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

404 The Phonograph Monthly Review September, 1929 Wedding Cortege (Rimsky-Korsakow: Coq d’Or) Columbia 50030-D Pitt—B. B. C. Orchestra; Parlophone R-20062 Pierne—Concerts Colonne Coronation March (Meyerbeer: The Prophet) Columbia 50047-D Bowers—Columbia Symphony; Odeon 5158 Weissmann—Grand Symphony Entrance of the Guests (Wagner: Tannhauser) Odeon 5158 Weissmann—Grand Symphony Orchestra; H. M. V. D-1498 Blech—Berlin S. O. H ; ’•'Victor 6478 Stokowski —Philadelphia Symphony War March of the Ptriests (Mendelssohn) '•'Victor 6464 Mengelberg—N. Y. Philharmonic Entrance of the Bojars (Halvorsen) Brunswick 50149 Sokoloff—Cleveland Symphony; Columbia 5055-D Bow- ers—Columbia Symphony; ^Victor 6464 Mengelberg— N. Y. Philharmonic Queen of Sheba Cortege (Gounod)" Victor 35763 Pasternack —Victor Symphony Triumphal March (Grieg: Sigurd Jorsalfar) Victor 35763 Pasternack—Victor Symphony Marche Militaire (Schubert) Brunswick 50153 Verbrugghen —Minneapolis Symphony; Victor 6639 Hertz—San Francisco Orchestra; Victor 9308 (in album C-3) Shil- kret—Victor Orchestra; Parlophone E-10790 Cloez— Opera Comique Orchestra; French Columbia D-15134 Cohen—Symphony Orchestra. Marche Militaire Francaise (Saint-Saens) Victor 9296 Coppola—Continental Symphony. Marche Heroique (Saint-Saens) Parlophone E-10822 Cloez —Opera Comique Orchestra Procession of the Sardar (Ippolitow-Iwanow: Caucasian Sketches) Victor 1335 Stokowski—Philadelphia Sym- phony; Brunswick 77008 International Orchestra; ♦Columbia 7013-M Stransky—N. Y. Philharmonic Pomp and Circumstance Marches (Elgar) Nos. 1 and 2 Victor 9016 Elgar—Royal Albert Hall Orchestra; Nos. 3 and 4 H M. V. D-1301 Elgar—Royal Albert Hall Or- chestra Cortege de Bacchus (Delibes: Sylvia Ballet) Victor 35879 Bourdon—Victor Symphony March of the Dwarfs (Grieg: Lyric Suite) Victor 9074 Ronald—R. A. H. Orchestra Norwegian Rustic March (Grieg: Lyric Suite) Victor 9073 Ronald—R. A. H. Orchestra March (Borodin : Prince Igor) Columbia 50130-D Beecham —Royal Philharmonic Gum Suckers’ March (Grainger) Columbia 7147-D Grainger —Columbia Symphony Homage March (Wagner) Columbia 7155-M Godfrey—Sym- phony Orchestra; Victor 9158 Siegfried Wagner—Ber- lin S. O. H. Kaiser March (Wagner) Columbia 50081-D Godfrey—Sym- phony Orchestra Hoch- und Deutschmeistermarsch Odeon 85195 Grosses Odeon Streichorchester Alten Kamaraden Odeon 85191 Grosses Odeon Streich- orchester Das ist mein Oesterreich (Fetras) Odeon 85187 Grosses Odeon Streichorchester Jolly Coppersmith (Peters) Odeon 10506 Grosses Odeon Streichorchester . Among the above marches a few might be singled out for special mention: Dr. Blech’s per- formance of Johann Strauss’ Radetzky March, the Hoch-und Deutschmeistermarsch by the Grosses Odeon Streichorchester, the American Legion Band’s disk, the two United States Mili- tary Academy disks, and Sousa’s coupling of his own Stars and Stripes Forever and Fairest of the Fair. The Funeral March of a Marionette, the Entrance of the Bojars, Berlioz’ Rakoczy March, the Procession of the Sardar, and the Wedding Cortege from Rimsky-Korsakow’s Coq d’Or are all excellent compositions for educational work and to most novices will be more novel than the familiar Schubert Marche Militaire, Meyerbeer’s Coronation March, Mendelssohn’s Wed ding March, etc. Later on marches and processional pieces from various symphonies may be used: the March to the Scaffold from Berlioz’ Fantastic Symphony is good, and so is the March-Scherzo from Tchai- kowsky’s “Pathetique.” It is unfortunate that Mahler’s First Symphony has never been re- corded. As I remember, it contained a very ef- fective, semi-grotesque march movement. Other pieces in this form that might be mentioned are: Holst’s Marching Song (in the Columbia album of his Planets Suite) : Turina’s Procession del Rocio (recently recorded by Arbos for Colum- bia) ; the march finale of Respighi’s Pines of Rome (Fonotipia and Italian Columbia) ; and Rabaud’s Procession Nocturne (French Colum- bia). The familiar “funeral marches” of Beetho- ven (slow movement of the “Eroica”) and Wag- ner (Siegfried’s Death) are not strictly marches at all, but funeral music,—a very different thing. Waltzes Of all dance musical forms the waltz is perhaps the most popular and lends itself the most readily to concert treatment. The Viennese waltz has an irrisistible appeal for the most learned musician no less than the veriest novice. Was it not the great Johannes himself who wrote at the end of a Strauss waltz, “Alas, not by Brahms!”? Waltz records have been particularly effective in popu- larizing the phonograph, perhaps the most fam- ous of all these disks being Stokowski’s Blue Danube Waltz, one of the best selling celebrity records ever issued. Phonographic waltz litera- ture is very extensive and for the most part of high quality. A brief list much necessarily ex- clude many good disks, but those named below are some of the best known. They can be put to excellent service in appreciation work, for they may be used with both safety and good effect at almost any stage of musical development. In- deed, the experienced music lover will find pleasure in any and all of these records; by no means do they need to be restricted to educational work only. (Unless otherwise specified, the waltzes are all in one-part versions.) Strauss Waltzes The name “Strauss” is virtually a reflex thought to the word “waltz.” Johann the incomparable and the others—scarcely less talented—of his family have enriched musical literature with a vast collection of waltzes, the largest part of which is entirely unknown to the average young- er music lover of today. Phonographic attention naturally has been concentrated on the most fam- iliar pieces and these are mostly available in a number of recorded versions. But the less hack- neyed waltzes are gradually coming into prom- inence, largely through the recordings of various European concert orchestras, exemplified by the