (Parlophone). Rev. Herbert B. Satcher has already completed the typescript of the Indices to volumes one and two of the magazine and that to volume three will be completed as soon as this issue is out. An- nouncement of the cost will be made next month and we hope to have the indices published some-