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

September, 1929 405 The Phonograph Monthly Review Marek Weber and Edith Lorand organizations. In the American concert halls waltz playing sel- dom achieves the authentic Viennese flavor and color. The fluent irridescent lines of the dance poem coagulate into a flaccid, spiritless concert piece. Fortunately there are still foreign con- ductors from whom we may learn the true sure- ties and beauties of the most graciously “musical” of all dances. But it is to the phonograph that we must look for the re-birth of the Viennese waltz tradition. By hearing good waltzes in au- thentic recorded performances American music lovers will soon learn to show more discrimination than at present when the charm of the music itself—no matter how it is played—often leads them to shower approval on flashily brilliant per- formances and to ignore those of quieter but in- finitely more genuine appeal. I understand that an extensive study of the Strauss family and their waltzes is scheduled for apperance next fall or winter in The Phono- graph Monthly Review, and at that time the magazine will print a fairly complete list of Strauss recordings. So for the present it is suf- ficient to pick out for mention only a few of the more significant records. On the Beautiful Blue Danube enjoys the great- est popularity, both concert and phonographic. The most ambitious recording is that in four parts, played by Erich Kleiber and the Berlin State Opera Orchestra for Vox (01896-7 G), available in this country only through the import- ers. There are several good two-part versions: by Weingartner and the Royal Philharmonic (Col- umbia 50084-D), Dr. Blech and the Berlin State Opera House (Victor 68928—German list), Dr. Morike and the Grand Symphony (Parlophone E-10636), and probably others. Of the perform- ances recorded on one record side, and hence considerably cut, I might mention the hotly-de- bated one by Stokowski and the Philadelphia Symphony (Victor 6584—with Tales from the Vienna Woods) and one by Marek Weber’s Or- chestra (Odeon 3017—with Southern Roses). Two of the several choral versions are very good, the one by the Vienna Philharmonic Chorus and Or- chestra (Victor 59098—German list) is particu- larly effective. The other is by the Seiber Chorus and Orchestra (Odeon 85206—German list). The Schultz-Evler Arabesques for piano solo are brilliantly played by Josef Lhevinne (Victor 6840). Frieda Hempel had a very fine acoustical recording of vocal arrangements of the Blue Danube and Wine, Woman and Song waltzes (* Victor 6162). There are of course many other records. I have not yet heard Kleiber’s four-part version, but of the others, those by Blech and Weingartner, and the Vienna Philharmonic Cho- ral record strike me as considerably superior to the rest. Tales from, the Vienna Woods is generally con- sidered to be the finest of all Johann Strauss’ creations, and while there are a number of other works that can hardly be termed inferior even to it, no one can dispute its claim to a place in the first rank. The best recorded performance I have heard is that played by the International Concert Orchestra under Shilkret (35775—Inter- national list), which is in two parts and contains the original zither part missing from most of the celebrity versions. Other performances are by Stokowski (Victor 6584), the present Johann Strauss and his Symphony Orchestra (Columbia 50072-D—with Morning Papers), Mengelberg and the New York Philharmonic (Brunswick 50096—with Artist’s Life), Marek Weber’s Or- chestra (Victor 20915—German list), and Edith Lorand’s Orchestra (Odeon 3221). Those by Stokowski, Strauss and Mendelberg, are on one record side; those by Weber and Lorand are on two. Vienna Blood is represented by a good one- part recording by Koussevitzky and the Boston Symphony (Victor 6903—with Voices of Spring), and a highly praised two-part performance by Bruno Walter and the Berlin State Orchestra (British Columbia L-2270). Probably this latter will be out before long under the American Col- umbia label. Other one-part versions are by Dajos Bela’s Orchestra (Odeon 3228—with Mer- ry Widow Waltz), the Victor International Or- chestra (Victor 68811—with Spring, Beautiful Spring), and Jacques Jacobs’ Ensemble (Col- umbia 50042-D—with Over the Waves). The most promising recording of Wine, Woman and Song is that in two parts by Bodanzky—one of the best Strauss conductors—and the Berlin State Orchestra (Parlophone E-10651). Odeon or Columbia may make it available here. The only other two-part recording I know is a choral version by the Vienna Philharmonic Chorus and Orchestra (Victor V-56004), but this is much less effective than the same organization’s Blue Danube performance. Other records are by Stock and the Chicago Symphony (Victor 6647— with Southern Roses), Lorand’s Orchestra (Odeon 3529—with Southern Roses), Strauss’ Orchestra British Columbia 9224—with The Kiss), Weber’s Orchestra (Victor 68904—with Danube Waves), Jacobs’ Ensemble (Columbia 50058-D—with The Emperor), and The Brunswick Concert Orchestra (Brunswick 20088—with Thousand and One Nights. Several Southern Roses recordings are listed above. Others are by Jacobs’ Ensemble (Colum- bia 50023-D—with Merry Widow) and Weber’s Orchestra (Victor Odeon 3017—with the Blue Danube). A first rate recorded performance of the superb Emperor Waltz is badly needed. At present only makeshifts are available; International Novelty Orchestra (Victor 35919—with Gold and Silver), Dajos Bela’s Orchestra (Odeon 3225—with the Blue Danube), and Jacobs’ Ensemble (Columbia 50058-D—with Wine, Woman, and Song.) (To be continued)