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

The Phonograph Monthly Review 431 September, 1929 ^ " 1 - ■■ ■■ Portuguese. Columbia 1066-X couples military marches brilliantly played by the Banda da Guarda Republicana do Porto, conducted by Captain Antonio Alves). Nos. 1067-X and 1068-X are by Sofia Pedreira, soprano, and J. Costa, baritone, respectively. Roumanian. Columbia is alone here, too, with popular songs by Theodorescu on 31088-F and orchestral sketches on 31087-F. Russian-Ukrainian. Victor’s leaders are V-21010, coupling the Russian Symphonic Choir— less interesting than usual— in Kabilchich’s arrangement of Dubinushka, coupled with an arrangement of the Red Sarafan apparently for balalaikas, although the label credits the Aristoff Choir with the performance; and V-71017, a Benediction sketch. Columbia features songs by Zukowsky and Krasnowska on 27188-F and sketches by the Bratia Orchestra on 27190-F. Odeon has a very pleasing dance record played by the Russian National Orchestra (15111), and folksongs by Shkimba’s Company (15110.) Spanish-Mexican. From the very long Brunswick list the following records might be selected for special mention: 40682-3, songs by Los Trovadores to guitar accompaniment; 40721 and 40719, dances by the Marimba Garcia Chiapas- Mexico; 40726 and 40734, original songs by Ramos and Ramirez; 40722, guitar solos by Genaro Veiga; and 40733, dances by the Rondalla Usandizaga; Among the Odeons are clarinet solos on 16601, a waltz-polka coupling by the Banda Mexicana Okeh on 16379, and sketches on 16376 and 16375. Columbia lists sketches on 3608-X, 3609-X, and 3650- X; dances by the Orquesta Viva-tonal on 3600-X; and selections by the Banda Chihuahua on 3569-X and 3570-X. Besides the Mojica record (reviewed elsewhere) on the Victor list, one might single out: songs by Pulido (81924), popular hits by Jose Bohr (46254), a duet by Cueto and Mejia (46155), dances by the Orquesta Vicente Sigler —one in honor of the prize-fighter, “Kid Chocolate” (46328), duets by Cueto and Arvizu (46109), and songs by the Trio Garnica-Ascencio on 46165-6 and 46271-3. Scandinavian. The best is a fine choral coupling, very powerfully recorded, by the Stockholms Studentsangare- forbund (Odeon 19283). Other Odeons offer dances by Dajos Belas Orchestra on 19284 and songs by Oscar Ralf on 19285. Victor lists sacred songs by Folke Anderson (V-24018), dances by the Svenska Sjomans Orkestern (V-20011), and accordion duets bv Syvertsen and Gustavsen (V-20010.) Turkish. The onlly releases are Columbia 40016-F and 81005-F (scarlet seal), popular songs by Algazi Effendi, tenor, and instrumental selections by the Troupe Festivale (95 instruments). Special Note: Many excellent Roumanian, Hungarian, Russian, etc., records are included in the special Edison- Bell reviews elsewhere in this issue. S. F. Too Late for Classification Odeon 3262-3 (2 D12s*, $1.25 each) Popy: Suite Orientale, played by Dr. Weissmann and the Grand Symphony Or- chestra, Berlin. Francis Popy and his Oriental Suite are probably quite unknown in this country except to those veteran phono- philes who possessed the old Polydor disks of the work aS played by Paul Goodwin’s Orchestra. This recording was a feature of the light music section of the Studio library and it still can be heard with pleasure. But now Dr. Weissmann comes along with a veritable super-recording which Odeon is alert to give early American release. The piece is on the type of Luigini’s familiar Egyptian Ballet, employing the conventional oriental musical devices, but it employs about all of them and with a very brilliant hand. Herr Popy will not startle the world with his originality, but he is a first-rate craftsman. The musical directors of the talking film companies should hasten to get in touch with him. The Oriental Suite is excellent movie music, but it is played here with such surprising bravura that it will fascinate listeners of almost all musical tastes. Dr. Weissmann and the recorders quite out-to themselves in this recorded performance; the disks should command a most extensive and lively sale. The four pieces (one to a record side) are The Baya- deres, On the Banks of the Ganges, The Dancers, and The Patrol. Popy writes luscious tunes and piquant dance rhythms, and he knows his orchestra. As a study in in- strumentation alone the work is worthy of study. I hope that these records will lead to the work’s taking a right- ful place on popular symphonic programs. It is unashamed- ly type music, but it is the very best of its type, for Popy even out-Ketelbeys Ketelbey, and Dr. Weissmann adds the further spice of a dazzling performance. Book Reviews Le Phongraphe by A. Coeuroy and G. Clarence. Publish- ed in “Les Documentaries” series, Editions Kra, 56 Rue Rodier, Paris, France. Price in France, 12 francs. Paper covers. 194 pages. M. Andre Coeuroy, author of “Panorama de la Musique contemporaine”, and Mile. G. Clarence, both enthusiastic admirers and keen students of phonograph, have achieved in this compact little book a brilliant if rapid panorama of phonograph history and activities. The table of contents gives an idea of its comprehensive scope: I. The phono- graph’s Ancestors—legends and prophets, pioneers and in- ventors, Cros and Edison. II. The Present Technique of the Phonograph—A recording session at the studio, the pressing of the disk, instruments, needles, etc. III. The Phonographic Life—phonographic concerts, “phono- manes” and “phonophiles,” phonographic publications and criticism, the phonograph and the arts, phonograph clubs, etc. IV. Problems of the Phonograph — mysteries of voices, timbres, jazz, noises; problems of amplification, radio, talking films, etc. IV. The Phonograph in the Service of Science and Education—phonographic archives and museums, music and folksong, phonetics and languages, municipal record libraries, etc. VI. Horizons. VII. Bib- liography. The authors write in lively fashion, sometimes to the point of rhapsody, but they are well grounded and their enthusiasm is very infectious. (Their language, by the way, is for the most part quite simple and not too difficult for Americans who have not entirely forgotten their college French.) Considerable attention is paid to jazz and popular music records, evidently taken much more seriously by French critics than those in this country. Of particular significance is the study of phonographic archives con- taining recordings of folkmusic, dialects, etc. It appears that a number of museums and universities have establish- ed libraries of this sort. Extensive collections of folksong “phonogrammes” have been made by the Hungarian com- posers, Bela Bartok and Zoltan Kodaly, for example. The Bibliography will be of particular value to earnest “phono- philes”. (The authors give the Phonograph Monthly Re- view the honor of topping the list of phonographic “revues”.) There is an index and a few illustrations. More of the latter would have been desirable, but as it is “Le Phono- graphe” is one of the most significant works in phono- graph literature, and one that deserves a place in every record collector’s library. No indication comes to hand of the cost of the book postpaid to the United States or other countries outside of France, where the price is 12 francs, but undoubtedly the published will be glad to supply full information upon request. (Editions Kra, 56 rue Rodier, Paris France.) F. F. The photograph on the front cover of this month’s issue is of John McCormack, the noted tenor, an exclusive Victor artist. Mr. McCormack’s extensive series of acoustical recordings is now rapidly being replaced by electrical versions.